MASTER OF JEWELLERY DVD:2

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LONDON

Middle Eastern buyers are highly sophisticated shoppers, they don't want last years fashion, they want next years fashion. You've got to build a piece of jewellery keeping in mind that you may have to change it for them in a couple of years time, if they are fed up with the style.

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NEW YORK

Webb's designs were bold, and it was never understated. It was never subtle it was designed to make a statement. It wasn't your traditional, take a stone, put 4 prongs around it and put it in a ring. It was really more wearable art. Every piece had something to say. We were never accused of being stone dealers we were jewellers. I always like to say that the price was greater than the some of the parts, because we always had so much other stuff in each piece, whether it was labour, attention to detail and it was just the way it was put together. It wasn't just pieces of stones and metal.

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MILAN

I was very arrogant at that time. I would say "I show the world what I feel, and what I feel would be the best".Now I wouldn’t say something like that, at age 54, but at that time I was very strong and engaging and proud. Proud in the sense that I knew I wanted to work hard, to make the best.

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GENEVA

My father was going crazy when he saw the way my grandfather acted. Because my grandfather if he didn't like a customer , he threw them out. It was as simple as that. The first thing my father did, the moment my grandfather died , was take an axe and smash the shop to pieces.. he had such strong feelings. He hired a good architect, who was Swedish living in Turkey and made a total modern concept of a shop.

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LONDON

I was a punk and I was completely punk and I was probably one of the only ones in Hatton gardens at the time. I used to get picked on for that reason but I don't know if it was stubbornness or what, I stuck to that and I also stuck to jewellery. I went and worked for a designer, and it was then that I actually realized that there is much more to this industry.

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PARIS

You have to do two things at once. You have to be very knowledgeable of all the process and at the same time you have to forget about all of that, because pretty often you'll design something and the workshops they will always tell you, you can't do it, because it is very complicated to do. They don't want to take the chance of it not working out because it will be there fault. So you have to say I want it done this way and that is it, so just find a solution.

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MILAN

It was 1994 and I was travelling with my father. We were in China and I remember it was a very surreal situation. We were on the border taking a train going from one country to the other it was like duty free place at a station and a big poster of Isabella Rossellini there looking at me, and she was so beautiful (and in the place was not beautiful at all). She represented beauty for me. We were in the middle of nowhere. I was tired, it was raining and I started to think 'that woman has so many things together in herself. She is Italian but she is international. She is really in my point of view an Icon of a certain type of intellectual beauty.

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GENEVA

Once I went to an exhibition and it was one of the very first that my father sent me to, in the Philippines[at the time of Imelda Marcos]. They needed a family member and I was just 17 and I was just sort of helping out. My father told them, 'the Vice President will be coming' and as I walked out of the plane with jeans and t-shirt they asked "Where is the Vice President?' and then our representative said, 'She is here'. Then they said, 'Oh my God she is a kid!'.

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MILAN

The first time I had a fancy pink diamond in my hand 5 or 6 carat heart shape and it had a value of maybe 200,000 $ per carat I was 23 years old. I remember I called my father in Italy and I said I had known that he had seen them before but I was holding something that at the time was worth one million dollars. When you put something like that in your hand it gives you a push to study and to go on and see what else there is.

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PARIS

Henri Lalique has designed about 400 different models of scent bottles and today people are collecting those antique scent bottles. There was auction and one bottle was sold for 300,000 Euros!

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NEW YORK

I had been discovered at a craft fair by a very prominent gallery owner - Mrs. Joan Sonovan And 'Sculpture to Wear' was really the thing that turned it all on for me. It was jewellery by very famous artists, that most people don't even know about - Picasso, Man Ray, Arp, Max Ernst, all the great ones, Brach, Miro they all did some kind of jewellery, and in that jewellery everything about that artist came forward. So I said to myself 'Oh my God this who I am, this is what I want to do and I am not famous for anything else yet, but I want to use jewellery as my primary medium of art'.

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PFORZHEIM

Faberge actually was not considered a goldsmith himself. He was not making the things himself and there are only a few sketches that he actually drew himself. Different so-called work masters who were working more or less independently under his surveillance made the items. One was a specialist in enameling, one was specialised in silver, the other in jewellery.

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