Visions of the New World: Interview with CREATEFREEDOM

One of our primary goals on Future Heirloom is to uplift emerging makers who are transforming the jewelry world and making lasting impacts on our community. Today, we’re kicking off our newest series of interviews with the talented innovators in our One For The Future program: recent graduates, self-starters, and emerging professionals who embody passion, dedication, and a commitment to jewelry. We’re excited to debut this series with Jevon Smith (he/him) and Max Thompson (he/him), the talent behind the New York-based brand CREATEFREEDOM.

But before we jump in to ask Jevon and Max a few questions, here’s a bit more about CREATEFREEDOM:


CREATEFREEDOM serves to explore how freedom exists and how it can be expressed through the individual, the community, and strong interpersonal connections. Each piece that is designed embodies a characteristic of freedom and is constructed to maintain wearability. The debut collection, which was launched on January 9th 2021, covers five broad concepts of freedom: legacy, growth, unity, change, and family. CREATEFREEDOM celebrates the non-conforming wearer while providing an enduring design aesthetic.

Future Heirloom: Tell us, why jewelry? 
CREATEFREEDOM: Jevon has always created his own accessories since a young age and went on to study accessory design at the Fashion Institute of Technology. What brought us to focus on jewelry specifically is both its aspects of wearability and longevity. People who wear jewelry do so on a daily basis and tend to stick to their core pieces which becomes a part of their identity. It’s important that the jewelry they do wear is something that they can identify with, and our brand’s meaning, which is incorporated in the name of each ring and its design, is something people want to represent.

FH: What does the Power of Jewelry mean to you?
CF: In our generation, many of us are now starting to recognize jewelry more for its spiritual and healing properties rather than it being a symbol for wealth and status. Each form of precious metal contains a unique set of metaphysical properties that activate different energies. As we are beginning to value these aspects of jewelry, it has the power to become an extension of ourselves; past, present, and future versions. It serves an extension by reminding us what we are healing from in the past, our values in the present, and what we are working towards developing in the future. Jewelry serves as a personal symbol of what we represent and an affirmation of what we are becoming.

FH: How would you describe your work, in 5 words or less?
CF: Minimal, but intentional statement pieces.

FH: What’s something unusual about your practice that you’d like to share with readers?
CF: What is unusual from our practice is that both of us do not come from a typical jewelry background. Jevon studied Accessory Design, but specialized in footwear and handbags, while Max studied Mathematics and Finance. In general, our life has been about breaking norms and identifying new ways of approaching things since we both did not grow up grounded in, or attached to, certain traditions or cultures. This has translated into our design process and the overall meaning of our brand. It allows us to provide a fresh perspective to the jewelry industry by redefining a new standard of what is acceptable, and creating unique statement pieces for the non-conformist.

FH: How does community play a role in your work?
CF: Community actually plays a big role in our overall process. We have spent a lot of time speaking with the people that have resonated with our brand over social media and in real life. We want to develop a community that recognizes that we are more than a jewelry brand, but a brand that connects with and advocates for them. A lot of our messaging, as well as coming from our own experiences, comes from the conversations we have had within our community. Part of our core values is to provide opportunity to those who have been marginalized and even though we have just started, we have already incorporated it into our process. While we wish to do more going forward, we have already donated some of our proceeds to an organization that assists BIPOC creatives, have talked on panels about Black-owned businesses, and have enrolled in mentorship programs to help creatives. 

FH: What stories are you telling in your work?
CF: CREATEFREEDOM means to destroy and rebuild the narrative society has constructed about what you are and what you should be. Creating a space where you can exist as you are. We think of our brand as an ongoing thesis on how to dismantle barriers and limitations society has imposed. Our first collection touched on five components: legacy, growth, unity, change, and family. While we began by releasing five rings to serve as a foundation, we branched out to earrings and a necklace which repurposed the philosophy and designs from our initial five rings.

For example, our latest piece, the New World Order Necklace, centers around this idea of change. The idea for our campaign around this new addition was called “VISIONS OF THE NEW WORLD”, and it was focused on reimagining images from both luxury ads and R&B from the late 90s/early 2000s. Hindsight is a powerful tool that we possess because it allows us to revisit the past, learn from it, and make changes in the future that contribute to our growth as a society.

