Category: Interviews

A personal interview with Norwegian artist Sigurd Bronger, as introduced by Petra Hölscher, Senior Curator, Die Neue Sammlung, in anticipation of his monographic exhibition at Pinakothek der Moderne, March 2 – June 2, 2024.

Hollowed out goose eggs and smiley-face balloons, scientific instruments and his mother’s gallstones – the repertoire of things that have been elevated to becoming jewellery objects knows no bounds for the Norwegian artist Sigurd Bronger (1957). Made portable thanks to artistic suspension mechanisms made of brass, with precision reminiscent of the mechanics of scientific equipment, Bronger himself therefore no longer speaks of his works as jewellery, but rather ‘Wearables‘. In their meticulous precision, the brass and gold mechanisms provide an objectified reception of Bronger’s material world, allowing an aesthetic observation and a discovery of the beauty possible in an object. 

In this way, he showcases constant companions in our daily lives, everyday things such as a simple drain strainer, or natural waste products such as camel dung from the Gobi Desert. The question, and one that Bronger also asks, is whether we would even look at such an item without its carrying mechanisms. Or wear it as a brooch? Hardly likely.

Under the patronage of Queen Sonja of Norway, this globally unique artistic language will now reach a broad international public for the first time in a monographic exhibition outside Norway. Spanning all points in his career from early student work to recent years, Sigurd Bronger will be presented by Die Neue Sammlung – The Design Museum, the only German museum in possession of Bronger’s work, alongside those in the Netherlands, Scandinavia and America.  Die Neue Sammlung are delighted to be able to show an overview of the work of this extraordinary jewellery artist in the Pinakothek der Moderne in 2024.

Shifting Paradigms in Jewellery Craftsmanship

Interview by Current Obsession

CO: The phrase, ‘engineering artist’ seems to recur in reference to your work. How did you come to goldsmithing, and at which point did you begin to see limitations within jewellery, that caused you to emphasise the engineering aspect rather than the decorative aspect? 

SB: I had this very traditional education focused on technique rather than the artistic approach. In a way, it is very boring to start with, because you are so enclosed in the system- and if you’re going to be in the goldsmith world, which is very traditional, you have to focus on a different approach than the normal art education. So then I went to the Netherlands, to further my education at a technical school. The education was more or less free, but I came to a point where I realised, Is this really what I want to do?  I was asking myself, Who are you actually making the stuff for? I experienced that the jewellery field was very commercialised and it was for people who had money. I mean, jewellery is a very luxury thing. Right? So, at that point I was asking myself, Is this actually necessary?

I think there was a turning point when I first came to Gallery Ra, in Amsterdam. By coincidence I attended an opening there. When I came into this gallery and saw the pieces laying there, I was so struck by; Oh!… Jewellery doesn’t need to be gold and silver.  You know, at that time- it was early in the seventies- it was plastics and aluminium and all kinds of different materials. That really triggered my mind to see that there is a possibility in this world to do something else than traditional goldsmithing.

At the same time, living in Amsterdam, I went regularly to the Modern Art Museum, the Stedelijk. For me it was sort of self-educating. I was fascinated by all the fine art and the sculptures in the museum. And I said to myself, I wish I could do this. 

But then I realised that I could do this by making jewellery despite the small scale. I mean, it’s about dimensions, right? For me, on a small scale, I can control the whole aspect of making. That is very important to me.   

Crafting at a Thoughtful Pace

CO: Is there a piece of advice that someone gave you earlier in your career that has stuck with you? 

SB: To be patient. This is really something I’ve learned myself, to be patient in the process of working. Because it’s about the feelings- the control of your fingers and the feeling of the material- When you use machines,  you are lost, at least that’s my personal view, I feel I’ve lost something- I cannot control it. Therefore everything is done by hand. 

CO: Did I read that you only strive to make four pieces a year because there just isn’t enough time for more? 

SB: I make finished pieces, about four, maybe six pieces in a year. Because you know how it is, my process is not economic at all. I make a piece and then I look at it and I realise it’s not good enough. So I demolish it and start anew. 

So this is my own, how do you say, critic. For one piece, I can make three of a kind. So that’s how I work and I enjoy the process, because I learn from my mistakes in the process. 

I`m not so concerned about the public when I’m making pieces. It is not that important for me to sell. I’m  lucky to have another job to finance my artistic practice. I’m making it mostly for myself because I have all these ideas in my head, which I want to realise.

The Art of Intuition

CO: So you make a piece, maybe you even destroy it and do it again.. In that process, how do you know when it’s working- when you see that it comes close enough to what you were imagining, and then you allow yourself to go further? 

SB: That’s an interesting question you’re asking. And actually, to be honest, I cannot really tell you when. It’s a certain kind of satisfying feeling that, ‘Okay, now this works better. I mean, after doing three or four tryouts, and then suddenly, I can see that the idea I had in my head has come to a realisation, to a point where I could be satisfied. I don’t know exactly how that happens. 

And this is very interesting: these days, when I get all the pieces I’ve made 30 years ago and I look at them… These pieces, I could not make today. It’s about what happened there in that time and space. Sometimes I’m really impressed. Wow. How did I do that? And I cannot remember how.

Turning Point

CO: What was a project that was really a significant challenge for you, or something that you know you really, really learned a lot from? 

SB: I think a turning point in my career was the first solo exhibition I had at Gallery Ra in Amsterdam, at Paul Derrez’ Gallery. Because they were really professional, how they communicated with the people about my work and how they promoted me. And over the years I think this has been significant for me to continue working, because all the pieces I wanted to sell, I did it through that gallery. Paul had a sort of, not ownership, but he was invested. This gave me freedom. The gallery took care of the business, so when people came into my studio and said, ‘See that, can I buy it? I told them to contact gallery RA. In that way we established a very good relationship. We trusted each other. And this was a very good experience for me. 

CO: It’s sad, after it’s closed to hear how much of an impact it made for so many artists, and what a huge difference it made for their careers. But it’s interesting to hear how your relationship with them was so essential and important for you, because gallery representation is for a lot of makers almost irrelevant now. They sell their work themselves, online, and many feel they’ve benefited from this kind of transition away from the gallery. But they also spend a significant amount of their time working on that, doing what you were freed from because someone else was dealing with it professionally. And you were able to just do your work. 

