Podcasts about Cartier

Episode 4 was delayed due to an evening event that Hodinkee hosted with Lucid Automotive in Geneva but I got Nora, Danny, and Tony on a mic before we parted ways after the show. We get into the recent goodies from Cartier, new Alpine Eagle and LUC models from Chopard, and a whole lot more.Show Notes: 00:38 Lucid Motors 2:40 Cartier Tank Privé Normale 4:24 Cartier Santos Dumont Skeleton5:10 The XL Santos Dumont6:26 Cartier Tank Américane Mini7:35 Cartier Pasha9:05 Chopard Alpine Eagle XPS 4110:29 Chopard LUC 1860 11:45 Rolex 1908 collection13:77 Parmigiani Tonda PF GMT Rattrapante14:31 Parmigiani Tonda PF Flying Tourillon 16:48 F.P. Journe Francis Ford Coppola23:54 Time to Watches24:06 Sinn T50

In the 231st episode of 40 and 20, The Watch Clicker Podcast, we welcome Everett back and discuss some of the things that caught our eye from Watches and Wonders 2023.   Grand Seiko SBGZ009 Santos de Cartier with some new colors Cartier Prive Tank Normale Oris ProPilotX Kermit edition IWC Ingenieur Automatic 40 Rolex with some actual new colors And a 40mm Explorer And the 1908 Tudor Black Bay 54 Tudor expanding the Black Bay Line size options Tag Heuer Aquaracer in full gold Tag Heuer Carrera 36mm with new colors Other Things: Andrew: VR Gaming Headset Everett: Pepsi, Where's my jet? ***********************************  This Episode's Sponsors: Escapement Media: https://escapementmedia.com Foster Watch Co: https://fosterwatches.com Frank Affronti Photography: https://www.affrontography.com ***********************************  Check out all of Watch Clicker's content, including columns, reviews, and fantastic photography at: watchclicker.com Check out the Watch Clicker Shop with all your favorite gear, fully branded, here. Our full catalog of podcasts is at watchclicker.com/4020-the-watch-clicker-podcast/ On instagram: 40and20 (@40and20_watchclicker): https://www.instagram.com/40and20_watchclicker/ WatchClicker (@watchclicker): www.instagram.com/watchclicker/?hl=en You can support Watch Clicker and 40 and 20 here: Patreon Intro/Outro Music: Bummin on Tremelo, by Kevin MacLeod (incompetch.com) Licensed under Creative Commons: By Attribution 3.0 License Creativecommons.org/licenses/by.3.0/    

Payroll Giovanni talks about his influences, his upbringing, the Detroit scene, YG, and more. ----- 00:00 Intro 0:05 Payroll Giovanni on being one of the best rappers in Michigan 1:20 Being influenced by Street Lordz and being able to spot someone from Detroit in a crowd 4:00 Growing up with young parents selling dr**s and getting his house raided 10:05 Giovanni's friend RJ had to convince him to having dreams of being a rapper 12:10 The creation of Doughboyz Cashout and rappers getting k*** over a pair of Cartier's 18:30 T.I. and Young Jeezy reaching out with a record deal and how record labels have changed 21:45 Signing to Jeezy, moving to Atlanta and becoming a walking lick 26:00 Beefing with Team Eastside, the comment section instigating and picking sides 28:55 Icewear Vezzo not f'n with Eminem for allegedly not working with Detroit artists 32:40 Juggalos allegedly being a g*ng and what ICP is up to nowadays 38:25 Tension meeting Peezy after squashing the beef, Giovanni's influence on Tee Grizzley and GTA V 43:00 Making a group album with YG, Warren G, Jeezy and Cardo 44:25 Fans paying homage to Giovanni's music and the nightclub scene getting old 49:30 Enjoying family time, Giovanni's son becoming a rapper and being sneaky on Snapchat 51:30 Dropping a new track, interviews being messy and clickbait titles 53:30 Getting stuck in a box artistically and being a genuine person ----- NO JUMPER PATREON http://www.patreon.com/nojumper CHECK OUT OUR NEW SPOTIFY PLAYLIST https://open.spotify.com/playlist/5te... FOLLOW US ON SNAPCHAT FOR THE LATEST NEWS & UPDATES https://www.snapchat.com/discover/No_... CHECK OUT OUR ONLINE STORE!!! http://www.nojumper.com/ SUBSCRIBE for new interviews (and more) weekly: http://bit.ly/nastymondayz  Follow us on SPOTIFY: https://open.spotify.com/show/4ENxb4B... iTunes: https://itunes.apple.com/us/podcast/n... Follow us on Social Media: https://www.snapchat.com/discover/No_... http://www.twitter.com/nojumper http://www.instagram.com/nojumper https://www.facebook.com/NOJUMPEROFFI... http://www.reddit.com/r/nojumper JOIN THE DISCORD: https://discord.gg/Q3XPfBm Follow Adam22: https://www.tiktok.com/@adam22 http://www.twitter.com/adam22 http://www.instagram.com/adam22 adam22hoe on Snapchat Learn more about your ad choices. Visit megaphone.fm/adchoices

In March 2022, Jeffery Fowler was appointed CEO of 15-year-old watch hub Hodinkee. First started as a watch blog by Benjamin Clymer, who formerly worked in finance, Hodinkee has since evolved to encompass an e-commerce platform, a print publication and even watch insurance services.  Fowler was previously president of Farfetch Americas. But he has an extensive background in the watch industry, having held leadership positions at Cartier and Tag Heuer. “What drew me back to this category, after having been at broader fashion businesses in the past, were the human stories and the community aspect,” Fowler said on the latest episode of the Glossy Podcast. “Of all the things I wear when I go out the front door every day, the only thing I could probably tell you a real story about is [the watch I wear]. And something about that is special and magical.” He added, ”I've often said that, in the world of smartwatches, for me, what's smart is something I can give to my kids and that they can give to their kids. And we'll have that thing that connects us over time.” The global passion for watches seems to be at a high. There's less supply than demand for new watches, which is skyrocketing prices of resale styles. Hodinkee, which sells both new and used styles, is reaping the rewards. It eclipsed $100 million in revenue in 2021. “Rolex themselves launched a [resale] business this past year, and other watch brands have gotten into the space, as well. So it's exciting to see it,” Fowler said. “It's a dynamic time for an industry that is literally hundreds of years old; it's continuing to grow and set records, and we're just excited to be a part of it.” Since joining the company, Fowler has been busy making moves to further fuel Hodinkee's growth. In February, Hodinkee launched an accessible line of branded merch. And by the end of this year, it plans to enter physical retail. 

Erik Brandt blev begravet fra Holmens kirke torsdag, og det vrimlede til med kendte og kulørte gæster. Ditte kommer i tanke om en sjov historie om modemanden, der efter sigende en gang skulle have spist et Rotary-emblem, skidt det ud og afleveret det tilbage i en Cartier-æske.  Vi ringer også til Paula Larrain, der er sprunget ud som Reiki-healer. Da forbindelse pludselig ryger, lader det til, at Kristoffer Eriksen måske også har healende evner! Og måske vil Qvortrup gerne have en halvanden time lang krammer af Paula Larrain. Din vært er Ditte Okman.  Programmet er produceret af Sarah Bech.See omnystudio.com/listener for privacy information.

Después de semanas de protestas y debates en la Asamblea Nacional de Francia sobre la reforma a las pensiones, el presidente Emmanuel Macron decidió saltarse al Congreso y aprobó su proyecto a través de un decreto unilateral. Obvio la gente está que no la calienta ni el sol de Saint-Tropez. López Obrador vetó la designación de los nuevos comisionados del INAI, que el Senado había aprobado hace unos días. Ahora el organismo de transparencia flota a la deriva. Además… Alejandro Encinas reconoció que el Ejercito ejecutó a cinco jóvenes en Nuevo Laredo; el Pentágono filtró el footage de cómo cayó su dron al Mar Negro; y las joyas Cartier de María Félix llegaron al Museo Jumex. Para enterarte de más noticias como estas, síguenos en nuestras redes sociales. Estamos en todas las plataformas como @telokwento. Hosted on Acast. See acast.com/privacy for more information.