CREATEFREEDOM’s newest campaign, VISIONS OF THE NEW WORLD, launched on September 13th. The campaign reimagines what the new world could look like and draws inspiration from luxury ads and R&B images from the late 90s and early 2000s.

You can follow CREATEFREEDOM on Instagram @CREATEFREEDOMNYC, and see more their work on their website, createfreedomnyc.com


Thanks to Jevon Smith and Max Thompson of CREATEFREEDOM for sharing more about their brand and practice with us. Images provided by CREATEFREEDOM. Interview compiled by Andrea Rosales-Balcarcel and edited by Jackie Andrews. 

ART & COMMUNITY 2021 Participants

NYC Jewelry Week 2021 is fast approaching and we are thrilled to announce the participants of this year’s ART and COMMUNITY programs. Answering our open call for unique, innovative and engaging programs around the theme of The Power of Jewelry, these collectives, businesses, collaborators, artists, curators, educators and disruptors represent the pulse of jewelry today.

AdornAxis
Aida Sulova
AJF and The Jewelry Library
Amelia Toelke & Andrea Miller
Anna Nava Handcrafted Jewelry
Anna Rasche & Art Glass Forum
Ariana Embiricos & Mike White
Art Party Central
Baltimore Jewelry Center
Bario Neal
Bette Talvacchia
Brooklyn Metal Works
Charon Kransen Arts
Christianne Teague
Claire Webb & Ashley Nettye Pollack
Commence Jewelry
Current Obsession
Dana Bronfman
Didier Ltd
Divya N
Donna Bilak
Amulet by D

Dream Machine
Eliana Negroni & Nichka Marobin
Emma Gregory
Erica Rosenfeld & Heller Gallery
Galerie Noel Guyomarc’h
Gallery Loupe & The Jewelry Library
Hearts + Flowers
Heidi Lowe Gallery
Hongmei Teng
Isela Robles Jewellery
Kalkidan Hoex
L. A. Pai Gallery
Lauren Darrouzet & Angela Caldwell
leungdesigns
Linked Connection
Luci Jockel & Emily Jockel
Marie Wolf Jewels
Mariko Sumioka
Meghan Patrice Riley
New Paltz Metal

Nuohan Jiang
NYC Jewelry Lab
Oma Jewerly
Paula Finch
Paula Guzmán
Pratt Institute
Rago Wright
Rebecca Hannon & Yash Purohit
Reinstein Ross
Snem Yildirim
Spencer Collection
Stay Gold Collective
Sun & Selene
Talia Spielholz & Rebecca Schena
Tamar Navama & Aya Schein
The Flourish Jewellery Project
The Jewelry Edit
Tina Rath
Twin Elegance
UGA
Urban Glass
Vershali Jain
ZARIG Jewels

Today kicks off our official NYCJW21 WARM UP season. Over the next two months we will share insights, sneak peeks and introductions to the programs created by this group of participants – with more to come! Stay tuned to our Instagram @nycjewelryweek to follow along and look out for more announcements about this year’s NYCJW sponsors, partners, programs and participants.

Head HERE to learn more about NYC Jewelry Week 2021.

How They Wear It: Suchi Reddy

On Future Heirloom, the Power of Jewelry is central: we want to celebrate jewelry and jewelry stories in all forms—including the infinite, unique ways jewelry is worn, and what that says about the wearer. Today, we’re kicking off a new series on exactly that: How They Wear It. How They Wear It will spotlight people from around the globe, of diverse professions and backgrounds, and talk to them about how they use jewelry to express themselves.

Our debut How They Wear It features Suchi Reddy, an Indian architect and artist based in New York. We talked to Suchi about her jewelry collecting habits, what she looks for in an accessory, what pieces are most special to her, and more. Explore the world of jewelry with us.

Future Heirloom: Who are you?
Suchi Reddy: I am Suchi Reddy, I’m an architect /artist originally from Chennai, India, but now a long time New Yorker.

