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Resplendent in a teal-colored Maria Lucia Hohan gown, Ms. Dewan wore a mismatched pair, featuring two uniquely shaped slabs of blue-green boulder opal framed by diamonds.

Joanne Teichman, owner of Ylang23.com, a Dallas-based fine jewelry boutique, saw them on her television screen. A fan of Ms. Neuwirth’s work, she started tweeting and texting her then and there.

“I was saying to her, ‘Oh my God, I’ve got the perfect client for them,”’ Ms. Teichman recalled. When Ms. Dewan returned the earrings, Ms. Neuwirth sent them to Ms. Teichman, who sold them to a devotee of boulder opals.

Over the past five years, a convergence of social media and celebrity culture has refashioned the red-carpet jewelry game: Heavyweights like Chopard, Harry Winston and Bulgari have had to make space for a new generation of designers whose use of offbeat colored stones, bold proportions and unconventional motifs has found a passionate following among denizens of Web 2.0, many of whom, like Ms. Teichman, are helping to promote the newcomers to clients.

First, however, jewelers eager to play to the red carpet crowd have to catch the attention of Hollywood’s fashion scene gatekeepers: the stylists.

“Two things determine if you’ll even get in front of the celebrity,” said Kimberly McDonald, a New York designer known for putting a luxury spin on earthy gems like geodes and opals. They are clicking with the stylist and clicking with the dress.

Ms. McDonald maintains a showroom in Manhattan, but 18 months ago she decided to make a more permanent home in the Hollywood Hills, drawn, she said, by Los Angeles weather and Los Angeles stylists: She is about to open her first retail store on the Sunset Strip, in part because it will be “a good central location for people to come by, borrow things, see our range.”

Not every jeweler interested in celebrity exposure is in a position to shift operations to Hollywood. Those looking for proxy representation would do well to look up Ginnina D’Orazio, the owner of D’Orazio Associates, a public relations firm in Beverly Hills.

Ms. Dorazio presides over a 4,200-square-foot, or 390-square-meter, showroom on Wilshire Boulevard lined with vitrines displaying the work of the firm’s 22 jewelry clients and racks of couture gowns from six fashion clients. She and her team of six publicists have helped introduce Tinseltown’s leading taste makers to a host of previously unknown brands, including Amrapali, of Jaipur, in India; Le Vian, the mass market fine jewelry brand; and Cora, a New York diamond jewelry manufacturer.

“We get anywhere from five to seven stylists a day — and triple that during awards season,” Ms. D’Orazio said.

The showroom’s central location and wide selection, not to mention the valet parking, make it an appealing destination for stylists on the go. “It’s a one stop shop for everything,” said Mariel Haenn, a stylist and self-described jewelry junkie who regularly dresses her clients in pieces from the D’Orazio showroom.

Last month, for example, Ms. Haenn put Jennifer Lopez in a 50.40-carat fancy yellow diamond ring set in ebony wood for a performance of American Idol. The $2.1 million bauble, by Cora, “sold the next day,” Ms. Dorazio said.

The speed with which a piece of jewelry showcased on a celebrity can sell is not the only thing that has changed in the two decades since the red carpet became a full-fledged fashion phenomenon.

“It’s quite a bit different today, because you are competing with brands that are buying their way onto the red carpet through paid endorsement, whereas the people that wear my jewelry are true fans and great friends,” said Martin Katz, a Beverly Hills jeweler who kicked off the modern red carpet jewelry era in 1992, when he loaned pieces to Sharon Stone for the premiere of “Basic Instinct.”

“A few years later, the red carpet was in the cross hairs of every designer, accessory house and shoe designer,” Mr. Katz said.

The competition to land a celebrity endorsement is fierce, indeed — though paying celebrities to wear jewelry is rarely, if ever, discussed.

One brash newcomer has sidestepped the issue by offering celebrities something even more valuable than cash: a way to safeguard their reputations. Hoorsenbuhs, a Santa Monica, California jewelry company established in 2005 by Robert G. Keith, features diamonds from Forevermark, the De Beers loose diamond brand that guarantees its stones have been responsibly obtained.

Having that kind of assurance is especially appealing to celebrities, said Kether Parker, Hoorsenbuhs’ brand ambassador. “They get scrutinized the most for wearing big bling and now they can say, ‘It’s number 4342 and it was mined in the Orapa mine on Jan. 10 and taken to the cutting facility in Antwerp, so there’s your history and your ethics’,” he said.

When it comes to the biggest red carpet event of all, however, stylists, editors and industry-watchers agree: Few stars deviate from the usual suspects.

