Podcasts about Boucheron

What do you get when In the News takes over the whole episode? A disorganized perfection, and we wouldn't have it any other way. This week on Wisdom from the Wardrobe, Lady P's plan was promptly disregarded like fast-fashion from last season, while the 2025 Met Gala pulled at our heartstrings. With the theme "Superfine: Tailoring Black Style," and the dress code "Tailored for You," we perused the blue carpet, and we are here for every bead, button, and bespoke moment! We breakdown the best and most unforgettable looks (and unapologetically fabulous looks) and some that had wondering what happened: Shaboozey made his Met Gala debut in a turquoise wave-patterned suit, matched with turquoise grillz, and a tilted wide brim hat basically saying, "I am the owner of this carpet." Lauryn Hill looking like butter wouldn't melt in her Jude Dontoh suit that included cape, umbrella, and drama worthy collar that gave us chills. Demi Moore, black tie redefined with a beaded ensemble that was an actual necktie. Fashion pun intended and executed completely. And Colman Domingo serving royalty in Valentino and Boucheron layered with sequins, and more texture than a luxury fabric swatch book, to name just a few. If you enjoy a none too serious Met Gala recap with a side of sass and smarts, and tailored suit talk, this episode is custom made for you. Listen in for your weekly dose of style talk.

What do you get when In the News takes over the whole episode? A disorganized perfection, and we wouldn't have it any other way. This week on Wisdom from the Wardrobe, Lady P's plan was promptly disregarded like fast-fashion from last season, while the 2025 Met Gala pulled at our heartstrings. With the theme "Superfine: Tailoring Black Style," and the dress code "Tailored for You," we perused the blue carpet, and we are here for every bead, button, and bespoke moment! We breakdown the best and most unforgettable looks (and unapologetically fabulous looks) and some that had wondering what happened: Shaboozey made his Met Gala debut in a turquoise wave-patterned suit, matched with turquoise grillz, and a tilted wide brim hat basically saying, "I am the owner of this carpet." Lauryn Hill looking like butter wouldn't melt in her Jude Dontoh suit that included cape, umbrella, and drama worthy collar that gave us chills. Demi Moore, black tie redefined with a beaded ensemble that was an actual necktie. Fashion pun intended and executed completely. And Colman Domingo serving royalty in Valentino and Boucheron layered with sequins, and more texture than a luxury fabric swatch book, to name just a few. If you enjoy a none too serious Met Gala recap with a side of sass and smarts, and tailored suit talk, this episode is custom made for you. Listen in for your weekly dose of style talk.

Le parc du château de la Baronnière à La Chapelle Saint Florent avec Anne du Boucheron, co-présidente de l'Aspeja. Eddy…

“Dessins de bijoux” Les secrets de la créationau Petit Palais, Parisdu 1er avril au 20 juillet 2025Entretien avec Clara Roca, conservatrice des arts graphiques après 1800 et des photographies – Petit palais, et commissaire scientifique de l'exposition,par Anne-Frédérique Fer, à Paris, le 31 mars 2025, durée 24'56,© FranceFineArt.https://francefineart.com/2025/04/04/3608_dessins-de-bijoux_petit-palais/Communiqué de presseCommissariat généralAnnick Lemoine, conservatrice générale, directrice du Petit Palais.Commissariat scientifiqueClara Roca, conservatrice des arts graphiques après 1800 et des photographies.Le Petit Palais présente l'exposition Dessins de bijoux. Les secrets de la création et dévoile pour la première fois la richesse de cette collection, sortie de ses réserves et couvrant plus d'un siècle de création, de la seconde moitié du XIXe au milieu du XXe siècle.Le musée révèle la diversité et l'ampleur de ce patrimoine constitué depuis la fin des années 1990 à travers une sélection exceptionnelle de dessins, réalisée parmi plus de 5500 oeuvres. Des feuilles de créateurs à redécouvrir, comme Pierre-Georges Deraisme et Charles Jacqueau, et des maisons prestigieuses telles que Boucheron, Cartier, Rouvenat et Vever témoignent de l'évolution des styles et des techniques dans le domaine de la joaillerie.Après L'art du pastel (2017-2018), Édition limitée (2021), Trésors en noir & blanc (2023-2024), le Petit Palais poursuit avec cette exposition la mise en lumière de son fonds exceptionnel d'arts graphiques.Dessins de bijoux propose aux visiteurs un véritable voyage dans un atelier de création, grâce à un parcours qui se déploie en quatre grandes sections.Le visiteur est invité à plonger dans l'univers imaginaire des dessinateurs de bijoux qui puisent leur inspiration directement de l'observation de la nature mais aussi de recueils d'ornements qui véhiculent des formes décoratives issues de différentes époques et régions du monde. Carnets d'esquisses, planches de motifs, livres… immergent le visiteur dans ce monde foisonnant.L'exposition se veut également pédagogique, offrant un éclairage sur les différentes étapes de la création d'un bijou : de l'esquisse rapide au dessin final, à l'échelle 1 et mis en couleur. Cette deuxième section s'attache à présenter la manière dont se mêlent rigueur technique et sens artistique dans la conception de ces objets précieux. Une sélection de dessins à la gouache particulièrement séduisants met en valeur l'Art nouveau et l'Art déco. Une vidéo réalisée à la Haute École de Joaillerie dévoile les gestes précis et intemporels des gouacheurs faisant ressortir la beauté et la maîtrise de leur savoir-faire.Véritables oeuvres collectives, les bijoux naissent de la collaboration de nombreux corps de métiers : dessinateurs, modeleurs, graveurs, ciseleurs, reperceurs, émailleurs, joailliers, sertisseurs, enfileurs ou encore polisseurs. La troisième section évoque cette synergie, en exposant les dessins en regard des bijoux finis dont certains sont issus des collections du Petit Palais comme « Le Pendentif Sycomore » (1910) ou « La Bague insectes » (1903) de Georges Fouquet. Ce dialogue entre le papier et le métal révèle la complexité du travail de chaque main et la beauté du processus créatif.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Boucheron Pour Homme by Boucheron (1991) + David Jacobs' Knots Landing season 11 (1989-90) + Paul Krasny's Terror Among Us (1981) with The Eternal Dillards of Ghost Jail 2/21/25 S7E10 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Dans cet épisode 218, le thérapeute Grégory Boucheron vous guide sur un sujet essentiel : comment savoir choisir son thérapeute ? Entre différentes approches, spécialisations et personnalités, il n'est pas toujours facile de trouver le professionnel qui correspond à vos besoins. Quels critères privilégier ? Comment reconnaître si une thérapie vous convient ? Et quelles étapes suivre pour établir une relation de confiance ? Sur le podcast de Psychologue.net, nous nous engageons à vous accompagner dans votre démarche de mieux-être en vous offrant des conseils pratiques et éclairés. Rejoignez-nous pour découvrir toutes les clés pour choisir le thérapeute qui vous aidera à avancer sereinement.

The BBC story about the Nigerian watchmaker, Bala Muhammad, can be found here.HSNY's event page for the Early American Pocket Watches lecture being given by Richard Newman can be found here.A Hodinkee article about The Toledano & Chan B/1.2 can be found here. The Boucheron guy (@thewatchfam) on Instagram can be found here. The Galbe Gallery (@galbegallery) on Instagram can be found here. The 1945 Heuer “Big Eye' Chronograph with a gold case and double-stepped lugs running on the Valjoux 23 movement can be found here. You can find us on our Website, YouTube, Instagram, X, TikTok, and Facebook Check out Life on the Wrist Merch!