The Role of Galleries and the Intimacy Dilemma

CO: Do you have any burning questions for the field of jewellery? Is there anything that kind of keeps you awake at night about what the future of jewellery looks like? 

SB: Yeah, I’ve been thinking a lot about the role of galleries. We are talking about how important they are. And you mentioned that young people are selling stuff online. But the buyers and the collectors- do they go to buy the stuff online or do they buy it in the gallery? Some of my collectors say they never buy stuff online. They have to try it out and feel it in their hand and look at it, you know. So how does this younger generation convince the collector that this is a good piece? 

Of course, you can buy it and when you get it home, you see that Oh, no, it doesn’t work. So you have to send it back again. I mean, there’s a lot of costs and logistics included in this. I’m just wondering how we are going to deal with this if you don’t have a gallery? 

CO: What’s interesting is that it raises the question of intimacy, because when you experience the jewel in the space, actually having that moment of intimacy with the piece, you know you want to buy it. And that intimacy is erased in the digital experience, so that when you get it, what you get is a stranger. Instead of a moment of recognition, it’s some kind of strange confrontation.

SB: Exactly. 

Enjoyed this piece? Explore more jewelry content from Future Heirloom!

NYC Jewelry Week is proud to partner with The RealReal to celebrate the launch of Presley Oldham’s newest collection this November. For their second collection together, Presley Oldham, known for his bespoke, genderless designs, and The RealReal focused on remaking jewelry classics. Using materials from The RealReal that were unfit for sale, Oldham created his take on iconic jewelry styles such as the station necklace and a graduated pearl strand.

In keeping with the theme of this year’s NYCJW, (ICON)ography: Past, Present, and Future, we’re excited to share an interview with the future icon. Presley has been on NYCJW’s radar since launching his line in May of 2020 and last year participated in a panel discussion at NYCJW22 on the intersection of fashion and jewelry. Future Heirloom sat down with the designer, the day after launching his Winter 2023 collection, to get the inside scoop on where he’s coming from and where he’s going. 

NYCJW: You launched your jewelry brand in May of 2020- a precarious time- how and why did you decide to do this? Did you always want to be a jewelry designer?

Presley Oldham: My childhood informed my path towards jewelry, so I always find it helpful to share some about my upbringing. My grandma, Linda Oldham, is a large mentor in my life. She is a fine artist, but made jewelry as well when I was a kid. I spent my childhood summers in Santa Fe with her and my grandpa, and every summer felt like an artist retreat. She taught me early on about wire wrapping and different jewelry techniques, among many other things. Beads, wire, and pliers were always around me as a kid, and jewelry making seemed as normal of an after school activity as soccer to me. One of the first pieces I remember making was an emerald pendant necklace for their dog when I was about 8 years old. 

The rest of my family were also mentors in their own ways — my dad is a sculptor, my mom is in marketing and my uncle is a fashion designer. I feel really lucky to have grown up in such an artistic family because they all showed me how to run a creative business through their unique lenses. I’ve tried to distill all of that knowledge while building my business and finding my own perspective. 

I started making jewelry more frequently about five years ago, as something to do in the evenings after work. I was working in film at the time, and making jewelry was a great tactile alternative to the more ephemeral, drawn-out art form. It was nice to create objects with my hands, and have a project with a distinct start and finish. I launched my brand two months into the pandemic because I was feeling creatively starved. The first collection was made using pearls I’d collected at flea markets over the previous few years, and there were only two or three of each style. It felt more like a one-off project when I launched, but all very natural at the same time. We didn’t know where the world was going in early 2020, and making jewelry gave me an outlet to creatively fuel and focus myself. Thankfully it took off and has now become my main art form, as well as a proper business. 

NYCJW: Take us on your design journey… What is your process?

PO: My design process is pretty tactile I’d say. A lot of my inspiration comes from my materials, and I always let them inform the pieces I end up making. Sourcing quality, natural materials is very important to me, and I find a lot of my inspiration on my sourcing trips. Once I have the materials in my hands, I can usually feel what I am going to make with them. I enjoy sketching, but I prefer to just make the piece and let the materials flow through me. That tends to be more of my way of sketching. I find that you have to move with the materials and not force anything. Since I’m wire wrapping and moving bead by bead, sometimes a pearl won’t look the way you imagined and you have to change your plan in the middle of a necklace. I always try to adapt as I create and listen to my instincts. 

NYCJW: What does your workspace look like?

PO: My workspace is a balance between minimalism and maximalism — there are a few natural bamboo work tables in the studio that I try to keep as clear workspace. I need an organized and clean space in order to feel creative and work. I have lot of gems, paintings and various collectables across the space that serve as inspiration and pops of color to brighten the day. There are also cork boards that I pin inspiration too, but these are constantly rotating. At the moment, I have all of these antique beaded flowers pinned to the boards as references for some one-of-a-kind pieces that I’m working on. Then of course there are drawers and drawers full of pearls, gems, and beads. These stay pretty organized, except when I’m working on a new collection and they seem to explode and spread across the room. 

NYCJW: Your moodboard is filled with ________________ (fill in the blank)

PO: Pictures of beetles and bugs! They are endlessly fascinating and entomology definitely informed my last campaign shoot for the new Winter 2023 Collection. 

NYCJW: I recall reading about your launch in Vogue magazine in the spring of 2020. What was that experience like for you? What did it mean to have your story in Vogue?

PO: Having the launch covered by Vogue was very gratifying, and a big step for the business. I definitely never expected that to happen, and it was all very quick — I launched the first week of May 2020 and they covered the collection a couple of weeks later. By the end of the month, my first 30-piece collection had sold out and suddenly I had demand for more. 

As I mentioned, that first collection felt very much like a one-off project at the time. I definitely wanted to create a second collection, but it was the very beginning of the pandemic and nothing felt certain at that time. After the Vogue interview, I realized that this was very much a viable business that I could continue to grow and sculpt. Having the backing of an institution like Vogue also gave me a boost of confidence, and reminded me to trust my gut and follow my design instincts. After the interview, I quickly got to work on the second collection that later debuted at NYFW’s first digital season in 2020. 

NYCJW: As a designer, you have a zero-waste mindset, so where are the materials for your jewels coming from?