FH: When did you start wearing and collecting jewelry?
SR:
I am a tale of paradoxes. Growing up in India, where jewelry is not just an obsession, but a heritage, I was not into it at all, except for appreciating it aesthetically.
Its position as a status symbol in our culture was not one that I really wanted to engage with. In fact, I did not wear much jewelry until I was in my thirties, and a practicing architect here in New York. I began collecting jewelry, but this time around it was my love of innovative materials that drove me to find and wear unique pieces.

FH: How do you wear your jewelry?
SR:
I have been told that I dress like an architect and accessorize like a designer! I wear my jewelry usually as the star of the show.

FH: Who is your greatest jewelry or style inspiration?
SR:
That is a tough question, I have so many… if I had to pick one I would return to my traditional roots: there is a Bollywood film called “Jodhaa Akbar,” about the most famous inter-religious marriage in Indian history, hen Emperor Akbar, a Muslim, married Princess Jodhaa, a Hindu. The jewelry in this film is exquisite!

FH: What are your go-to jewelry brands?
SR:
Objet-a, a New York City-based brand By Tom Dunn and Olivier Pechou, is one of my go-to’s. I also love Pono.

FH: Do you see any trends that people should be aware of?
SR:
In recent years, I have been impressed with how many men wear jewelry, especially bracelets. I think this is a huge trend.

FH: What is your favorite piece of jewelry?
SR:
It is a necklace of black stones that I found in a vintage shop in Wisconsin many years ago.

FH: Any sentimental pieces / most memorable piece of jewelry?
SR:
Anything my mother gave me has a special place in my heart and life, especially a chain of black and gold beads that she gave me.


Thanks to Suchi Reddy for sharing How She Wears It. Connect with Suchi and her company Reddymade Architecture and Design here.

Text, quotes, and images provided by Suchi Reddy, edited by Jackie Andrews and JB Jones.

On Being Unapologetically You: Fifi the Queer Icon

by Jackie Andrews

Last week, Future Heirloom Editor Jackie Andrews introduced our new platform in our first Letter From The Editor. This week, you’ll get to know Jackie through the lens of their childhood alter-ego, Fifi, and learn about how this colorful childhood character has influenced their fashion sense and penchant for dramatic accessories, their career, and most importantly, who they are today. Get out your feather boas and get ready to play dress-up.

I was born a maximalist. From a very young age, I loved playing dress up, and I always gleefully piled on as many scarves, feather boas, jewelry, tiaras, and sparkly hats as I could—typically several at once. The concept of moderation was completely lost on me. In my toddler years, I would put together these maximal ensembles, and demand to be my older sister’s hairstylist. Over time, this particular persona of mine was dubbed “Fifi” by my mother, and even today is still cited as one of her favorite memories of my childhood self. Fifi is immortalized in a frame in my parents living room, but has spent the better part of the past two decades of my life relegated to a distant memory, dormant in the recesses of my mind.

Fifi was more a part of me than I knew. Echoes of their unapologetic, fabulous flair are a common thread in so many of my fashion phases, large and small. There was one year in elementary school that was defined by a large collection of oversized silk flower brooches and hairclips (think a slightly more restrained clown flower), in every color of the rainbow and a variety of shades that were paired, without fail, with every outfit I wore. In middle school I discovered my mom’s collection of richly patterned silk scarves from her years of working in Manhattan, and I enthusiastically styled them as ascots or belts on a daily basis (admittedly with mixed success). In high school I sewed my old Girl Scout patches all over a pair of jeans, which then spilled over onto a jean jacket; I didn’t hesitate to wear them together, Canadian-tuxedo style, and I even hung the pants in my AP art show senior year. I wore all-over patterns and power-clashed well before it was cool, had a lipstick shade for every occasion, doodled on my face with eyeliner, and used Vaseline to glitter my eyebrows. Fifi watched over every one of these sartorial decisions like a fairy godparent, even when I didn’t recognize them there.


