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拍賣 2021年6月25日 11am EDT

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紐約公園大道450號 (map)

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\n南安普敦預展

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6月17–20日

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星期四至六 11am-6pm

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星期日 12pm-6pm
\n
\n紐約
\n6月21–24日
\n星期一至三 11am-6pm
\n星期四 11am-4pm

\n","auctionDetailsSmall","紐約拍賣2021年6月25日","extraInfo","

Sara Thomeier
\n珠寶部門主管
\n+1 212 940 1383
\nsthomeier@phillips.com

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Francisco Costa and Fred Leighton, A Diamond, Colored Diamond, Quartz, Wood and Gold Necklace (detail) Estimate $20,000 - 40,000. Jewels New York.

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Sustainability is not new for Francisco Costa. Caring for others is part of his life.

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This attitude towards care and sustainability is integral to his latest collaboration. Indeed, throughout the process of creating A Diamond, Colored Diamond, Quartz, Wood and Gold Necklace for Conservation International, the Yawanawa tribe in the Amazon became something like family.

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“It’s a pleasure to be working with Phillips who believed in our mission, the people of Yawanawa tribe who are the essence of this project, and Rebecca Selva at Fred Leighton who helped finding the finest diamonds,” shared Costa.

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The 86-inch necklace, to be sold on June 25^th at Phillips New York, is the result of the collaboration between Francisco Costa and Fred Leighton gallery. In partnership with Conservation International, the proceeds from the necklace sale will bring medical aid to the vulnerable communities of the Amazon, including the Yawanawa.

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And if Costa’s name sounds familiar? That’s probably because he’s the former creative director at Calvin Klein who designed a magnificent dress for Elle Macpherson and paired them with “almost flip flops” to attend the Met Gala. (Macpherson was then named “best dressed” by Elle and Vogue.)

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We sat down with Francisco Costa to learn more about his partnership, conviction, and the importance of conservation.

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CANDIDA SODRE: Where does the passion for sustainability, the conviction that gave rise to this wonderful project, come from?

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FRANCISCO COSTA: I come from Guarani a small town, in the state of Minas Gerais, that is not one of the famous colonial mining cities but has all the traits of a good city: pleasant, historic architecture, delicious food, amazing families tradition, friends, dogs around the parks. I grew up in this warm community and family.

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My mother had a children’s clothing factory and was a dynamic woman, concerned with the people and the city. Whenever there was leftover fabric, she would share it with the community surrounding the city, teaching women how to make quilts, rugs and embroidery. The idea was to emancipate the working ladies – today I see how important she was for the city. Among other actions, my mother opened a care center for old age people and then a nursery, so women who worked in the factory could leave their kids. Today, this day care is named after her. She was very entrepreneurial, very modern for her time.

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I see today how this influences my creative process, this concern, this connection with sustainability. It’s a 360-degree approach in everything I do.

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To give you an idea, when I started working with fashion in the US, my collections had this sustainability approach. Already in 2011, I was buying deadstock fabric and scraps of weaving, knitting, and that hadn’t been used for years and upcycled the whole collection.

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(Editor’s note: Francisco Costa was the first designer in the US to stop using animal fur; this was 20 years ago.)

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CS: Why did you visit the Yawanawa tribe in the first place?

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FC: I was developing a beauty product line for Costa Brazil, with products I found in the Amazon. First I went to the state of Acre and there got to know the Yawanawa tribe. It was incredible, very different, and very special. They became family. Taska, a tribe leader, and his wife, Laura, became good friends.

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Francisco Costa and Fred Leighton, A Diamond, Colored Diamond, Quartz, Wood and Gold Necklace. Estimate $20,000 - 40,000. Jewels New York.

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CS: How did you select Conservation International as the charity to benefit for this collaboration with Fred Leighton?

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FC: After we met in Acre, Taska came to NY a few times; once, he spoke at UN. Two years ago, I invited him to speak at my house to friends and CI, a national conservation group. Taska’s presentation was very strong, which led CI to develop a project to protect Yawanawa´s region. I have been part of this organization for 5 years now.

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When I started to develop the work for Costa Brazil, I would ask their opinions on where I could research ingredients, how and where I could add the community in my work. It was a process of learning.

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CS: What did you find there?

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FC: I brought this natural resin, Breu, with me; they use it in all rituals; it is very important culturally, they call it sacred resin … it cures headaches, they treat children, it has an antibacterial property…and has a wonderful perfume. Breu became the symbol of our brand. They opened the way to us, they were kind. So we always try to do something to continue our relationship. One day talking to Laura, I asked about the crafts they were doing and she said they were using breu stones tied together, with medicinal leaves… It was the beginning of the necklace creation, together with Fred Leighton whom I’ve known since I was very young.