PO: My first two collections in 2020 were much more limited quantities — only two or three of each style of necklace. This was because I sourced the materials from flea markets across the country, and took apart long opera strands of pearls to create new pearl necklaces. 

As my company grew, I had to learn how to adjust and expand my quantities. This meant being conscious of how I was sourcing materials and what I was using in my work. Since I can’t always control where the pearl is actually being made, I decided to only work with smaller, local retailers across the Southwest to source my gems. That way, at least I was putting money back into the communities I grew up in. I don’t use any plastics/acrylics in my work (or packaging). I’m also not interested in using uniform/mass produced supplies. I think there is something nice about creating objects in limited quantities, and embracing the irregularity of materials. 

The Compost belt is one of my favorite pieces I’ve made, and I think a perfect representation of my brand — opulent, organic, and a touch off-kilter. I set aside the pearls that were too beautiful to use in a simple necklace for a long while, so I had this large bowl of stunning multicolored pearls collecting on my desk. This is where the Compost style was born from — it was about using the supplies I had around me to create something beautiful, utilizing the leftovers in a way. It’s a beautiful necklace, but was also born from a zero-waste mindset. 

NYCJW: A pearl necklace is always the centerpiece of your collections – your most iconic piece! Why did you select such a traditional piece of jewelry for that role?

PO: I’ve been drawn to pearls since I started my brand. I love how they’re naturally unique, and the only gem created by another organism. I love the biology behind them — how the pearl forms inside the mollusk as a defense mechanism from a virus invading its shell (this is a research rabbit hole I constantly go down). On a visual level, they’re so striking and come in so many irregular shapes and sizes that I’m endlessly fascinated with what I can find. They’re also the first gems to be worn by humans, and I think their symbolic weight throughout history of being protective and powerful gems adds an interesting texture to using them. Further, it’s fun to rewrite the script around pearls being a ‘feminine’ jewel. This idea only came about in the last 100 years, prior to that they were worn by everyone and seen as a symbol of status. I’m trying to democratize the pearl, and show them on a wide range of people. 

Since starting the brand, my goal has been to create beautiful, timeless jewelry that has universal appeal. Genderlessness is a factor in my design process simply because it places the importance on creating a beautiful object. When I launched, I genuinely didn’t think about gender. I shot the first collection on myself (because it was the start of the pandemic), and then I was labeled as making pearls for men. Which is great, don’t get me wrong, but I think that kind of headline reinforces the walls around gendered, traditional jewelry. 

I personally don’t think it’s beneficial to gender jewelry or clothing. If you like it and want to wear it, why shouldn’t you? We all have bodies worthy of decoration. Jewelry should be fun, and make you feel more like yourself no matter how you identify. 

NYCJW: Your ethos is about bringing handcrafting back to fashion and jewelry, something that we very much endorse at NYCJW… why is this something that you want to see happen?

PO: By bringing handcraft back to the center of fashion and jewelry, we can loosen the industry’s grip on mass production. For me, this begins by thoughtfully engaging with your materials and hand tailoring each step of the production process to best enhance these materials. Brands founded with sustainable practices in mind can utilize thoughtful materials without contributing more waste to the world. By focusing on handcraft as well, we can train a new group of younger people to work with their hands and not machine automate every part of creation. Obviously to reach a larger demographic, one has to automate certain parts of the production process. If this automation is focused on craft though, we can sustainably grow and scale fashion companies to have a larger positive impact on the industry.

NYCJW: Can you tell us about this collection with The RealReal? How is it different from what you have done with the company before?

PO: The inspiration for my second collab with The RealReal was iconic jewelry styles, like a simple pearl strand or chain station necklace. I tried to reinterpret these styles through my lens, while still using more classic materials. Though I worked with a lot of white pearls for this collection, each piece has a slight twist to it — there’s a pop of color from other gemstones or an edge brought to each piece through my wire wrapping work. I mixed a range of gemstones with the pearls, which helped create more contrast and bring color to an otherwise neutral palette. Being a holiday collection, I also thought about the types of jewelry that I would want to receive from a loved one and how to create these in a unique way. 

This collection differs from the first TRR collab mostly because I embraced more classic materials for this second collection. Since it was a larger collection of 55 pieces, I was also able to create more sets of jewelry that could be mixed and matched together. For the previous collection, a lot of the pieces were bolder one of a kind jewelry pieces. Though this collection is also entirely one of a kind pieces, I tried to create pieces that could be easily paired together so you could buy the matching necklace, earring and bracelet set if you wanted. There are still bold pieces, but I think they can be paired with a more classic, simple earring to create a nice contrast in the styling. 

NYCJW: Where do you see your career headed in ten years?

PO: I’d like to grow my company and expand my team, while still being able to make things with my hands every day. The act of making is so important to me, and I never want to lose that in my day to day. I also want to branch into cast jewelry and begin working with more precious metals and gemstones. I think pearls will always be a large part of my company, but I want to further diversify my product offerings to include fine jewelry and basic pieces like simple metal chains and hoops. 

I’d love to work with a fashion house and make jewelry and accessories in collaboration with a larger design team. I’ve enjoyed the collaborations I’ve done so far, and think it’s an amazing way to expand the language of your work. 

For now I’m focused on creating work that makes me smile, and I’m excited to see where that leads me. 

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Image Credits:

Photographer: Katie McCurdy 

Jewelry: Presley Oldham x TRR

Hair: Dana Boyer

Make up: Alex Levy 

Featuring: Presley Oldham, Lisa Oldham (Presley’s mom), Tyler Paige (Presley’s boyfriend)

NYC Jewelry Week is proud to partner with Viviana Langhoff on the release of her latest fine jewelry collection Dia. Following NYCJW, the collection will be available online at Viviana’s shop Adornment & Theory, so stay tuned for that! We sat down with the multi-hyphenate to learn more how she gets it all done! 

NYCJW: We all know you as an accomplished jewelry designer, entrepreneur, and a respected voice on behalf of the BIPOC jewelry industry. Can you share with us how and when your path in the jewelry world began?

Viviana Langhoff: It started when I was in college at The School of the Art Institute of Chicago. I was studying fashion and contemporary art. I took a small metals class and I ended up loving it. I preferred the meticulous work with metal over fabric. The exploration of jewelry also married my love of archaeology with design.