The 2023 Academy Awards just happened, so Holly is back this week to discuss Red Carpet fashions with “just a few comments and opinions,” because who would we be if your favorite personal stylist didn't give her opinion on Hollywood's biggest night?     Duh, that is why we are here! #Helloooooo    In this episode, Holly takes us through her favorite hits and misses on the 2023 Red Carpet, helping you understand what the stars are wearing, so you can learn how this type of high fashion will translate and trickle down to regular everyday folks.     In general, the Oscars do not aim for the outrageous or wacky factor like we see for the Met Gala or the Grammys. This is the absolute highest honor in the film industry. Traditionally, the Academy Awards Red Carpet is where the world's most prestigious stars present themselves in the way they'll be remembered decades from now. And, at least this year, most people understood the assignment.     But hold on a minute! Did you know that in 2023, the “Red Carpet” is not actually red anymore?(We are still calling it the “Red Carpet” for this episode, however.)    So, fun fact:   The New York Times recently quoted a big-time celebrity event planner, Mandy Weiss, and she said the color of the red carpets has changed because of fashion. It must match the dresses, and the color red just really clashes. The carpet has been red since 1961, back when it was all about a star's movie and what role they were nominated for.     Now it's all about what the stars are wearing and which designer they are wearing. The New York Times states that, in fact, event planners say trends and carpet colors now correlate with the trends on the runways. "It all goes back to fashion and style and trendsetting," says Mrs. Weiss. The carpet should reflect the fashion that's going to walk down the carpet and not fight with it.    So, this year it was called the Champagne Carpet. Alrighty then. We can roll with it.     HOLLY'S TOP PICKS:    Halle Berry   Halle wore a stunning angelic white haltered gown by Tamara Ralph with a thigh-high slit, a midsection cutout, and a flowing skirt. But the most notable aspect of the look was the shimmery pink rose appliqués placed delicately across the neck and at her hip.     Honey, that slit up the leg! We mean, we literally couldn't tell she if had underwear on. That's how high it was...and speaking of her legs, she sure does have the legs pull off this dress. She was absolute perfection.    Michelle Yeoh  Continuing with the white trend, Michelle Yeoh made history when she won the award for Best Actress at the Oscars, becoming the first Asian woman to take home the prize. It had already been a hugely successful award season for the actress, not just in terms of recognition, but also when it came to her red-carpet style.    But, when it came to deciding what to wear for the biggest night of them all, Yeoh turned to Dior and creative director Maria Grazia Chiuri, who created a beautiful feathered white gown especially for her.    This dress initially may look like just a lot of fabric, maybe even like a bridal gown. However, it was handmade by Dior Haute Couture atelier – featured waves of feathers in ivory silk organza. It had a sleeveless illusion top which made her dress look strapless from far away but wasn't. When you take a closer look, you can see the illusion part which is a netting. Added with diamond earrings, her hair style, and her diamond jewelry, she was next level! She is just stunningly, remarkably gorgeous at 60 years old. We had to look that up! She's completely fabulous.     Emily Blunt  Blunt matched a form-fitting, off-the-shoulder Valentino dress with a white clutch that was adorned with pearls and a silver appliqué to keep the outfit monochrome. She added hanging, embellished earrings to her stylish updo of backswept hair.    Blunt showed that an off-the-shoulder column dress, done right, can be perfection. The understated gown got a dollop of bling courtesy of Blunt's Judith Leiber envelope clutch and a double dose of pink perfection via a pair of Chopard chandelier earrings. DYING over the earrings.    When Holly says “off the shoulder,” it was boob level, low, low off-the-shoulder. But she is so beautiful. You can see how gorgeous her skin is. And those gorgeous earrings! She had very, very natural makeup. She was just glowing and effortlessly chic.    Mindy Kaling  One of Holly's top looks of the night in custom Vera Wang was Mindy Kaling. She was someone who made Holly fall out of her chair! Never have we seen her look so beautiful and elegant. The custom Vera Wang white dress featured off-the-shoulder sleeves and a mesh Illusion with white boning bodice. So unexpected and fashion forward! Her hair was simply slicked back and effortless. She just looked stunning, stunning, stunning. #NEXTLEVEL   Eva Longoria  Wowza. Speaking of wowza, and we mean wowza! Eva Longoria in her Zuhair Murad couture beaded deep V-neck gown just brought a level of elegance that very, very few can achieve successfully pull off. This dress was made for her - even though this dress was a disco ball. (Those were her words, not ours.) But a chic disco ball.   But it didn't look like a disco ball, and it was not too much on her, even though she is a bit “vertically challenged.” She is not tall. She is a very petite and small person, but she just looked like a supermodel and this dress.     TREND ALERT:  Longoria's dress was a very sexy dress and with the mirrors on it, which has been a trend that we've seen a for a few seasons now.  Normal people can add this trend in simple ways: on a sweater or jeans, a sweatshirt, or just on a handbag.     Instead of sequins, it's like wearing tiny, little mirrors. This look, in small doses, can easily trickle down for styles for us regular people.    Sofia Carson  Dressed in Giambattista Valli Haute Couture, what looks like a gown is actually a custom white draped silk-chiffon off-shoulder crop-top featuring a twisted cut-out bodice paired with an asymmetrical waist ball gown skirt.     Sofia styled her look with a Chopard necklace featuring seven octagonal shaped emeralds totaling 122.49-carats along with 92.57-carats of pear-shaped, marquise cut, baguette cut and round shaped diamonds set in Fairmined-certified white gold jewelry from the Haute Joaillerie Collection. www.chopard.com  O.M.G.   Everybody was talking about this necklace. It looked like something you see in a museum. This necklace...absolutely unreal! She must have had security guards around her by the 1000s. We mean, she probably couldn't pee that night by herself, right??      Tems  For the Oscars, Tems (the Grammy-winning Nigerian artist—born Temilade Openiyi— who is the first African woman to have five Billboard hits) selected a custom white sculptural gown from Ukrainian brand Lever Couture's AW22 Leleka Couture collection, a look that Tems described as "outside the box."     She wore the dreamy white gown with metallic silver eyeliner and cocoa-lined lips that complimented the overall futuristic tone of the outfit.    It had this big structure over her head that was on-theme and ahead of the fashion curve. So, it was not her fault that they sat her in the middle of a row, and no one could see around her. Fashion first, damn it! Move her to a better seat!    Michelle Williams  The actress, who was nominated in the Best Actress in a Leading Role category for her work in The Fabelmans, arrived at the 95th annual awards ceremony in an all-white Chanel couture look.     The dress was a little mature for her, and felt like somebody much, much older could have worn because it was strapless, with netting over the top of it  - like when you don't want to show your arms or shoulders.     Holly was just a little surprised, because she could have gotten away with something much more avant-garde.     Ariana DeBose   She looked stunning, arriving at the 95th Academy Awards in a white Atelier Versace gown with all-over silver embellishments, featuring a sexy deep V at the front and a thigh-high slit leg. She paired the dazzling number with silver heeled sandals, and diamond jewels.    Zoe Salanda  For Zoe Saldana, the 2023 Oscars presented an opportunity to join the sustainability discussion and incorporate practices into her life — starting with the pinnacle red carpet.    As an ambassador for Suzy Amis Cameron's RCGD Global, the Academy's official sustainability partner, and an awards presenter, the Avatar: The Way of Water star accessorized a Fall 2022 Fendi Couture mesh and lace-paneled slip-gown with vintage Cartier jewels.    It was not over the top. It was very effortlessly chic and simple. This was the perfect way to represent the sustainability movement, standing up for the re-wear, reuse and recycle effort.      Monica Barbaro  Barbaro arrived wearing an elegant Elie Saab Haute Couture gown. The California native looked stunning in the dress that featured a plunging neckline and a deep purple front-tie skirt with a velvet bow in the front. Sexy yet so incredibly classy!    When she was being interviewed, she stated how incredibly grateful she was to Elie Saab and the showroom and the team to be given this dress, because even before she even made it in the movie industry, and nobody knew who she was, they were supporting her and loaning her dresses. So good for them! Good on Elie Saab for keeping the faith!     Florence Pugh   The Don't Worry Darling star arrived on the Oscars carpet wearing Valentino. Her jaw-dropping outfit featured a black minidress with pockets shrouded by a draping off-the-shoulder cape in a creamy grayish-beige hue.     A dramatic cape ebbed out from the pleated bodice into cloudlike poof sleeves and a long train. She finished the look with black platform heels, a structural abstract diamond necklace, sparkling pink drop earrings, and a black bow in her hair.    The whole thing opened at the bust, like an empire waist. You could see her legs and it flowed like a train behind her.     Holly was just aghast and has never seen anything so daring and unexpected! She tells us she was just dying over this look! Florence is very young. And she has a very edgy, punk vibe.  One of Holly's top, top picks of the night!!!     “And I just loved every single bit of it. I want this to trickle down. So, if I have to make this trickle down myself I do not care. God I love this. Did I say that already just saying I'm gonna put this picture under my pillow at night and I'm going to manifest this look for me.” – Holly Katz        HONORABLE MENTION    Winnie Harlow  Harlow arrived in a soft yellow archival 2005 Armani Privé couture column dress. Sustainable fashion has really made a statement on the Red.. or excuse us, Champagne Carpet this year as we are seeing celebrities wanting to showcase garments that have already made a statement instead of having a designer make something brand new for them.     She is completely gorgeous in her own right. And she pulled off this look flawlessly. She doesn't need a lot of extras. The very, very light yellow color of the gown looked beautiful with her skin tone.     Elizabeth Olsen  Elizabeth Olsen was a vision as she walked the red (champagne) carpet in a long, black, Givenchy halter gown with a slicked back bun and a red lip. Completely open in the back. Stunner.    Hong Chau  Chau, who is nominated for best supporting actress for her role in “The Whale,” walked the red (champagne) carpet at the biggest event of the year in a custom pink Prada gown that featured a nod to her Vietnamese heritage.    The collar of her dress, known in English as a Mandarin collar, is a short and stiff upright collar. It's popular in both Chinese cheongsams (also known as qipao) and Vietnamese dresses known as ao dai. She added this design detail at the last minute.     Malala Yousafzai  The Pakistani female education activist and Nobel Peace Prize laureate wore a silver sequined gown by Ralph Lauren with a hood, long sleeves, and a cinched detail on one side of the waist. She accessorized only with a large silver diamond ring and a gold ring with a large emerald from Santi Jewels, and wore minimal makeup, and added a pop of color with a bright red lip. HOLLY'S TOP LOOK OF THE NIGHT!      NO SNAPS    Ruth E. Carter  Carter, who in 2019 became the first Black person to win the Oscar for costume design for her work on Marvel's “Black Panther,” was recognized for the film's sequel, “Wakanda Forever.” She is a master at costume design, but she might have had a "Sound of Music" moment, as it looks like she was wearing the drapes.  #DAMN   The dress was just a lot, and really swallowed her. It was a bright yellow strapless gown, but you couldn't see her body shape. This was a no-no for Holly.    Jennifer Connelly  Connelly arrived in a black, off-the-shoulder Louis Vuitton column gown with a beaded triangle-shaped embroidery panel that came literally all the way up to her chin. To Holly, it looked like a spaceship. This dress was probably stunning in person, but, um, no girl! No snaps. Absolute the worst dressed.      That's all for now, folks! We could go on and on and on. Did we get it right? Did we get it wrong? We want to hear your comments! We hope you enjoyed this episode, and Holly will be dreaming and scheming about her top picks! 