Scott Kerr is joined by Hélène Poulit-Duquesne, CEO of French high jewelry house Boucheron, to discuss how the company is preserving the innovation and creative design legacy of its founder Frédéric Boucheron and her push to revive the identity of the 166-year-old "sleeping" luxury brand. She also talks about how being a small and nimble company has enabled Kering-owned Boucheron to quickly bring boundary-pushing concepts to market, why her partnership with creative director Claire Choisne has been so successful, the rationale behind releasing two distinct high jewelry collections per year, why high jewelry has been more resilient than other luxury investments, and its big foray into the US market with standalone stores. Plus: Why the red carpet is so important to Boucheron. Featuring: Hélène Poulit-Duquesne, CEO of Boucheron (boucheron.com)Host: Scott Kerr, Founder & President of Silvertone ConsultingAbout The Luxury Item podcast: The Luxury Item is a podcast on the business of luxury and the people and companies that are shaping the future of the luxury industry.Stay Connected: scott@silvertoneconsulting.comListen and subscribe to The Luxury Item wherever you get your podcasts. Tell a friend!

durée : 01:00:07 - Patrick Boucheron, historien, professeur au Collège de France - par : Priscille Lafitte - Professeur au Collège de France, historien médiéviste, Patrick Boucheron s'inscrit aussi dans l'époque contemporaine par sa réflexion sur la place de l'historien dans la société. Un portrait musical tout en allers-retours entre visions passées et présentes. - réalisé par : Françoise Cordey

Boucheron by Boucheron (1988) + David Jacobs' Knots Landing season 10 (1988-89) + George McCowan's Frogs (1972) with The Eternal Dillards of Ghost Jail 11/22/24 S6E88 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

New Yorker Staff Writer (and lifelong fraghead!) Rachel Syme is in the Perfume Room this week! Creator of the now-defunct, infamous Perfume Genie Twitter threads, and newsletter-turned-Substack, The Dry Down, Rachel's on the *perfume beat* on and off the clock. Today we chat all about her recent work trip to Paris, where she spent several days with Master Perfumer Francis Kurkdjian and then wrote it about (read below); she shares the contemporary and vintage gems of her personal collection; the perfume hacks that guarantee compliments (and why she avoids them); and most importantly, Rachel discusses how to write about scent! JOIN SMELL CLUB! vanillasmellclub.eventbrite.com FRANCIS KURKDJIAN ARTICLE: https://tinyurl.com/64987c5p FRAGS MENTIONED: H&M Pear, Erbario Toscano Cuore di Pepe Nero, YSL Opium (vintage), Vilhelm Parfum Fleur Burlesque, CdG Series 3: Avignon, Marissa Zappas Honey Rose, Cacharel LouLou, Lancome Tresor, Giorgio, YSL Opium, Paloma Picasso, Van Cleef First, Bijan Bijan, Boucheron, Diptyque: Orpheon, Benjoin Boheme; Molecule 01 + Iris, D.S. & Durga DURGA, PHLUR Vanilla Skin, Hilde Soliani Hot Milk, Clinique Happy Heart, Scout Dixon West, Baccarat Rouge 540, Dior Sauvage Eau Forte, Elie Saab Le Parfum, Papillon Tobacco Rose, Oriza L. Legrand Relique D'Amour, Regime des Fleurs: Nitesurf Neroli, Tears; Parfums MDCI Peche Cardinal, Andy Tauer L'Air du Desert Marocain, Glossier: You, Doux; Papillon Tobacco Rose, Tom Ford Rose de Russie, Marissa Zappas Honey Rose, Diptyque Olene, Indult Tihota, Andrea Maack Coven, CdG Avignon, DS & Durga Burning Barbershop, La Curie Incendo, Vilhelm Mango Skin, Vacation, Bobbi Brown Beach

durée : 02:32:31 - Les Matins - par : Guillaume Erner, Isabelle de Gaulmyn - Avec Eric Verdeil, géographe et urbaniste / Sabine Barles, professeure d'urbanisme et aménagement à l'Université Paris 1 Panthéon-Sorbonne / Patrick Boucheron, professeur au Collège de France - réalisation : Félicie Faugère

durée : 00:39:35 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner, Isabelle de Gaulmyn - Co-auteur de la cérémonie d'ouverture des Jeux Olympiques de Paris, Patrick Boucheron est aussi un historien des villes du Moyen-Âge. Comment raconter les splendeurs des villes anciennes et redonner du pouvoir aux villes actuelles ? - réalisation : Félicie Faugère - invités : Patrick Boucheron Historien, professeur au Collège de France, titulaire de la Chaire d'histoire des pouvoirs en Europe occidentale (XIIIe-XVIe siècle)

Dans cet épisode numéro 198, le praticien Grégory Boucheron vient nous parler des crises d'angoisses et ce qu'elles cachent. Sur le podcast de Psychologue.net, nous nous dédions à donner des pistes et à résoudre des problèmes du quotidien pour améliorer votre bien-être et votre santé mentale.

For this month's collaboration with The Peak, the issue showcases the most recognizable design elements in the jewellery industry, highlighting the distinctive logos that characterise the histories of well-known maisons.    Some of it includes Tiffany & Co.'s Bird on a Rock, which is handcrafted by individual artists, is a representation of nature and colourful stones. Bulgari's serpent, which stands for eternity and rebirth, has developed from watch designs to jewellery. Known for its glitz and intrigue, Cartier's Panther is a classic. Chanel's Lion embodies bravery and strength, whereas Boucheron's Peacock Feather represents life and freedom.  On Culture Club, Roshan Gidwani speaks to Yanni Tan, Style & Watches Editor, The Peak Magazine, to find out more about the iconic motifs of these beloved jewellery brands.    Presented by: Roshan Gidwani Produced and Edited by: Alexandra Parada (alexparada@sph.com.sg) and Nadiah Koh Want to get featured on our show? Drop me an email today!See omnystudio.com/listener for privacy information.

Épisode 4 : Or Bleu, notre collection de Haute Joaillerie incarne non seulement la beauté de l'eau mais aussi son essence. En collaborant avec l'artiste musical Molécule, Boucheron a ajouté une dimension supplémentaire à nos créations avec une bande sonore dédiée, créée en Islande. Hosted on Acast. See acast.com/privacy for more information.

Des paysages de l'Islande à la ville de Hambourg, le photographe Jan Erik Waider nous embarque dans sa découverte des paysages de l'Islande et sa rencontre avec Claire Choisne, Directrice de la Création de Boucheron. Un voyage pour capturer l'essence et la beauté rare de l'eau, source d'inspiration de notre collection de Haute Joaillerie Or Bleu. Hosted on Acast. See acast.com/privacy for more information.

Les artisans Boucheron, Julie Pantaloni et Baptiste Clouet , nous guident à travers le processus créatif derrière la création d'une collection de Haute Joaillerie. De l'inspiration à la réalisation, suivez la collection Or Bleu qui prend vie dans nos ateliers. Hosted on Acast. See acast.com/privacy for more information.

Boucheron artisans Julie Pantaloni and Baptiste Clouet guide us through the creative process behind the creation of a High Jewelry collection. From inspiration to creation follow the Or Bleu collection as it takes like in our ateliers. Hosted on Acast. See acast.com/privacy for more information.

Claire Choisne, Directrice de la Création de Boucheron, vous emmène en Islande, l'inspiration derrière notre collection de Haute Joaillerie Or Bleu. La collection Carte Blanche de cette année puise sa beauté et sa créativité dans la source précieuse qu'est l'eau, sous toutes ses formes. Hosted on Acast. See acast.com/privacy for more information.

Boucheron Creative Director Claire Choisne takes you on a journey to Iceland, where the inspiration of our Or Bleu High Jewelry collection was born. This year's Carte Blanche collection draws it beauty and creativity from the precious source that is water in all its forms. Hosted on Acast. See acast.com/privacy for more information.