I came out a little over four years ago, and have undergone many evolutions of self in that time; I’m sure many more are to come. But one thing is certain: my quintessential style spoke for me even when I didn’t have the language to describe the way I experienced the world, and that instinct has only gotten stronger in me. On any given day, you can find me wearing “too many” types of floral patterns at once, layering my growing collection of sequined garments together, donning platform sneakers in neons and patterns, and accessorizing with abandon. (Most notably, frequently following my own self-imposed rule of looking in the mirror and then putting on at least two additional pieces of jewelry.) These instincts were paralleled in my studio practice as well: as I progressed through art school, glitter and sequins became an increasingly important material in my work, despite (and indignantly, in spite of) the disdain the art world historically has had for it. That inclination toward glitter-encrusted surfaces was always something that my inner child called out for, and I finally learned how to listen.

As my work and my wardrobe got increasingly bold and outspokenly queer, my list of style icons did as well, including people like Harris Reed, Demi Lovato, Alok Vaid-Menon, Sam Smith, Billy Porter, Iris Apfel, ABBA, and of course—Elton John. In recent years, I’ve also had the honor of being told on more than one occasion that I had the vibe of a “lesbian Elton John,” a high compliment that I will surely wear as a badge of honor for decades to come—it might even make an appearance on my gravestone. But a couple months ago, something within me inexplicably brought Fifi to the forefront of my mind. 

It suddenly became very clear to me that while all of these experiences and role models had certainly shaped me, my true queer icon has always been Fifi. Discovering my true self and learning to embrace my identity fully has meant years of slowly returning to that unapologetic, young self. Fifi would certainly admire the person I am today, and I’m lucky that I’m finding my way back to that inner child, one head-to-toe sequin ‘fit at a time.


Written and illustrated by Jackie Andrews.
Illustrated using images of Fifi and Jackie Andrews throughout childhood and adolescence, wearing many of the garments and accessories mentioned above.

A Return to Legacy: Exploring African American Jewelry Heritage

“Scholarship in the history of jewelry making in the 20th Century has often focused on a very narrow discourse based on primarily white European and American designers, and has often overlooked the creative contributions of other diverse voices, such as the African American community. Many of these designers coming from this community have helped develop contemporary jewelry, providing superb artistic craft to the worlds of fashion, performance, fine art, and art jewelry. Yet these contributions have largely gone unnoticed, as only few Black artists have achieved prominent exhibition and research on their efforts in jewelry making.”

And so we welcome to this space, led by the words above from Sebastian Grant, Legacy: Jewelry making and building African American Communities, preserving heritage, and pushing creativity.

Wedgwood lady brooch by Vaughn Stubbs, c. 1987. Image courtesy of Hedendaagse sieraden

“As America continues to develop a better understanding of its vast and multiplicitous history, continuously incorporating the diverse figures that have previously been forgotten, jewelry scholarship needs to accomplish the same task. Legacy is part of the ongoing effort to capture the many stories of influential black makers of jewelry, and to let their artistic merits be given the credit that has been long due.” – Sebastian Grant.

Grant, a curator, art historian, and professor at Parsons School of Design, released the initial incarnation of his project, Legacy, in the fall of 2020 at NYC Jewelry Week. The virtual program provides an overview of African American contributions to the jewelry field. Some well known, some all but forgotten, the enlightening project sparked investigation into the featured jewelers by individuals and organizations across the country and resulted in a widespread desire for Grant’s continuation of the project. Fueled by this support and his own desire to uncover the history of these incredibly important jewelers, the work on the project continues.

We reached out to Grant to see how it’s going, how he feels about it all and to learn more about the future of Legacy. We welcome you to watch Grant’s initial presentation of Legacy here as an addendum to this article.


FUTURE HEIRLOOM: Can you tell us a bit more about how the Legacy project started, and why it was important to you to create?

SEBASTIAN GRANT: This project started as part of a collaboration between myself and The Jewelry Library to examine the following questions: 1) Why have so few African American jewelry artists been discussed within the main canon of Art Jewelry discourse?, and 2) Were there any stories in existence which documented the lives and contributions of these artists? After the harrowing events of the death of George Floyd, and the following summer of protest, America had a moment of reckoning surrounding the questions of representation, especially for the African American community. Following this important moment for true conversation, I knew how essential it was to ask these same questions of representation when it comes to Art Jewelry.

