Emeline Piot’s drawing for the one-of-a-kind Gor Orish-Nla Mono Earring in rose gold set with one pear-shaped green tourmaline (2.92cts), 3 pear-shaped rubellites (0.68ct), 2 pear- shaped emeralds (0.45ct), 4 pear-shaped iolites (0.55ct), 4 smooth emerald beads (1.41cts), 22 smooth pink tourmaline beads (5.5cts), 29 smooth rhodolite beads (6.3cts), 2 indicolite tourmalines (0.41ct), one Paraiba tourmaline (0.17ct), one princess-cut pink tourmaline (0.31ct), 10 Fluro tourmalines (0.52ct), 8 imperial topazes (4.36cts), 84 red spinels (1.06cts), 44 G-VS diamonds (0.23ct), 5 aquamarines (0.5ct), 197 pink sapphires (1ct), 89 purple sapphires (0.39ct) and 199 garnets (1.60cts); Emeline Piot x Mathon Paris Unique Collection. POA. www.mathon-paris.com Emmanuel Tarpin’s drawing for the Hoop Earrings in 18K white gold set with white diamonds and black diamonds; de GRISOGONO x Emmanuel Tarpin Prologue Collection. POA. www.degrisogono.com JOINING FORCES THREE EXEMPLARY HIGH JEWELLERY COLLABORA- TIONS THAT WILL TAKE YOUR BREATH AWAY. Lily Gabriella’s drawing for the one-of-a-kind Holi Earrings in 18K rose gold and enamel set with one 5.01-carat Fancy Yellow and one 5.03-carat Fancy Light Yellow diamonds, pink sapphires and white diamonds; Ode to Yellow, Sotheby’s Diamonds by Lily Gabriella collection. POA. www.sothebysdiamonds.com
Transcript
Emeline Piot’s drawing for the one-of-a-kind Gor Orish-Nla
Mono Earring in rose gold set with one pear-shaped green
sapphires (1ct), 89 purple sapphires (0.39ct) and 199 garnets
(1.60cts); Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
Emmanuel Tarpin’s drawing for the
Hoop Earrings in 18K white gold set with
white diamonds and black diamonds; de
GRISOGONO x Emmanuel Tarpin Prologue
Collection. POA.
www.degrisogono.com
JOINING FORCES THREE EXEMPLARY HIGH JEWELLERY COLLABORA-TIONS THAT WILL TAKE YOUR BREATH AWAY.
Lily Gabriella’s drawing for the one-of-a-kind Holi
Earrings in 18K rose gold and enamel set with one
5.01-carat Fancy Yellow and one 5.03-carat Fancy
Light Yellow diamonds, pink sapphires and white
diamonds; Ode to Yellow, Sotheby’s Diamonds by Lily
Gabriella collection. POA.
www.sothebysdiamonds.com
Collaborations between high jewellers and artists or invited jewellery designers can be very exciting. Of course, not all ventures turn out to be a success, and just a few can qual-ify as game changers such as the follow-ing three examples. At the heart of these, is the desire from the storied jewellery houses to expand their horizons. By offering their resources (opening the doors of their ate-lier, and delving into their gemstone vaults), three houses have paired with emerging tal-ents (one of them an artist with no proper training in jewellery making; the other two, existing jewellery designers with collections under their own names).
The result is three fantastic projects, whose uniqueness can only be attributed to team work and shared visions. Is allowing total creative freedom essential? How have the in-vited collaborators reconciled their own sig-nature with that of the commissioning hous-es? What have both parties learned in the process?
I have interviewed each duo in order to delve into what makes a collaboration success-ful. Aude Mathon (Mathon Paris) & Emeline Piot for the Unique Collection; Patti Wong (Sotheby’s Diamonds) and Lily Gabriella for the Ode to Yellow Collection; and Celine Assimon (de Grisogono) & Emmanuel Tarpin for the Prologue Collection.
Emeline Piot’s drawing for the one-of-a-kind Nyiama Necklace in rose gold set with one pear-shaped mint green tourmaline
garnets (1.05cts), 549 G-VS diamonds (6.69cts), 2 black diamonds (0.01ct), 56 rubies (0.53ct) and 3 amethysts (0.26ct);
Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
Aude Mathon, Mathon Paris CEO.
Interview of AUDE MATHON (Mathon Paris) www.mathon-paris.com
Olivier Dupon - When was the idea of this external col-laboration started?
Aude Mathon - In 2017, when Emeline and I first met, we had an artistic love at first sight. We immediately want-ed to make something together.
OD - Is the idea of external collaborations to be repeated?
AM - For the time being, we want to focus on this “Unique” collaboration and collection. The next step is to develop Mathon Paris’s own creative identity. The next in-house collection, Les vergers, is currently in the making in the workshop.