NYCJW: What is your design process? Do you have time to sit down at your bench? 

VL: After scaling my business I am no longer a bench jeweler. My main focus now is being a designer and vision caster for the business. Nowadays my custom design process looks like me carving out an hour or two and reviewing my client brief. I ideate for some time by sketching and then once I’ve narrowed down my top designs I hand render several designs based off of our consultation. 

My full collections are a bit different. By the time I am sitting down to build a collection I’ve been squirreling away inspo for months. Inspiration for me comes in the form of poetry, architecture when I travel, contemporary art, etc. 

My collections are a combination of visual and philosophical ideas I’ve been playing with along with functionality. I always ask myself basic questions such as: Is this stunning? And would I want to wear this everyday? Would I stop someone on the street and ask about this? Is it dope?  And the most important question of all : Am I proud? 

NYCJW: As a designer when did you decide to make the leap to business owner?

VL: I’ve wanted to own my own store since I was a teenager. At that time I thought I was going to be a fashion designer and start a small atelier,  as I grew artistically and spiritually so did my creative practice. By the time I graduated college my life passion had morphed into jewelry. 

I never wanted to own a traditional jewelry store. I wanted to curate a space that treated the work like the art form that it is, but also create a stunning studio where everyday people felt welcomed. 

NYCJW: How does wearing both hats – designers and retailers- inform your decisions? 

VL: It informs all of my decisions daily. I can’t extrapolate my jewelry designs from commerce. When designing I need to consider functionality, design, my resources and the customer. It’s all entwined. I give myself a margin of play with designs as an artist, but not without the consideration of commerce and client. 

As an artist I have other mediums that I freely play in that are not tied to commerce (i.e. painting, drawing, interior design). I think every creative needs a little of both. A medium that challenges you with parameters and another that is not bound by anything but joy.

NYCJW: Tell us about the Chicago jewelry scene. What’s trending and what’s next? 

VL: Chicago is freaking AMAZING! The jewelry talent and businesses here are wide ranging; from fine luxury, alternative bridal to experimental art jewelry. When it comes to high luxury jewelry, clients in the midwest still lean towards more conservative brands with clients opting for more traditional legacy brands such as Roberto Coin and Bulgari. 

In regards to art jewelry and indie fine jewelry clients want to purchase pieces that are one of a kind. I see a lot of designers playing with alternative gemstones with a clean girl aesthetic. The midwest prides itself for being hard working, understated but quite progressive. People here are conscious consumers. They do their research, they shop small and select causes to support that are important to them and stay loyal to brands. 

NYCJW: Can you tell us about your work in the BIPOC space- what changes do you see happening or what else needs to be done? 

VL: In the last 16 years of being in the industry I have witnessed a lot of progress in the BIPOC space. The real steroid shot of opportunity for most of us came in 2020. The jewelry industry had to do some morality triage to respond “correctly” to the lack of diversity in every aspect of the industry from wholesalers, gemologist, designers, to corporate executives.  Many BIPOC initiatives were created in 2020 in a rush to respond. Some were more successful than others. 

Three years later much of the energy behind these initiatives have died down. 

I believe some people in positions of power have become comfortable again. Not wanting to do proper audits of their organizations to see where their biases still sway the future of their companies.As a business owner I believe that future growth is in embracing more diversity within organizations. Not just ethnic diversity, but diversity of thought, politics, gender, age. There’s such a richness and growth opportunity to bring others to the table. The key is to know how to manage it and coach those under you to be the best they can be.

The reality is our industry is expensive and has many financial barriers of entry. I still believe we have a ways to go in regards to equity work. Getting financial resources into the hands of future BIPOC coming into this industry. Whether they are seeking education by becoming GG, wholesale buyers/seller, access to the latest technology, and business capital. 

NYCJW: Tell me more about the BIPOC Seed Grants that you offer? 

VL: Three years ago we started the Artist Seed Grants. Small grants with no strings attached, given to working artists and jewelers. The title of the grants came from the Mexican proverb, “They tried to bury us but they didn’t know we were seeds”. The first year I took my paycheck to fund three $500 grants. By year two we had done some collaborations that created passive income so we could offer more. Now in our third year we were able to offer four $1,000 grants. 

NYCJW: You are a mentor to many in the industry- do you have any mentors and what was the most solid advice imparted on you and, flipping the switch, what’s some of the advice that you give your mentees? 

VL: I have had the blessing of several mentors in my life including several family members who are also in business. Most of my mentors are not in the jewelry industry, they come from varied backgrounds but have all scaled their business to 7 figure companies with employees. This is important to me because I truly respect wisdom and real world experience. 

I also have other “non official” mentors, LOL. Meaning I listen to podcasts from Tim Ferriss, Marcus Limones, and other thought leaders who I respect not only their work but their personal ethics. Money isn’t everything and if you don’t have a proper perspective on morality and humanity then this is all for nothing. 

I have tons of advice for my mentees. Some of the general things I say: “If you don’t know your numbers you don’t know your business”. You need to be financially literate. This is important so you can make wise decisions and hit your goals.

Define success for yourself. I see a lot of people trying to follow others’ footsteps without taking into account what they want for their lives. What lifestyle do you want to live? Do you actually want to manage people? Running a store 7 days a week? Do you actually want to travel for work all the time, etc? You need to ask yourself brutally honest questions of yourself so you don’t get lost in the comparison game.

NYCJW: You are one of the hardest working individuals in the business, often hopping on planes for appearances and rarely saying no. How do you maintain a balance and take time for yourself? 

VL: Hahaha it’s funny to be perceived that way.  I actually did say “no” a fair amount this past year to protect my personal time. Relationships are of the utmost importance to me, so I keep a margin in my life to show up for those people who I love and deeply value. 

In regards to work life balance I am still figuring it out. Ambition and contentment are a tightrope I walk daily. I am very grateful to have been riding a wave of growth the last 6 years. What helps me is that I am extremely clear about my goals. I have a vision on how I want to see Adornment and Theory and my personal brand Viviana Langhoff Designs grow. 

In order to realize these goals I try to be discerning about what projects to take on and what appearances I need to be at. I try to work smart and not hard but the truth is I have an amazing team. I have the privilege of managing 5 extraordinary women, and with their help we are able to pull our talents together to make it happen. Don’t be fooled by socials, it takes a village honey.