Parce que chaque semaine qui commence est un nouveau départ j'avais envie de vous lire une histoire alors je vous propose le bijou comme un bisou du dimanche soir. Nous vivons à l'heure des jeux olympiques. Dans la joaillerie, il y a les médailles : voulues par LVMH, créées par Chaumet, fondues par La Monnaie de Paris, suspendues par un ruban confectionné par l'entreprise Neyret à Saint-Etienne et contenant un morceau de la Tour Eiffel , les médailles des jeux olympiques 2024 sont des bijoux du sport, 100% savoir-faire d'excellence à la française.Dans les précieux trophés liant le sport et la joaillerie, il y a aussi les coupes sportives. Mellerio fabrique chaque année une copie de cette coupe des mousquetaires pour le champion de Rolland Garros. La Maison Mellerio réalise également depuis 1956 le trophée du Ballon d'or. Outre atlantique, la Maison Tiffany est reconnue pour la création de ses trophées qui récompensent 12 disciplines sportives : football et football américain, basket ball, base ball, tennis, E sport, golf, course automobile, course de chevaux et course à pied, crosse et hockey. La Maison a édité un ouvrage « Crafting Factory » qui retrace la fabrication de ces trophées emblématiques en 200 pages, préfacées par le champion de basket ball Lebron James. Pour mémoire Tiffany, comme Chaumet appartiennent à l'écurie LVMH qui se positionne comme le 1er sponsor des trophées sportifs avec plus de 65 trophées pour lequels Louis Vuitton réalise des malles sportives spécialement conçues pour les transporter. Place Vendôme, Boucheron a sorti des médailles dans la collection The power of Couture qui explore le style militaire à travers l'univers les vêtements d'apparat dont les médailles, et les rubans sont analogues à l'univers du sport.   De son côté, Chanel vient de présenter à Monaco la nouvelle collection Haute Joaillerie Sport. Elle rend hommage au studio Sport créé par Gabrielle Chanel en 1921. Il y a 7 parures et ma préférée c'est la collection Sweater où Chanel invente le lacet précieux breveté qui ferme les cols des sweat, en or et en souplesse.  Ces hommages joailliers à l'univers du sport me fait penser à la légende du bracelet tennis. Ce fin bracelet en or présentant une rangée de diamants reliés les uns aux autres est né dans les années 20 et quand Chris Evert, la championne de tennis, casse son bracelet créé par George Bedewi sur le court de l'US Open de 1978 et fait arrêter le match le temps de retrouver son bijou que cette pièce devient iconique et gagne son nom de « bracelet tennis » tellement liée à sa personnalité qu'elle lancera sa propre collection à la fin des années 80.  En attendant d'être champion, vous pouvez avoir envie de porter un bijou qui représente votre sport favori C'est dans cet esprit que Catherine Fabre a créé en 1996 avec sa mère Caroline ses premiers bijoux : des pendentifs en plaqué or ou argent massif qui représentait l'amour du patinage artistique et de l'équitation, les sports qu'elles partageaient toutes les 2. Depuis, leurs bijoux symbolisent plus de 100 disciplines sportives mais également artistiques.  Cet esprit de partager en famille l'amour du sport est aussi la motivation d'Estelle pour créer Kettel sa ligne de bijoux symboliques, fabriqués en France . Et oui, elle a entrainé dans l'aventure sa maman et son mari et pour son fils a créé la ligne kids. Depuis son 1er bracelet figurant la Kettlebell de sa séance de MMA, c'est aujourd'hui 47 sports qui sont symbolisés par des bijoux en acier inoxydable 316L ou en laiton plaqué argent 10 microns. Si vous ne trouvez pas votre sport vous pouvez lui écrire. Je suis Anne Desmarest de Jotemps et je donne une voix aux bijoux . Je serai ravie de vous accompagner pour réaliser votre podcast de marque ou vous accueillir en partenaire dans mes podcasts natifs. Faites moi plaisir partagez cet épisode et plein de bisous comme un bijou.   

durée : 00:24:54 - L'invité de 8h20 - par : Marion L'hour, Ali Baddou - L'historien Patrick Boucheron, professeur au Collège de France et auteur de "Le temps qui reste" (Seuil/Libelle 2023), et le philosophe Pierre-Henri Tavoillot, maître de conférence à la Sorbonne et président du Collège de Philosophie, croisent leurs regards sur la situation politique en France.

durée : 03:00:35 - Le 6/9 - par : Mathilde Khlat, Benjamin Dussy, Elodie Royer, Maëlle Polsinelli, Marion L'hour, Ali Baddou - Au programme du 6/9 : Bernard Hinault, quintuple vainqueur du Tour de France, le Débat Éco comme chaque vendredi avec Dominique Seux et Thomas Porcher ainsi qu'une analyse de la situation politique avec l'historien Patrick Boucheron et le philosophe Pierre-Henri Tavoillot. - réalisé par : Marie MéRIER

