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VIVIENNE BECKER OF THE FINANCIAL TIMES – HOW TO SPEND IT MAGAZINE

by Barry Rutter •

Vivienne Becker of the Financial Times – How To Spend It Magazine is sitting on the prestigious IJl Bright Young Gems panel this year, alongside fellow judges Hilary Alexander, OBE: Editor at Large Hello Fashion Monthly magazine, Claudia Mahoney: Executive Fashion and Beauty Director of Glamour magazine, Annabel Davidson: Editor of Vanity Fair on Jewellery and Bec Clarke, MBE: Founder and Executive Chairman of Astley Clarke.

IJL took some time to speak to Vivienne about her love of jewellery, her career as both a talented author and journalist and also a trend forecaster plus her passion for fostering new young designers through initiatives like the IJL BYGs.

1. How and when did your love of jewellery begin?

Aged 18, I took a holiday job in one of London’s indoor antiques market, working for antique jewellery dealers.  I had won a place on a pioneering Communications Studies degree course, but enjoyed being part of the antiques world so much, I stayed for a few years. During that time, I learnt so much about antique and 20th century jewellery, from the dealers who were so generous with their knowledge, and  I met passionate, informed collectors, not to mention a colourful cast of wondrously eccentric people, and I learnt to love jewellery and its stories.

2. What inspired you to become a jewellery historian?

I had always wanted to be a journalist and writer, so that when I left the antique market, I found myself a job working on a women’s magazine, as fashion assistant.  While there, I offered an article on antique jewellery to the magazine Antique Collector, newly acquired by the company (National Magazine Company) and eventually, having written several articles, I joined the staff of Antique Collector.  I used my experience and the knowledge I’d gained as a base and gradually taught myself all I could about the history of jewellery.  It wasn’t really a case of being inspired, it was the combination of my growing fascination with the history of jewellery, its early roles, meanings and design combined with my desire to be a writer that organically shaped my working life.

3. Was there one person who influenced you in your choice of career?

As I have said above, it wasn’t really a choice as such, and at the time I didn’t even realise there was such a “thing” as a jewellery historian.  I was influenced by all my dear friends in the antiques trade, by Lynn and Brian Holmes, who had originally employed me, and who shared their tastes and enthusiasm with me. and when I first started teaching myself, it was Margaret Flower’s book on Victorian jewellery  that most fuelled my interest in writing about jewellery.

4. You are not only a talented author and journalist but also a trend forecaster – which do you enjoy most and why?

Thank you!!  I love both, writing is something I somehow feel I have to do, so much part of who I am now; I find trend forecasting absolutely fascinating, and I particularly enjoy and look forward to the workshops I participate in for the Gem Visions project I work on every year for Swarovski Gems. This is one of the most stimulating and rewarding of all the various projects I’ve been involved in over the years. I am joined in the project by Paris-based fashion forecaster Marie de Sigalony as well of course as by the Gem Visions team. I look forward to the annual workshops, held in different European cities as I so enjoy analysing the cultural, social and design influences that shape our attitudes and tastes, listening to contributions and ideas from the team; I love finding the threads between these influences and jewellery design.  I enjoy the breadth and depth of trend forecasting, looking at other design disciplines, what’s happening in the world, the way consumers think and act.

5. You clearly feel passionately about fostering new young designers through initiatives like the IJL BYGs – why is this so important to you? And the industy as a whole?

With my historical perspective, and my passion for design, I can see the continuum of jewellery, through thousands of years, the way in which it evolves, captures and reflects its moment in time and I’m always looking for fresh talent, for designers who understand this and are able to perpetuate this heritage.  New talent is vital for our industry, to keep it alive, in step with the world around it.  The jewellery trade is deeply conventional, resistant to change and generally speaking not design driven – I’m always trying to propel it forwards, to keep it modern, in my small way.  The jewellery world is deeply traditional which is both its strength and its weakness; new, young designers are able to push boundaries, respect the traditions but take them into the future.

6. What words of advice would you offer prospective BYGs?

To study jewellery history as much as possible, to understand the rhythms of evolving design and craftsmanship; they should understand the rules before they try to break them.  And for today especially, to use technology to liberate design.  New technology in jewellery design and manufacture is a revolution in our industry.

