Inspiration Book: Belperron, Ippolita

Jewels from the Personal Collection of Suzanne Belperron: Chalcedony and Sapphire Ring, circa 1935

Chalcedony and Sapphire Ring, circa 1935

In addition to my hoard of gemstone photos found on the internet (I have gobs, I tell you… GOBS OF PHOTOS), I collect photos of jewelry I find inspiring. If I like the materials, the stones, the settings, or the style, I file it away for later oggling. (I oggle a lot. I think oggling is sorta standard, in the gem and jewelry industry.)

Earlier this week, Sotheby’s auctioned off jewelry from the personal collection of Suzanne Belperron, a French designer who never signed her work (her style was her signature, she said.) A lot of things about her work appeal to me. It looks approachable, wearable; she mixes fine gems with common ones (a diamond set in a solid rock crystal ring, for instance, or the ring shown here, a sapphire set in blue chalcedony.) There’s something very clean, deceptively simple about her designs. I can dig it. (And I want this book on her work.)

Jewels from the Personal Collection of Suzanne Belperron: Gem Set and Diamond Bracelet, circa 1935

Gem Set and Diamond Bracelet, circa 1935

I love this piece because it reminds me of my favorite strung bracelet, chock full of gems — my gems are certainly not as nice as these, but still! It looks like a happy bracelet, very fun to wear. And check out what’s on it:

Set with polished beads such as amethyst, pink tourmaline, citrine, emerald, sapphire and ruby, to an annular clasp partly decorated with rose diamonds, length approximately 185mm.

I love it, and if I were the winning bidder of this piece, I’d wear it every day! (Sadly, I’m not.)

Finally, this Ippolita Starry Night collection from late 2011 hits all my buttons: labradorite – faceted! Why faceted? There’s no reason to facet labradorite, but I love it! Also the crystal and geometric shapes, the celestial colors… and yeah, the name helps. What can I say? I’d happily wear the whole stack of bangles pictured below.

Starry Night collection by Ippolita

Weekend Wireworking

Lariat necklace in copper, with various quartz and glass drops and beads, jewelry by Danielle Signor

Lariat necklace in copper, with various quartz and glass drops and beads.

Over the weekend, I attempted some wirework projects from my newest book find, Wire Jewelry Masterclass by Abby Hook. I started out making a wrapped wire toggle clasp, as the wrapped circle is used in the lariat necklace seen at right. While not a project I planned to make first off, the different components required, and the amount of components required, seemed like good practice for my wire techniques in general. (Hello, rosary loops. I made a whole bunch of you. I now see why there’s special combination pliers, just for doing this sort of work.) I believe I spent 5-6 hours on this, in the end, spread over two evenings.

Wrapped rings, in copper wire, jewelry by Danielle Signor

Wrapped rings, in copper wire.

Having finished the necklace, I tried a ring project, which took me two tries — the first one is on the right, the second one is on the left. There’s something kinda fun about the first one, but the wirework on the second is far better. Practice makes perfect! One of the hardest things about this project was finding beads of the right dimensions, drilled large enough for two wires to pass through. I think, were I to make more of these, I would order beads in advance, as almost nothing I had on hand sufficed.

A pile of lariat necklace, copper wire with quartz and glass drops and beads, jewelry by Danielle Signor

A pile of lariat necklace! Not the most flattering picture of the piece, but I like it anyway.

Overall, I’m pretty happy with the results, especially the lariat necklace — if you’re unclear on how this piece is worn (I was, I admit), here’s some ideas and a video with more ideas (and Cajun music.)

The next jewelry how-to books on my horizon will probably be Weave, Wrap, Coil by Jodi Bombardier and Silversmithing for Jewelry Makers by Elizabeth Bone. The former has some projects I’d like to try; the latter has a lot of techniques (and is significantly less frightening, now that I been gone done it.)

A New Look for the Tiffany Diamond

It’s always a pleasure to share an outstanding piece of jewelry — I mean, let’s face it, posting beautiful images is one of my favorite things! Today, I present the 128.54-carat Tiffany Diamond in a new setting, in honor of Tiffany & Co’s 175th anniversary. (You can hardly see the prongs for all the scintillation — the brilliance might knock you over, in person. I don’t know that for a fact, but I volunteer to try it out!)

The finished necklace with the 128.54-carat Tiffany Diamond and white diamonds totaling more than 120 carats. Photo Credit: Carlton Davis

The finished necklace with the 128.54-carat Tiffany Diamond and white diamonds totaling more than 120 carats. Photo Credit: Carlton Davis

Despite the volume of accompanying diamonds, there’s nothing to obstruct or distract from the centerpiece in the frontal view. I love colored diamonds, especially yellow ones. The Tiffany Diamond is a prime example of what a yellow diamond can and should be! It has 82 facets — quite a few more than the standard 58-facet brilliant cut. The intensity of the yellow makes the surrounding diamonds look nearly blue by contrast.

One thing that fascinates me about jewelry making (and other forms of creative work) is the “process” — design sketches, ideas, how the concept emerges and develops — and I’m delighted to see some of that in this image:

Proposed sketches for the Diamond's new setting. Photo Credit: © Tiffany & Co.

Proposed sketches for the Diamond's new setting. Photo Credit: © Tiffany & Co.

I love the ornate side details of the Tiffany Diamond’s setting (both the final design, and the alternates.) It’s beautiful from the front, and breathtaking from the side.