What you'll learn in this episode: Why working with jewelry designers is part business, part therapy. Why the jewelry industry is picking up its pace to match the fashion industry, and why this trend might backfire. Why customer feedback on comfort and wearability is essential for jewelry brands. How Lionel defines success for his jewelry clients. What caused so many fashion houses to develop fine jewelry lines in the last few years, and what this trend means for the industry.  About Lionel Geneste Lionel Geneste is a fashion and luxury industry veteran, having worked for John Hardy, Givenchy, Catherine Malandrino and Randolph Duke in various capacities, from global marketing to communications and merchandising. He is also the founder of the gift-giving service b.Sophisticated. Born in Tehran to French parents, Geneste grew up as a modern nomad: Cairo, Istanbul, Lagos, Beirut, Paris are just a few places he once called home. And so he acquired an eclectic eye, at an early age, for the refined and urbane—only further encouraged by his clotheshorse mother and her like-minded friends. Additional Resources Website Instagram     Photos Available on TheJewelryJourney.com Transcript: How does an independent jewelry brand get noticed? For some lucky jewelers, the secret is Lionel Geneste. Lionel is a jewelry strategist and advisor who has launched iconic brands, shown new collections at Paris couture week, and gotten small jewelry artists into top stores. He joined the Jewelry Journey Podcast to talk about how the jewelry industry compares to the fashion industry; the trends, opportunities and challenges jewelers are facing today; and how he chooses his clients (and why he has to believe in their work). Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, I'm talking with Lionel Geneste. He's an independent strategist in the jewelry industry. He does this after 15 years in fashion, so he knows fashion and jewelry. He's multi-lingual, and he represents many people abroad in the U.S., which is very, very unusual. In fact, I met him through an independent jeweler, and I thought he had such an interesting background I wanted to talk to him more. Lionel, welcome to the program. Lionel: Sharon, good morning. Thank you for having me. Sharon: I'm really glad to have you. How did you come into this business? Lionel: Well, I was in the fashion industry, then a friend of mine was taking over John Hardy. We're talking about 2006 or 2007. They were launching a one-of-a-kind collection, and they brought me on board to launch that collection and to develop it and then basically to do all the PR for John Hardy in general. Sharon: I'm not familiar with John Hardy. Is it fashion? Go ahead. Lionel: John Hardy is this company that does mostly silver. They're based in Bali. All their ateliers are in Bali and they have a big office in New York. John Hardy himself wanted to do a collection for his wife, which would be only one of a kind. That's when we started that collection called Cinta, which means love in Balinese. People were noticing these rings, and the people from Neiman Marcus noticed them and asked if we could develop them into a full collection, which we did. I'd been more in fashion, in the couture world, and I thought I could do something. Basically, the ladies that were willing to wait for four months for a dress are also willing to have one-of-a-kind jewelry or even preorder them. Sharon: You know, when you tell me who it is, I remember who John Hardy is, but I haven't seen his jewelry for a while. It's around. So, those are your clients? Are they mostly women? Do you represent any men? Lionel: Yeah. These were the clients. The idea at the beginning, when I developed it, is I would do dinners in Paris during the couture shows, and we would present the jewelry. That was pretty much how it all started. If you look at it now, all the jewelry houses are doing presentations during the couture shows. A couple of weeks ago it was in Paris and everybody from Boucheron, Dior etc., presented their collection.  It's on the same calendar. From then on, when I left John Hardy, I started a company with a business partner. The idea was that we were giving our clients not only the PR aspect and marketing, but also the business, because I was well versed in the business side as well. It was a kind of a one stop shop. Sharon: I'm not familiar with the couture shows. Does the jewelry have a separate presentation? Lionel: Yeah. The couture shows, it's like when the houses like Valentino, Dior, Chanel, it's all their shows that are only one of a kind. There are very strict rules that are enacted by the Chambre de Commerce in Paris. You have to have a number of atelier, you have to have a number of people working in the atelier, it's all handmade, etc. There was a parallel with the ladies buying those clothes that are much more expensive than ready to wear and the jewelry industry, and I think everybody made the same link between those. Now, these shows are every year in January and July. The houses like Boucheron, Chanel, Chaumet, all of them hold presentations and invite the press, but also invite clients at the same time. Sharon: So, they show their most expensive jewelry. Lionel: Yes. It's really the high jewelry collections that are shown there. Sharon: Is there somebody showing them, presenting them, or is it just come and look and see? Lionel: No, they are usually elaborate with more and more, actually. Everything is an experience. More and more they're doing elaborate dinners. For example, Boucheron at the Place Vendôme has dedicated the last floor to a big dining room, and there's also a suite. The best clients can come stay at Boucheron and stay in the building. The view on Place Vendôme is beautiful. So, now it's more a presentation with the designer himself or herself inviting their best customer, or hoping to get the best customer. Sharon: Do you invite these customers? Lionel: I used to do that a lot. I haven't done it in a year. Usually, I work with younger designers or independent and smaller designers, so I don't have the same budget. But usually what I do is I find a new, typical French bistro. I used to do it the night before the shows to make it something very informal, but still presenting the collection in a different format. Sharon: Is that how people found you? They come to these dinners? Lionel: When we talk about clients, there are two different kinds of clients. There are my clients who are the jewelers that I represent, and then I'm talking about clients who are the people who buy the jewelry. Basically, it's word of mouth. When I work with jewelers, some stores recommend me to other brands. Some clients know about someone who's launching a new brand and they refer me. That's really where I enter the competition. I make a proposal, and it's more about that and referrals. Sharon: Do you advise the high-end buyers of jewelry? Do you advise them? You say you have two kinds of clients. Lionel: Yeah, I have some clients that are collectors. Not everyone is always looking for newness or paying attention to that. So, yes, I do advise them on what I think is a young designer that's upcoming, and if they're serious about their collection, I think they should have a piece of that person in their collection. I launched Emmanuel Tarpin, for example, and at the time everybody wanted his earrings to be part of their collection. Sharon: Who did you say? Lionel: Emmanuel Tarpin. He's been having a lot of press lately. He's launched a collection of orchids. I don't work with them anymore, but I launched him at the beginning. Sharon: Do you have to like the people that you work with? Lionel: Absolutely. I do have to like the product. I couldn't sell something that I don't believe in. Sharon: Do you ever work with men? Do they come to you for advice? Lionel: They do. However, I find most men—no, I do, actually. I have some men that come, or they are strongly recommended by their wives. A lot of my clients are women who buy for themselves. Sharon: Okay, so they find out about you through word of mouth, or do you advertise? Lionel: But also, I do work with stores. Some of my jewelers are in stores such as Just One Eye in Los Angeles, Cayen in Carmel, Mayfair Rocks in East Hampton. I choose strategically the partnerships and in places where I know we're going to find the right client. Sharon: I bet your clients, they're abroad and you represent them in the states. Lionel: Yes. Some of them I represent worldwide. I represent them also in Europe, in London and Paris.  At the moment for my clients, I work with Sylvie Corbelin. That's how we met, you and I. Sylvie is based in Paris. I work with a brand that's new-ish called Mike Joseph, and it was a big success at couture last year. He is based in Bangkok. Then I represent Vishal Anil Kothari, who is based in Mumbai. It's kind of a take on traditional Indian jewelry but with a much lighter frame. They use portrait-cut diamonds, emeralds. Sharon: Do people find out about you? It seems like everybody is not finding out about you through shows or their friends. Lionel: You know, friends, clients, stores, owners. They see how I work with them and recommend me to other people. I have younger friends in the industry that just started their business and ask me for advice. They recommend me or hire me. Sharon: You travel a lot because you have addresses in New York, L.A., Paris. Lionel: I was based in New York for 20 years. I moved to L.A. six years ago. I still go to New York quite often. Sharon: But you were born in Paris or in France? Lionel: I'm French. My parents traveled a lot, so I was born a bit by accident in Tehran, in Iran. But I'm French. I studied in France. Sharon: Do you feel stretched? When I try and get hold of you, I wonder where in the world you're going to be reading this or calling from. Lionel: No, I like traveling. I think it's interesting. I find it very interesting to meet the clients. You were asking me earlier about feedback and if I give the designer I work with advice. I don't give them advice. I think they all have a strong point of view and they are not influenced by trends. However, I do give them feedback from clients. I think it's always interesting to see. Do they find the jewelry comfortable? Are the earrings too heavy? It's always interesting to see. When you work for a designer, for a woman like Sylvie, Sylvie wears her own jewelry, so she knows if it's comfortable or not. That's always interesting. Mike Joseph tells me that he always has his sister try jewelry on and even live in it for a few days before he puts it in production. Sharon: Do they tell you if it's too heavy? Lionel: Sometimes they do. They do give feedback. Yesterday we were presenting some new sketches to a store, and some stones were kind of sticking out. The first question the store manager asked was, “Is it going to snag clothes?” The answer is they had to remake that and polish the edges so it would not catch on clothes. Sharon: You were presenting sketches of the jewelry? Lionel: Yes. I was showing jewelry to a store, showing the new collection. Kind of a preview of what we're going to do for couture. I wanted to get a sense. It's always interesting. You were asking me when I take on the client, do I have to like it? I do have to like it, but I also usually show it to one or two editors that I trust or a few store owners to see what their reaction is to it as well. It can't be only my personal things, so it's always interesting to hear what other people have said. Sharon: Do magazine fashion editors come to you to find jewelry? Lionel: Yes, they do. They'll ask me what I have, if I have anything new and interesting. I do like to work with more individuals. I always try to bring something interesting. You were asking how I choose the designers I work with. It's difficult today to find people who really bring something new, so I'm always looking for that. Someone who has already come up with a new invention or brings something to the world of jewelry. Sharon: Do you work with them to expand? They're independent and they grow. Do you help them when they launch a chain? Do they outgrow you, let's say? Lionel: No, and I actually, I do like that. I like to be at the beginning, helping them find everything from their voice, how to place themselves, where to place them within the market, price point. What exists already on the market? After I work with them for five or six years, and if they really grow, I like to push them out and hire a real agent.  In general, the brands I work with, we try to keep it exclusive, to not have it in every store. It's very organic. We're not pushing. With strategy, I prefer to go within stores where you're going in what we call deep, like bringing 15 to 20 pieces to really show the depth of the work of the designer, rather than just five or six pieces just to have a presence, which to me doesn't really serve the purpose. Sharon: Do you advise the jewelry stores you're bringing jewelry to on how to display it or things like that? Lionel: Yeah. Some stores have a strong vision about how to do it, but yes, I will. I would ask them to take on some pieces that I find are really representative of the work, and if the pieces are not there I think it doesn't give the right image of the designer. I would try to push, even if they could be slightly reluctant in the beginning. I think some key pieces are important. Going back to Sylvie, snakes are an important part of her design. If I go into a store, I need to have some of these pieces because they're an important symbol of hers. Sharon: So, you would advise the store owner how to show it off, how to get it right. Lionel: Yes. Right. Sharon: What skills do you think you need to be successful? If somebody wants to do what you do, how would they be successful? Lionel: When you work with designers, it's part business, part therapy. I think you really have to listen to them. That's the important part, because you can't be totally at odds with what they're feeling and pushing for something they don't believe in. It's a dance, and it's about listening to each other. I think the relationship with the designer is really what makes it successful. Mike Joseph, Vishal, Sylvie, we've been working together for eight years, so we know each other really well now. I think that's important. Sharon: When you said therapist, what does the therapy involve? Lionel: Designers, or the good designers, are really artists. You have to listen to what they're saying, what they feel. You have to be careful about bringing the commercial part in. You also have to respect what they're designing. So, it's a dance. Sometimes a feeling of rejection can exist, so you have to work with that as well. Sharon: You were in fashion first. What kind of experience does someone in fashion have to have to go into jewelry? Lionel: It's little bit the same world, I think. You have to have a sense of aesthetics, and you have to like it as well. You don't go into jewelry if you don't like jewelry. But the transition from fashion to jewelry is pretty seamless. Sharon: Do you see a difference in the fashion world and the jewelry world? Lionel: I think there used to be a bigger difference in the sense that fashion was very fast-paced and jewelry was not. But I think jewelry is getting into that pace as well, where the designer wants to present two collections a year. So, we're getting a bit on the fashion calendar in that sense. Sharon: The jewelers, if they have a presentation, I have a visual picture of them lugging their cases and setting up. Lionel: Right. I think now people are presenting two collections a year. That used to be a fashion thing. I'm not sure it's the way to go. I don't think you sell jewelry in the same way you sell clothes. It takes more time. I've witnessed clients being disappointed because there was a collection they liked, and then the collection is gone. I think that doesn't leave enough time for people to act upon something they don't necessarily want to buy within a month or two. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

durée : 00:37:20 - Une semaine en France - Patrick Boucheron est historien et professeur au collège de France. Il publie au Seuil « Le temps qui reste », un livre sur le temps qui passe, qui nous échappe et nous conduit vers quelque chose qui semble inexorable, une catastrophe lente à venir.