Have you ever wondered about your teeth and why you are not getting the white smile that you KNOW you deserve? Cartier and David are here to share about their business, Code White Smiles, and the importance of having white teeth. People normally judge you based on your smile and just as how we take care of our hair and nails, our Teeth are Just as important. Enjoy --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this episode of the Burn Boot Camp podcast, franchise partners Bryan and Kandy Cartier share their inspiring journey from being retired athletes to successful fitness entrepreneurs. The Cartiers discuss how they found the culture-driven environment and team atmosphere they loved about playing sports in Burn Boot Camp, which eventually led them to become franchise owners. Bryan and Kandy reveal how their passion for fitness and desire to help others achieve their goals led them to open their own Burn Boot Camp location in Clermont, FL. They discuss the challenges they faced in the early days of their business and the importance of surrounding themselves with a supportive community of like-minded individuals. They discuss the importance of maintaining a strong company culture, empowering their team members, and creating a positive experience for their clients. Throughout the episode, Bryan and Kandy offer valuable insights and advice for aspiring entrepreneurs in the fitness industry. They emphasize the importance of having a clear vision, staying true to your values, and being willing to take risks in order to achieve your goals. Overall, this episode of the Burn Boot Camp podcast is a must-listen for anyone interested in learning more about the journey of two former athletes who have leveraged their passion for fitness and teamwork to create a successful business and help others achieve their goals. _________________________ ✅#1 fastest growing fitness franchise ✅500+ franchises awarded ✅100,000+ members Want to bring Burn Boot Camp to your city? We're looking for our next Franchise Partner. If you have a passion for fitness and are looking to become your own boss, don't miss out on this opportunity! We can't wait to celebrate with you as you start your Burn ownership journey!

David Rogers is one of the world's leading expert on digital transformation, a member of the faculty at Columbia Business School, and the author of five books. His landmark bestseller, The Digital Transformation Playbook, was the first book on digital transformation and put the topic on the map. David defined the discipline by arguing that digital transformation (DX) is not about technology; it is about strategy, leadership, and new ways of thinking. In his newest book, The Digital Transformation Roadmap, he tackles the biggest barriers to DX success and offers a blueprint to rebuild any organization for continuous digital change. David has helped shape the way companies around the world transform their business for the digital age, working with senior leaders at corporations including Google, Microsoft, Citigroup, Visa, HSBC, GE, Toyota, Cartier, Pernod Ricard, China Eastern Airlines, and NC Bank Saudi, among others. He regularly delivers keynotes at conferences on all six continents and has appeared on CNN, ABC News, CNBC, Channel News Asia, and in The New York Times, The Financial Times, The Wall Street Journal, and The Economist. At Columbia Business School, Rogers is faculty director of executive education programs on digital business strategy and on leading digital transformation, having taught over twenty-five thousand executives. In this podcast, he shares:What companies usually get wrong when they pursue a digital transformation The cognitive barriers that most often stop companies from effectively embracing digital transformation Lessons from some really tangible cases from Intel and Disney, to the New York Times, what works and what doesn'tWhy digital technologies ultimately are changing how organizations will organize themselves _________________________________________________________________________________________Episode Timeline:00:00—Highlight from today's episode00:46—Introducing David + The topic of today's episode3:03—If you really know me, you know that...4:01—What is your definition of strategy?5:50—Can you give us an example of a company that successfully mastered digital transformation?8:20—Can you lay out the five domains that you outline in your book, The Digital Transformation Roadmap?11:05—As we become aware of the cognitive biases we carry, then what are some strategies that companies can think about maybe in customer strategy?14:00—Have you found a framework or tool that you think is particularly good for culture transformation?17:06—Where can people get in touch with you and follow your work?17:30—What's something important you changed your mind about?19:47—How do you get people to support a cultural change and transformation?20:38—How do digital tools help in a cultural transformation?__________________________________________________________________________________________Additional Resources: Personal Page: davidrogers.digitalLinkedin: https://www.linkedin.com/in/davidrogersdigital/Columbia faculty page: https://www8.gsb.columbia.edu/cbs-directory/detail/dlr42

Cartier Resources drill results recently returned 4.0 g/t Au over 6.8 m including 24.8 g/t Au over 0.5 m; all of which is included within a 13.5 m interval grading 2.6 g/t Au from the East Chimo Mine Sector. As the company continues to prep the PEA for the property, the company continues to test and hopefully replicate the West side of the property as they have done in the East.

Born and raised in France, Anouk Krantz moved to the United States in the late 1990s. Living in New York City, she completed high school at the Lycee Francais and earned her bachelor's degree while working for a lifestyle magazine. Following college, she worked at Cartier's corporate office in New York that, oversees the Americas. Anouk later studied at the International Center of Photography and has received wide acclaim for her bestselling Wild Horses of Cumberland Island (2017) (second edition//fourth reprint), West: The American Cowboy (2019) (seventh reprint), and American Cowboys (Fall 2021) (third reprint) - Anouk's solo journey across America from 2019 to 2021 - which reveals the intimate lives and families of this private and elusive icon of the American West.   Her work has appeared in prominent galleries and museums and earned accolades from the International Photography and Monochrome Awards. Her books and her art have been praised by international publications, such as L'oeil De La Photographie, Vanity Fair, Town & Country, Time, Harper's Bazaar, Daily Mail UK, Western Art Collector, and Garden & Gun, among many others. The Candid Frame Newsletter Sign-Up Resources Anouk Krantz Dorothea Langue Websites Sponsors Charcoal Book Club Frames Magazine Education Resources: Momenta Photographic Workshops Candid Frame Resources Download the free Candid Frame app for your favorite smart device. Click here to download it for . Click here to download Support the work at The Candid Frame by contributing to our Patreon effort.  You can do this by visiting or the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

My guest this week is Mike Nouveau, vintage watch specialist.Mike's story goes deep; he's worked at Rolling Stone, Paper Magazine, DJ'd around the world, and is the titan of #watchtokMike and I discuss his life growing up in NY, his path into watches, blowing up on TikTok, why the market is obsessed with Cartier, collecting auction catalogs, legendary barn finds, and why grails are still out there.Mike's TikTokMike's Instagram*Sponsored by Standard & Strange – Get the facts on loopwheel

Steve Ivy recaps the Rams' heartbreaking loss to Boise State and then CSU junior guard Isaiah Rivera and graduate transfer Patrick Cartier join to talk about the game and the struggles of the Rams' season, as well as give us a glimpse into their lives at CSU. Pat also delivers a bit of good news for Ram fans.

Philippe Cloutier of Cartier Resources provides his corporate editorial comments on the company's latest drill results from the East Chimo Mine Sector at the Chimo Mine Property in the Val-d'Or mining camp. Mr. Cloutier discusses how these results continue to add to the current resource. The Chimo Mine Project now consists of 29 gold zones that are situated within 19 gold structures.