AUDE MATHON & EMELINE PIOT A creative collaboration where the sky is the limit
A mesmerising odyssey through the symbiotic collaborative work of Aude Mathon, (head of Mathon Paris, one of the best jewellers and ateliers working for the Place Vendome’s high jewellery houses), and Emeline Piot (a visual artist whose pen and paper artworks are portals to a mystical and captivating dimension). The outcome is the aptly named Unique collection, pieces that are both three dimensional renditions of Piot’s art and testament to the Mathon Paris atelier’s superlative skills.
OD - How long did it take for the collabora-tive collection to emerge?
AM – It took more than two years from our first encounter to the unveiling of the Unique collection.
OD - How did the choice of Emeline Piot come about?
AM - It was not a choice but an instinctive re-sponse, which occurred on our first encoun-ter. Before we met, I had no plan to launch this type of collaboration.
OD - What was the brief (in terms of design, price point, essential elements, etc)?
AM - There were no rules, no brief, nothing that could prevent complete creative freedom.
OD - What were the challenges of giving to-tal creative leeway?
AM - As Emeline Piot is a visual artist and not a jewellery designer, the challenge for her was to design pieces that could be made. In other words, the challenge was to stay true to her artistic signature, all the while creating wear-able jewellery pieces.
One-of-a-kind Gor Orish-Nla Mono Earring in rose gold set with one pear-shaped green tourmaline (2.92cts), 3 pear-shaped rubellites (0.68ct), 2 pear-shaped emeralds (0.45ct), 4 pear-shaped iolites (0.55ct), 4 smooth emerald beads (1.41cts), 22 smooth pink tourmaline beads (5.5cts), 29 smooth rhodolite beads (6.3cts), 2 indicolite tourmalines (0.41ct), one Paraiba tourmaline (0.17ct), one princess-cut pink tourmaline (0.31ct), 10 Fluro tourmalines (0.52ct), 8 imperial topazes (4.36cts), 84 red spinels (1.06cts), 44 G-VS diamonds (0.23ct), 5 aquamarines (0.5ct), 197 pink sapphires (1ct), 89 purple sapphires (0.39ct) and 199 garnets (1.60cts); Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
OD - This unique collection cements the ex-cellence of the Mathon Paris’ workshop. What were the reactions of the atelier’s craftsmen and women when they first discovered the highly intricate drawings?
AM - All the artisans were immediately se-duced by the project. Upon discovering Emeline’s drawings, they were amazed by the level of detail and the interwoven patterns. From the outset, the technical challenge was that everything had to be made by hand, but it instantly ignited their interest.
OD - Can you please shed light on the ex-traordinary work of the gem setters?
AM – Our gem setters are magicians. They were fully involved in the development pro-cess of each piece. They suggested various types of setting to enhance the beauty of the gems, their shine or colour. A case in point, the Nkuma Ring, was particularly challeng-ing because of the setting of tiny spinels in the crown of the crane.
One-of-a-kind Ara Ring in yellow gold set with one pear-shaped Araçuai tourmaline (0.33ct), 5 Fluro tourmalines (0.32ct), 3 pink sapphires (0.19ct), 2 black spinels (0.01ct), 26 red spinels (0.57ct), 42 yellow sapphires (0.48ct), 18 G-VS diamonds (0.34ct), 24 emeralds (0.16ct), 50 spessartite garnets (0.26ct) and 26 rubies (0.19ct); Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
OD - So many colours, so many gemstones. How did you select them? How long was the sourcing process?
AM - Most of the gemstones come from our own stock. Kim, our gemmologist, and I share a passion for fine gemstones. From time to time, when we “encounter” fabulous stones – ones that “talk to our soul”, we collect them. The collaboration with Emeline was the op-portunity to find a great arena for these ex-ceptional gems. It is also worth mentioning that some designs had to be tweaked so as to accommodate certain stones.
OD - Is this highly pictorial collection a way to also pay homage to Roger Mathon?
AM - In a way, it is, even though this was not a conscious approach. Roger Mathon was a fully formed artist: he used to design and paint, but also sculpt and carve wood or met-al. He envisaged the world in terms of volume. Therefore, collaborating with a visual artist for the Unique collection can indeed be seen as a tribute to the artistic gift found in our fam-ily DNA.
Emeline Piot’s drawing for the one-of-a-kind Pisces Cuff in rose gold set with one golden pearl (7.05cts), 10 pear-shaped white opals (1.59cts), 2 black spinel cabochons (0.23ct), one pink tourmaline (0.3ct), 46 red spinels (1.26cts), 46 pink sapphires (1.60cts), 120 G-VS diamonds (3.07cts), 60 emeralds (1.21cts), and 76 spessartite garnets (2.52cts); Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
OD - Can you please tell us about the creative pro-cess? (constant back and forth collaboration with the invited artist or an initial brief followed by occa-sional get-together meetings?)
AM - As mentioned earlier, there was no initial brief. Emeline proposed designing a big tableau to launch the project – a type of monumental work that would be a first for her. Once the black and white panel was realised, she extracted motifs from the big image, which would become the template for the jewellery design. With the craftsmen, we have selected ten designs from among the 25, those which were more inspiring to us and technically adaptable. The jew-ellers then started in wax or in metal to create the three dimensional shapes. Drafts were then shared with the artist, who in turn guided the work in one direction or another.