La couture est au cœur de l'histoire de Boucheron. Louis Boucheron, le père du fondateur de la Maison, exerce la profession de mercier à Paris dès 1817. En 1822, ce dernier fait évoluer son commerce et se spécialise dans la soie, puis la dentelle en 1837, deux étoffes rares et précieuses. Né en 1830, Frédéric Boucheron a grandi dans cet environnement, qui a certainement influencé sa manière d'aborder la création joaillière. Animé par cette quête de délicatesse et de souplesse, il travaille tout au long du XIXe siècle l'or et les pierres selon des éléments inspirés de la couture. Dans cet épisode, Vincent Meylan retrace cet héritage. Hosted on Acast. See acast.com/privacy for more information.

Couture is central to the history of Boucheron. Louis Boucheron, the father of the Maison's founder, worked as a draper in Paris beginning in 1817. By 1822, he had developed the business and began to specialize in silk, extending to lace – another rare, precious material – in 1837. Born in 1830, Frédéric Boucheron grew up in that setting, and it certainly influenced his approach to jewelry creation. Driven by the same pursuit of a delicate, supple adornment, he worked throughout the 19th century to craft gold and stones into elements inspired by couture. In this episode, Vincent Meylan tells the story of this heritage. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:54:21 - Affaires sensibles - par : Fabrice Drouelle - Aujourd'hui dans Affaires Sensibles, l'un des scandales politiques français les plus retentissants des années 90 : l'affaire Jean-Michel Boucheron, du nom de ce maire flambeur qui a ruiné sa ville et laissé derrière lui un trou de 164 millions de F, avant de prendre la fuite et de finir chef cuisinier en Argentine !

durée : 00:53:51 - Le Grand Face-à-face - Crise climatique, crise politique … L'historien, professeur au Collège au France, Patrick Boucheron décide de s'engager, de s'inscrire dans les temps troublés que nous vivons. Il publie “Le temps qui reste” (collection Libelle, Seuil).

durée : 00:53:51 - Le Grand Face-à-face - Crise climatique, crise politique … L'historien, professeur au Collège au France, Patrick Boucheron décide de s'engager, de s'inscrire dans les temps troublés que nous vivons. Il publie “Le temps qui reste” (collection Libelle, Seuil).

最新一集中，Boucheron寶詩龍創意總監Claire Choisne透露了在疫情封城期間，她如何構想全新系列「Carte Blanche, More is More」創作概念及靈感來源。Boucheron寶詩龍誠摯邀請您一同探索，尋求珍貴歡愉解方背後所面臨到無數挑戰的過程。 Hosted on Acast. See acast.com/privacy for more information.

In this new episode, Claire Choisne, Creative Director of Maison Boucheron reveals her artistic approach and inspirations for the Carte Blanche collection More is More, designed during the second lockdown. Boucheron invites you to take a glimpse behind the scenes of the workshops that faced numerous challenges to make this precious joy possible. Hosted on Acast. See acast.com/privacy for more information.

Dans ce nouvel épisode, Claire Choisne, la Directrice des Créations de la Maison Boucheron révèle tout son cheminement artistique ainsi que ses inspirations pour la collection Carte Blanche More is More, imaginée pendant le second confinement. Boucheron vous invite à découvrir les coulisses des ateliers qui ont dû relever de nombreux défis pour rendre possible cette joie précieuse. Hosted on Acast. See acast.com/privacy for more information.

FULL EPISODE IS NOW LIVE! Innovation, design and work place! Our new @gemsofarabia podcast episode in partnership with @boucheron is out! I met Hélène Poulit-Duquesne, CEO of Maison Boucheron @helene.poulitduquesne, and HRH Princess Joharah Altalal, Harvard Alumni and entrepreneurial champion @joharahtalal, to discuss how they continuously strive for innovation in design and entrepreneurship. While we share enthusiasm about the incredible blossoming of Saudi Arabia both within society, workplace and beyond, Hélène Poulit-Duquesne enlightens us on the groundbreaking innovative steps that @boucheron is taking to keep pushing the boundaries of High Jewelry. She and HRH Princess Joharah Altalal also found out about their shared passion for Japanese culture and the importance of being true to one's self. #trendsetters #innovators #diamonds #gemsofarabia #podcast #japanesculture #entrepreneurs Special thanks to @justanne الابتكار والتصميم ومكان العمل! سنناقش هذه المواضيع وأكثر في حلقتنا الجديدة من بودكاست @gemsofarabia بالشراكة مع دار بوشرون! في هذه الحلقة التقيت بهيلين بوليت-دوكين، الرئيسة التنفيذية لدار بوشرون @helene.poulitduquesne وسمو الأميرة جوهرة طلال آل سعود، رائدة الأعمال وخريجة جامعة هارفارد @joharahtalal ومعاً ناقشنا سعيهما المستمر للابتكار في التصميم وريادة الأعمال. كما تحدثنا عن حماسنا المشترك حيال ازدهار المشهد الإبداعي في المملكة العربية السعودية سواء في المجتمع أو مكان العمل، ووضحت لنا هيلين بوليت-دوكين الخطوات المبتكرة الرائدة التي تقوم بها دار بوشرون لتطوير صناعة المجوهرات الفاخرة. وفي سياق الحوار، اكتشفت هيلين شغفها المشترك مع سمو الأميرة جوهرة بالثقافة اليابانية وأهمية الحفاظ على أصالة النفس. #ابتكار #بودكاست #ألماس #رواد #اليابان #حوار شكر خاص لـ Instagram: https://www.instagram.com/reel/Cr3R3jDPgu2/ Youtube: https://youtu.be/MVuw2_C2aU0

On this episode, voice actor Joe Hernandez joins us to talk about his career including voicing Daruk in Breath of the Wild and Boucheron in Fire Emblem: Engage.

IT'S ME (!) coming to you with a quick solo ep. Here's what I'm talking about this week: why you need to stop what you're doing and get tix to Monster Jam (hehe lolol) my experience at the FragranceNet brick & mortar (/who knew there was one?) a BIG 2023 trend prediction a personal hot take that will leave you *shaking* And of course, I answer several of the burning Qs that you wrote in on Instagram (@perfumeroompod)! FRAGS MENTIONED: Jasmin Sarai How You Love, Giorgio Beverly Hills Giorgio, 4711, Boucheron, Bijan Bijan, YSL Opium, Van Cleef First, Paloma Picasso, Baccarat Rouge, Robert Piguet Fracas, Frederic Malle Carnal Flower, Santal 33, Dior Eau Sauvage, Fracas, Thameen Diadem, Penhaligon's Halfeti, Jasmin Sarai How You Love, Comptoir Sud Pacifique Vanille Banane, Atelier Cologne, Ourside, Phlur: Not Your Baby, Missing Person; The Body Shop White Musk, Phlur: Apricot Privee, Phloria; Michael Kors Michael, Marc Jacobs EDP, Tom Ford Soleil Blanc, Phlur: Somebody Wood, Lost Cause, Tangerine Boy SHOP THIS EP: https://shopmy.us/collections/116312 10% off Luckyscent.com: code '10pr' (affiliate) 10% off twistedlily.com: code ‘perfumeroom10' (affiliate) FOLLOW PERFUME ROOM: @perfumeroompod (IG) @emma_vern (TT)

Paige's intro for Spotify: As a graduate gemologist with the Gemmological Institute of America, Paige knows a real jewellery and gem pro – and her guest and friend Brenda Kang personifies this. They met back in 2008 at a Christie's jewellery preview in China. Brenda worked with Christie's for over a decade before returning to her home of Singapore to launch her vintage jewellery boutique Revival Jewels, with signed pieces from Cartier to Boucheron. In this episode, Brenda will empower you to take risks, educate you on gems and top brands, as well as talk the tea on how there was a time she was underestimated in the jewellery world – but no more! Exciting bits to look forward to in this episode: 12:45 What is a JAR, and how can you own one? 13:35 Kane Lim, Bling Empire, and one of a kind jewellery. 26:00 Are gems and jewellery a good hedge or store or value in current times? Editor's note: Tune in for a special discount at Bynd Artisan. The discount is valid from 5 February to 5 March.