“Right now, the red carpet at the Oscars is shut down to experimentation,” said Marion Fasel, contributing editor of fine jewelry and watches at InStyle magazine. “That day has passed.”

To which Ms. Haenn adds a point: “It’s not every day you can wear Harry Winston.”

This article has been revised to reflect the following correction:

Correction: May 16, 2012

An earlier version of this article included an incorrect link for Ylang23.com.

Article source: http://www.nytimes.com/2012/05/16/fashion/for-jewelers-using-celebrities-as-a-showcase.html?partner=rssnyt&emc=rss

A dark, action-filled take on the Grimm Brothers’ classic tale, the film tells how a huntsman, sent to steal — literally — Snow White’s heart, joins forces with the princess-turned-warrior to help her battle for her kingdom.

“It was a piece of jewelry that the queen dons halfway through her journey to complete darkness, so the mood of it was quite sinister and threatening,” Ms. Atwood, a three-time Academy Award winner, said by telephone from Los Angeles.

“Because it was important to her character, we wanted it to be something that a queen could have, that looked really special and beautiful,” she said.

Vicious in its sharpness and of a considerable weight, the ring comprises two diamond-studded barbed claws that span the thumb and forefinger, married by a chain, to all appearances capable of performing the act that was its inspiration — a scene in which the Evil Queen plucks out a bird’s heart to eat.

With a mere three weeks to design and make the ring, Ms. Azagury-Partridge had little time to deliberate.

“Once I have an idea it’s pretty fully formed,” she said during a recent interview in her London studio.

“The original sketch is in my diary, and then I work with my girls downstairs and they work it up and do a beautiful drawing for me that’s technically correct, so that I can give it straight to production,” she said. “There was no time for models, we had to go straight into the metal.

“Because it was so rapid, it’s almost a blur. It just happened so quickly. But, sometimes the best things do.”

This is not Ms. Azagury-Partridge’s first foray into the world of the big screen. Several of her pieces appeared in “Sex and the City 2” — most notably Random, a necklace in 18-karat blackened white gold with emeralds, sapphires, rubies and fire opals, worn by Sarah Jessica Parker in the opening scene of the film.

Nor would she like it to be her last. As she says while fingering the dangerously sharpened edges of the ring designed to the proportions of Ms. Theron’s fingers and not, as usual, to her own: “It’s kind of fabulous to be part of the Hollywood story.”

Ms. Azagury-Partridge says she discovered jewelry only when she was in her 20s. It was then that she received what she calls her “cultural education,” working at Harry Winston’s gallery on Fulham Road in London, where she was able to immerse herself in his inexhaustible library of 20th-century objets d’art.

The experience left her with a strong sense of what she felt jewelry should be. So when she was unable to find an engagement ring she liked, Ms. Azagury-Partridge decided to design her own. An uncut diamond set in a simple gold band, it was a piece that received such widespread admiration that she continued to create pieces for friends and eventually started her own company.

Despite a lack of any formal training, Ms. Azagury-Partridge, whose Solange brand now runs five boutiques worldwide, has an impeccable résumé: a three-year stint as creative director at Boucheron; a Design Museum nomination for 2003 Designer of the Year; and several pieces in the permanent collections of the Victoria and Albert Museum in London and the Musée des Arts Décoratifs of the Louvre in Paris.

Yet her work is born of an irreverence toward jewelry that is almost palpable. It is an attitude that she found, with recognition and admiration, in Elizabeth Taylor.

“She had the right attitude towards jewelry,” she said. “She loved it. She was voracious. She wore it and almost disrespected it: It did not rule her.”

Article source: http://www.nytimes.com/2012/05/16/fashion/a-piece-of-jewelry-brings-a-touch-of-evil-to-the-big-screen.html?partner=rssnyt&emc=rss

At the time, he had been recruited to oversee the financial restructuring of Asprey Garrard, the London-based jeweler to the British crown. The company had run into deep trouble under the ownership of Prince Jefri Bolkiah, the Sultan of Brunei’s profligate younger brother.

“I figured we had to do something to bring people back to the store on Bond Street,” Mr. Procop said from a small but light-filled showroom in Beverly Hills, where he maintains an exclusive wholesale and by-appointment business, Robert Procop Exceptional Jewels. “And I thought, well, if I’m going to do the Oscars, I’ll do them at one time.”

Among the celebrities Mr. Procop worked with that night was Hilary Swank, a best-actress nominee for her performance in “Boys Don’t Cry.” He put her in an antique necklace that he created at the last minute by deconstructing an Asprey Garrard tiara.