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CS: How was this collaboration?

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FC: It’s a friendship, and we joined forces to conduct this project.

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I worked with their laboratory using stones, incredible diamonds, rougher stones, onyx, in a very delicate and subtle way. There’s a reason for every single stone, every single piece.

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CS: Growing up in the state of Minas, historically where gold and diamonds were mined in Brazil, did this drive you in direction of these stones and gold?

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FC: Sure! There’s something very special about the stones for people growing up in MG; stones have strength and energy. In fact, everything that is straight from nature is fundamental in my work.

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With gold I inserted design-pieces, all over the necklace, giving it a signature, something almost architectural to this experience which is really organic.

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Francisco Costa and Fred Leighton, A Diamond, Colored Diamond, Quartz, Wood and Gold Necklace (detail) Estimate $20,000 - 40,000. Jewels New York.

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CS: And what you can say about the importance of the Amazon conservation, as well as the inextricable role played by the indigenous people?

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FC: Our role is to protect the Amazon and the indigenous people. They are the guardians of the forests, they are our weapon against the destruction of the Amazon. We can’t forget they are part of Brazilian people and need to be respected and honored, and they have a fundamental role of protecting our lives.

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I added to the necklace a piece of wood that I always kept with me before. It came from the bark of Sassafras Cinnamon tree, now at risk of becoming extinct. To me, it signaled awareness, a reminder that we need to talk about it, we need to raise questions, how to preserve, how to protect and take the conversation to the next level.

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So, all of this is about an instinctive collaboration of ideas on how to create awareness and I’m thrilled to be involved with these projects.

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CS: And what is your current project?

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FC: Costa Brazil, this beauty line, where Breu has an important role. We sell it in very limited editions, you can lighten it at home, use it for breathing, and for a meditation. Our mission at Costa Brazil is a mission of wellness, of well-being. We were very proud to be the first beauty line in Bergdorf Goodman’s window on Fifth Avenue in New York.

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CS: Changing completely the subject, how do you imagine a contemporary woman using traditional and fine jewelry embellishments on uncomplicated outfit?

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FC: She can wear it for breakfast, wearing pajamas, it would be wonderful, and before going out, take it off...

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I think jewelry is a very personal thing, there are emotions that come with it, so it depends on the piece and its work, it depends on how the stone is used, on the provenance, so it's very personal.

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If you're wearing a wonderful necklace, the outfit has to be very simple, I think you have to elevate it, treat it like art. The stone has energy, therefore, I like the stones right on the skin, not over the clothes.

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I think one has to deal with jewelry in a more normal way—how would I say, It's for you, not for anybody else. Some people buy them to impress; But I think it should be for you, forget about the others...that’s why I say: use it for breakfast .

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CS: What are your favorite lots in our sale?

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FC: Lot 15 (I love the Cartier vanity box!), Lot 86, Lot 37, and Lot 22.

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Discover More from Jewels New York >

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Jewels Preview | New York

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Meet the talented team responsible for curating our upcoming jewels auction as they take us on a virtual tour of select highlights of the approaching sale. Our offerings feature exceptional pieces from Harry Winston, Bulgari and Cartier, to name a few.

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Recommended Reading

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Jewels, Fashion, and Identity >
\n
\nUnlikely Pairings: Woman to Woman Edition >

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\n","publishDate","2021-06-21T19:16:58.000000Z","authorCredit","Sarah Bochicchio","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/78372633/jewels-for-breakfast-in-conversation-with-francisco-costa","displayOrder",2,"auctionEditorialID",1311,"editorialID",3582,"flocklerID",78372633,"https://flockler.com/thumbs/sites/889/156354_ms_uc355670-6f15c4b4-923b-49bd-bf96-74342466dc2e_s600x0.jpg","What to know about the Cartier Designer. ","5 Things to Know About Bill Smith ","

Bill Smith for Cartier, An Onyx and Gold Brooch, Circa 1970. Sold for $10,710. Jewels New York.

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Written by Vivienne Becker

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1. He studied dance

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Probably the least known of 20^th century Black Jewelry designers, Bill Smith was born in 1936, in Madison, Indiana, and studied art and dance at Indiana University, where his design talent was first spotted. In 1954 Smith moved to New York to study dance.

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2. He started with costume jewelry

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He was designing jewelry as a sideline while studying dance, but gradually his design work took more of his attention, obviously winning critical acclaim, and in 1958 he opened a workshop in Manhattan. He designed costume jewelry for Richelieu, and also for Coro, two of America’s leading fashion Jewelry manufacturers. In 1968, he was appointed Vice President of Richelieu.