Progress reports were regularly made in order to stay as true as possible to the artist’s vision. Carte blanche was given to the craftsmen for them to choose the techniques of their choice that best suit-ed the artist’s intention. It was an authentic collab-oration, where all parties were fully involved, every-one contributing with his / her own field of expertise.
One-of-a-kind Quetzalcoatl Earrings in rose gold set with two elongated cushion-cut red spinels (1.48cts),16 Fluro tourmaline (0.66ct), 12 black spinels (0.12ct), 14 purple/pink graded spinels (1.8cts), 14 red spinels (0.18ct), 131 pink sapphires (1.09cts), 406 purple sapphires (2.37cts), 122 G-VS diamonds (1.75cts), and 136 emeralds (1.02cts); Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
OD - From your perspective, what does this “win-win” approach contribute?
AM - In a way, Emeline Piot’s art cements Mathon Paris’s creative heritage. Thanks to her extraordinary drawings, the workshop had a fabulous opportunity to fully express its know-how and creativity. It has also been a way for Mathon Paris to enter the tight-knit group of high jewellery houses.
OD - In your own words, can you please de-scribe the Unique collection?
AM - The Unique collection is the result of a meeting between two women of the same age but from different worlds; two women who share a taste for nature, colours, a re-spect for living things and their energies. The myths and legends supporting the in-spiration of this collection are unconscious manifestations of atavism and cultural roots. Lastly, colours are preponderant.
Anqa Short Necklace, from a collaboration between Emeline Piot and MATHON PARIS, in 18K yellow gold set with one pear-shaped amethyst, 74 moonstone beads (34.76cts), one black spinel cabochon, 87 red spinels (1.75cts), 320 diamonds (6.23cts), 6 emeralds, 257 spessartite garnets and 6 amethysts (1.44cts); Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
Emeline Piot, French visual artist.
Interview of EMELINE PIOT www.emelinepiot.com
Olivier Dupon - When were you approached by Mathon Paris?
Emeline Piot - I met Mathon Paris during the “Précieuses Confluences” French jewel-lery business meetings organised by Corentin Quideau in October 2017. He invited me to participate after he spotted my work as jew-ellery designer on the Duodeci website (one-of-a-kind jewellery making service created by Arnaud Pradat).
OD - How did you immerse yourself in the Mathon Paris workshop?
Emeline Piot - The goal was not to immerse myself into the Mathon Paris workshop. It just started with a meeting between two women, Aude and I. We instantly had a real connec-tion. Then when I talked about my work and she about Mathon Paris, we realised that our fields shared common grounds, e.g. themes such as animals and flowers; a love for colours and precision.
OD - Can you please share with us what hap-pened (the process / feelings, etc) on the day of your initial presentation to the team?
EP - Honestly, I didn’t feel good. I was so im-pressed. When I had to address the entire team for the first time, I was so stressed that I stuttered. Usually when I enter a formida-ble world that I am not familiar with, I am im-pressed because I admire and respect good work so much. And with Mathon Paris, the level is so high that I stuttered a lot!
OD - Your background is not in jewellery mak-ing, so how did you anticipate technical chal-lenges when designing the collection?
EP - For the creative part I was rather confi-dent thanks to Aude. The goal was really to do a collaboration between an artist and a studio. So, Aude allowed me to create what I wanted; the technical part was her and her team’s job. The only thing that I had to keep in mind while designing the jewels, was their ultimate size.
I was lucky enough to be trained by Frederic Mané (a famous jewellery designer) in jewel-lery drawing for the Duodeci project. He gave me good tips about how to represent stones among others. That said, my drawings are not traditional; the most important thing was to make sure that the studio could understand and read them.
Emeline Piot’s drawing for the one-of-a-kind Nkuma Ring in rose gold set with one red/orange spinel (2.15cts), 4 black
spinel cabochons (0.09ct), 60 red spinels (0.88ct), 62 Paraiba tourmalines (0.59ct), 30 blue sapphires (0.35ct), 132 G-VS
diamonds (0.76ct), and 52 emeralds (0.50ct); Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
OD - How did you envisage the fact that what you were creating, had to be worn?
EP - While drawing them, I envisaged them as small sculptures (i.e. an earring sculpture, a necklace sculp-ture); the metamorphosis of my big drawings into little sculptures. Now, when we tried the first piece that came out of the atelier, it took on another level, and this is precisely when the idea that they could actually be worn, formed in my mind.
The one-of-a-kind Nkuma Ring in rose gold set with one red/orange spinel (2.15cts), 4 black
spinel cabochons (0.09ct), 60 red spinels (0.88ct), 62 Paraiba tourmalines (0.59ct), 30 blue sapphires (0.35ct), 132 G-VS diamonds
(0.76ct), and 52 emeralds (0.50ct); Emeline Piot x Mathon Paris Unique Collection.
POA.
www.mathon-paris.com
OD - What did you want to achieve / capture with the Unique collection?