7. Looking ahead to IJL in September – can you share with us what you look forward to seeing at the event each year, and why?

I look forward to finding something entirely new and fresh, anticipating some exciting development in design and craftsmanship, and to testing myself, to see if I can spot an emerging trend.

8. Do you have one iconic piece of jewellery that has remained an all time favourite? And why?

I’m afraid there are so many.  Two years ago I published my book the Impossible Collection of Jewelry: the 100 Most Important jewels of the 20th century and it was hard enough to pare my choice down to 100!!  But I think if I had to choose one it would have to be a masterpiece by Rene Lalique, my great hero; and probably the dramatic, emotive Dragonfly Woman corsage ornament in the Gulbenkian Collection Lisbon, a truly great work of art, the ultimate symbol of metamorphosis and transformation, both transformation of the centuries, 19th into 20th, of the jewel itself, and of the female. For me, this jewel embodies the alchemy and artistry that lies at the heart of the jewel.

The IJL Bright Young Gems will be unveiled at IJL 2015 on Sunday 6th September.  Find out more about the Bright Young Gems initiative here

Register to visit IJL 2015, 6th – 8th September – and discover future industry stars for your stores

Industry, People

Editor’s Choice – An Interview with Claire Adler

by IJL •

1. What do you feel distinguishes Editor’s Choice from other industry awards?

Editor’s Choice is open to any jeweller who exhibits at IJL. That’s a huge gamut of jewellers from a wide variety of countries. And it’s why previous winners have ranged from a 20 year old self-taught jeweller who never went to university (Clarice Price-Thomas) to a jeweller who has been in the business for 40 years, whose clients include Joan Collins and whose designs were worn by Gwyneth Paltrow in the movie Shakespeare in Love (Malcolm Morris).

2. You have been involved in the project since it was launched, how do you feel it has evolved and grown?

Some of the entries we’ve sifted our way through over the years have been pretty offbeat and thought provoking. And sometimes they’ve proved to be winners. For example, Abigail Stradling’s Time ring, an enormous ball of resin filled with oil, sand and wood that swirl around as the wearer moves.

The most rewarding part of being judge of Editor’s Choice has been seeng previous winners go on to scoop other prizes and gain further industry recognition. (Imogen Belfield is one jeweller who has certainly made a habit of doing this.) There is of course a personal satisfaction of having spotted talent early. (Jessica de Lotz knows I have  been following her success and have developed a habit of photographing and then tweeting cuttings mentioning her that I spot in Grazia magazine – typically while my nails are drying at the manicurist!)

But it is also hugely gratifying to know that Editor’s Choice has helped to propel, and sometimes fast track, gifted and ambitious jewellers to secure wider recognition and grow their businesses. Against a backdrop of hefty university fees and a fiercely competitive jewellery and luxury brand environment, I believe that winning a competition is extremely valuable – it holds the potential to open doors, attract new customers and potential customers and enhance a brand’s credibility in the marketplace.

3. Which is your favourite category and why?‎

In 2015 we’ve introduced a new category called In Stile Italiano which I think is very appropriate. The Italian jewellery industry took a strong hit during the recent global recession, but the fact remains that the Italians are masters of style and they have a long heritage of making spectacular jewellery, often in small ateliers and in family owned businesses. We have two winners in this category this year and I can imagine both pieces we’ve chosen perfectly accessorising a glamorous woman walking down the street in Missoni or Armani.

4. Have you got one all-time favourite and why?

I love the drama and intricacy of Fei Liu’s winning piece this year, a seriously grown-up piece of jewellery. It is a bespoke piece for one of Fei’s private clients.

5. What words of advice would you give to future entrants?

Within each category, the overarching qualities we continue to look for are originality and a fresh contemporary feel that are likely to attract buyers at IJL.

Industry

IJL has seen huge expansion and innovation 60 years on

by IJL •

International Jewellery London has seen vast changes in its first 60 years, expanding hugely from its modest beginnings in the Royal Albert Hall when it was mainly a watches fair, and is now a leading industry showcase for innovation.

Now IJL, which takes place in the vast open space of Olympia GRAND and is organised by Reed Exhibitions, has become the UK’s leading upscale jewellery fair, attracting retailers from home and abroad, and presenting the best among the latest jewellery designs by leading brands and up-and-coming designer-makers.