After years of low-key stalking, a royal stack of Rolex Midas models was all it took for Felix to invite Anders, AKA @everydaycollector onto the pod. Anders, hailing from sunny Norway has a stunning collection of watches, including the aforementioned Rolex. On top of that, there's vintage Cartier, Royal Oaks, Vacheron Constantin 222s and more. All these watches are incredibly hot right now, but Anders has been ahead of the curve. We talk about approaches to collecting, design watches and what it's like to be the world's first Aeropress world champion. Like your watches with a dash of community inclusion? Try our Discord . Show Notes: https://www.otpodcast.com.au/show-notes Gunthers Millions trailer Crystal the Capuchin Carl Nave Nothing Forever (AI-generated Seinfeld) Everydaycollector on Instagram Talormade on Instagram How to follow us: Instagram: @ot.podcast Facebook: @OTPODCASTAU Follow hosts: @fkscholz + @andygreenlive on Instagram. Send us an email: otthepodcast@gmail.com If you liked our podcast - please remember to like/share and subscribe.

Cartier Resources Inc. is a Canada-based exploration company. The Company's activities primarily include the acquisition and exploration of mining properties in Canada. The Company focuses on the Chimo Mine property, which is situated approximately 50 kilometers (km) south east of Val-d'Or. Chimo Mine consists of approximately 12 contiguous claims covering an area of about 334 hectares (ha). Its Benoist property consists of approximately of 73 claims, which is located in Miquelon, Quebec. Its Fenton property consists of approximately 18 contiguous cells, which is located in Chapais, Quebec. Its Wilson property consists of approximately 42 contiguous claims covering a surface area of about 1,660 ha. Its Cadillac Extension property consists of approximately 39 claims. Its Dollier property consists of approximately 40 map staked contiguous cells covering an area of about 2,228 ha. Its MacCormack property consists of approximately 89 claims covering an area of about 3,808 ha.

Tracklist :Prince - She's Always In My Hair (12 '' version)Nia Archives - ConveniencyUnknown Mortal Orchestra - LaylaBoldy James & RichGains - SOS ft. ChuckstaaaSaint Etienne - Only Love Can Break Your HeartSaint Etienne - Who Do You Think You AreSaint Etienne - He's on the PhoneAcid Arab & Sofiane Saidi - Leila Forever Pavot - Dans la voitureTalibando - Top Of The Morning ft. Samuel ShabazzJID & Lute - Ma BoyRadio - More Than One Way to Love a WomanDJ Python - I'm TiredEla Minus & DJ Python - Pájaros Enn VeranoRamzi - Foggi ft. PrioriToumba - IstibtanRodion - Mondi LontanissimiPet Shop Boys - Paninaro (Italian remix)Giorgio Moroder - Night Drive (American Gigolo soundtrack)Lil Yachty ft. Daniel Caesar - Reach The Sunshine.PinkPantheress & Ice Spice - Boy's a liar pt.2Rad Cartier, Brodinski & Modulaw - MagnetoJohann Papaconstantino - La solussThe Stranglers - Always the SunGhost Town DJs - My Boo Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

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.

On this episode we sit down with Mark Cartier & Erica LaRose to discuss their careers and time in Hollywood, what got them into Star Trek, the podcast they help produce - Shuttlepod Show (co-hosted by Dominic Keating & Connor Trinneer and an amazing upcoming LIVE Shuttlepod Show event in LA! A wonderful time you will not want to miss!

Philippe Cloutier of Cartier Resources joins us from AME Roundup Conference to discuss this morning's drill results from the West Nordeau deposit within the greater Chimo Mine Area. These promising results confirm what the company believed to be the case, that mineralization does continue below the current known deposit of West Nordeau.

Dans cet épisode, je reçois Natacha Hochet Raab. Natacha passe une enfance heureuse, entourée de son frère et de ses deux parents médecins. Ces derniers lui transmettront les valeurs de travail et de mérite qui furent également inspirées de ses grands parents polonais ayant vécu la Shoah et l'immigration en France après la guerre. Jeune fille très énergique et curieuse de tout, Natacha rentre à l'Essec avant de viser le concours de l'ENA qu'elle décidera finalement de stopper pour des raisons qu'elle nous expose. Très tôt, Natacha a eu a coeur de cultiver sa singularité que ce soit au travers de sa chevelure rousse, de sa féminité assumée ou de son cheveu sur la langue qu'elle tenta un temps de corriger. Le piège de la perfection, Natacha est tombée dedans avant d'apprendre à s'en débarrasser pour conquérir sa liberté. Natacha démarre par une alternance chez Cartier avant d'entrer chez Sephora, qui est à l'époque une structure naissante qui vient d'être rachetée par LVMH et ou tout est à faire. Elle y rencontrera l'un de ses mentors qu'elle suivra chez Louis Vuitton ou elle expérimentera la réalité du management de terrain, en boutique, une révélation pour Natacha qui y vit une expérience humaine transformatrice. Promue avant de partir en congé maternité, Natacha a toujours su assumer ses ambitions, quitte à refuser des postes qui lui semblaient trop étroits. Natacha est une personnalité flamboyante, complète et authentique. Elle se livre sans fards sur le combat qu'elle a mené, plus jeune, contre l'anorexie. Mais aussi sur les difficultés qu'elle a pu rencontrer dans son parcours professionnel qui s'est poursuivi chez Dior durant plusieurs années avant de rejoindre la maison FRED. Natacha vient de fêter ses 50 ans et ne s'en cache pas, à raison. Elle se sent plus libre et alignée que jamais, court des marathons et célèbre la vie tout en contribuant activement à des causes qui lui sont chères: L'éducation avec notamment l'école Diagonale mais aussi la promotion des femmes dans l'environnement professionnel. Un épisode plein d'ambition, d'optimisme et d'authenticité avec une femme qui ne vous laissera pas indifférent.e ! Belle écoute !

Kim D. is kicking the New Year off in rare form, with, shocker, a lot to say. First things first, Kim is coming in hot after revealing information last week about how she claims Rachel Fuda allegedly “landed" her spot on RHONJ, she talks about the fall out from that claim from Rachel, where that claim originated and offers advice to Ms. Fuda moving forward. Welcome to RHONJ, Rachel. In other news, Kim weighs in on many of the recent RHONJ New Years happenings - Tre, Luis and family on the cover of People Magazine, Melissa Gorga shaded by Caroline Manzo's brother, Melissa Gorga's recent claims about Kim - which of course Kim claps back at, new info in the Dina Manzo / Teresa “fall out” and last, but certainly not least, the four $12,500 Cartier Juste Un Clou Bracelets Teresa's daughters received as a holiday gift from Mr. Luis Ruelas. Real or Fake? To help clarify, David pulls out his real one and off to the races we go. Finally, as promised, Kim is doing her own “ReWife” beginning with RHONJ Season One, Episode One - breaking it all down and spilling Behind The Scenes tea regarding Danielle Staub, Caroline & Dina Manzo, Teresa and Jacqueline.  Full Episode At: https://www.patreon.com/posts/76740494/edit @kimdposche @behindvelvetrope @davidyontef Learn more about your ad choices. Visit megaphone.fm/adchoices

Music manager, Danny Bersco returns to the Random Order Show to talk:- His RO13 experience- Bad scheduling- His tattoo inspirations- transitioning Cartier lenses- Playing ball with the police- The Shark Tank pitches that never made itVideo version hereRandom Order tees & sweaters hereFollow Random Order on Twitter and InstagramLike the show? SUBSCRIBE to and RATE Random Order on:» Apple Podcasts: https://podcasts.apple.com/us/podcast/random-order-podcast» Spotify: https://open.spotify.com/show/1mO9AL0wCGeF6hFEa7MhoV Advertise on Random Order via Gumball.fmSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Quelle joie, quel honneur, quel bonheur de commencer l'année avec Claude Cartier derrière le micro ! Claude Cartier est architecte d'intérieur et son profil unique. C'est un concept à elle seule : après un showroom (pour vendre sa sélection pointue de mobilier contemporain), elle a ouvert son studio (pour accueillir et travailler sur les projets de ses clients), puis une galerie (pour inspirer, s'exprimer et créer des scéno incroyables).  Ses clients sont très nombreux, ses followers et admirateurs aussi. On applaudit son style singulier. Ultra créatif. Ses goûts précis. Affirmés. Ses collaborations inédites. Utra désirables.  Derrière tout ça une femme avec une vraie personnalité, évidemment, ultra créative, qui fête ses 40 ans de métier et qui m'a reçue chez elle, qui est aussi un lieu de travail, car sa passion ne s'arrête jamais... c'est ce qu'elle nous confiera dans cet épisode ; son parcours, ses inspirations, sa manière de travailler, d'aborder les projets, les tendances, bref elle se raconte pour la première fois dans un podcast et je suis ravie que ce soit dans DECODEUR ! Bonne écoute !! Si ce podcast vous plait n'hésitez pas  > à vous abonner pour ne pas rater les prochains épisodes > à mettre un commentaire ou 5 étoiles (sous la liste des épisodes, rubrique "Laissez un avis")  > à suivre @decodeur__ sur Instagram et à partager l'épisode en Story par exemple  > à découvrir les 100 épisodes déjà en ligne  > à parler de DECODEUR autour de vous, tout simplement...!  Merci beaucoup