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Bill Smith for Cartier, An Onyx and Gold Brooch, Circa 1970. Sold for $10,710. Jewels New York.

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3. He was the first Black recipient of the Coty award

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In 1970 Smith became the first Black recipient of the Coty award. He was recognized for his style of powerful, uncompromising, architectural modernism, for his geometric, linear structures and for his introduction to American jewelry of African-inspired themes. Smith was inspired by an eclectic mix of influences, including cinema and theatre, and was known for his in-depth research, and his frequent visits to New York’s Cooper Hewitt Museum.

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4. He designed for Cartier

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In the 1970s, Smith designed jewelry for Cartier, one of very few “named” designers from this time; designers, like Aldo Cipullo, who brought a fresh, new, dynamic modern aesthetic to Cartier America updating the traditions of this heritage Maison. As well as the carved black onyx and gold cross brooch in the sale, Smith designed wide gold cuffs. Smith was close friends with the model Naomi Sims, for whom he designed bespoke jewelry, and it’s thought that Sims introduced him to the Kenton Corporation which owned Cartier America at the time. The Corporation enabled him to set up Bill Smith Studios.

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5. He designed for Katherine Hepburn

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Smith designed all the jewelry for Coco, the 1969 stage musical based on the life of Coco Chanel, with lyrics by Alan Jay Lerner and music by André Previn, and starring Katherine Hepburn in her only role in a stage musical.

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Discover More from Jewels >

\n\n

Jewels Preview

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Recommended Reading

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Jewels, Fashion, and Identity >
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\nUnlikely Pairings: Woman to Woman Edition >

\n","2021-06-29T21:46:02.000000Z","https://www.phillips.com/article/78978000/5-things-to-know-about-bill-smith",1,1334,3596,78978000,"https://flockler.com/thumbs/sites/889/156354_uc353903-f64c8a9c-44c0-43fe-b295-6c514d562802_s600x0.jpg","Vivienne Becker explores the intimate thread between fashion and jewels, from Christian Dior to Francisco Costa and Fred Leighton","Jewels, Fashion, and Identity ","

Bill Smith for Cartier, An Onyx and Gold Brooch, Circa 1970. Estimate $2,000 - 3,000. Jewels New York.

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Written by Vivienne Becker
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Just as there’s an intimate relationship between a woman and her jewels, there’s a thread (sometimes fragile, sometimes strong) connecting fashion and jewels. Because in my opinion, the most successful, most enduring jewels are fashionable yet beyond fashion. It was in the early 20th century, that the connection between fashion and jewels was truly initiated or cemented, through the embryonic art of couture, born and bred by Charles Frederick Worth in the late 19th century and accelerated in the 1910s by Paul Poiret, for whom jewels were an essential part of the total look. This was the time when women were making their way into both the fashion and jewelry worlds—Jeanne Toussaint at Cartier, Belperron at the Maison Boivin, run by Jeanne Boivin who was Paul Poiret’s sister—and when fashion, now democratized, was becoming a thriving industry in its own right. And the time too when Gabrielle Chanel popularized costume jewelry, making it the height of elegance, when Chanel herself wore her famous ropes of pearls and rich Byzantine-inspired jewels, both fine and faux, as the perfect counterpoint to the striking simplicity of her clothes.

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It was a similar story during the 1950s Golden Age of Couture, led by Christian Dior who also advocated jewels as an integral element of the New Look, underlining the quintessential femininity of his creative vision. So that, through couture, and through the influence of talented, fashion-conscious female jewelry designers and creative directors, as well as style-leaders, fashion began to seep into jewelry consciousness, to shape design, form, color, and the ways in which jewelry was worn. For example, ‘50s fashion, with its soignée sophistication, was inspired in part by the Belle Époque and its cult of femininity. This in turn brought the choker necklace back into vogue, the deep pearl choker that became the style signature of Princess, later Queen Alexandra. The choker was revived again in the 1980s, worn with such panache by Princess Diana, in her witty homage to Alexandra, her predecessor as Princess of Wales, and very much in the mood of the New Romantics. A mood captured by the sumptuous pearl, diamond, ruby, and tourmaline choker by Harry Winston: just one of the jewels in the Phillips New York June sale that throws a focus on the fusion of fashion and jewelry. The sale presents jewels of vibrant, fashion-fueled color, by the House of Graff or Tamara Comolli, as well as bracelets as supple as silk, mimicking fabric, as in the diamond-edged gold mesh bracelet by Aletto Brothers. An eye-catching and eye-illuminating pair of spectacular opal and demantoid garnet drop earrings is the work of James de Givenchy for his brand, Taffin. Givenchy, the nephew of the late couturier Hubert de Givenchy, shows his fashion heritage in his fearless use of color, texture, and silhouette, with an inimitable touch of audacity, the balance of extravagant eccentricity with refined sophistication that is the essence of a true Couture spirit.