Since recording we've learned that Boucheron's single defining trait is that he loves to read. More like BOOKeron, am I right? Hmm. We'll workshop it.Discussed: Fire Emblem Engage, Pocket Card Jockey: Ride On!, A Slight Chance of Sawblades, Perfect Grind, Final Fantasy V, Persona 3 + 4---Find us everywhere: https://intothecast.onlineJoin the Patreon: https://www.patreon.com/intothecast---Follow on Mastodon: https://theaether.space/@intothecastFollow on Tumblr: https://intothecast.tumblr.com---Follow Stephen Hilger: https://stephenhilgerart.com/Follow Brendon Bigley: https://theaether.space/@bbProduced by AJ Fillari: https://theaether.space/@aj---Season 5 Cover Art by Scout Wilkinson: https://scoutwilkinson.myportfolio.com/---Timecodes: (00:00) - Intro (01:00) - Welcome to Fire Emblem! // Fire Emblem: Engage (01:02:05) - BOUCHERON! (01:03:31) - Remember mobile games? (01:04:27) - Remember mobile games? // Pocket Card Jockey: Ride on! (01:10:03) - Remember mobile games? // A Slight Chance of Saw Blades (01:10:51) - Remember mobile games? // Perfect Grind (01:12:19) - Remember mobile games? (01:17:45) - It's an Albany expression // SteamD eck (01:28:17) - No more talking about Pokemon // Final Fantasy V (01:48:43) - A very chill, normal shoutout // MORE PERSONA GAMES ON SWITCH (02:04:10) - Wrapping up ---Thanks to all of our amazing patrons including our Eternal Gratitude members: | Robert L | min2 | Aaron G | Matthew S | Erik M | ThatNerdyGinger  | Joshua J | Tony L | Danny K | Shanna P | Seth MC | Adam B | Andy H | Demo | Maxwell L | Spiritofthunder | Jason W | Jason T | Corey T | Minnow Eats Whale | Caleb W | Jesse W | Mike T | Codes | Wesley | Erik B | Butterfly B | Gabe O | Lasse B | Jeff N | Sergio L | ninjadeathdog | Rory B | A42PoundMoose | Mr Andrew S | Peter | Stellar.Bees | Brendan K | Scott R | wreckx | Noah OR | Michael G | Arcturus  | Chris R | hepahe | Chase A | Anna | Nick Q | Chris M | RB | Karen H | Michaela W | Adam F | Scott H | Lauren H | Ben G | Therese K | jgprinters  | Matt H | Murray | Trevor B | David P | Jason K | Bede R | Kamrin H | Andrew D | Kyle S | Philip N ★ Support this podcast on Patreon ★

Toute la famille royale britannique a pris place dans les stalles gothiques de la chapelle Saint-George au château de Windsor. Aujourd'hui, la Reine Elizabeth II et le Duc d'Edimbourg marient leur petite-fille, la Princesse Eugénie d'York, avec monsieur Jack Brooksbank. Contre toutes les traditions, elle arbore un diadème coloré. Le bijou vient de la collection de sa grand-mère, la Reine Elizabeth II. Il est signé Boucheron. Hosted on Acast. See acast.com/privacy for more information.

« Son Altesse Royale, le Duc d'Edimbourg ». C'est sous ce nom que la commande et l'achat d'un bracelet sont référencés dans les livres de la succursale Boucheron de Londres en 1952. Le Duc souhaite donner un certain éclat à la célébration de ce cinquième anniversaire de mariage. Non seulement il a commandé le bracelet mais il en a dessiné le modèle, destiné à son épouse, Sa Majesté la Reine Elizabeth II. Hosted on Acast. See acast.com/privacy for more information.

Margaret Greville meurt le 15 septembre 1942. L'inventaire et l'estimation de sa collection de bijoux sont faits dans les semaines qui suivent. Une seule personne est capable d'assurer la survie de cette collection : la Reine Elizabeth, épouse du Roi Georges VI. En 1947, un premier bijou signé Boucheron et provenant de la collection Greville fait timidement son apparition lors du mariage de la princesse héritière Elizabeth. La future Reine a vingt-et-un an et elle épouse un de ses lointains cousins, le Prince Philippe de Grèce et de Danemark. Hosted on Acast. See acast.com/privacy for more information.

Le voyage officiel avait duré sept mois et demi. Leurs altesses royales, le Duc et la Duchesse d'York avaient visité Malte, Aden, Colombo et Ceylan, puis Singapour et l'Australie où ils s'étaient arrêtés à Melbourne, Brisbane et Sydney. De ce long périple ils avaient rapporté des malles entières de présents officiels. L'un de ces cadeaux arrive chez Boucheron le 21 avril 1902. Hosted on Acast. See acast.com/privacy for more information.

C'est une demi-page dans l'un des livres de la boutique Boucheron de Londres. Elle est datée du 31 juillet 1937 et comprend près d'une dizaine d'objets précieux, dont un double clip broche en diamants et aigues-marines. Le client n'est autre que son Altesse Royale, le Duc de Kent, frère du nouveau Roi George VI. Le double clip acquis en 1937 va connaître un destin extraordinaire... Hosted on Acast. See acast.com/privacy for more information.

Margaret Greville died on September 15, 1942. Her jewels collection was put in an inventory and appraised in the following weeks. Only one person would be able to keep such a collection intact. It was Queen Elizabeth, wife of King Georges VI. In 1947, the first Boucheron piece from the Greville collection made a timid appearance at the wedding of the princess, Elizabeth. At twenty-one, the future Queen was marrying one of her distant cousins, Prince Philip of Greece and Denmark. Hosted on Acast. See acast.com/privacy for more information.

The British royal family discovered Boucheron by way of Russia. Like the whole Romanov family, the Grand Duchess Maria Alexandrovna had a great love of precious stones. In 1883 she first set foot in the Boucheron boutique… Hosted on Acast. See acast.com/privacy for more information.

The official voyage had lasted seven and a half months, from March 16th to November 1st, 1901. Their Royal Highnesses the Duke and Duchess of York had visited Malta, Aden, Colombo, and Ceylon before moving on to Singapore and Australia, with stopovers in Melbourne, Brisbane and Sydney. From this long expedition, they brought back trunks full of official presents. One such gift was brought to Boucheron on April 21, 1902. Hosted on Acast. See acast.com/privacy for more information.

The entire British royal family has taken their places in the Gothic pews of Saint George's Chapel at Windsor Castle. On this day, Her Majesty Queen Elizabeth II and the Duke of Edinburgh are seeing their granddaughter, Princess Eugenie of York, marry Mr. Jack Brooksbank. Surprise! Contrary to every tradition, she is wearing a colored tiara from the collection of her grandmother, Queen Elizabeth II. It is the work of Boucheron. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:53:22 - L'Heure bleue - par : Laure Adler, Céline Villegas - En août 2017, lors du Banquet du livre, Patrick Boucheron, historien, et l'écrivain, Mathieu Riboulet engagent sous la halle de Lagrasse une dernière conversation sur l'Histoire, en public. "Nous sommes ici, nous rêvons ailleurs" (Verdier) est un livre qui réunit leurs réflexions et leurs paroles.