Happy New Year 2023!Hot Topics: Lisa Rinna is out of RHOBH. Ashley Darby and Luke from Summer House have broken up. Louis may have given Teresa & her daughter fake Cartier for Xmas. Danielle Staub is joining onlyfans. Chili from TLC & Matthew Lawrence go instagram official. Andy & Anderson had a very uneventful NYE on CNN.We Cover: RHOP Gizelle & Ashley tell Mia that Karen is spreading rumors, Ashley hosts a dinner for her loser friends, and Karen hosts her variety show with no clear focus. Below Deck Camille is spiraling out of control, Ross gets aggressive in the hot tub and Capt Sandy tries to set the crew straight. RHOSLC The final dinner in San Diego ends badly when Danna confronts Jen, Heather won't talk about her black eye, Whitney doesn't know what a conjugal visit is. Meredith hosts a fashion show fundraiser where Jen & Coach give Angie K a check and Heather & Whitney confirm the end of "Bad Weather"Follow Us on Instagram:https://www.instagram.com/escapingrealitypodcast/

We welcome a Detroit Legend, Oba Rowland to the table. We talk about his impact on the Detroit Cartier culture, his record label, new music, how he almost got locked up for life and how he got out of it.

The Real Housewives Ultimate Girls Trip tea we've been hearing and sharing is firming up. And, it looks like there will be an official RHUGT spin-off. We've got an update on the cast and the location. Instagram accounts are suggesting that there might be something fishy about the Christmas gifts Luis Ruelas gave to Teresa's girls. Is Brandi getting a diamond? And we got an email about this season of the OC - could it be the last? Miami continues to bring the heat. Thanks for listening to Cocktails and Gossip! As always, send us tea at bravoandcocktails.com and follow B on Instagram at @bravoandcocktails_ See https://chartable.com/privacy for privacy information.

Andy Cohen's New Year's Eve broadcast on CNN will be less boozy this year. Coco Austin defends her 7-year-old daughter's twerking. And Luis Ruelas is accused of giving Teresa Giudice's kids fake Cartier bracelets. Learn more about your ad choices. Visit megaphone.fm/adchoices

Christmas has come and gone and here we are in that vortex that is the week before New Years. We are making goals for 2023 and planning our winter trip for next year. As always, we have two beauty products we love and two fashion items everyone will love. PSA: everyone looks good in pink. Bravo is off, no one is working, except for Luis with those Cartier bracelets, he really worked everyone over on those bad boys! Beauty: Blender Brush: https://www.sephora.com/product/liquid-blender-brush-P502085?country_switch=us&lang=en&skuId=2621993&om_mmc=ppc-GG_18529539267_142939699835_pla-1881870606638_2621993_626820665501_9031555_c&gclid=CjwKCAiAkrWdBhBkEiwAZ9cdcDT92-NORuGf1ExM63kgvCgFNjufgHKx2g_CkMxQm0dqPEemxspVBBoCTnIQAvD_BwE&gclsrc=aw.ds Face Mask: https://www.dermstore.com/natura-bisse-stabilizing-cleansing-mask-200ml/11370632.htmlFashion: Fashion: Sweater: https://www.jcrew.com/us/p/womens/categories/clothing/sweaters/pullovers/pointelle-crewneck-sweater/BJ595?color_name=hthr-natural&N=MEDIUM&sale=true&noPopUp=true&srccode=Paid_Search%7CSmart_Shopping%7CGoogle%7CSS_ACQ_XPROD_SHIRTSxxxxxxx_EVG_ROAS_XXX_COUSA_EN_EN_A_CREW_GO_SH_SSC_xxxxxxxxxx,shop_shirts_x_xxx,PRODUCT_GROUP,71700000073582962,58700006374250903,p57824858983&utm_source=Google&utm_medium=Paid_Search&utm_campaign=SS_ACQ_XPROD_SHIRTSxxxxxxx_EVG_ROAS_XXX_COUSA_EN_EN_A_CREW_GO_SH_SSC_xxxxxxxxxx,shop_shirts_x_xxx&utm_content=Shopping&NoPopUp=True&gclid=CjwKCAiAkrWdBhBkEiwAZ9cdcKj_wi2bsGUN6sPrqHwbKoRHXCcOWMIfqL3ZWTjmgsyXylL7n8B9jRoCCsYQAvD_BwE&gclsrc=aw.ds Dress: https://www.intermixonline.com/mach-mach/crystal-embellished-cut-out-maxi-dress/C0042-VCL-108.html?dwvar_C0042-VCL-108_color=650&cgid=#q=mach%2Band%2Bmack&lang=en_US&start=1&prodIndex=31