NYCJW: What is your jewelry style? And how do you choose whose work to stock at Adornment & Theory?

VL: At Adornment and Theory we seek out designers who are creating work that clients can easily style but still has its own unique voice. We purposefully take on designers who are aesthetically different from each other so as to not cannibalize the work. 

My personal jewelry style is a little sexy and edgy, I enjoy mixing high and low. I have a collection of chunky ethnic adornments from my travels, as well as door knockers from hair supply stores. I mix all of it with my diamonds and fine jewelry and I find it works for my style. 

NYCJW: What is your favorite piece from the Dia collection?

​​VL: My favorite pieces are the Rayo wrap ring and matching statement cuff. The designs are bold, edgy with fine meticulous details that are signature to my designs.

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Below, Viviana shares more info about Dia, the latest collection by Viviana Langhoff launching at NYC Jewelry Week 2023.

I wish I could show you when you are lonely or in darkness the astonishing light of your own being. – Hafiz

“There are few greater needs right now in this world than hope. My desire was to bring beauty, light, and hope into the world through my designs. ‘Let there be light’ was God’s first creative utterance. It is an invocation of hope, new beginnings, and the subjugation of darkness. This simple phrase calls for the eradication of ignorance and invites spiritual enlightenment. I sought to embody these words in my work, while intentionally using the phrase as a channel to produce my latest collection…Dia.”

Dia is comprised of 12 luminous pieces made out of luxe 14k yellow gold, warm citrines, champagne diamonds, and a radiant shimmer of white diamonds. Each piece was meticulously finished with fine milgrain details that tell the story of the dawning of a new day. 

The main visual inspiration for the collection was derived from the Art Deco futurism of Fritz Lang’s film Metropolis and Latin American pre-Columbian art.

Shop the collection soon online at Adornment & Theory. Stay tuned!

 “Imagine strolling down the cobbled streets of London or the bustling avenues of the US, and stumbling upon a brick-and-mortar store adorned with the essence of my creations. It’s a space where jewelry doesn’t just sparkle; it tells a story. Every piece, a masterpiece; every gem, a memory; and every design, a journey.“

For NYCJW23 the British-Jamaican multi-disciplinary artist Kassandra Lauren Gordon makes her NYC debut with “Adorned Resonance: A British Jamaican Odyssey”. Bella Neyman, co-founder of NYCJW, sat down with Gordon to get to know her better.

Bella Neyman: When did you know you wanted to design jewelry?

Kassandra Lauren Gordon: To be honest I don’t have a set date or a defining moment. I knew I always wanted to do something creative. After a job redundancy over 10 years ago, I wanted to take my mind off things and I did a part- time silversmithing course. I fell in love with the process of making a ring. After that the rest is history.

BN: You are a multi-disciplinary artist- how much does your work in the area of film, fashion, and audio play into your creative process?

KLG: As a multi-disciplinary artist in the realm of fine jewelry, the fusion of film, fashion, and audio is integral to my creative journey. My work isn’t confined within the boundaries of a single medium; it’s an intricate dance between them.

Jewelry serves as the compass, the North Star that guides the narratives I wish to unravel across various mediums. It’s the cornerstone, the genesis of each creative endeavor. Every gem, every design, every piece of jewelry becomes a vessel for storytelling, sparking a cascade of inspiration that extends beyond the confines of metal and stone.

Film is my time capsule, a tool for documenting and preserving the heritage and legacy of each creation. It captures the essence, the emotion, and the intricacies of every piece, ensuring they endure the test of time.

Audio, with its ability to transport the senses to a single point of focus, becomes the heartbeat of my artistic expression. It unites the visual and the auditory, weaving a rich tapestry of sensory experiences that envelop the observer in a world of adornment.

Fashion and jewelry, in my perspective, are not separate entities; they are kindred spirits, both facets of the same elegant narrative. They share the common thread of adornment, and through this unity, they breathe life into the stories I wish to tell.

BN: Tell us about your process when designing jewelry?

KLG: The journey of designing jewelry is a mesmerizing odyssey, one that begins with the spark of conception and ignites the fires of creativity. For me, it all starts with an idea, a whisper of inspiration drawn from my lived experiences, the cultures surrounding me, and the rich heritage I carry within.

Then comes the quest for the perfect gemstones, each one a unique, exquisite soul waiting to be discovered. I dive deep into research, exploring the history, meanings, and characteristics of these precious gems. They are more than just stones; they are the heartbeats of my creations.

As the vision crystallizes, I turn to my moodboard, a collage of imagery and emotion. It’s a kaleidoscope of colors, textures, and themes that encapsulate the essence of the jewelry piece I intend to create.The sketches flow from my mind to paper, a dance of lines and curves that capture the soul of the design. It’s not unusual for a single piece to occupy my thoughts and my workbench for up to a year. It’s a labor of love, an evolution of the initial idea into a tangible form.

But the journey doesn’t end with the final piece; it extends to the Kassandra Gordon community. I eagerly share my creations, seeking feedback, opinions, and the emotions they evoke. Their responses are a vital mirror, helping me fine-tune my work, making tweaks where needed, and ensuring that the jewelry resonates with the souls it adorns.

BN: What is your favorite piece that you’ve designed?

KLG: I feel my favorite piece so far is The Queen Legacy Ring. There is something unique and majestic about it. I feel so powerful when I wear it. I’m starting to create more variations of the ring.

The Queen’s Legacy Ring is a stunning 18ct gold diamond ring with an intersection crossing design and an inverted set oval diamond. The ring is both elegant and versatile, making it perfect for everyday wear or special occasions.

The ring’s unique design is inspired by the strength and resilience of human beings . The intersection crossing design represents the many different roles and identities that women play in their lives. The inverted set oval diamond is a symbol of the resilience of the human spirit, even in the face of challenges.

BN: Where do you want to see your career going?

In the heart of my creative vision lies a dream that stretches far and wide, across oceans and continents. I yearn for my jewelry and art to transcend borders, to be celebrated internationally as more than just adornments but as symbols of creativity and passion.

Imagine strolling down the cobbled streets of London or the bustling avenues of the US, and stumbling upon a brick-and-mortar store adorned with the essence of my creations. It’s a space where jewelry doesn’t just sparkle; it tells a story. Every piece, a masterpiece; every gem, a memory; and every design, a journey.