“She won the Oscar, so it was her lucky charm,” he said.

As it happened, Mr. Procop was equally charmed that night. He made the acquaintance of Ms. Jolie after dressing her in an antique Asprey Garrard Art Deco bracelet.

As the two got to know each other, Ms. Jolie became, if not quite Mr. Procop’s muse, then an enthusiastic collaborator. She brought her first idea to him in 2008, when she suggested they co-design a snake-themed collection called The Protector, with proceeds to go to the Education Partnership for Children of Conflict, the nonprofit Ms. Jolie founded in 2007.

“She doesn’t do anything unless it’s for charity,” Mr. Procop said.

In 2008, Ms. Jolie asked the jeweler to help her design a pendant bearing a hidden message as a Christmas gift for Mr. Pitt, setting the stage for a co-designed collection inspired by ancient tablets.

“We studied all different kinds of tablets — old Chinese tablets, the Ten Commandments, antique tablets from the Arabian peninsula,” he said. “From there, we formulated how a diamond might look if we engraved it, and then made a vessel to hold what you would think was a heavy stone, and from there we made a pendant for Brad.”

The process by which the actress and jeweler worked — exchanging ideas and sketches during carefully choreographed encounters in foreign cities where their paths happened to cross — laid the groundwork for an even more fruitful collaboration: In 2010 the pair embarked on Style of Jolie, a collection of pieces featuring rich, saturated gemstones — especially fine Colombian emeralds, black spinel and honey-colored citrines — in sculptural gold mountings.

“She has a very classic, chic style; there is a pureness to it. She doesn’t like the small micropavé,” Mr. Procop said. “We’re designing things she would wear, that she really truly loves. Then we sell them and give 100 percent to charity.”

The line, which incorporates both the tablet setting and plenty of bezel-set gems in rounded cushion cuts, originated with a storyboarding process that, to hear Mr. Procop tell it, Ms. Jolie approached with an art historian’s rigor.

“She comes with more ideas and more research and books and images and she finds things I can’t find,” he said, pointing to the wall, where a series of storyboards plastered with images of full-bodied women from Renaissance-era paintings provided the basis for the collection’s trademark curves.

Style of Jolie will debut in the United States this autumn. But interested buyers should take note of the collection’s high quotient of one-of-a-kind and limited edition pieces, which, given the publicity Mr. Procop has received, may soon be spoken for.

On the Monday in April that followed the first known sighting of Ms. Jolie wearing her new engagement ring — a sizable tablet-cut stunner flanked by straight-edged diamonds in graduating sizes — Mr. Procop said he had to turn off his phone to stem the flood of media inquiries he had received over the weekend.

He offered up a few tidbits in a statement: “The ring was entirely hand carved in yellow gold. Every diamond is custom faceted to design specifications of gem quality” but beyond those spare details, Mr. Procop declined to elaborate, citing his respect for the newly engaged couple.

“It’s their moment,” he said. “I’m hesitant to take the spotlight.”

Article source: http://www.nytimes.com/2012/05/16/fashion/stars-add-glitter-to-jewelers-designs.html?partner=rssnyt&emc=rss

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Long before designer gowns on the red carpet came to matter as much as who won Oscars, jewelry was a part of Hollywood folklore — a seduction tool and symbol of fame and dizzying wealth.

When Howard Hughes lavished Ava Gardner with thousands of dollars of jewelry in the 1940s, it made headlines in gossip columns as the world’s richest playboy tried to win Hollywood’s newest sex symbol. It apparently worked. Recently divorced from her first husband, Mickey Rooney, she quipped to a friend that in comparison with Hughes, “Mickey seemed like a boy who had just gotten paid from his paper route.” Such was the lure of jewelry in the Hollywood of old.

“The Artist,” the silent film that won the Academy Award for best picture this year — nearly 85 years after the silent film “Wings” won the first such award — paints a picture of late-1920s Hollywood, when furs and flappers ruled the world and simple pearl and diamond parures offset the excesses of the Jazz Age.

As the Great Depression took hold, in the 1930s, Hollywood became even more about fantasy, with stars like Jean Harlow and Marlene Dietrich decked in lavish necklaces, brooches and rings. The jewels onscreen were often rhinestone and glass, but they seemed as real to their audiences, as full of aspirational allure, as the stars’ fake eyelashes.

Off screen, jewelry could inspire almost religious awe and devotion.