What you'll learn in this episode:   How Beatriz discovered and catalogued the 2,600 rings in the Alice and Louis Koch Ring Collection at the Swiss National Museum How Covid lockdown changed how people wear jewelry Beatriz's tricks for making a jewelry exhibit more engaging What it's like to work with jewels uncovered from shipwrecks How global trade has influenced how jewelry is designed and made   About Beatriz Chadour-Sampson   Beatriz Chadour-Sampson studied art history, classical archaeology and Italian philology at the University of East Anglia, and at the University of Münster, Germany. Her doctoral thesis was on the Italian Renaissance goldsmith Antonio Gentili da Faenza. In 1985 she published the jewelry collection of the Museum für Angewandte Kunst, Cologne. Since 1988 she has worked freelance as a jewelry historian, curator of exhibitions and academic writer in Britain. Her numerous publications on jewelry, ranging from antiquity to the present day, include the The Gold Treasure from the Nuestra Señora de la Concepción (1991), and 2000 Finger Rings from the Alice and Louis Koch Collection, Switzerland (1994). She was the consultant curator in the re-designing of the William and Judith Bollinger Jewelry Gallery at the Victoria & Albert Museum (opened in 2008), London and was guest curator of the ‘Pearl' exhibition (2013-14). She is an Associate Member of the Goldsmiths' Company, London. Today Beatriz Chadour-Sampson works as a freelance international and jewelry historian and scholarly author. Her extensive publications range from Antiquity to the present day.    Additional Resources: Instagram Museum Jewellery Curators - Goldsmiths' Fair Photos available on TheJeweleryJourney.com Transcript:   Working in jewelry sometimes means being a detective. As a freelance jewelry historian and curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum, Beatriz Chadour-Sampson draws on her wealth of knowledge to find jewelry clues—even when a piece has no hallmark or known designer. She joined the Jewelry Journey Podcast to talk about how she creates jewelry exhibits that engage viewers; how she found her way into the niche of shipwreck jewelry; and what it was like to catalogue 2,600 rings. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest is Beatriz Chadour-Sampson. She's been the curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum for almost 35 years. Welcome back.   Beatriz: You asked about the catalogue. We didn't know if the exhibition was going ahead at one point, but I was asked by V&A Publishing to do a book on pearls, which I did. So, yes, we did a book which was for sale during the exhibition. That was in 2013. We redesigned the jewelry gallery, and 2008 was the end of that. The pearls exhibition was in 2013, the beginning of 2014.   Sharon: Why was it redesigned, the gallery?   Beatriz: The jewelry gallery. With all galleries, there comes a point where they need to be refreshed and renewed, and the previous design needed it. You even had gates you had to get through, and if you weren't quite as slim as myself, you would have problems getting through the gates. When it was redesigned, it was a completely different aesthetic. As I said, the boards have to tell the story, so when the visitor walks in, they have to understand the story and go from one to the other. Some people say the gallery is very full, but it is a study collection. We asked the education department artists to do certain things.    I was very keen on going “from cradle to grave.” The gallery is chronological, so you want a display before you start to know why you wear jewelry. A child wears jewelry or a mother wears jewelry to protect them at childbirth, or they wear it for status or religion or whatever it is. Jewelry is multitasking, multifunctional. Today we think of jewelry as decorative, but that is not the case. Jewelry was made for an occasion and a reason. With status, you always have the big diamonds and the big stones. That has always existed, in recently centuries definitely. But there are so many more reasons for jewelry, for mourning and birth and good luck. That sort of exists today, probably with charms. So, jewelry is multifunctional.    Then we have a screen with pictures from different centuries showing portraits because, at a jewelry gallery, you can't see the pieces on someone. They need the body, but they don't have the body. So, it's good to have a screen showing how the jewelry was worn through the centuries, which is very important. Also in the display, each board—let's say you had earrings, a necklace and a bracelet. The concept was that what you wear on the top of the head goes on top. What you wear around your neck comes next and then the base, so you have a feeling of an abstract body in a way. It's not always obvious, but I try to think of it logically.    Of course, with the contemporary, we couldn't do that. It is all chronological until you get to about the 1950s, and that's it. You have to find a completely different concept. So, we decided to do it by materials. Good chronology at the beginning, but then it comes into materials. Natural materials, new metals, techniques. You couldn't do decades. That couldn't work. So, we did it by materials, which is an interesting aspect because you have all the different materials they use in comparison to all the gold and silver you see throughout the gallery. Suddenly, you're seeing a whole wall of completely different materials.   Sharon: What is your role as co-curator? You're curator and co-curator of so many places. What's your role as a co-curator? What do you do? What do they call in you for?   Beatriz: It's an advisory role. The Victoria and Albert Museum is a bit more than just an advisory role. You're working with the team, with the architect. It's a team procedure, but as I say, everybody has their own role to play. It intermingles, of course.    Sharon: At other times, you've talked about a different museum in Switzerland where you came, and it looked just—was it at eye level? Was it low? Was it too high?   Beatriz: Oh, that one, no. You remembered that detail. The eye level, that was the Victoria and Albert Museum. That is in the center of the gallery because we did a display for a tourist who goes to the museum and only has 10 minutes to look at jewelry history. So, in the center you've got these curved glass cases. The jewelry is on special mounts. You remember that. I asked my colleagues of different heights, from four foot something to six foot something. In the storage room, we had glass doors where there was a lot of storage space with artifacts in it, and I used Post-it Notes to put the different heights of people to see what a good eye level is. So, if you're looking at a broach or a tiara or something, you want it on the level where you more or less visualize it on your body so you can see it well. So, yes, that's the Post-it Notes. I used not only double-sided tape and pieces of paper, but also Post-it Notes, trying to find the right height for the pieces.    Eye level is hugely important, but the other museum you're thinking of may be something I'm current advising on. This is really an advisory role. It is a museum that will open next year, the Dubedeen, a German museum. Of course, there are gemologists there that are very specialized, but their museum experience is missing. So, I'm giving a little bit of advice on the background of things. Don't put a plinth that you can fall over. Don't make drawers that a child can get their fingers caught in. You learn these things from places like the Victoria and Albert Museum. There's health and safety. There's also the height of displays, the attention span of visitors. Text shouldn't be too long. It's more of an advisory role than an active role.   Sharon: I'm thinking about attention span. You must have seen that really go down. It seems nobody has more than two seconds for attention anymore.   Beatriz: There is an element of that. I think the Koch Collection of rings in the Jewelry Gallery is one of the most visited in the England museums. When you get to sparkle and glitter, there's more attention span, but not so much on the text.   Sharon: Yeah, that's probably true. You've also done a lot of work on shipwrecks. That's very interesting.   Beatriz: That goes back to 1989. By sheer coincidence, I came to work on shipwrecks. I was in New York when I was working on the Concepción Collection. I met Priscilla Muller of the Hispanic Society of America in New York, and I helped her with some Spanish and Portuguese jewelry. When she was asked, she just didn't have the time to work on the shipwrecks. She thought with my Spanish and Portuguese knowledge, I would be suited for that, so I was asked by Pacific Sea Resources in 1989 to work on an incredible shipwreck called the Nuestra Señora de la Concepción from 1638 that sank. It was the usual thing, mutiny and the wrong person taking care of the ship. That's a private story, not a jewelry story, but the interesting thing is that the jewelry was basically made for Spaniards in the Philippines. The jewelry was made in the Philippines, the majority of it for Spaniards. It was a Spanish colony at the time.   When I was first went through it, I thought, “It looks quite European. It looks O.K.” I signed the contract, and little did I know how much research was involved for the material, which I hardly knew. It was because of the influence. The Spaniards definitely had European design books they brought with them. By then, you had printed books with designs in them, and they must have had them there. Chinese craftsmen were working for them in the Philippines, and of course the Chinese had great skills with outside countries. Some of it looks very European, and some of it is Indian influences, Siamese influences, and influences from Java, Sumatra. The chains, heavy gold chains, were certainly Chinese filigree. In fact, I told the Ashmolean Museum it belonged to Sir Elias Ashmole, whose portrait and chains still exist in the Ashmolean Museum, and I told them that one of the gold chains he had was Chinese. It was given by the Kuffners from Brandenburg, and I happened to find out that the Kuffners from Brandenburg travelled to China. So, that all fit. That was a little like detective work. That was published in 1990.   I've recently been working again on shipwrecks, just a few pieces of absolutely fascinating jewelry found off the shore of the Bahamas, which has now been in the Maritime Museum on the Bahamas for only a few months. I also worked on the Atocha in Key West. I organized an exhibition in Hanover for them, where we did a display of the Atocha and Santa Margarita events. But what's so fascinating about shipwrecks is that we see so many portraits of beautiful jewelry from the Renaissance, the 16th, 17th centuries, where they really documented beautifully painted jewelry in paintings. Thanks to that we can study them in detail. All this jewelry doesn't exist anymore, especially gold chains, because gold chains were the easiest thing to melt and reuse for more modern jewelry. As I have said, I have a smile when somebody talks to me about recycled gold being something new. Well, it's nothing new. Recycling gold goes back centuries.    Sharon: I'm surprised because in the pictures, you always think it's a straightforward gold chain with no Chinese engraving or anything. You think of it as a gold chain.   Beatriz: Some of it is simple, what they called a P-chain. You saw loads of it, especially on Dutch paintings. But in the Atocha there was a spiral. You can see they're very tidy on the portraits, but it looks as if they had a spiral at the back holding the chain so they flowed down properly. Some of those chains we had were definitely Chinese filigree because those chains are filigree. In the 1655 shipwreck from the Bahamas, there's a chain like that, and that's mainly why they asked me to look at it. That certainly reminded me of some of the Concepción work, which was Chinese craftsmanship.    The trade was amazing. You had trade happening in the Philippines. Even the Dutch were trading with the Spaniards. The Dutch were trading silks and spices from China and so on. These big galleons went from the Philippines to Acapulco and Vera Cruz and then to Havana. They went on a route around South America, loading and offloading things from Europe. It's interesting because in Seville, there's the Archivo General de Indias, and there they have all the books on the shipping material. Like with the Atocha, they found out which ship it was because the gold bars have a text mark on them, and that coincided with the documents they have in Seville. It's fascinating. It's a fascinating field.   Sharon: It seems like it.   Beatriz: It's a mystery and it's global, of course. Made in Asia; there's nothing new. It's hundreds of years. There would not be any porcelain in 18th century Europe the other way around.   Sharon: Do you get to see the ship right away? When it comes up, do you see it when they pull it from the ocean?   