But this dream goes beyond mere commerce. It’s a desire to influence, to shape, to mold the jewelry culture across the world. I want my work to be a muse for artists, a conversation starter for strangers, and a legacy that echoes through generations.

BN: How much does your Jamaican heritage play into your work?

KLG: Absolutely, my Jamaican heritage and the Rastafarian influence, nurtured by my parents and our visits to Jamaica, have become an intrinsic part of my creative work. It’s not just a facet; it’s the very essence of who I am, and it breathes life into everything I create.

The vibrant rhythms, the kaleidoscope of colors, the melodies of reggae, the wisdom of Rastafarianism – all of these are deeply ingrained in me. There’s no separation between my heritage and my work; they seamlessly blend, forming a unique and powerful fusion that resonates with authenticity.

My art is a beautiful reflection of the harmony between my roots and my present, telling compelling and profound stories.

BN: Your work is infused with symbolism and narratives that reflect the diverse identities and struggles faced by migrants and it serves as a visual representation of the resilience, strength, and interconnectedness of these communities. Can you take us through that? How is this reflected in your work and why is that important to you?

My artistic journey is an exploration of the three fundamental pillars that define my jewelry work DNA: concepts, culture, and connections. These elements converge to create a tapestry of symbolism and narratives that resonate with the diverse identities and struggles faced by migrants, serving as a visual representation of resilience, strength, and interconnectedness within these communities.

Concepts: My work delves into abstract concepts such as identity, heritage, and legacy. I see jewelry as a tangible medium to give form to these intangible ideas. It’s about transforming thoughts and emotions into exquisite pieces that can be worn and cherished. Through my creations, I aim to spark conversations about what it means to belong, to carry one’s history, and to leave a lasting mark.

Culture: Rooted in British Jamaican culture, my work draws deeply from the rich heritage and symbolism of this culture. Each piece is an authentic reflection of the narratives, traditions, and artistry that define this cultural tapestry. The jewelry becomes a bridge that connects the past to the present, carrying with it the stories and symbols that resonate with so many.

Connections: At the heart of my work lies a celebration of connections. I believe that jewelry is a powerful means to connect with loved ones, commemorate special moments, and express one’s individuality. It’s more than just adornment; it’s a tangible link to our personal narratives. Many of my creations tell stories about family, home, and identity, and they become a way for wearers to connect with their own histories and with others who share similar experiences.

This exploration is not just a creative journey; it’s a heartfelt commitment to giving voice to the silent struggles and triumphs of migrant communities. It’s important to me because I believe that art should be a reflection of the world we live in, a catalyst for understanding and empathy. Through my work, I aspire to contribute to a more inclusive and interconnected world, one piece of jewelry at a time.

BN: Who is your style icon (or who would you want to see wear your pieces)? 

KLG: Solange and Tyler The Creator- I just love them!

BN: I’d love to know more about your podcast, Black Creative Podcast. How did it come about? Has there been one interview that has been the most defining?

KLG: The Black Creative Handbook emerged from a place of profound inspiration and purpose. In the tumultuous year of 2020, I found myself compelled to forge a unique space where the voices of working creatives could shine brilliantly. The world was facing unprecedented challenges, but within those struggles, I saw the unfaltering spirit of creativity.

My vision for this podcast was crystal clear: to provide a stage for Black creatives, those whose talents and narratives deserved a spotlight like no other. It was about breaking down the barriers that often seem insurmountable and offering a hand to navigate through the intricacies of the creative world.

This platform is a celebration of resilience, a testament to the indomitable human spirit, and a resounding chorus of excellence. It’s a journey through the artistic process, the heart and soul of what it means to be creative, and a testament to the boundless potential that lies within every artist, regardless of the challenges they face. The Black Creative Handbook is a tribute to the unstoppable force of creativity within the Black community, and a beacon of hope and inspiration for all who tune in. 

I really enjoyed episode 30 with US luxury eyewear brand Vontelle. They were inspirational. They wanted to create quality eyewear and something to last a lifetime and it is stylish! Love how they work hard and how they represent their brand.

BN: What are you looking forward to the most about participating in NYCJW?

KLG: Connecting with creative people and jewelry enthusiasts overseas. The US has given me and my jewelry so much love over the years, I just want to give the love back. I’m very excited to embrace the US jewelry scene.

All images courtesy of Kassandra Lauren Gordon

by Eleonora Varotto

For NYCJW23, curator and art historian Nichka Marobin will present two lectures, one of which will focus on the exhibition RED, ignite the fire, curated by gallerist Charon Kransen of Charon Kransen Arts, on the occasion of his 30th anniversary and the other on her much respected blog, Les Métissages, which looks at fashion and contemporary jewelry. In meeting Nichka I discovered an individual with a deep passion for her craft, love of wonder, and  attention to detail which has made her a champion for contemporary art jewelry, an art form that is full of wonder and detail.

Who is Nichka Marobin and how was The Morning Bark born?

I was born as a historian of Dutch and Flemish art and therefore I always have a great attention to detail. The study of the Flemish informed my taste and refined my gaze. During my stay in Holland, I dedicated myself to the study of fantastic creatures, the hybrids that inhabit the Renaissance ornament prints. By their nature, these entities stand only and exclusively on the margins of the main part of the print. I think that mine is really a life in the margins, let me explain better: contemporary jewelry is also a margin of a wider field that lies in the margins of contemporary arts. It is interesting because it is precisely there that life flourishes; is in that territory so intimate and indeterminate but of much ferment in which a multitude of dialogues are born, of encounters that give rise to new and unexpected perspectives. After all what I always say is that I belong to many worlds like everyone else, because we have all lived a life forged by the novels we read, by the films we have seen, from the experiences we have lived and that is something that cements and determines the present of each of us. In 2011 I started my blog The Morning Bark because I thought it was the ideal vehicle to make my worlds talk: the Northern Sixteenth Century, the painting of the Flemish primitives, contemporary jewelry and finally that of fashion studies, which has always fascinated me as an artistic language. So, everything happened as a natural evolution.

Where does the passion for contemporary jewelry come from?