EP - I owe my knowledge of the mythology to my mother, who is pas-sionate about legends and tales. To me, mythology is a kind of art since it is a creative interpretation of reality.
In this collection, and in my work in general, I wanted to formulate my own mythology. It is something that stems from my own story. In fact, all my creative juice comes from my unconscious. I believe that we are all sponges, constantly processing and learning things that we put away in little drawers in the brain. In my case, I feel that I may hold a kind of key that opens these drawers. When I draw, I let my unconscious express it-self and lay down its own storytelling. The result is a kind of new reality, where forms and stories mix with each other. A kind of it-is-not-what-it-seems world, half familiar, half otherworldly.
Moreover, after naming the drawings according to mythological arche-types, Aude and I did some research and we realised that all the pieces and the one big drawing actually related to existing legends, yet inter-preted differently. And many of them I had never heard of before em-barking on the project!
OD - Although your black and white drawings are very inspirational, why do you think that the Unique Collection had to be lavished in abundant colours?
EP - I work my drawings both in black and white and in colour. When I started, I worked solely in black and white; however, when you spend more than twelve hour a day for more than 6 weeks drawing, one’s mind starts to hallucinate. I started to see my work in flashy colours. This is where I should probably mention that I have synaesthesia for numbers, letters and music. That is the reason why I turned to vibrant colours.
In the Unique Collection, the colours come as an additional interpreta-tion of the initial big drawing, a continuous mise en abyme.
OD - Although your artworks are devoid of empty spaces, they are however necessary in jewellery design. How did you reconcile the two?
EP - That’s a fact. To me, there is no void; it is just full of things that one cannot see. That’s why I have created this technique of “thread” drawing. When younger, I par-ticipated to a contest of lace drawing. I was eliminated on the first round because what I had drawn was simply not feasible. What made my attempt unworkable as a
producible lace, turned out to become the signature of my art. A kind of free lace – as we deal with myths and legends, it is my own Ariadne’s thread – where all the drawn elements are joined together.
The same goes with this project. The jewellery couldn’t exist without the drawings, which couldn’t exist without the first large tableau, which couldn’t exist without the initial meet-ing between Aude and me… Everything is at-tached to an invisible thread which holds to-gether the story of this collection.
One-of-a-kind Asymmetrical Eden Earrings in rose gold set with one spessartite garnet (0.62ct), pear-shaped pink tourmaline (1.51cts), 3 pear-shaped amethysts (1.57cts), 8 faceted citrine beads (0.29ct), 23 smooth turquoise beads (3.68cts), 12 Fluro tourmalines (0.65ct), one oval-cut blue/green tourmaline (0.19ct), 43 red spinels (1.61cts), one yellow sapphire (0.04ct), one oval-cut yellow sapphire (0.40ct), 11 tanzanites (0.49ct), 20 spessartite garnets (0.22ct), 8 colour-change garnets (0.33ct), 8 purple sapphires (0.10ct), 9 pink sapphires (0.11ct), 31 G-VS diamonds (0.43ct), and 78 emeralds (0.84ct); Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
OD - It feels as if this collaboration was for you the opportunity to transpose your art into a different medium. Had you ever thought of creating jewellery prior to this day?
EP - Yes, it has always been a desire. This is also why I said yes when Arnaud Pradat asked me to design for DuoDeci. Also, when I was 22, I did create a jewellery collection. At the time, I had no financial means so I resorted to printing my draw-ings on rhodoid sheets, then added some Swarovski crystals to it. The resulting jew-els had to be stuck on the body. Just like body jewels.
OD - At any point, have you felt intimidat-ed by the sheer task of bringing your art to “3D life”?
EP - No I wasn’t. I think as an artist the main thing is the curiosity. What we create al-ways must be consistent and honest. And then what is important when you do this kind of project is the team you are work-ing with. I love passionate and respectful people.
Emeline Piot’s drawing for the one-of-a-kind Ser Necklace in rose gold set with one faceted aquamarine cabochon
Emeline Piot x Mathon Paris Unique Collection. POA.
www.mathon-paris.com
Patti Wong, Senior Director | Chairman, Asia and Sotheby’s Diamonds Hong Kong.
Interview of PATTI WONG (Sotheby’s Diamonds) www.sothebysdiamonds.com
Olivier Dupon - When has the idea of external collabo-rations started?
Patti Wong - I have always looked at the work of young and talented designers. Sotheby’s Diamonds first col-laboration started in 2018 with Eliane Fattal.
PATTI WONG (SOTHEBY’S DIAMONDS) & LILY GABRIELLA A collaboration where rarity fuels creativity
The Ode to Yellow capsule collection of nine pieces is a brilliant partnership between a storied house with access to only the best crop of diamonds, and a talented young Brazilian jewellery designer, whose own fine jewellery brand is sought-after by discerning jewellery lovers. With a passion for architecture and fine arts, Lily Gabriella is able to bring a different perspective to the world of exceptional diamonds; a way of displaying large rare stones (mostly yellow diamonds) in refreshing, innovative ways. For the occasion, Sotheby’s Diamonds also partnered with Diacore, world-leading specialists in sourcing, cutting and polishing extraordinary diamonds.