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Aletto Brothers, A Diamond and Gold Bracelet. Estimate $8,000 - 12,000. Jewels New York.

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The 1960s and 70s hot-blooded, hedonistic climate of social, cultural revolution was the next era to infuse jewelry with a strong fashion flavor. The sale offers a pair of 1973 onyx, gold and lapis lazuli earrings by Aldo Cipullo for Cartier that show the designer’s signature style of modernism, geometry and use of hardstones, a style that was perfectly in tune with art, design, and fashions of the day. From the same era, and in a similar spirit of powerful femininity, a striking cross-shaped pendant in gold and carved, rounded black onyx is by the cult American designer, Bill Smith, also for Cartier. In his work, Smith, who had come to New York originally to study dance (clearly giving him a sense of form and movement) meshed different influences and design disciplines, but most of all bringing a strong fashion sensibility to his jewelry, capturing his moment in time, in his expression of powerful Art Deco-inspired geometry and African influences.

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When, in the late 1990s and early noughties, the mighty fashion houses—most notably Chanel and Dior—began to infiltrate the fine jewelry arena, spotting the potential of jewelry, which was largely unbranded and under-marketed, they brought with them a strong sense of fashion-focused relevance and new, powerful femininity. They understood that women wanted to buy their own jewelry, looking for jewels that suited their wardrobes and lifestyles. As in the early days of couture, women were far more adventurous in their choices, opting for color, flair, fantasy, for narrative and storytelling to express their personal style and their own stories and values. A pair of Chanel Fine Jewelry earrings in the sale, from the 2017 Les Blés de Chanel collection, designed as stylized ears of wheat, in yellow gold, with sun-drenched yellow sapphires and diamond highlights, refers to Mademoiselle’s personal obsession with symbols, in this case the wheat-ear or wheat sheaf she remembered from her childhood, the emblem of prosperity, fecundity and creativity. Her rue Cambon apartment was decorated with objects and furniture featuring the gilded wheat sheaf.

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Francisco Costa and Fred Leighton, A Diamond, Colored Diamond, Quartz, Wood and Gold Necklace (detail). Estimate $20,000 - 40,000. Jewels New York.

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Finally, the sautoir by Brazilian fashion designer Francisco Costa in collaboration with New York celebrity jeweler Fred Leighton adds another dramatic contemporary fashion dimension. Costa trained with Oscar de la Renta and is best known as the creative director of Calvin Klein, during a 13 year tenure. Created in the style of the “craft” or studio jewelry that has taken such a starring role on the catwalk in recent years, the 42.5 inch long gold fringed and looped chain is scattered, seemingly at random, with briolette-cut white and colored diamonds, old European cut diamonds, fancy shaped quartz and druzy geode slices. The powerful 70s vibe evokes the crafts-revival of the decade and its free-wheeling, free-form expression for fine jewelry: there’s freedom in the way in which the sautoir can be worn in different ways, long, doubled or trebled, or cross body.

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One hundred percent of the proceeds from the sale of this sautoir will be donated to Conservation International. The fashion-forward jewel was conceived and crafted expressly, by Costa Brazil and Fred Leighton to provide COVID related relief to the Indigenous communities in the Amazon. In consultation with the Yawanawa communities in Rio Gregorio, Conservation International Brazil will use the funds to assist the Yawanawa as they continue the recovery process post COVID. They aim to strengthen their production systems, food security, and use of medicinal plants, and altogether reinforce the resilience of Yawanawa People in facing a pandemic crisis such as the Covid-19. The money will enable the acquisition of seeds and seedlings, tools for mowing, implements for agroforestry, fishing equipment, purchase of fry and fingerlings for fish production or chicks for chicken production, fuel for travel and transport and much more. This level of support is critical for the well-being of the community and their ability to steward their forests, improving the lives and livelihoods of this Indigenous community and nurturing the natural world they so passionately restore and protect. A fashion-forward jewel reaching way beyond fashion and giving new meaning to precious.

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Discover More from Jewels New York >

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Recommended Reading

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Jewels for Breakfast: In Conversation with Francisco Costa >
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\nUnlikely Pairings: Woman to Woman Edition >

\n\n

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