Grant offers an overview of what the project includes:

“Legacy covers some of the many contributions of African American jewelers, from the Modernist jewelry practices of the 1940’s to the powerful political statements made in jewelry more recently. We look at the various fields that benefited from black creative talent, looking at scenes from fashion and performance, to arts and design. In addition, we explore not only the creative works themselves, but also the communities that developed around the enthusiastic exchanges of creative thought. 

“Faced with the constant threat of racism and oppression that plagues America, communities of color formed artistic circles as a means of survival and a preservation of heritage, passing on techniques and traditions in Mid-20th Century jewelry centers as Greenwich Village, to wider artistic circles in Los Angeles and Chicago. Lastly, we introduce various designers, from widely known names to lesser known contributors, in the hope of increasing wider acknowledgement of these important African American artists, and their great influence and impact on the history of modern jewelry.”

Portrait of designer Patrick Kelly

FH: What do you hope Legacy’s impact will be?
SG: As I continue this project, I hope that it will have the sole purpose of starting important conversations in the jewelry community, especially with the goal in mind that we can start finding more names of black individuals in the past who played an important role in the art of metal smithing during the 20th Century, but whose stories have been forgotten in the past.

FH: What are your next steps in expanding the project?
SG: The next steps so far have been documenting these stories about the lives of these great black artists into writing, which have been discussed in recent articles for Metalsmith and an upcoming article for Art Jewelry Forum. In addition, I am continuing to look for new names that could be added to a growing list, and I hope to learn more about their stories as I continue exploring my research.

As Grant’s research and development of Legacy continues, we look forward to sharing new insights into the history of Black American jewelers soon. In the meantime, we asked Grant to share some highlights on a selection of the jewelers and artists featured in Legacy. Read on to learn more about the work of Vaughn Stubbs, Patrick Kelly, Carolee Prince, Curtis Tann and Betye Saar.

Vaughn Stubbs

‘Disney Land’ Brooch, by Vaughn Stubbs, c. 1989. In the collection of LACMA, Image courtesy of LACMA.

Working as a legendary multidisciplinary artist of the Philadelphia Community, Vaughn Stubbs explored creative excellence through found objects, mixing sophistication and kitsch to make fine art and jewelry. Born in 1946, Stubbs was interested in art from a young age, but his pursuit in the creative field was delayed when he was drafted to serve in the Vietnam War. He participated in the campaign as a field artist, and left the army in 1970 to study at the Pennsylvania Academy of Fine Arts, graduating in 1972. 

As an artist, Stubbs participated in many fields, from painting and sculpting, to quilting and jewelry making. His work mainly consisted of utilizing common everyday objects, such as plastic beads, feathers, and children’s toys, and transforming them into stylish works of art which explored erudite subjects such as Greek Mythology, European Art History, and Pop Art aesthetic. Stubbs would often incorporate these features into jewelry, creating brooches that truly exhibit the opulent tastes of the eighties. In addition to creating beautiful pieces, Stubbs served as a figure who always gave back to his city of Philadelphia, teaching art to blind students at the Philadelphia Museum of art until 2000. Although passing away in 2016, his memory has been held in a prominent place by the people of Philadelphia, with a legacy that can never be forgotten.

Portrait of artist and jeweler Vaughn Stubbs

Patrick Kelly 

Most famous for his work as a fashion designer in the 1980’s, Patrick Kelly was also well known for creating bold and grandiose pins that were closely linked to his signature overall aesthetic. After rising to fame in Paris, in part due to magazine attention from the likes of Vogue, he was picked up by world famous stores like Bloomingdales and Bergdorf Goodman and garnered many famous clients including Naomi Campbell, Grace Jones, Madonna, Isabella Rossellini, Princess Diana and more. 

He used much of the same symbolism in his jewelry that he used in his fashions including oversized buttons, bows and figures which really adopted the 80’s aesthetic of “bold & beautiful,” as shown below.

Kelly’s work also explored issues of segregation and racism through historical and ironic references in his jewelry. Using a golliwog image as his logo (shown below), for instance, or blackamoor figures allowed him to subvert the narrative and take power back from negative anti-black imagery – reclaiming the symbols of hate to confront racism in America.