The jeweler Harry Winston has been synonymous with status and movie-star panache since the 1930s. In 1944, in the full flood of World War II, he dressed Jennifer Jones in diamonds at the Oscars, where she won the best actress trophy for “The Song of Bernadette,” ushering in an era of Hollywood divas publicizing a name synonymous with Tinseltown. “Talk to me, Harry Winston. Tell me all about it,” Marilyn Monroe cooed a decade later, in that ultimate creed of the breed: “Diamonds are a Girl’s Best Friend.”

The jeweler has dressed Hollywood royalty on the red carpet for decades, adding that glimmer of old glamour to newer movie stars like Halle Barry, Jessica Chastain and Natalie Portman — and memorably in Madonna’s performance at the 1991 Oscars where she wore $20 million worth of Harry Winston diamonds.

“The appeal of Old Hollywood is not necessarily about looking back, but the idea of capturing the essence and style that it embodies,” said a Harry Winston spokesman, by email, in New York. “It’s about a timeless glamour, and that’s something that continues to resonate with people. Our iconic designs like the Winston Cluster earring, which was created during the 1940s, remain equally popular with clients today.”

Harry Winston’s contribution will be part of a major exhibition, “Hollywood Costume,” at the Victoria Albert Museum in London, opening in October, which will illustrate jewelry’s presence on screen and off, with such actresses as Ingrid Bergman in “Notorious” and Anne Bancroft in “The Graduate.”

In addition to being splashed on the screen, jewelry was also much more a part of movie plots and often influenced the era in which they were made, perhaps most famously in “To Catch a Thief,” which portrayed Cary Grant as a dapper retired jewel thief and Grace Kelly as his glamorous love interest. The filming of that movie in Monaco in the mid-1950s led to the marriage of Kelly to Prince Rainier of Monaco, and their wedding was a jewel-draped affair.

European stars turned many jewelers into household names — perhaps most notably Bulgari. Gina Lollobrigida, Anna Magnani and Sophia Loren wore Bulgari jewels on screen and off. Audrey Hepburn shopped regularly at the flagship store on the Via Condotti in Rome during the filming of “Roman Holiday” in 1953, scooping up compacts, a cigarette case and a solid-gold pin. Tyrone Power and his actress wife, Linda Christian, bought their wedding rings there in 1948.

But Bulgari may be most associated with the tumultuous relationship between Richard Burton and Elizabeth Taylor. Burton lavished Taylor with a Bulgari necklace and detachable brooch while filming “Cleopatra” in Rome in 1962, and then gave her an 18.6-carat emerald ring surrounded by pear-cut diamonds for their wedding day in 1964.

“I introduced Liz to beer. She introduced me to Bulgari,” Burton once said. “The only word Liz knows in Italian is Bulgari.”

Article source: http://www.nytimes.com/2012/05/16/fashion/hollywood-fame-shifts-but-jewels-remain-forever.html?partner=rssnyt&emc=rss

It worked.

“This gesture was so touching in its spontaneity,” the then Ms. Segard — now married to Mr. Venet for more than 25 years — said in an interview.

It also had another, unintended consequence: “It enabled me to discover the little known universe of jewelry designed by artists, unique and precious works of art,” she said.

That discovery ignited a passion for understanding, tracing and collecting jewelry pieces designed by artists that has made Mrs. Venet into one of the world’s most important collectors of such jewelry.

“They are precious not only for their rarity, but also the symbolic content that is at the origin of their creation,” she said.

From collecting for her own account, Mrs. Venet has branched out into a more public role, as a curator of museum exhibitions.

Last autumn she put on an exhibition titled, “From Picasso to Koons: the Artist as Jeweler,” at the Museum of Arts and Design in New York.

On Wednesday a new version of the show will open at the Benaki Museum in Athens.

“I add new pieces to each show, Greek artists in Athens, or Spanish sculptors for the next show in Valencia,” Mrs. Venet said.

Many of the 180 pieces in the show belong to Mrs. Venet, whose private collection counts more than 150 pieces, painstakingly hunted down over the years in auctions, or acquired from specialized dealers and other collectors.

The exhibition includes unique pieces or very limited editions rarely visible in museums of galleries. There are, for example, two pieces designed by the sculptor Louise Bourgeois — a gold spider brooch and a silver choker resembling a bondage instrument. Also included are a pendant by the Pop artist Roy Lichtenstein, featuring a scaled-down version of his painting “Crying Girl,” and a necklace made by the Chilean-born Roberto Matta for his wife, Germana.

Many of the pieces were gifts by the artist to a relative, a friend or in Mrs. Venet’s case, the collector herself.