When I was in Holland, I studied sixteenth-century prints that were full of hybrid creatures and ornament. Jewelry was always a part of this. Then in 2008 I met Maria Rosa Franzin, the Paduan goldsmith, and became familiar with her jewelry and activism and from there I started collecting jewels. I later joined the AGC, the Italian Association for contemporary jewelry, in order to broaden my knowledge and this suited me as it corresponded to what I have always loved: the reward of details. The jewel conceals in detail something that corresponds to something much bigger, hence, the closeness with the world of contemporary art. The contemporary jewel is part of my life, that I wear every day even thoughI dress very casually. When someone wears a contemporary jewel, it brings with it its non-replicability. Uniqueness becomes the ability to convey a multitude of messages that are as much personal as collective, of identity and universal. Jewelry gives you the opportunity to express yourself; hence the affinity with fashion. The user never chooses his jewel at random.

Tell us about your research project Les Métissages, you’ll talk about it in NYC, what does it mean to you?

The Les Métissages project was born in 2014 and will turn ten next year. It was born, first of all, from the studies I did in art history, on the life and migration of forms because this is my field of study. It is a project that springs from the aesthetic responses that artists give to a specific request of their time. The goal is to reason on the objective evidence that some forms have and that are substantially managed by artists with different expressive means. The Métissage is never simply about a combination of the best jewel for the best dress. Even if you looked at them, you’d find strong inconsistencies. The only congruence is the objective idea that pertains to a different answer, but starts from the same idea. Almost a thousand examples have been published so far.

You have curated several exhibitions over the past few years. What are your main sources of inspiration? Is there a common thread that links the various activities?

There are several red threads in my curatorial path. First of all, there is a constant dialogue with the world from which I come, that of the Sixteenth Century. Then, there is the need to alternate and create new dialogues and windows. Other red threads are those capable of intersecting disciplines. First there was painting, in 2016 with the exhibition on Ramón Casas, then literature with Italo Calvino. And then there will be music, an embryonic project that I will propose later on. The interesting thing is that everything could be a source of trigger: a particular reading that I did, a specific reflection or simply a thing that settles and that makes itself ready after time, in a certain period of your life. I am very grateful to both Maria Rosa Franzin, Klimt02 and Hannah Gallery because with them I was able to realize the last three big projects. With them I found a structure, a gallery made of people with whom we always create new dialogues. As curator I think I have the privilege of this time, I have the opportunity to talk with artists, work with them and be at the same time a trait d’union, a sounding board, a link. These are basically the things that I consider very important. Imagine what I could have done if Rubens had been alive! Sometimes we forget this great privilege often swallowed by the anxiety of recovering as many images as possible with the mobile phone. Instead, we should give time to time and have the ability to let the stimuli settle. This is one of the reasons why my projects are always planned two, three, even five years ahead. In all the exhibitions I always feel I must give instruments to the artists to give them the freedom to create and about them I then write. That’s why it’s mutual.

This year for NYCJW were invited by the gallerist Charon Kransen to give a talk about the show curated by Charon. How did this collaboration come about?

Yes, Charon invited me to write the text that would inspire the artists to make their work. The text had to be very concise for this exhibition that would focus on his favourite colour: red. I wrote an article and only after a third draft I came up with the text that Charon asked from me. The resulting  idea is that red is like a reading, a round of tarot cards because in them, all colours are ambivalent. Every time you catch one that has a religious value, you also know that it has another exactly contrary value. This fascinated us both and from there we decided that the text I had written for the artists would have been the basis for the exhibition concept. The lecture that I will hold on the exhibition will be a historical journey on the different values that the colour red has had in history and millennia: from the prints of hands present in the quarries of the Palaeolithic to the politics of today. Another lecture will be added as a compliment to this talk. Charon always held my Métissages project in high esteem, he recognized it as very new research in the field. The works on display are the visual answer to a spiritual question. Given the relevance, Charon and I thought we could add a lecture on Les Métissages and it would be appropriate.

The exhibition RED ignite the fire will see the participation of 45 international artists. Can you give us a preview? Is there anything in particular that you would like to highlight about the selected works?

Charon hadn’t told me which and how many artists were involved. I just discovered that there are so many! This is a really great number but I have not previewed the work. I like to be surprised and I know it will be a surprise. I can’t wait to see all their artistic languages. It will be great to find out which artists will be there to ask them: “Why did you do this? What did you like?”. It’s highly likely that the answer is in the initial text. I am very happy to have contributed to this exhibition, it has been a great honor for me.

Is there a specific message or emotion that you hope the audience will receive through this exhibition?

Not in general. I just hope they get hit. I wish the audience has the ability to marvel; unfortunately, we’ve lost it a little lately. If only for the fact that we live in truly sad and barbaric times. The ability to be amazed and like me to find salvation in art, it’s not trivial. I hope Charon also puts out the artists’ statements. Because that too is always very important; it is like a spy, a light in a wider path ever.

Which trends or recent developments in the world of contemporary jewellery do you think are worthy of note?

I have to tell you the truth, I tend to pursue a very personal language of mine, which is that of dialogue. I am very convinced that the arts dialogue and I dream of a total work of art. In my future projects I hope to have the ability to connect, to act as a sounding board, as I said earlier. Resonance is a word that I really like because it determines a new threshold. One of the constants of my work is to correlate worlds. Why? Maybe because I’m basically curious and there’s also a voyeuristic side to this. I am very curious about what is the creative process of each and how each comes to a certain final solution. I often ask artists to send me photos of their creative process, I like to know their rituals.  The creative process is like a scientific process, an alchemical process. You are in constant experimentation, step by step. That’s why I also like the word threshold. Think of Picasso. Every time he came to the definition of an artistic language he was already beyond. He had already said everything. He was a continuous experimenter.

Any plans for the future?

The future will be on music and it will be on other dialogues. We all belong to different worlds and I hope with my practice to make them collide.

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Nichka Marobin is an Italian art historian specializing in Dutch and Flemish art history. She graduated from the Faculty of Arts of the University of Padua with a particular thesis on Renaissance ornament prints from 1500 to 1550 in Germany and the Netherlands. In 2011 she founded “The Morning Bark”: a blo(g)azette on the arts and literary disciplines, in which she publishes her articles through a multidisciplinary path on fine arts, books, fashion and contemporary jewelry. In 2014 she began her project called “Les Métissages” aimed at developing the concepts of migration of shapes and ideas by combining jewelry research  with fashion creations.