Beatriz: No. When I was asked to work on the Concepción, I had to travel to Singapore where it was being cleaned and conserved. In one instance I had to say, “Stop cleaning because I think there's enamel underneath, black and white enamel. Stop.” You have to be careful because you have to get rid of the marine dirt. No, I got to see it after it was cleaned or while it was being cleaned.    Sharon: Wow! And then what? It goes to the museum? What happens afterwards?   Beatriz: It nearly got split up and sold at auction. I'm glad it didn't because it's a historical find, but unfortunately you have to go the Mariana Islands to see it. You can't see it always. The material is put together, and it was published in a black and white archaeological report. It was published in 1990, so at least it's documented. National Geographic did a beautiful spread with color, so you know what it's like.   Sharon: What have you learned from parsing these shipwrecks, from researching the shipwrecks?   Beatriz: The extent of influence in Europe of some motifs and how far they went. It was made in the Philippines and sold in Europe because everything that was made and transported on this galleon, the Atocha, at some point went to Seville and then it was traded on. We definitely know that the emeralds the emperors were after came from Colombia and then went through Havana to Seville. It's a fascinating trade, but the trade is something we never think about. In Roman times, the Roman emperor wanted pearls, so they traveled to southern India to get pearls. History does amaze one.    Sharon: It does. You're working on many projects now. What can you tell us about some of them?   Beatriz: I can tell you what's half-finished and what's coming. I've had a year of three books. I co-edited a book with Sandra Hindman, founder of Les Enluminures. I need to add Les Enluminures because for many years, I've been their jewelry consultant. They're based in Chicago, New York and Paris and are specialized mainly in Medieval and Renaissance jewelry, but this has nothing to do with the book we did. It just happened to be that we worked together again. Sandra and myself did something called a liber amicorum in honor of Diana Scarisbrick, a leading jewelry historian. It was for her 94th birthday, and we kept it a secret until her birthday. It had 20 authors in three languages all writing in her honor. That has come out. It's now available. It was published by Paul Holberton. It's on varied topics, from archaeology to today, really. 20 authors contributed towards that.    Today I received my copy of a book I worked on for the Schmuckmuseum, so it's now published. The launch is on Sunday, but I won't be traveling to Germany for that, unfortunately. It has to be a Zoom celebration for me. It's to do with the humanist Johann Reuchlin. He was from Pforzheim. He lived in the late 15th to the 16th century, and it's about script and jewelry from varying periods. It's a lot of contemporary jewelry as well. The cover doesn't really tell you that because it was the 500th anniversary of, I think, his death date. So, he was honored in this book, which has just come out, with essays from many people. Lots and lots of jewelry. That was published by Arnoldsche, and it's called—I have to think of it—German sounds so much easier in this case. It means script and pictures worn on the finger. I worked on rings with script on them.   Sharon: With writing you mean?   Beatriz: Yeah, writing, that's it. There are a lot of other topics in the book as well, but jewelry is certainly the dominant. Yes, they are rings. Mary Queen of Scotts is somebody who wrote her inscription inside the ring and was loyal to the queen. Had that been seen, her head would have gone to the chop. It's rings with prayers on them or rings with some sort of amuletic inscriptions. It's all inscriptions on rings in my case, and it's about Josiah Wedgwood who gave this ring to John Flaxman. You've got a whole history behind it. It's rings with script on them, highly visible on the bezel, either visible on the bezel or inside the hoop.   Sharon: In English or German?   Beatriz: It's basically German, I'm afraid to say, but with lots of good pictures with excellent captions, which are international. I am bilingual in German and English, but I haven't written German for a long time.    I've actually written a third book that's coming out, but that won't come out until January. That was a huge task. It's on jewelry from Bossard from Lucerne. It started in the early 19th century, but the two I worked on were a father and son from 1869 until 1934. That was the period of historicism. It was also a time of fakes of Renaissance jewelry being made, because there were so many collectors who wanted Renaissance but couldn't afford the real Renaissance jewelry. So, it was very tempting for fakers to make fake jewelry. When I started, I didn't know what I was in for, but I have come to the conclusion that it's pure historicism, what Bossard made. I had very little jewelry to go on, just a few pieces in private hands, but I did find by sheer coincidence a drawing, and I found the bishop who it belonged to. You have a hundred drawings by the Bossard Company over this whole period, and it's very interesting material to see their designs they were making. In some instances, it's real Renaissance. I don't know if they were Renaissance or if it was actually made later. Then it gets critical. It's a very complex period, but a very interesting archive in the Swiss National Museum in Zurich.   Sharon: For next year, do you have other projects going on?   Beatriz: Yes, the coming projects. I mentioned the gem museum, which is opening next year. I'm in the midst of advising. I'm going to be working very shortly—I've already started a bit—on the jeweler Eileen Coyne from London. She's been working on jewelry since the 1970s and continues to make jewelry very, very different to anything I've worked on before. What I find so fascinating is that her imagination and inspiration come from the material. It comes with the material and the tools. She also uses interesting gemstones and beads that come from ethnic backgrounds. She uses the most amazing materials. Also jades, carnelians, all kinds of things. So, we're going to do a book. She had a shop in the 80s and into the 90s. Her jewelry was displayed in Harvey Nichols in London, and she had a shop where all the celebrities and royals went shopping. It was quite an interesting clientele. We'll see if we get photographs or if they allow us to show some of the things they bought. It's very much about discretion in such cases. So, that's interesting, a completely different type of jewelry.    I'm really excited about it, but at the same time, I've also been involved, and am more involved now, in an artificial intelligence project. That is a ring that has been designed by Sylvia Reidenbach and John Emeny in England. Sylvia Reidenbach is German, but she teaches in Glasgow and London and all over Europe as well. She has created, with John Emeny, a ring with artificial intelligence based on one or two rings from the archaeological museum in Munich, a few rings from the  Germanisches Nationalmuseum in Nuremburg, and 150 rings from the Koch Collection. There's one design. The machine makes the design, mixes it all and combines it into one design. The ring is now being made. The stone is labradorite. It's been on display since Wednesday last week in the Germanisches Nationalmuseum but will be coming to Zurich afterwards. So, I'll be learning a lot about AI and design. That is completely different from anything. I like the natural materials and history, and then the contrast is the AI.   Sharon: The AI is the dimensions of all these hundreds of rings?   Beatriz: Yes, the images are put into the machine, the AI. Don't ask me the technology of it because I haven't got a clue about AI technology. I'm at the beginning of it all. I'm learning, but I have seen how it develops. The images are fed into the machine, like the 150 rings from the Koch Collection and the others, and the machine designs one ring out of that.   Sharon: Wow! So, it's already made and in the museum.   Beatriz: Only just now. It's hot off the press, but there's more to come on that. There will be more to come on that, yes.   Sharon: You've written several other books. You wrote “A Life in Jewels.”   Beatriz: That is the book we did for Diana Scarisbrick, honoring her. I've written books since 1981, so it's added up quite a bit. Sometime I can give you a list.    Sharon: How about the influence of women on 20th century jewelry? Has it changed jewelry? Has it made it more feminine?    Beatriz: It's an extremely complex story, the role of women in design. You have to see it from the role of the woman in history. Just recently by coincidence, I've seen some material on women painters from the 16th and 17th centuries. In Bologna, for example, there were quite a few, and it's only now coming to the fore. You also have to see high jewelers' workshops in the field of jewelry. You don't have a Renaissance piece of jewelry and know, “So-and-so made it.” That didn't exist. It's only in the 19th century that we start that. The hallmarking system in England goes back to the 13th century, but jewelry was considered smallware, so they didn't consider putting a hallmark on it.    That changed later on, the but the name of the designer is something that we very often don't know. The high jewelers of the 19th century, when you knew the name of who made it in Paris or New York, you never know the name of the designer. That is something that came in in the 20th century. You have some classical examples. With Cartier, it was Jeanne Toussaint. She designed some of the iconic pieces for Cartier and the Duchess of Windsor. She worked for I don't know how many decades designing jewelry. She was a very important female designer. Then you've got Coco Chanel. She designed jewelry, mostly costume jewelry, but she also designed diamond jewelry. Not that she wanted to, but it was for the nation and probably the economy that she did it. Elsa Schiaparelli, with her fantastic surrealist jewelry, made that incredible neckpiece with beetles in plastic. If you had to date that as a jewelry store and you didn't know the background, you'd easily say 1970s or 80s. It's so amazing. In that period, you also had Suzanne Belperron with her really unique designs in jewelry.    Of course, the role of the woman changed after the First World War. You had millions of widows, and they had to work. The whole society was changing. After the Second World War, it became even more evident that women were working. I was very cheeky. I did a lecture. It was in the British Museum, and I was talking about the changing role of men and women buying jewelry. You can imagine the shock of some of them. I said, “Women go out and buy their own jewelry.” Before it was classical: the husband bought the jewelry for the wife. They were the earners, so they bought it. There were a few examples in the early 1900s, like the Duchess of Manchester, whose tiaras are in the Victoria and Albert Museum. She was one of these Dollar Princesses and quite a character. She liked smoking cigars and all. She went off with the family diamonds to Cartier and said, “Make me a tiara, and use up the garments.” You have Lady Mountbatten, who, after the birth of her daughter, Pamela, decided to go to Cartier and buy herself a nice bracelet that she could also wear in her hair in the 1920s.    There are a few examples. On the whole, it was always the husband buying the jewelry, but past that, you have women earning money and buying their own jewelry. The 60s sets off in that direction, and then it becomes jewelry that's more affordable. Jewelry has never been so diverse as in the last decades. It's never been so diverse in all its history. If you look at the Royal College of Art, I think you'll find that, in general, there are a lot more women in training to become jewelers. You find so many names of women designers, now one doesn't even talk about it. Whether it's a man or a woman, it's just become a norm.    Sharon: That's interesting. If you stop to think about it, I don't even know if there are that many male designers. I'm thinking about when I go to studios. You see more women than you do men.   Beatriz: It's more and more, yes. There are more and more women, absolutely.   Sharon: What would you advise? What piece of advice would you give emerging jewelers or people who want to follow in your steps?   Beatriz: Remember that if you're a jewelry historian, you're an academic. Remember that. You have to really enjoy what you're doing. In my case, I was very lucky. I've worked for so many different projects and so many different jewelers internationally. I've specialized in that, but it's very difficult. Maybe, depending on the economic situation, people can volunteer in a museum to learn the trade. I think what you really have to know is do you want to work in a gallery, or do you want to work in an auction? Do you want to work in a museum? They don't always mingle, so you have to learn where you want to go. It depends on what your interests are. If you have anybody, send them to me privately. I'm happy to talk it through.   Sharon: Thank you for being with us.   Beatriz: My pleasure.   Sharon: Well 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.