“Being married to an artist, I have been closely connected to the world of art, which has helped me build a collection over the years,” she said.

“Arman and César, our close friends, were the first ones I collected,” she said, referring to the French sculptors.

In 2007, the Franco-Algerian artist, Kader Attia, designed for her a two-finger, white-gold ring shaped like handcuffs.

The following year, Mrs. Venet persuaded Frank Stella to make a necklace in what she described as a “rough metal covered with titanium paint,” and the French artist Jacques Villeglé presented her with a ring bearing symbols from the artist’s political repertory.

Benvenuto Cellini, the Italian Renaissance artist and goldsmith, made gem-set baubles for his Florentine patrons: But the history of modern artist-designed jewelry goes back barely a century. “The history really begins with the sculptors Calder and Bertoia, who first had the idea to make with their own hands a new kind of jewelry, using unusual materials,” said Marguerite de Cerval, a historian of jewelry based in Paris.

Alexander Calder, the American sculptor best known for his mobiles, or suspended, articulated abstract sculptures, made more than 1,800 handmade pieces of jewelry, often using common materials like brass or steel wire, rope, leather, or ceramics.

“For Calder, making jewelry was not a marginal activity: He created a veritable oeuvre,” Ms. de Cerval said.

Article source: http://www.nytimes.com/2012/05/16/fashion/modern-artists-find-a-sartorial-purpose-with-jewelry.html?partner=rssnyt&emc=rss

“These jewelers are popular with the fraternity because we have personal equations with them,” said Farah Khan, the director and choreographer, who is no relation to the jewelry designer Farah Khan.

Built over a number of years, these relationships have proved mutually beneficial to stars and jewelry brands alike. As the emphasis on styling has increased in film, stylists now prefer to work with real, rather than costume jewelry, said Niharika Bhasin Khan, an award-winning film stylist.

Movie audiences can tell the difference between real and fake jewelry, Ms. Khan said, so stylists increasingly are turning to jewelry brands when they need pieces. Stylists are also employed to provide stars with jewelry for public appearances at award functions and galas. Most jewelers are happy to oblige.

“Movies are an integral part of marketing because they are an across-the-class phenomenon in India,” said Rajeshree Naik, head of marketing for Forevermark Diamonds in India, part of the De Beers group, which supplies stones to some of these jewelers.

Ms. Naik cited a scene from the 2011 Eros International release “Desi Boyz,” in which the hero, played by John Abraham, passes a De Beers storefront in London and is captivated by a Forevermark solitaire ring. He proposes to his girlfriend, played by Deepika Padukone, using the line, “I’ve heard this ring is very rare and unique: But not more than you.”

Corny, maybe: But, according to Ms. Naik, the ring sold well after the movie’s release, especially with Indians living outside India.

Among the best-known jewelers to the stars is Anmol Jewelers, a 25-year-old brand that offers both classic and contemporary designs.

“I was at the right place at the right time,” said Ishu Datwani, the founder. Mr. Datwani attributes his success to an emphasis on design, finish, competitive pricing and a well-chosen store location, in the heart of Mumbai’s Bandra suburb, where many film stars reside.

“When I opened the store, there were hardly any jewelry stores in Bandra,” he said. “Word got out, and gradually people from the film fraternity started coming.”

Anmol Jeweler’s earliest patrons included Malaika Arora Khan, a sister-in-law of the actor Salman Khan, and the actress Shilpa Shetty, famous for winning the British TV show “Celebrity Big Brother” in 2007.

The brand produces a few thousand pieces a year, most of which are manufactured in Mumbai at 17 Anmol-affiliated workshops. Prices start at $300 for a small ring or a pair of earrings but can exceed $100,000 for a necklace.

Movie stars like Ms. Shetty and Lara Dutta turned to Anmol Jewelers for their wedding jewelry, an important part of an Indian bride’s trousseau.

“I wanted my wedding jewels to be traditional, so Ishu created pieces made of polki,” or uncut diamonds, “and uncut rubies with a matching cummerbund, which is what we south Indians wear,” Ms. Shetty said via e-mail.

Also included was a maang tikka, a forehead ornament, made of rice pearls, she added. “My favorite piece was the peacock amulet, which was Ishu’s design and idea. The reception jewelry was vintage, made of diamonds and rubies.

“I felt like a princess. A lot of thought went into everything. And I told him it can’t be replicated for anyone, which he agreed to,” Ms. Shetty said.

Article source: http://www.nytimes.com/2012/05/16/fashion/in-india-jewelers-and-stars-align.html?partner=rssnyt&emc=rss

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