When the show began in 1955, then known as the International Watch and Jewellery Fair, it had 130 exhibitors, many of them watch brands such as Rolex, Omega and Longines.

This year, IJL expects more than 550 exhibitors – and around 10,000 trade visitors – comprising mainly jewellery, ranging from fast-growing brands like Endless Jewelry to design graduates aspiring to be the brands of the future.

IJL today offers a variety of business opportunities for the thousands of visiting retailers.

At last year’s show, Alexandra Morris Robson of Augustine Jewels spoke of brisk orders for her red and green gem-set gold Christmas cuffs; Babette Wasserman introduced her new Istanbul collection, inspired by mosaics seen on her travels to the Turkish city; and Arlene Katorza, designer of Scottish brand I Love a Lassie, spoke of strong interest in her new Hard-Wear collection, inspired by memories and mementos of her grandfather.

Innovation is a key theme of IJL today, with its initiatives like Bright Young Gems and KickStart which promote young talented craftspeople, to its seminars, which explore the most challenging issues facing the industry, such as undisclosed synthetic diamonds, and give tips to retailers on how to market more efficiently using the latest social media.

IJL today provides an essential annual networking opportunity for the trade in a glamorous setting, bringing suppliers and retailers together for a relaxing glass of wine and a catch-up chat, on a far bigger scale than the modest gatherings 60 years ago. 

Industry, Products

Sarah Kitley-Spencer, Marketing Manager of IJL, spends a day in the life of……

by IJL •

…a silver jewellery designer.

I’m the first to admit I’ll give anything a go, even though I’m not the most creative individual! From cupcake making to card making, it takes calm, patience and dedication to produce a reasonable end product. I won’t pretend, I was feeling slightly on the nervous side at the start of my journey to the London Jewellery School

I was ready for the challenge though! Although slightly apprehensive; I thought it was about time after working as Marketing Manager for International Jewellery London for five years that I got my hands dirty in the world of jewellery making, so to speak!

As soon as I arrived, I knew I was in safe hands. In the intimate classroom, gentle, calm but enthusiastic tutor Michelle took us through our paces on our journey to make our first piece of jewellery – a ring. We started off by cutting a piece of silver measured to the appropriate length so it would result in a finished product to fit our finger.

After experimenting with techniques we filed, shaped, soldered and polished. The growth in my attachment to my piece astounded me, I became so careful with it and incredibly nervous about making an error that impact the final design and look. It really emphasised the love and passion jewellery designers must put in to every piece.

During fine polishing Michelle commented that ‘this was where the magic happens’ and it certainly didn’t disappoint! Our silver creations burst in to life and ooo’s and ahhh’s filled the room. We had indeed, done ourselves proud and thankfully they all fitted our chosen fingers perfectly.

We then went on to make a pendent. I couldn’t believe I had designed, created and made two pieces of jewellery in little less than six hours. Provided with a great working space, tea, coffee and biscuits and a calm and knowledgeable tutor – anything is possible!

Sarah Jewellery

On the door of the London Jeweller School stands the motto “Everyone can make jewellery”, and the motto certainly proved true for me that day, and the other students that pass through the doors of the London Jewellery School.

On my way in I wasn’t so sure how I would fare, but on my way out I was planning my next course – I can’t thank the school enough for a wonderful day. Time now to plan what’s next!?

So Jewellery Industry, feel free to comment, I’m open to ideas?

About the London Jewellery School

LJS was set up in 2009 by jewellery designer Jessica Rose . It began with just one class a month from a community hall in South London and within a few short years has grown to be London’s most popular jewellery training venue.

The London Jewellery School is Europe’s largest jewellery training centre based just off London’s trendy Brick Lane. With over 100 jewellery courses to choose from, more than 25 world-class tutors and three fully-equipped jewellery workshops there is something at London Jewellery School for everyone.