What you'll learn in this episode: How David earned the nickname the “100-carat man” for selling some of the most expensive jewels in history What type of buyers are interested in eight-figure gems How David got the opportunity to write “Understanding Jewelry” with Daniela Mascetti Why the most incredible jewelry may be off the beaten path Why 18th century jewelry is so rare, and why people have refashioned old jewelry throughout history   About David Bennett Regarded internationally as a leading authority in the field of precious stones and jewelry, David Bennett is best known in his role as Worldwide Chairman of Sotheby's Jewelry Division, a post he held until 2020, after a brilliant 42 years career at Sotheby's. During his prestigious career David sold three of the five most expensive jewels in auction history and as well as seven 100-carat diamonds – earning him the nickname the ‘100-carat man'. David has also presided over many legendary, record-breaking auctions such as the Jewels of the Duchess of Windsor (1987), The Princely Collections of Thurn und Taxis (1992) and Royal Jewels from the Bourbon-Parma Family (2018). Among the many records achieved during his career as an auctioneer is that for the highest price ever paid for a gemstone, the CTF Pink Star, a 59.60ct Vivid Pink diamond which sold for $71.2 million in 2017, and the world record for any jewelry sale where he achieved a total of $175.1 million in May 2016. David was named among the top 10 most powerful people in the art world in December 2013 by the international magazine Art + Auction. In June 2014, Swiss financial and business magazine Bilan named him among the top 50 “most influential people in Switzerland”. David Bennett is co-author, with Daniela Mascetti, of the best-selling reference book Understanding Jewelry, in print since 1989. They have also co-written Celebrating Jewelry, published in 2012. In 2021, David and Daniela launched a unique website showcasing their unparalleled experience and knowledge in the field of jewelry. David Bennett grew up in London and graduated from university with a degree in Philosophy, a subject about which he is still passionate, alongside alchemy and hermetic astrology. Additional Resources: Website: https://www.understanding-jewellery.com/ Instagram: https://www.instagram.com/understandingjewellery/ Facebook: https://www.facebook.com/UnderstandingJewellery Twitter: https://twitter.com/UJewellery_ LinkedIn: https://www.linkedin.com/company/19192787 Transcript: Whether you know his name or not, David Bennett is responsible for some of the most significant jewelry auctions in history. Before retiring from Sotheby's in 2020, David sold the Pink Star, the most expensive gem ever sold at auction, and whopping seven 100-carat diamonds. He's also the co-author of the jewelry bible “Understanding Jewelry” with his colleague Daniela Mascetti. He joined the Jewelry Journey Podcast to talk about his new business with Daniela; what it was like to handle some of the world's most precious jewels; and why he thinks gemstones hold incredible power. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is David Bennett, who you may be familiar with. He coauthored with Daniela Mascetti what is often referred to as the bible of the jewelry industry, and that is the ubiquitous book “Understanding Jewelry.” David spent his 40-year career at the international auction house Sotheby's. When he left, he held the position of Worldwide Chairman of International Jewelry. He's a veteran of gemstones and is often called the “100-carat man” because of his multiple sales of hundred-carat diamonds at record-breaking prices.    He and Daniela just published “Understanding Jewelry: The 20th Century.” They've also launched an online business, UnderstandingJewelry.com, which encompasses education, appraisals, travel and more. In his spare time, he is a part-time lecturer in philosophy, and he's also an astrologer. We'll hear more about his extraordinary jewelry journey today. David, welcome to the program.   David: A pleasure.   Sharon: So glad to have you. Tell us about your jewelry journey, how you became involved with jewelry and how you joined Sotheby's. It's an interesting story.   David: As you've already mentioned, I graduated in philosophy. Most people are rather surprised about that. It's a wonderful thing to study. It was a long time ago in the distant past. I graduated in 1973. I wanted, after university, to go to the London Film School because I've always been interested in film as a medium, but my father, who was basically a Victorian, thought that Hollywood was not the sort of thing for a young gentleman. He cunningly invited me for lunch with a friend of his who was a director at Sotheby's. He painted Sotheby's so glamorously, I might say, more than anything else, and he invited me to come on a one-year training in all the things that Sotheby's sold, from contemporary art to silver. I thought, “Oh, O.K., that's another year of education.” It was the beginning of many years of education, but I thought I'd try that.   In May of the following year, Britain and most of the world had fallen into disastrous economic times. London was working a three-day week because there wasn't electricity to power it. It's amazing when you think of it. Of course, as a result, there were very few jobs, so for the first time in my life until that point, I suddenly thought, “I'd better get about what I'm going to do.” Literally, I hadn't thought about it. I thought, “Well, something will come up, maybe a lecturer in philosophy.”    So, in this very difficult environment, my father's friend came to me and said, “Look, David, I've got a job for you.” I said, “Great, what is it?” He said, “It's in the jewelry department,” and I said, “The jewelry department. I don't even know how to spell sapphire. Is it two p's or one?” He said, “You'll love it. They have sales. They just started having sales in Switzerland. There's a lot of travel, and you'll be getting in at the ground floor of very interesting subjects.” I was very skeptical about it, but he said, “Look, more important than anything else, you need a job because the world's going into a very difficult time.” In fact, he turned out to be right, because it was at least 15 years before we started to get out of this massive crisis at the time. So, I took the job and that's how I got into it. It was sort of through the back door.    I knew nothing about jewelry, absolutely nothing about jewelry. It was a huge learning curve, a huge apprenticeship. I think I mentioned to you that I went out early on and bought some sheets of gold and silver. I learned how to work with the metal and how difficult it is to set a stone in a ring. I wanted to know about everything. I wanted to know about Roman jewelry, Greek jewelry. I thought, “If I'm going to spend my whole life doing this, I don't want to have any bits that I don't know at least something about.”    So, that's how I began. As always in careers, you get a lot of lucky breaks. People seemed to like me, which is very surprising, so there you are. I got quickly promoted, and my first big job was running the London Jewelry Department. That was in 1984. I took my first auction in 1979. The big break after that was that I was promoted to head of jewelry in Europe and the Middle East in 1989. I moved with that promotion to Geneva, which was a great move, a wonderful place. Then I started having to make my mark. I was in a highly competitive environment. Christie's the main competitor. It's an extremely good company as well.   We ran sales in Geneva. My principal sales were in Geneva twice a year and once at St. Moritz in the winter, at which we competed to do the largest turnover and the biggest, record-breaking sales and the biggest, record-breaking stones and so on. It was a great time, and I continued doing that until two years ago when I retired. By then, I'd become Worldwide Chairman of Sotheby's. During this career, I was very lucky because I saw some of the greatest jewels in the world. I still hold the world record for the most expensive diamond ever sold at more than $70 million. I sold the most expensive ruby ever sold for more than $30 million. There were so many wonderful collections, like the Windsor Sale in 1987, which is what made my name really. The jewels of the Duchess of Windsor are still the most incredible auction. So, it was a combination of determination and lucky breaks. Everybody's career is like this.   Sharon: What were your thoughts the first time you looked at a 100-carat? Was it, “Oh, there's another diamond?” or was it “Oh my god, how could that be?”   David: The first time I saw one was in the summer of 1990. I had just arrived in Geneva. I put together my first sale, really, in Geneva, and I wanted to make a mark, to do something that nobody else had done. I can see it now. In those days, I was in this splendid Medieval chateau in the middle of nowhere in France, and I got a phone call. In those days, mobile phones were virtually unheard of, so it was a big thing like a brick, and this chap said, “I've heard about you. I've got a very important stone I'd like you to come and see. Would you be able to come to Antwerp to meet me?” In those days, the answer was always yes. So, I left my family there and took a plane right to Antwerp.    This young chap, about the same age as me, passed a little bag across the table, and there was the first hundred carats of the Pashe Stone. Extraordinary. It was D color, internally flawless, actually like a piece of ice. It was absolutely crystal clear. I fell in love with it, so he said, “Do you think you could sell it?” I said I had absolutely no idea, but I'd love to try. He said it was $12 million. I can't remember the exact figures for it. That was probably nearly double what any other diamond had ever sold for, but in the beginning when you take risks, you're very comfortable.    When I got home that night, my wife said to me, “You look worried. What's the matter?” I said, “Well, I think I may have made the biggest mistake of my career.” She said, “What?” I said, “I've taken a diamond worth $12 to 15 million.” And she said, “You're kidding me.” I said, “No.” And then she said that awful question that began to haunt me: “Who would you be selling it to?” At that point, I didn't know. I had three months to find somebody. I remember it was rather amusing because the timing could not have been worse. A week after that—you're just about old enough, I think, to remember—Hussein invaded Kuwait. Do you remember?   