OD - What is the intent and frequency of these collaborations?
PW - There is no set pattern. The most im-portant thing is to take the time to find de-signers who will create the perfect frame for the diamonds – creations that perfectly com-plement the stones.
OD - How long does a collaboration typically last?
PW - It depends. It took seven months to cre-ate Lily’s collection but the whole process can take longer.
OD - How did the choice of Lily Gabriella come about?
PW - I knew Lily’s designs and thought they had a lot in common with the Sotheby’s Diamonds aesthetic. She was introduced to me by a colleague and that’s how it started.
OD - What was the brief (in terms of design, price point, essential elements, etc)?
PW - We never have a budget, so we don’t have to compromise on any aspects of the design. There was no brief per se except do-ing justice to the stone. I chose the diamonds for Lily and asked her to create the perfect frame for them. We went through Lily’s book, I told her what I liked and we took it from there.
The Holi Earrings in 18K rose gold and enamel set with one 5.01-carat Fancy Yellow and one 5.03-carat Fancy Light Yellow diamonds, pink
sapphires and white diamonds; Ode to Yellow, Sotheby’s Diamonds by Lily
Gabriella collection. POA.
www.sothebysdiamonds.com
OD - How much creative leeway did you allow?
PW - The great thing about working with young designers is that they are adventur-ous – not inhibited by the rules and codes in the discipline. It is important for me to give them as much freedom as possible so they can create designs that have both the time-lessness and the innovative touch that is the signature of Sotheby’s Diamonds.
OD - With Sotheby’s Diamonds being a lead-er in exceptional diamonds, how difficult is it to entrust a third party with such rare gemstones?
PW - I wouldn’t call the designer as a third party. The whole process is very collabora-tive: we work closely together on the designs and then with the workshop.
OD - From your perspective, what does this “win-win” approach contribute? Do you see this as a mentoring exercise?
PW - A lot of young designers have the cre-ativity but rarely have access to great stones. I see these collaborations as a way to create one-of-a-kind designs of great beauty.
OD - In your own words, can you please de-scribe the An Ode to Yellow collection?
PW - Breath-taking designs inspired by art and architecture, which are altogether time-less and resolutely modern.
Infinitas Ring in 18K rose gold set with a swirl of pave- set light green grossular garnet
around a magnificent 6.78-carat Fancy Intense Pink radiant-cut diamond;
Ode to Yellow, Sotheby’s Diamonds by Lily Gabriella collection. POA.
www.sothebysdiamonds.com
Lily Gabriella, fine jewellery designer.
Interview of LILY GABRIELLA www.lilygabriella.com
Olivier Dupon - When were you approached by Sotheby’s Diamonds?
Lily Gabriella - I was approached by Patti Wong in the summer of 2018 when she mentioned the idea of collaborating on a capsule collection. Patti had seen my gouaches and was particularly taken by a pair of earrings I had designed – she loved the use of colour mixed with unusual materials (in this case, marble) and the way light shone through which made the earrings come to life. One of the pieces in the capsule collection, the Holi earrings, were in-spired by that original design.
OD - How did you immerse yourself in the Sotheby’s Diamonds world?
LG - I have always kept an eye on Sotheby’s Diamonds from its very beginning as I admire the work of James de Givenchy who happened to be their first designer. He is incredibly cre-ative and his use of colour and material speak to me. His designs for Sotheby’s Diamonds stay true to his aesthetic where the gems are at the forefront only to be enhanced by a contrast-ing colour with a refined setting, and where the craftsmanship is impeccable. The idea of following in his footsteps somehow, knowing that the pieces I would create would eventu-ally sit by his, was incredibly daunting and an immense feat! Needless to say, it was a chal-lenge that I was very excited about and com-pletely terrified by but I knew that this was the perfect opportunity to step out of my comfort zone.
Lily Gabriella’s drawing for the Solar Cuff in 18K yellow gold with ajouré detailing and set with one 21.15-carat oval-cut yellow diamond at its centre, surrounded by white and yellow sapphires. Ode to Yellow, Sotheby’s Diamonds by Lily Gabriella collection. POA.
www.sothebysdiamonds.com
OD - Can you please share with us what hap-pened (the process / feelings, etc) on the day of your initial presentation to the team?
LG - For over 7 months I had worked close-ly alongside the Sotheby’s Diamonds produc-tion team, with Patti overseeing our progress. Initially, my designs had gone to Patti directly for approval and amendments, and once we were given the green light, there were only 3 of us knowingly working on the designs with a select few Sotheby’s Diamonds ateliers.
Patti had embraced my designs from the get go which gave me the confidence to under-take this immense task. The pieces all had their own set of challenges and at times some seemed nearly impossible to physically cre-ate – it is one thing to draw your ideas, and
yet another to bring them to life – but in the end, we managed thanks to the incredible craftsmen we had the opportunity to work with.