Patrick Kelly’s logo

Carolee Prince

Image by Kwame Brathwaite: Nomsa Brath wearing earrings by Carolee Prince, ca. 1964. Courtesy the artist and Philip Martin Gallery, Los Angeles via @aperturefnd 

Carolee Prince was a NYC based jeweler and artist whose work was prominent in the mid 1950’s to late 1960’s. Prince worked in connection with the African Jazz-Art Studio Scene (AJASS) in Harlem which was part of the Black is Beautiful pride movement of the 1960’s. Carolee often collaborated with photographer Kwame Brathwaite, a founding member of AJASS who used his work to promote the Black is Beautiful movement by focusing on and celebrating Black identity without the influence of European based culture. Carolee often contributed her work to Brathwaite for his photos, most prominently string beaded pieces, as shown here, in line with African traditional beadwork. 

Image by Kwame Brathwaite: Naturally ’68 Photo Shoot featuring the Grandassa Models, Harlem ca. 1968, Image Courtesy of Philip Martin Gallery and the Kwame Brathwaite Archive

Kwame along with his brother, activist Elombe Brath (the other founding member of AJASS) would gather Black models from across Harlem, the “Grandassa Models” (shown above), a group of models promoting natural hairstyles at a time when natural hairstyles were not well regarded. 

Carolee also made many of the headpieces worn by legend Nina Simone in her live concerts, shown below.

Image by Kwame Brathwaite: Nina Simone on stage wearing a headpiece by Carolee Prince, ca. 1973, Image Courtesy of Philip Martin Gallery and the Kwame Brathwaite Archive

Curtis Tann and Betye Saar

More recently known as one of the most influential African American conceptual artists, Betye Saar (née Brown) has a long and flourishing career that had its origins in jewelry making. Originally working as a social worker in the late 1940’s, Saar’s life changed for the better through the special friendship she developed with Curtis Tann. Tann was an enamel artist who recently moved to Pasadena after learning his craft at the black owned art school Karamu House in Cleveland, Ohio. In their meeting, Tann was able to introduce Saar to enamel arts, and through his connections, introduced her to the local art scene in Los Angeles, introducing her to important artists such as Charles White and William Pajaud.

Betye Saar (née Brown) and Curtis Tann in the office space of their decorative arts business Brown and Tann, 1951. Image courtesy of Betye Saar.

By the early 1950’s, the friends formed the company with the tongue-in-cheek name Brown & Tann, and created works of enamel on copper, from ashtrays to bowls, and of course, jewelry. These enamel works gained quite some renown for the team, even leading to a feature in Ebony Magazine, yet the company dissolved as Saar developed new interests in printmaking and eventually assemblage. While Tann continued to develop his enamel jewelry design working for Renoir/Matisse, Saar continued to revisit jewelry through different points in her career, including the Mojo series in the early 1970’s. Yet, their friendship continued to be strong throughout the years, with the pair known to keep in touch up to Tann’s death in 1991.

We invite you to watch Grant’s full presentation of Legacy here.


Thank you to Sebastian Grant for sharing some of his favorite selections from Legacy with us.

Research by Sebastian Grant. Select images provided by Sebastian Grant. Introduced by JB Jones and edited by JB Jones and Jackie Andrews. 

From the desk of: Caroline Ervin

In From The Desk Of we’ll get the inside scoop on what’s inspiring some of our favorite jewelry personalities, influencers, historians, and experts. We’re kicking things off with Caroline Ervin, gemologist, consultant, educator, and jewelry media personality extraordinaire. With a foundation in Art History and a background in the auction industry, Caroline’s expertise and perspective on jewelry and business is multifaceted to say the least. Today, we’ll talk with Caroline about a little something that’s on her jewelry wishlist.