Their motto is that ‘everyone can make jewellery’ which they truly believe. Their jewellery classes are suitable for all abilities from complete beginners through to professional jewellers. They run jewellery courses on weekdays, evenings and weekends to suit all timetables and prices start from just £25.00. They also run very popular hen parties run regular private tuition andwedding ring making workshops as well as holding open studios where students can come and use their fully equipped jewellery workshops and general facilities. Find out more by visiting www.londonjewelleryschool.co.uk/

People

VIVIENNE BECKER OF THE FINANCIAL TIMES – HOW TO SPEND IT MAGAZINE

by Barry Rutter •

Vivienne Becker of the Financial Times – How To Spend It Magazine is sitting on the prestigious IJl Bright Young Gems panel this year, alongside fellow judges Hilary Alexander, OBE: Editor at Large Hello Fashion Monthly magazine, Claudia Mahoney: Executive Fashion and Beauty Director of Glamour magazine, Annabel Davidson: Editor of Vanity Fair on Jewellery and Bec Clarke, MBE: Founder and Executive Chairman of Astley Clarke.

IJL took some time to speak to Vivienne about her love of jewellery, her career as both a talented author and journalist and also a trend forecaster plus her passion for fostering new young designers through initiatives like the IJL BYGs.

1. How and when did your love of jewellery begin?

Aged 18, I took a holiday job in one of London’s indoor antiques market, working for antique jewellery dealers.  I had won a place on a pioneering Communications Studies degree course, but enjoyed being part of the antiques world so much, I stayed for a few years. During that time, I learnt so much about antique and 20th century jewellery, from the dealers who were so generous with their knowledge, and  I met passionate, informed collectors, not to mention a colourful cast of wondrously eccentric people, and I learnt to love jewellery and its stories.

2. What inspired you to become a jewellery historian?

I had always wanted to be a journalist and writer, so that when I left the antique market, I found myself a job working on a women’s magazine, as fashion assistant.  While there, I offered an article on antique jewellery to the magazine Antique Collector, newly acquired by the company (National Magazine Company) and eventually, having written several articles, I joined the staff of Antique Collector.  I used my experience and the knowledge I’d gained as a base and gradually taught myself all I could about the history of jewellery.  It wasn’t really a case of being inspired, it was the combination of my growing fascination with the history of jewellery, its early roles, meanings and design combined with my desire to be a writer that organically shaped my working life.

3. Was there one person who influenced you in your choice of career?

As I have said above, it wasn’t really a choice as such, and at the time I didn’t even realise there was such a “thing” as a jewellery historian.  I was influenced by all my dear friends in the antiques trade, by Lynn and Brian Holmes, who had originally employed me, and who shared their tastes and enthusiasm with me. and when I first started teaching myself, it was Margaret Flower’s book on Victorian jewellery  that most fuelled my interest in writing about jewellery.

4. You are not only a talented author and journalist but also a trend forecaster – which do you enjoy most and why?

Thank you!!  I love both, writing is something I somehow feel I have to do, so much part of who I am now; I find trend forecasting absolutely fascinating, and I particularly enjoy and look forward to the workshops I participate in for the Gem Visions project I work on every year for Swarovski Gems. This is one of the most stimulating and rewarding of all the various projects I’ve been involved in over the years. I am joined in the project by Paris-based fashion forecaster Marie de Sigalony as well of course as by the Gem Visions team. I look forward to the annual workshops, held in different European cities as I so enjoy analysing the cultural, social and design influences that shape our attitudes and tastes, listening to contributions and ideas from the team; I love finding the threads between these influences and jewellery design.  I enjoy the breadth and depth of trend forecasting, looking at other design disciplines, what’s happening in the world, the way consumers think and act.

5. You clearly feel passionately about fostering new young designers through initiatives like the IJL BYGs – why is this so important to you? And the industy as a whole?

With my historical perspective, and my passion for design, I can see the continuum of jewellery, through thousands of years, the way in which it evolves, captures and reflects its moment in time and I’m always looking for fresh talent, for designers who understand this and are able to perpetuate this heritage.  New talent is vital for our industry, to keep it alive, in step with the world around it.  The jewellery trade is deeply conventional, resistant to change and generally speaking not design driven – I’m always trying to propel it forwards, to keep it modern, in my small way.  The jewellery world is deeply traditional which is both its strength and its weakness; new, young designers are able to push boundaries, respect the traditions but take them into the future.

6. What words of advice would you offer prospective BYGs?

To study jewellery history as much as possible, to understand the rhythms of evolving design and craftsmanship; they should understand the rules before they try to break them.  And for today especially, to use technology to liberate design.  New technology in jewellery design and manufacture is a revolution in our industry.