The day that strikes me the most and I think the day where this collaboration really sunk in for me (It seemed like an incredible day-dream beforehand) was when I physically saw the finished jewels, which happened to be on the very same day the rest of the Sotheby’s Diamonds team discovered the capsule col-lection as well. It was an overwhelming feel-ing of joy, disbelief (did I really design this?!), relief that we had managed to overcome what seemed impossible, and, overall, I might have shed a tear or two – I believe my production team colleagues did too!
The Solar Cuff in 18K yellow gold with ajouré detailing and set with one 21.15-carat oval-cut yellow diamond at its centre, surrounded by white and yellow sapphires. Ode to Yellow, Sotheby’s Diamonds by Lily Gabriella collection. POA.
www.sothebysdiamonds.com
OD - What did you want to achieve / capture with the An Ode to Yellow collection?
LG - My aim in creating this capsule collection for Sotheby’s Diamonds was to enhance the intrinsic quality and colour of the unique diamonds that were given to me with the use of unusual materials and contrast-ing gemstones. It is such a rare privilege for a jeweller to be given the opportunity to work with diamonds of this calibre and my task was to create the perfect frame for them. I have always been fascinated by the way architects sculpt light and artists treat colour, and this is what I have tried to reproduce here, with geometric and quasi biomorphic shapes capturing the life and light of those diamonds.
OD - An Ode to Yellow is respectful of the superlative quality of the cen-tral diamonds, all the while de-dramatizing their force. How did you man-age that feat?
LG - First and foremost, I knew I wanted to create a wearable collection despite the value of the stones. These diamonds should be celebrated and as such, worn. I think the designs lend themselves to that purpose. The sleek modern aesthetic of them, with references to the past, in ad-dition to contrasting colours and interesting use of materials alongside the main diamonds have really managed to achieve this feat. As a grad-uate of art and architecture, I was particularly taken by the words of one of the forefathers of Modern Architecture, Louis Sullivan, who coined the expression “Form Follows Function”, a term I try to apply to my work as a jeweller. My challenge was to enhance the quality of those diamonds and my task therefore was to create designs that would support this whilst being innovative and timeless, catering to all generations.
OD - At any point, have you felt intimidated by the sheer value of the diamonds that you had to work with?
LG - I found this project to be intimidating in general. Sotheby’s and Sotheby’s Diamonds are world renowned, with a rich history, and here I was, about to create a capsule collec-tion to be displayed not only alongside ex-ceptional jewels but also remarkable art-works and artefacts. The responsibility of being related to this company was intimidat-ing. Furthermore, doing these diamonds jus-tice because of their value was no small feat. I truly tried to capture the intrinsic captivat-ing beauty of these diamonds and showcase them to the world – they are miracles of na-ture and should be celebrated as such.
The Cubist Ring in 18K rose gold set with a rare Fancy Brownish Orange Yellow cushion-
cut diamond of 1.58 carats, set in a three dimensions surround of pavé-set rubies;
Ode to Yellow, Sotheby’s Diamonds by Lily Gabriella collection. POA.
www.sothebysdiamonds.com
OD - What was the main inspiration behind the collection?
LG - The main inspiration were the diamonds that had been allocated to me. With that in mind, art and architecture have always been a main source of inspiration as has my thirst for travel where different cultures inspire me. The capsule collection for Sotheby’s diamonds embodies all of these elements.
You will find strong elements of the art deco period in my designs for instance in the Solar Cuff reminiscent of a bold stylised sunrise motif designed with fragmented shapes and multiple perspectives so typical of the architecture of that era. Or the Halcyon earrings which take di-rect inspiration from the iconic Chrysler building in NY, a symbol of art deco architecture.
A more modern aesthetic can be seen in the geometric Honeycomb ring, the biomorphic Polytope earrings or sleek Orbit earrings inspired by contemporary architects Jean Nouvel and Santiago Calatrava as well as artists such as Olafur Eliasson and Anish Kapoor, whose works play with light, space, and form – concepts that I apply to my creativity.
The Holi earrings with their striking movement of coloured diamonds with contrasting pink sapphires and enamel were inspired by the Hindu Holi festival and its riot of colours, whilst the Infinitas ring, Optic Ring, and Cubist ring are an ode to art and the way painters showcase colour.
OD - What type of “Sotheby’s Diamonds wom-an” had you in mind while designing An Ode to Yellow?
LG - I designed this collection for it to appeal to different generations and as such I wanted it to be timeless and incorporate elements that would speak to established jewellery collec-tors and a generation of ambitious, confident, achievement-oriented women who are look-ing to invest in fantastic high jewellery pieces.
OD - What were your main challenges when it came to offering your own creativity to anoth-er House?
LG - The aesthetic of Sotheby’s Diamonds has always appealed to me which helped when it came to adding my own footprint. I had to find a middle ground between past collections and my designs. I was always very aware of certain elements such as enamel which was a Sotheby’s Diamonds signature and can be seen incorpo-rated in some of my designs. I knew that this project was first and foremost about show-casing exceptional diamonds, the Sotheby’s Diamonds trademark, and my only task was to celebrate their timeless and universal beauty.