Here’s a snippet from the press release (and two detail views from the images above):

Sunburst details of the Tiffany Diamond Setting

The Tiffany Diamond is one of the world’s largest and finest fancy yellow diamonds. The transcendent and mesmerizing beauty of this wondrous stone symbolizes Tiffany’s reputation as the quintessential jeweler for diamonds of the utmost quality. The necklace designed for this priceless gem was created in this great tradition.

Detail of Tiffany Diamond necklace

Tiffany’s jewelry designers submitted innovative ideas and concepts for the new setting, and the result perfectly reflects their efforts. Like the generations of expert craftspeople before them, skilled artisans then meticulously hand cut and set each diamond in the modern, fluid design that rests lightly on the neckline, radiating light and energy with every movement. Over a year in the making, the elegant necklace of white diamonds totals over 120 carats and features 20 Lucida® diamonds and 58 brilliant-cut diamonds. The Diamond’s mounting, an openwork motif of sunrays, is designed with 481 sparkling stones.
Tiffany and Company

The Tiffany Diamond necklace will appear at celebrations in Tokyo, Beijing, and Dubai, before returning home to New York City. If I have an opportunity to revisit NYC in the near future, I’ll surely pay it a visit!

Adventures in Jewelry Making

Three (not-so-easy) pieces: silver bezel pendant with quartz drusy cabochon, brass ring, silver wire-wrapped pendant with granite cabochon

Three (not-so-easy) pieces: silver bezel pendant with quartz drusy cabochon, brass ring, silver wire-wrapped pendant with granite cabochon

Introducing a new topic with this post: jewelry making! In the past month, I’ve had lessons in two new (to me) techniques: wire-wrapping, and silversmithing. I mostly make strung jewelry — I took up beads and stringing in high school. Last fall I dove into wire work, and resin/collage pendants; I adore both. Even before I started beading, I recognized the practical advantages of knowing your way around jewelry, from making one’s own accessories, to basic repairs. Broken clasp? Need to change out those ear wires? NO PROBLEM.

On Tuesday, I came away from my first silversmithing lesson with a pendant… not just any pendant, but something I feel I might have purchased. Something I designed, and executed. I’ve made lots of jewelry I’m happy with — I’ll be starting to sell it, this summer — but I’ve never had quite the feeling I did upon completion of this piece:

Silver bezel pendant with quartz drusy cabochon

Silver bezel pendant with quartz drusy cabochon. Made by me!

I admit, I was terrified of metalsmithing. Oh, I wanted to try it, I’ve been thinking about it for months now. But… well, it involves fire. And machinery. Hand tools. And I am more than hair-brained clumsy skilled enough to thoroughly damage myself with any of those things. After months of being too afraid to pursue this next logical step in my jewelry making, I met a silversmith, Bob Sharp, at the Roxy Ann Gem & Mineral Show last weekend. He offers private lessons, and I found him a very patient, knowledgeable, and enthusiastic instructor. (We also seem to have very similar design tastes, which helps. He was loath to let my pendant out the door! Ha.)

The first thing I made was a brass ring, to practice soldering. (Bob was kind enough to polish it up for me; it’s sitting on my desk, along with my first resin pendant.) I’ve never welded nor soldered, except two stained-glass projects a long time ago, which I’m told is an entirely different kind of soldering. It was enthralling to behold; I’m fascinated by how the metal heats and changes color, and how the solder flows toward the torch. It seems almost impossible that it all starts with tiny strips and pieces of metal, and that the assembled piece cleans up so nicely! After a lot of filing and polishing, that is.

At the end of March, I took a wire-wrapping class taught by Terri Cosby, through the Crater Rock Museum. I’m pretty pleased with my first piece:

Wire-wrapped pendant, featuring a lovely granite cabochon

Wire-wrapped pendant, featuring a lovely granite cabochon. Made by me!

Wire-wrapping is pretty difficult to learn from a book (which is why I paid for the class, although it didn’t help that the book I bought is not very beginner-y.) Seeing it done in person was enlightening, and though I’ll need to practice quite a bit before I feel comfortable, I understand more of the mechanics. I think I’ll be able to follow my book more easily, having seen and made the correct wrist motions (things that static pictures can’t really capture.)

As I gear up towards my first major attempt at selling jewelry, I’ll post more photos of my work. Stay tuned!

Natural Motifs in Dior Fine Jewelry

Bal Bleu Nuit ring by Dior Fine Jewelry/Victoire de Castellane

Bal Bleu Nuit ring by Dior Fine Jewelry/Victoire de Castellane

There’s always reason to post a beautiful piece of jewelry — how wearable it is is debatable, but really, who cares? Both the ring above and “Fleur d’exces” below are by Dior Fine Jewelry, springing from the imaginative mind of Victoire de Castellane. I love the nature motifs; this article by Evelyne Politanoff has more photos. (Be sure to enlarge both photos posted here — you’ll enjoy the details, guaranteed.)

If you’d like to see more, check out DIOR JOAILLERIE by Michele Heuze, published earlier this year.

The first book to celebrate the timeless beauty and craftsmanship of Dior’s jewelry designs. Since launching Dior Fine Jewelry in 1998, Victoire de Castellane has been celebrated for having revolutionized the staid world of jewelry design. Her designs play with the barriers between natural and artificial. Renowned as one of the most creative and fearless jewelry designers in the world, she trailblazed the use of the semiprecious gemstones and lacquered gold in baroque, translucent colors. Her sources of inspiration include a global mix of pop culture, floral and natural motifs, and the visual excesses of Bollywood.
Huffington Post

Crystalucinea Metha Agressiva by Dior Fine Jewelry/Victoire de Castellane

Crystalucinea Metha Agressiva, by Dior Fine Jewelry/Victoire de Castellane