Eleonora Varotto is an art historian and independent curator specializing in contemporary art and jewelry design. She trained in Padua, Venice, Madrid and Milan. Eleonora has been working in the jewelry field since 2017 and she hasn’t stopped since. She has collaborated in the organization of many events dedicated to the world of jewelry in the city of Milan and London, specializing in contemporary jewelry as a main focus. She founded HOOROON, a project committed to making the uniqueness of contemporary jewelry understandable and accessible to all, not only as an original ornament but as an integral part of the identity of each.

Enjoyed this piece? Explore more jewelry content from Future Heirloom!

Today we share an interview between Angely Martinez and Lorraine West. We asked the iconic New York duo to sit down together to discuss Angely’s achievements, including her recent NYC Jewelry Week HERE WE ARE Exhibition Award, and her preparations for the upcoming 5th-anniversary exhibition at NYCJW 2023, celebrating five years in design.

The Exhibition

Lorraine West: It’s always a pleasure to speak with you. Congratulations on your 2023 NYCJW Exhibition Award. I had the honor of receiving the 2020 Inaugural Exhibition Award in which my team and I showcased a virtual online retrospective called Glimpse inspired by 20 years of my work.  You’re celebrating 5 years as a professional jewelry designer. What’s your design ethos?  What inspired you to put this show together?

Angely Martinez: Thank you so much, Lorraine! I’ve been thinking about creating an exhibition for several years now. The inspiration to create the show came to me after attending the NYCJW presentation from Third Crown, the 2022 Exhibition Award Recipients. 

I started my career using alternative materials and found objects, and I have slowly progressed into fine jewelry. Now I utilize gold, diamonds and precious colored gemstones. I wanted to celebrate and share the evolution of my work to inspire the next generation to think outside the box.  I create what I want about what speaks to me.

The Process

LW: You go…love that.  I’ve seen your robust and enchanting archive of work. What was the process of selecting the final pieces for your upcoming exhibition?

AM: I chose the pieces that showcased my foundation and my range as a designer.  People are familiar with my recent work, fine jewelry, however I’ve worked in a multitude of materials. I started my career working with glass, vinyl, resin, wood, acrylic and sterling silver. The process of selecting the final pieces consisted of laying out the entire archive and grouping them into themes. Through that process, I realized how strong the themes of nature and fantasy were in my work, both in past and present work. That realization helped me recognize a consistent vision and design ethos throughout my body of work, regardless of the materials I use, whether they are considered low or high.

The Path

LW: Fantastic!  In the last four years I’ve known you, I’ve witnessed your growth as a designer and business owner.  Since you’re celebrating five years, give us five of your biggest takeaways since you’ve been in business?

AM: My five biggest takeaways are: always take care of your health first. A burnt-out artist life is not a life you want to live. Take your time to develop your work. Pace yourself, nothing happens overnight.  Operations, planning and budgeting is important to keep your business moving forward. Enjoy the journey!

The Future

LW: What’s on the horizon for you next?

AM:  Expand my fine jewelry collections and object collections.  Surprises are in store…stay tuned.

LW: It’s been an honor to support you in your process of developing your upcoming show. I’m excited to see it in person on November 14th.  I wish you continued success and breakthroughs. 

AM: Thank you, Lorraine. You’re the best! 

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We invite you to join us at NYC Jewelry Week 2023 for Angely Martinez, An Exhibition of Five Years of Jewelry Design, A One-Day Exhibition & Celebration celebrating the rising star of jeweler Angely Martinez as we look back on her five years in the business. More info and RSVP here.

Single Stone is renowned for its vintage-inspired, fine jewelry made from repurposed antique diamonds. Based in Los Angeles, their unique creations are sold in fine jewelry boutiques across the United States and London.

Corina Madilian, one of the co-founders and designers at Single Stone, embarked on her journey in 1989 when her partner entered the realm of antique diamonds and jewelry restoration. This experience laid the foundation for Single Stone’s distinctive jewelry collection. In this interview, we’ll explore Corina’s creative process, her perspective on industry challenges, and her dedication to crafting timeless pieces.

Who are you?

I am Corina. I’m one of the founders/designers of Single Stone.

What do you make/sell?

We make vintage inspired, fine jewelry. Our collection is made using repurposed, antique diamonds. Single Stone is sold in fine jewelry and independent boutiques across the United States and in London.

Where do you make/sell it?

Our collection is made in Los Angeles where we employ a team of artisans who help us achieve our creations.

When/why did you start?

Our company was originally started by my partner back in 1989 as a supplier of loose old cut diamonds and restoring antique jewelry. Our experience in that world opened the door for us to develop our collection.

Where do you get your best ideas?

We love creating jewelry for our clients who ultimately provide us with the best inspiration. Travel, history and an appreciation for style and aesthetics help guide us to create jewelry that is timeless and that our clients love to wear.

Do you ever feel bored? What do you do about it?

Of course! Boredom is actually a good thing. It allows us to ruminate on something and decide what we’d like to do to get out of our rut. Boredom can be very inspiring and lead to great things!

What’s the next big jewelry trend?

I’m not so guided by trends. Instead, love to create jewelry that has been inspired by the past and works with our lifestyle today. I’m more interested in timeless designs that help define a style or aesthetic.

What’s our industry’s biggest challenge?

For us, our biggest challenge is the limited availability of old cut diamonds, especially today when so many designers are dabbling in them as a trend. Also, the introduction of lab grown diamonds.

How do we fix it?

I think its important for us to provide consumers with clear information about what is happening in the jewelry world. Misrepresented information and lack of facts are influencing the consumers perception of ethics and sustainability as it relates to jewelry.

Where do you want to see yourself creatively in five years?

I’d like to be doing more of the same…working with unique, antique stones and creating jewelry for clients that appreciate the individuality of old cuts.

If you could ask an industry peer one question, what would you ask and to whom would you ask it?

I’d love to ask the new owners of Tiffany what they think about the jewelry landscape. Are there designers and trends they are watching and do they feel inspired or at all threatened by what is happening.

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Questions written by Nicholas Hyatt. Answers are written by Corina Madilian. Find Single Stone online and on Instagram.