Sharon: Yes.   David: You may remember what happened, because I remember it vividly. The world went into shock. Markets dropped. In Switzerland—can you believe it—we all had to suddenly take rations into our air raid shelters. I thought, “Oh, that's that, then. At least it lets me off the hook. Maybe he doesn't expect it to sell now.” Either way, it was a bit of a relief.    After this, I decided to start taking it around the world a bit. I took it to certain countries in the Middle East and began showing it to possible clients. One chap, I'll never forget it, came in and said, “Sir, can I see the stone?” and I said, “By all means.” He's looking at the stone, and I'm thinking, “He's been looking for a long time. Honestly, he really seems to like it.” So, I said, “Sir, are you buying for your wife?” There's a young man talking; my naivete. He looked at me with a slight grin and he said, “No.” So, I said, “For somebody else, then?” He said, “No, it's for nobody.” I said, “You want it because you think it's an investment?” He said, “Maybe partly, yes.” I said, “What's the main reason?” He said—it's something that's stuck in my mind ever since—“How can I put $14 million in my pocket any other way?” Maybe uranium. You'd still need a lead box, but it was an extraordinary thought. When you've got war around, this sort of thing matters, doesn't it? It's portable value. Throughout history, for the last 4,000 years, jewelry has also been used for that specific purpose because it's very portable.    So, I get up on the rostrum. I have no idea that I'm going to sell it. I think there were 200 lots before the final lot with this 100-carat diamond. The sale was going quite well. I opened the lot. I think I opened at $8 million. There wasn't much interest at all when they start bidding. Suddenly, right at the back of the room, this chap started waving his hand. I took the bids from him and knocked it down for him, “Sold!” All the cameras and TV stations and radios in the room are approaching the rostrum where I was standing. Of course, the first question to me is, “Who's the buyer?” Now, I looked at the back of the room, and the man who had raised his hand, as I was being asked the question, was moving very quickly out of the back of the room. I said, “Oh my god!” because that was the worst possible thing that could have happened in those days. This was before you had to register to bid. It could have been some sort of maniac. So, I quickly got my colleagues sitting beside me. I said, “Run after him. Find out who it is.” Luckily, they found him as he was leaving the hotel where we had been holding the sale. He was in fact the driver, the chauffeur, of the buyer. So, I was lucky that I was able to announce the buyer.   That was the first of many extraordinary experiences with highly valued stones, pink diamonds, blue diamonds. They make millions and millions. Within 10 or 15 years, $12 million had been dwarfed by bigger stones and higher-value things. It was an extraordinary career when I look back at it. I'm quite busy doing what I'm doing now, to be honest with you. There comes a point where something like that, that is so unpredictable—you don't know what the next stone is going to be, what the next collection is going to be—you suddenly start thinking, “Actually, I've done that. I'd like to do something else.” That's when Daniela and I, about two years ago, decided we would retire. We were above the age we were expected to do that, so we set up this company, which so far has been great fun.    Sharon: You mean your online company, UnderstandingJewelry.com.   David: Yeah.   Sharon: Did you decide to write the book and then it occurred to you to do this?   David: No, the history of the book is a thing in itself. Believe or not, I'm thinking back to 1986. I got a phone call. I'm in the office and this chap was on the phone. He said, “Mr. Bennett?” I said, “Yes.” He said, “I'm so-and-so. I'm from a publishing company. I'd like to take you for lunch,” and I said, “O.K.” We fixed it for a week's time. We arrived at this restaurant, and he said, “Thank you. Now, I'll explain why I want to see you,” and as he did so, he slid across the table an envelope. He said, “Have a look inside.” Inside in the envelope was a check for a man who just had his second baby, a check for the sort of sum of money that makes you think. I said, “What is this for?” because I was suspicious. He said, “That's an advance, because you're going to write me a book, and it's going to be called ‘Understanding Jewelry.' Amazing, isn't it?” I said, “Really?” and he said, “Well, what do you think?” I said, quite candidly, “That amount of money is quite persuasive. Let me think about it.” I thought about it for a couple of days and said yes, and he said, “O.K., I want the first manuscript within a year,” and they published the book within two years.     When I got back to the office, I said, “Goodness me, O.K. Well, you'd better get started.” I began quickly to realize that I wasn't going to be able to do this on my own because I had so many other things going on. Daniela was working with me in London at that time, so I approached her because she's a real academic. She loves research and everything else, so I said, “Look, would you be interested?” and she said, “Yeah, absolutely. Let's do it.” That's where it began.    It took about two years to write it. In those days, writing a book like that was much more complicated because when you put the book together, you have the negatives of everything, and you can imagine there were a huge number of photographs in the book. Each one of them had to be printed. It's not like nowadays, where you have digital photographs. It was a massive task, and without Daniela it would never have been written. We brought it out in the autumn of 1989, just as I was leaving to go live in Switzerland, and it was a huge success right from the word go. We thought, “We'll sell a few copies.” In fact, it's been incredible. They're saying it's the largest selling hardback book in jewelry in the world. It's been around so long.    Sharon: It wouldn't surprise me. I know you've had several updates.   David: And 10 reprints, separate editions in Russian, Japanese, Italian, Hungarian, even. It's been great. In 2012, we decided that we'd become old and ugly enough to think about another book, so we wrote one for ourselves called “Celebrating Jewelry,” which was done for our own pleasure. We just chose items that we'd sold throughout our careers and wrote a book about it. That was also celebrating the new photography that was available. “Understanding Jewelry: The 20th Century” came out at the end of last year. It's selling very well. We're working now on another book, “Understanding Jewelry: The 19th Century.” We're both looking forward to it, as it's one of our favorite periods of the history of jewelry.   Sharon: What made you decide to write “Understanding Jewelry: The 20th Century?” What made you decide it was time to write another book?    David: It was very simple, actually, because “Understanding Jewelry” runs a timeline. It begins from about 1750 and runs all the way through to when it was written, the late 20th century. With 20 years of hindsight about the 20th century, we're a little bit distant; we have a little bit of perspective about it. We thought the obvious thing to do was to complete the last two decades of the 20th century with the best of hindsight and everything else. It became clear to us that we'd like to do that also to the 19th century. So, we decided to have two new volumes which go into more depth about each of the time periods.   Sharon: Did you decide to launch the online business when you were writing the book? Did you think, “Oh, this would make a great business online?” or had you already thought about doing an online business?   David: I was thinking about it with what's happened in the last 10 or 15 years in our careers. What became quite clear to me was the power of the internet, particularly, for example, on the auction business. 20 years ago, you would have had virtually no bids coming online because they wouldn't be online. Even before I left two years ago, huge portions of the sale were being sold to online bidders, very often people who'd never seen a piece of jewelry that was being sold. It seemed to me that there was this opportunity for us to offer a service to people who were collectors of jewelry, but weren't able to see the jewels themselves. A lot of the new collectors are, as you know, from the Far East and, increasingly and in very recent times, from mainland China. What I think people need in this new online world is—we wanted to offer a sort of endorsement. We wanted to be able to say that we think this is a wonderful piece of jewelry. We've seen it. We've handled it.    We have this section to bring out very shortly, in the next month or so, beginning with London and Geneva and then New York and other cities, looking at what's on offer within the trade. We call it “Hidden Treasures,” because a lot of the great jewelry retailers or specialized retailers are not shop fronts on Madison Avenue or on Wall Street. You have to know where they are, and we've chosen pieces in their retailers to write about. We're not owned by price; we're not trying to sell them. It's just to say that these are great pieces; have a look at them. See what you think, and we offer other services that offset our evaluation services.    This summer in June, we're starting our first tour. It starts in Burgundy, where I'm sitting now, at my property in Burgundy, and then we move to Paris. We're going to take a group of 12 or 14 collectors. It'll be lectures and visits. Hopefully, the idea is that it'll be nearly a week of entertainment but also study. It's meant to be a learning thing as well as being entertaining. We're going to visit some great restaurants around here, great restaurants in Paris. We're going to visit the remaining French crown jewels. We've also been invited by some of the major historic jewel companies, Cartier, Boucheron, Valeria, so we'll be taking this group there to have an insider's look at these companies. This particular course, which will be between Burgundy and Paris, as I said, will feature jewelry from 1880 to World War II, so Belle Epoque, the Gaden style and Art Déco very roughly. It will be quite an intense six days I think, speckled with fun.    Sharon: I'm sure. It sounds very intense. It sounds like somebody would learn a lot.