The Halcyon Earrings in 18K blackened gold set with one 3.53-carat Fancy Yellow and one 3.03-carat Fancy Light Yellow radiant-cut diamonds in a dramatic setting of pavé- set diamonds; Ode to Yellow, Sotheby’s Diamonds by Lily Gabriella collection. POA.
www.sothebysdiamonds.com
OD - What have you learned about your-self during this partnership?
LG - I had the privilege of working with an incredibly talented production team who believed in me and my creativity. When I had doubts, they were my sounding board. I learned that stepping out of my comfort zone and challenging myself has made me more confident. As one of the most influ-ential authorities in the industry, having Patti Wong entrust me with this project was extremely humbling – she was willing to give a young jeweller a unique oppor-tunity, one which has been so rewarding for me as I got to express my creativity around some remarkable diamonds.
Lily Gabriella’s drawing for the Honeycomb Ring, whose honeycomb structure echoes the natural geometric structures in the work of Santiago Calatrava and Jean Nouvel’s building for the Louvre Abu Dhabi. The fiery 6.12-carat pear-shaped Fancy Intense Yellow diamond adds a striking element to the 18K yellow gold hand carved mount, enhanced with full cut white diamonds; Ode to Yellow, Sotheby’s Diamonds by Lily Gabriella collection. POA.
www.sothebysdiamonds.com
Celine Assimon, de Grisogono Chief Executive Officer.
Interview of CELINE ASSIMON www.degrisogono.com
Olivier Dupon - When was the concept of “de Grisogono Creativity in Residence” launched?
Céline Assimon - Creativity in Residence was launched last spring, in 2019.
OD - What is the intent and frequency of it?
CA - Creativity in Residence (one-year resi-dency) allows us to go back to our roots; we are the maverick of High Jewellery! Building on the foundations of the Maison, this program is aimed at inspiring, unleashing and fostering creativity. At the heart of the program is a one-year residency with a guest designer.
A second collaboration with a modern-day muse will be a dynamic force of inspiration for our in-house Creative Studio. And final-ly, the third facet is a scholarship program with the Geneva School of Art and Design (HEAD).
These three pillars embody what we be-lieve is the spirit of de GRISOGONO moving forward. It’s not just about being creative with our product, but also about the way we create: my ambition is for the brand to be more inclusive, more in touch with the times.
CELINE ASSIMON (DE GRISOGONO) & EMMANUEL TARPIN A creative collaboration that reinvigorates a house’s DNA and furthers a young talent’s reach
Emmanuel Tarpin is the first guest designer to be invited to the de Grisogono’s Creativity in Residence program. The Prologue collection is the brilliant outcome of this association. A highly calligraphic collection that respects all the hallmarks of the high jeweller. Like ribbons drawn up in the air, lines of white and black pavé intertwine in a free-flowing manner. It is movement frozen in the moment, a play on light and shadow, a painter’s brush stroke that highlights a woman’s best features as in all de Grisogono’s creations.
OD - How did the choice of Emmanuel Tarpin come about?
CA - I discovered Emmanuel when he sold his first piece at a Christie’s auction in New York City in 2017. I then started following him closely on social media and discovered more of his creations. I instantly found there was a close link between his artistic expression and our universe.
Emmanuel Tarpin, Artist in Residence for 2019–2020, brings a touch of poetry and freshness to de GRISOGONO through his designs. There is a definite link between Emmanuel Tarpin’s universe of creation and ours, at the heart of which is a great freedom to create, to dare and to surprise. His mandate was to reinter-pret the codes of the Maison, and it is fair to say that he delivered!
OD - What was the brief (in terms of design, price point, essential elements, etc)?
CA - We invited Emmanuel to be a guest artist, in the context of our Creativity in Residence program. Emmanuel brings his own point of view to our aesthetics. He is proposing his interpretation of our codes with his youth, freshness and poetry. He is designing three collections (one prologue and two chapters) consisting of 40 designs in total.
Emmanuel Tarpin’s drawing for the Prologue Necklace; de GRISOGONO x Emmanuel Tarpin, Prologue collection. POA.
www.degrisogono.com
OD - How much creative leeway do you allow?
CA - Emmanuel has a lot of creative free-dom. The idea is for him to reinterpret the codes of our Maison with his own vision, his own style.
OD - Can you please tell us about the pro-cess? (constant back and forth collabora-tion with the invited designer or an initial brief followed by occasional get-together meetings?)
CA - Emmanuel has spent time with me. We have discussed a lot about the spirit of our respective creations and universes. We went through all the key elements of de GRISOGONO’s design.
Emmanuel spends a lot of time with the Creative Studio, he works in their office, but also with the R&D department and with the senior jewellers.