7. Looking ahead to IJL in September – can you share with us what you look forward to seeing at the event each year, and why?

I look forward to finding something entirely new and fresh, anticipating some exciting development in design and craftsmanship, and to testing myself, to see if I can spot an emerging trend.

8. Do you have one iconic piece of jewellery that has remained an all time favourite? And why?

I’m afraid there are so many.  Two years ago I published my book the Impossible Collection of Jewelry: the 100 Most Important jewels of the 20th century and it was hard enough to pare my choice down to 100!!  But I think if I had to choose one it would have to be a masterpiece by Rene Lalique, my great hero; and probably the dramatic, emotive Dragonfly Woman corsage ornament in the Gulbenkian Collection Lisbon, a truly great work of art, the ultimate symbol of metamorphosis and transformation, both transformation of the centuries, 19th into 20th, of the jewel itself, and of the female. For me, this jewel embodies the alchemy and artistry that lies at the heart of the jewel.

The IJL Bright Young Gems will be unveiled at IJL 2015 on Sunday 6th September.  Find out more about the Bright Young Gems initiative here

Register to visit IJL 2015, 6th – 8th September – and discover future industry stars for your stores

Industry, People

Editor’s Choice – An Interview with Claire Adler

by IJL •

1. What do you feel distinguishes Editor’s Choice from other industry awards?

Editor’s Choice is open to any jeweller who exhibits at IJL. That’s a huge gamut of jewellers from a wide variety of countries. And it’s why previous winners have ranged from a 20 year old self-taught jeweller who never went to university (Clarice Price-Thomas) to a jeweller who has been in the business for 40 years, whose clients include Joan Collins and whose designs were worn by Gwyneth Paltrow in the movie Shakespeare in Love (Malcolm Morris).

2. You have been involved in the project since it was launched, how do you feel it has evolved and grown?

Some of the entries we’ve sifted our way through over the years have been pretty offbeat and thought provoking. And sometimes they’ve proved to be winners. For example, Abigail Stradling’s Time ring, an enormous ball of resin filled with oil, sand and wood that swirl around as the wearer moves.

The most rewarding part of being judge of Editor’s Choice has been seeng previous winners go on to scoop other prizes and gain further industry recognition. (Imogen Belfield is one jeweller who has certainly made a habit of doing this.) There is of course a personal satisfaction of having spotted talent early. (Jessica de Lotz knows I have  been following her success and have developed a habit of photographing and then tweeting cuttings mentioning her that I spot in Grazia magazine – typically while my nails are drying at the manicurist!)

But it is also hugely gratifying to know that Editor’s Choice has helped to propel, and sometimes fast track, gifted and ambitious jewellers to secure wider recognition and grow their businesses. Against a backdrop of hefty university fees and a fiercely competitive jewellery and luxury brand environment, I believe that winning a competition is extremely valuable – it holds the potential to open doors, attract new customers and potential customers and enhance a brand’s credibility in the marketplace.

3. Which is your favourite category and why?‎

In 2015 we’ve introduced a new category called In Stile Italiano which I think is very appropriate. The Italian jewellery industry took a strong hit during the recent global recession, but the fact remains that the Italians are masters of style and they have a long heritage of making spectacular jewellery, often in small ateliers and in family owned businesses. We have two winners in this category this year and I can imagine both pieces we’ve chosen perfectly accessorising a glamorous woman walking down the street in Missoni or Armani.

4. Have you got one all-time favourite and why?

I love the drama and intricacy of Fei Liu’s winning piece this year, a seriously grown-up piece of jewellery. It is a bespoke piece for one of Fei’s private clients.

5. What words of advice would you give to future entrants?

Within each category, the overarching qualities we continue to look for are originality and a fresh contemporary feel that are likely to attract buyers at IJL.

Industry

IJL has seen huge expansion and innovation 60 years on

by IJL •

International Jewellery London has seen vast changes in its first 60 years, expanding hugely from its modest beginnings in the Royal Albert Hall when it was mainly a watches fair, and is now a leading industry showcase for innovation.

Now IJL, which takes place in the vast open space of Olympia GRAND and is organised by Reed Exhibitions, has become the UK’s leading upscale jewellery fair, attracting retailers from home and abroad, and presenting the best among the latest jewellery designs by leading brands and up-and-coming designer-makers.