But first, here’s a bit more about Caroline: 

Growing up in New England, Caroline Ervin formed an early appreciation for art and antiques, while attending local auctions with her grandparents. After studying Art History Colorado College, Caroline worked at various auction houses, always fascinated by the excitement and intensity of this transparent form of selling. She realized that jewelry was the specialty area where she belonged after witnessing the historic auction of Elizabeth Taylor’s jewelry while working in a support department at Christie’s. Caroline then began working toward her Graduate Gemologist degree at the GIA, and landed a job in the renowned Christie’s Jewelry Department. Rising the ranks from a cataloguer to a Specialist and Associate Vice President at Christie’s, Caroline also became an auctioneer for the company, selling everything from multi-million dollar contemporary paintings to space memorabilia, and presiding over such landmark auctions as The Collection of Lee Bouvier Radziwill and The David Gilmour Guitar Auction. Caroline left Christie’s in June 2021 to focus on developing her own business. She is a jewelry media personality, gemologist, consultant, and educator and shares her favorite jewels, from the antique to the contemporary, via her Instagram page.

And now from Caroline’s Desk:

Want to know one thing on my jewelry collection wishlist?! A ‘Ludo’ jewel by Van Cleef & Arpels!

Van Cleef & Arpels first introduced their signature ‘Ludo’ bracelet in 1934, under the supervision of Renee Puissant, Alfred Van Cleef’s daughter. Artistic director of the company from 1926 – 1942, she collaborated closely with the talented designer René-Sim Lacaze, and together this team was to exercise a great influence over the style of creations made between the two World Wars. Successful since its inception, the ‘Ludo’ model went on to become one of the quintessential hallmarks of post-war production. The best-known and iconic version consisted of a mosaic arrangement of articulated hexagons in polished metal, referred to as the ‘à ruche’ or ‘beehive’ pattern, with a precious stone at the center of each plaque in a ‘serti etoile’ or ‘star’ setting.

Shown above: retro sapphire and diamond “Ludo Hexagone” bracelet. Circa 1936, it features old and calibré-cut sapphires, old and single-cut diamonds.

This sweet Van Cleef & Arpels ‘Ludo’ jewel, a clip-brooch, shown above and below, features over 90 diamonds, approximately 4 carats, set in 18k yellow gold. Circa 1935.


Thanks to Caroline Ervin for sharing items from her jewelry wishlist with us. Want more? Join our mailing list to be alerted when new content drops and find Caroline on the daily @thecarolineervin.

Text by Caroline Ervin. Photos and image details courtesy of Christie’s. Video courtesy of Caroline Ervin. Introduced and edited by Jackie Andrews. 

The Anatomy of an Indian Bridal Trousseau

We’re excited to share an incredible behind-the-scenes look at the ceremonies, traditions, and jewelry of an Indian-Catholic Wedding, with Tania Kottoor. Tania gave us insight into the designing and planning process of her own wedding in Antigua, Guatemala. This feature includes a combination of Tania’s own writing and her responses to some of our interview questions, diving deeper into some of her choices, paired with stunning images from the ceremonies. We hope you enjoy Tania’s story.

Mylanchi Day

Mylanchi Day, also know as Henna Night, is about the Beautification of the Bride.

Photo by Joseph Nance + Franco Giomi    

The Bride’s first Mylanchi outfit features Moti jewelry with clusters of tiny ivory pearls riveted in plated gold. The staple Kerala jhumkas, maang-tika, bracelets, nose ring and anklets were hand-selected to complete the regal look.

Photo above and below by Joseph Nance + Franco Giomi  
Photo above and below by Joseph Nance + Franco Giomi  

All of the pieces for this look are from Mahira Jewels, except for the bangles, which were sourced from markets throughout Delhi.

Future Heirloom: Why is jewelry such a significant part of the wedding ceremonies? 

Tania Kottoor: The jewelry that you buy your daughter for her wedding day goes to her and her future household. They’re investment pieces that turn into treasured family heirlooms.

Photo by Joseph Nance + Franco Giomi  

Outfit 2 for Mylanchi Day shown above. Each gold-washed metal ear cuff has five dangling strings adorned with semi precious sapphire stones, as well as crystals at the end of each string. This was a custom piece by Mahira Jewels, detail shots are below.

FH: Could you give us some insight into your personal feelings about the jewelry? Why was it important to you to select what you did?