Emmanuel has really immersed himself in the fundamentals of the Maison before he started reinterpreting its codes: volume, density, interlacing, unity, movement, co-lour combinations, chiaroscuro…
Necklace in 18K white gold set with 3428 black diamonds (70.62cts), 1976 white diamonds (32.86cts) and 1107 Icy diamonds (24.83cts); de GRISOGONO x Emmanuel Tarpin, Prologue collection. POA.
www.degrisogono.com
OD - From your perspective, what does this “win-win” approach contribute?
CA - The world is changing; the horizons have broadened. A young creator with a different vision allows us to reinterpret our brand each year in a new manner.
OD - In your own words, can you please de-scribe the Prologue collection?
CA - This first collection inspired by the theme of Haute Couture is a great crossway between Emmanuel’s universe and ours, at the heart of which is a great freedom to create. Emmanuel brings a lot of poetry to the universe of de GRISOGONO.
OD - Have you a favourite piece?
CA - It is hard to choose as I adore them all! I particularly appreciate the asymmetrical black and white diamond earrings represent-ing two ribbons that give the illusion of go-ing through the skin. Offering a very aerial vi-sual effect, as well as being extremely light in weight, they are set with diamonds all around and as beautiful from the back as they are from the front.
Ring in 18K white gold set with 686 white diamonds (5.01cts) and 391 black diamonds (4.22cts); de GRISOGONO x Emmanuel Tarpin, Prologue collection. POA.
www.degrisogono.com
Emmanuel Tarpin, high jewellery designer.
Interview of EMMANUEL TARPIN www.emmanueltarpin.com
Olivier Dupon - How did you immerse your-self in the de GRISOGONO’s world?
Emmanuel Tarpin - I first wanted to under-stand the DNA of de GRISOGONO. I scoured the archives to get a feel of the brand. We share some design aesthetics as well as the idea of volume and contrast of materials and colours. It is exciting to show my own vision of the brand.
OD - Can you please share with us what hap-pened (the process / feelings, etc) on the day of your initial presentation to the team?
ET - The moment I met the de GRISOGONO team in Geneva was so interesting, it was very important for me to know all the peo-ple who work for the brand: designers, jew-ellers… It is essential for me to follow every step of the jewel realisation, from the draw-ing to the final piece. I also love to share my ideas, my vision with all the team. I work with drawings and models that I show to Céline Assimon and, after discussion, I can share my work with the jewellers and ex-plain to them how to make the jewel and the kind of details, stones, finishing and clips I want. Afterwards, I follow the realisation of the piece right to the end. It’s a real plea-sure to feel that the craftsmen love what they do and are very sensitive to my vision of the brand, my proposals.
OD - What did you want to achieve / capture with the Prologue collection?
ET - Prologue has a very free-flowing, cal-ligraphic aspect (a bit like 3D drawings in the air).
OD - What was the inspiration behind it?
ET - With the “Prologue” collection, I really wanted to create a tribute to de GRISOGONO’s history with the use of black diamonds. I chose to keep white diamonds as well to create a black/white and opaque/transparent con-trast as an introduction to the collaboration.
I decided to realise pieces infused with femi-ninity, a couture feel, lightness and movement. This chapter is composed of a ring, a brace-let, a necklace and earrings representing rib-bons and interlacing cordelettes. I meant to create a floating effect, jewellery that would be very light on the body, just as are fabrics.
Emmanuel Tarpin’s drawing for the Prologue Bracelet; de GRISOGONO x Emmanuel Tarpin, Prologue collection. POA.
www.degrisogono.com
OD - What type of “de GRISOGONO woman” had you in mind while designing Prologue?
ET - I didn’t really have a woman in mind, just someone confident who is not scared to wear big pieces with volumes. Someone modern because the pieces I create for de GRISOGONO are not very classic but express a new vision, less formal, of high jewellery.
OD - What were your main challenges when it came to offering your own creativity to another House?
CA - Collaborating with another brand was totally new for me as I started my own brand only two years ago. It was quite a challenge because I am a really indepen-dent person, but at the same time I was cu-rious to share my ideas and to propose my own vision of the brand. de GRISOGONO and I share a style and we also have in common notions of volumes, contrasts, chiaroscuros... It gave me a real freedom to create.
Earrings in 18K white gold set with 955 white diamonds (8.66cts) and 963 black diamonds (9.26cts); de GRISOGONO x Emmanuel Tarpin, Prologue collection. POA.
www.degrisogono.com
Making-of the Prologue Ring (intricate gem setting).
OD - What have you learned about yourself during this partnership?
ET - This experience gave me the opportuni-ty to open myself more to others creatively, learn how to share my ideas and work with a team on a project.
OD - Have you been able to inject some of your own creative DNA into the Prologue pieces? In other words, how have you composed with the de Grisogono codes (e.g. black diamonds,
tight paving, etc) while keeping your own signature?
ET - I think it came quite naturally. I brought my own inspirations and at the same time used de GRISOGONO’s history. What I create for my own brand is really different but I kept the idea of romanticism through volumes, con-trasts and lightness. It was not about putting a big stone in a piece but about design, and how to see jewellery as sculpture and bring life to it.