When the show began in 1955, then known as the International Watch and Jewellery Fair, it had 130 exhibitors, many of them watch brands such as Rolex, Omega and Longines.

This year, IJL expects more than 550 exhibitors – and around 10,000 trade visitors – comprising mainly jewellery, ranging from fast-growing brands like Endless Jewelry to design graduates aspiring to be the brands of the future.

IJL today offers a variety of business opportunities for the thousands of visiting retailers.

At last year’s show, Alexandra Morris Robson of Augustine Jewels spoke of brisk orders for her red and green gem-set gold Christmas cuffs; Babette Wasserman introduced her new Istanbul collection, inspired by mosaics seen on her travels to the Turkish city; and Arlene Katorza, designer of Scottish brand I Love a Lassie, spoke of strong interest in her new Hard-Wear collection, inspired by memories and mementos of her grandfather.

Innovation is a key theme of IJL today, with its initiatives like Bright Young Gems and KickStart which promote young talented craftspeople, to its seminars, which explore the most challenging issues facing the industry, such as undisclosed synthetic diamonds, and give tips to retailers on how to market more efficiently using the latest social media.

IJL today provides an essential annual networking opportunity for the trade in a glamorous setting, bringing suppliers and retailers together for a relaxing glass of wine and a catch-up chat, on a far bigger scale than the modest gatherings 60 years ago. 

Industry, Products

Sarah Kitley-Spencer, Marketing Manager of IJL, spends a day in the life of……

by IJL •

…a silver jewellery designer.

I’m the first to admit I’ll give anything a go, even though I’m not the most creative individual! From cupcake making to card making, it takes calm, patience and dedication to produce a reasonable end product. I won’t pretend, I was feeling slightly on the nervous side at the start of my journey to the London Jewellery School

I was ready for the challenge though! Although slightly apprehensive; I thought it was about time after working as Marketing Manager for International Jewellery London for five years that I got my hands dirty in the world of jewellery making, so to speak!

As soon as I arrived, I knew I was in safe hands. In the intimate classroom, gentle, calm but enthusiastic tutor Michelle took us through our paces on our journey to make our first piece of jewellery – a ring. We started off by cutting a piece of silver measured to the appropriate length so it would result in a finished product to fit our finger.

After experimenting with techniques we filed, shaped, soldered and polished. The growth in my attachment to my piece astounded me, I became so careful with it and incredibly nervous about making an error that impact the final design and look. It really emphasised the love and passion jewellery designers must put in to every piece.

During fine polishing Michelle commented that ‘this was where the magic happens’ and it certainly didn’t disappoint! Our silver creations burst in to life and ooo’s and ahhh’s filled the room. We had indeed, done ourselves proud and thankfully they all fitted our chosen fingers perfectly.

We then went on to make a pendent. I couldn’t believe I had designed, created and made two pieces of jewellery in little less than six hours. Provided with a great working space, tea, coffee and biscuits and a calm and knowledgeable tutor – anything is possible!

Sarah Jewellery

On the door of the London Jeweller School stands the motto “Everyone can make jewellery”, and the motto certainly proved true for me that day, and the other students that pass through the doors of the London Jewellery School.

On my way in I wasn’t so sure how I would fare, but on my way out I was planning my next course – I can’t thank the school enough for a wonderful day. Time now to plan what’s next!?

So Jewellery Industry, feel free to comment, I’m open to ideas?

About the London Jewellery School

LJS was set up in 2009 by jewellery designer Jessica Rose . It began with just one class a month from a community hall in South London and within a few short years has grown to be London’s most popular jewellery training venue.

The London Jewellery School is Europe’s largest jewellery training centre based just off London’s trendy Brick Lane. With over 100 jewellery courses to choose from, more than 25 world-class tutors and three fully-equipped jewellery workshops there is something at London Jewellery School for everyone.

Their motto is that ‘everyone can make jewellery’ which they truly believe. Their jewellery classes are suitable for all abilities from complete beginners through to professional jewellers. They run jewellery courses on weekdays, evenings and weekends to suit all timetables and prices start from just £25.00. They also run very popular hen parties run regular private tuition andwedding ring making workshops as well as holding open studios where students can come and use their fully equipped jewellery workshops and general facilities. Find out more by visiting www.londonjewelleryschool.co.uk/