TK: For the first Mylanchi outfit, the clustering of the pearls was a very specific design from South India and it was very difficult to source in North India. It took me days and days to find exactly what I wanted, but I wanted to make sure my entire outfit evoked my South-Indian heritage. For the second Mylanchi outfit, it was more of a contemporary design to reflect my personal style. I like to play with feminine and androgynous silhouettes. The second outfit along with the ear cuffs reflected that juxtaposition.

Knanaya Catholic Ceremony

For the Knanaya Catholic Ceremony, the Bride wore natural Colombian emeralds in the form of drop earrings and a ring. Both were custom-designed in Brooklyn, NY at Emerald Gem Exchange with owner Siva Muthiah. The creation of these pieces took about six months. The Bride selected the stones from various sourced emeralds and approved the final mold before the ring was created.

For the ring, a 4.36 carat natural Colombian emerald cut emerald was set into a sculptural platinum band that curves around the emerald center stone, surrounded by VS diamond melee. The drop earrings worn by the Bride are natural emerald cut Colombian emeralds, 2.69 carat fused with 18K white gold and surrounded by VS diamonds.

Photo by Leeanna Hari

FH: In South Asian culture, do brides typically seek out custom jewelry for the wedding, or were you looking to create more unique looks? 

TK: Normally brides go to a jewelry store to try on jewelry and see what best suits them and their overall look. Since it’s such a huge expense, jewelry shopping is typically a family affair. At times, jewelry is gifted by the in-laws. Customization is an extension of someone’s personality and I wanted that to be shown through every aspect of the wedding. I took time to conceptualize and design mood boards and sketches of 75 outfits and 6 jewelry pieces. I truly believe bespoke services are the future.

Emerald is known as “The Royal Gem,” to the Maharajas (Kings) and Maharanis (Queens) of India, where jewels are an important part of the nation’s history. The Mughal Emperors who ruled India, meticulously carved Emerald stones for settings into rings, turban ornaments, heavy bib necklaces, and encrusted the handle of daggers. The Vedic scriptures of India associate the emerald with marriage and hope. Emerald is also the symbol of love and fidelity, as well as a powerful emotive symbol of status and power.

During the Knanaya Catholic Ceremony, Tania’s husband ties a Thaali, a pendant with a cross, a symbol of Christianity, on a gold medallion shaped like a heart, shown above and below.

TK: The cross on the Thaali is made with 21 minute buds. My mother-in-law bought it during her trip to Kerala, India. I requested white gold pendant with 21 diamonds. After the wedding, I added the Thaali to a very thin platinum chain for everyday wear. 

The number 21 is the result of 3X7 = the trinity (the Father, the Son and Holy Spirit) + seven sacraments. The threads to tie the Thaali around my neck are taken from the “Manthrakodi (silk sari).” Seven pieces of threads are taken and they are folded into three. This signifies three persons of the trinity and seven sacraments. The husband ties the thaali on the neck of the bride. This kind of knot is known as male knot (Aankettu) symbolizing the stability of marriage. The Thaali is considered to be the most prestigious token of love offered to her by her husband during the ceremony.

Knanaya Catholic Reception

For the Reception, the Bride wore 22 karat yellow gold from ear to wrist. A carved “Rose” set which included a choker necklace, ear studs, and a bracelet. The set, seen below, was hand-crafted in Raipur, India by local artisans. These pieces took about three months to create, due to its intricacy.

Photos above by Leeanna Hari

FH: We know you followed the custom of “Something borrowed, something blue…” when selecting your jeweler. Tell us more!

TK: I followed the emerald route for my “Something New,” which consisted of emerald drop earrings plus a gold choker, studs and a bracelet. The “Something Blue,” would be the sapphire beaded ear cuffs.  My “Something Borrowed” was my grandma’s marquise ruby ring, which was partnered with my mother’s wedding sari that I had repurposed into a strapless gown. This was so important to me, because it connected 3 generations of women in one look.

Shown below: “something borrowed,” a marquise ruby ring from the Bride’s grandmother.


Our sincere thanks to Tania Kottoor for sharing this stunning jewelry story with us and congrats on your nuptials! Please visit Tania’s website here.

Text, quotes, and images provided by Tania Kottoor, edited by Jackie Andrews.