What you'll learn in this episode:   How Beatriz discovered and catalogued the 2,600 rings in the Alice and Louis Koch Ring Collection at the Swiss National Museum How Covid lockdown changed how people wear jewelry Beatriz's tricks for making a jewelry exhibit more engaging What it's like to work with jewels uncovered from shipwrecks How global trade has influenced how jewelry is designed and made   About Beatriz Chadour-Sampson   Beatriz Chadour-Sampson studied art history, classical archaeology and Italian philology at the University of East Anglia, and at the University of Münster, Germany. Her doctoral thesis was on the Italian Renaissance goldsmith Antonio Gentili da Faenza. In 1985 she published the jewelry collection of the Museum für Angewandte Kunst, Cologne. Since 1988 she has worked freelance as a jewelry historian, curator of exhibitions and academic writer in Britain. Her numerous publications on jewelry, ranging from antiquity to the present day, include the The Gold Treasure from the Nuestra Señora de la Concepción (1991), and 2000 Finger Rings from the Alice and Louis Koch Collection, Switzerland (1994). She was the consultant curator in the re-designing of the William and Judith Bollinger Jewelry Gallery at the Victoria & Albert Museum (opened in 2008), London and was guest curator of the ‘Pearl' exhibition (2013-14). She is an Associate Member of the Goldsmiths' Company, London. Today Beatriz Chadour-Sampson works as a freelance international and jewelry historian and scholarly author. Her extensive publications range from Antiquity to the present day.    Additional Resources: Instagram Museum Jewellery Curators - Goldsmiths' Fair Inside the Jewel Vault with Dr Beatriz Chadour-Sampson Photos available on TheJeweleryJourney.com Transcript:   Working in jewelry sometimes means being a detective. As a freelance jewelry historian and curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum, Beatriz Chadour-Sampson draws on her wealth of knowledge to find jewelry clues—even when a piece has no hallmark or known designer. She joined the Jewelry Journey Podcast to talk about how she creates jewelry exhibits that engage viewers; how she found her way into the niche of shipwreck jewelry; and what it was like to catalogue 2,600 rings. 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. My guest today is Beatriz Chadour-Sampson. She's been the curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum for almost 35 years. She's also a jewelry historian, art historian, educator, author and a whole bunch of other things I'm sure I'm missing out on, but she'll fill us in today. Beatriz, welcome to the program.   Beatriz: Thank you very much for your invitation.   Sharon: Can you tell us about your jewelry journey? It's been quite a journey.   Beatriz: Yes, the journey starts many years ago when I was a small child, in fact. I'm not a young chick at the moment, but I started off in my childhood with jewelry. I have to tell you a little bit of the family history. I was born in Cuba. My father was Russian and my mother was British. There's a whole story of European history, including being five times refugees from Europe within Europe. That's the aside, but my father learned how to cut and polish diamonds during the war in Cuba. After the war, he opened an import/export business for gemstones. It's not unknown. You'll probably find on the internet a picture of me, age three, sorting stones in his office in Cuba. We left Cuba during the Cuban Revolution. I was a Cuban subject as well as my father, but we left and never returned.    He opened a business called Chadour Charms, Inc. in New York. I always spent my holidays in New York. My mother was working in a company where I couldn't tag along. I spent most of my free time as a child on 47th Street, which was called the gold and diamond alley at the time. My father designed charms. He had the gold cast and then set the stones himself. On 47th Street we had many friends we visited. One had a refinery for gold and silver; the other one sold supplies for goldsmiths, which was quite exciting. I encountered pearls, corals, diamonds and all sorts of jewelry experiences.    That was from three years to early childhood. It was about three years altogether in New York. Then my father was offered a job in Frankfurt am Main in Germany. He spoke fluent German. It was an American company building a pearl business in Frankfurt. That's when I got even deeper into jewelry. Of course, there was also the trade. You can call it child labor today. In those days maybe it was seen slightly differently, but I did my homework with the secretaries. After that, I was stringing pearls, writing invoices and doing all kinds of things with pearls. When I was slightly older, I was allowed to make pearl pairs. Don't think that a pearl is white. It's nowhere near white. There are so many different colors and lusters that come in the pearl. So, I was setting pearls, hundreds of pearls, sorting them by a quarter of a millimeter, and then pairing them for earrings and matching the pearls in their luster so they could be worn as earrings.   From there we went on to jewelry, so stones and charms. Something interesting with the charms—I have a little anecdote. I was researching a book, “The Power of Love,” which came out in 2019, and I was looking in an auction catalogue for a famous love ring that Sir Laurence Olivier gave to the actress Vivian Leigh. Late at night, as I do very often, I was searching on the internet for the auction catalogue, and suddenly I see a charm bracelet. I couldn't believe my eyes. One of the charms she had on the bracelet was designed by my father. I can prove that because I have the same charm on my charm bracelet. It was a ship in the sunset, as you see in the background. So, that was going down memory lane.    When I reached the age of 18, I said, “I don't want to have anything to do with jewelry ever again.” I had enough. I grew up in the jewelry trade. It was all trade. Lo and behold, I then decided to study art history in Germany and England, but I did my thesis in Germany at the University of Münster. My subject at the end of this was Antonio Gentili, a Renaissance goldsmith. He came from Faenza. He worked for the Medici and the Farnese families, two very high families. He also did works for the Vatican. I remember in my early years after my dissertation, I used to see the Easter Mass on television in Germany. I was looking to see if the cross and candlesticks I worked on were on the show on the altar, which most years they were.    I then got into goldsmiths' work. It's through my jewelry background and my thesis on Renaissance goldsmiths' work that I was awarded a scholarship to write the catalogue of 900 pieces of jewelry for what is now called the Museum for Applied Arts, the Museum für Angewandte Kunst. The collection covers 5,000 years of jewelry history. I was really plunged into the deep history of jewelry. There weren't so many books at the time. They were more archaeology books. This explosion of jewelry books is something that came after I had finished the catalogue. There was a lot of research that was quite complex, but I enjoyed it. It was wonderful to gain that experience and knowledge of a wide part of jewelry history. That was in 1981. I finished the catalogue. It was published. That was also my first experience doing an exhibition because when the catalogue was launched, we had an exhibition with the jewelry. More recently I've been with the Cologne Museum since 1981. It was the first time. They're now doing a new display of the jewelry. They're still planning it. I think it's due to come out next year, so there will be a new display of the jewelry I catalogued.    Then I was offered a job in Hanau, Germany. Many will not realize that Hanau has a history in jewelry that goes back to the 17th century. Up to the First World War, it was a center for producing hand-manufactured jewelry. Today, they have an academy where you can learn how to make jewelry. That goes back to 1772. So, it's a city of great tradition of jewelry. I was Managing Director of the Gesellschaft für Goldschmiedekunst. I was organizing exhibitions and competitions and catalogues, and it was all contemporary jewelry.  When I was working in Cologne, that was my first encounter with contemporary jewelry. I met people who I became great friends with. I also took part in the many events of the Forum für Schmuck und Design, which still exists. So, those were my early experiences with contemporary jewelry, but when I got to Hanau, I was plunged right into it. I had all kinds of jobs to do, as I said, exhibitions, catalogues and competitions.    I stayed there for about three and a half years. In 1988, I was asked if I would catalogue the Alice and Louis Koch Collection. Louis Koch was a very famous jeweler in Frankfurt au Main, Germany, and he and his wife collected rings, among many other collections. It was a family of collections. By 1904, they had about 1,700 rings. There are over 2,600 rings now. I was asked to catalogue the 1,700 rings, which took me quite a long time, but I was doing all kinds of other projects in between. The collector allowed me to do that, which was great fun. In 1994, the historical collection was catalogued fully. It's like an encyclopedia of rings from ancient Egypt on. It covers 4,000 years of jewelry history.   In about 1993, just before we finished the catalogue—and there are a few contemporary rings in the 1994 publication. I believe this collection from Louis Koch in 1904 went to a second and a third generation after he died in 1930. The fourth generation, we discussed it, and we came to the conclusion that they should make it their own and continue where their great-grandfather had finished. Now, their great-grandfather was, as I said, a very famous family jeweler in Frankfurt. The shop was called the Cartier of Germany, so you can imagine royalty wearing it and the national business. He was a quite a jeweler. They also expanded to Baden-Baden. He was a very fashionable jeweler, and he was a contemporary of René Lalique. He didn't buy rings from any other contemporaries, but he bought a ring by René Lalique, so he must have realized there was something very contemporary about Lalique. He was the modernizer of French jewelry at the time, using glass and gold that was unthinkable.    So, we went on this venture from 1993 until the publication in 2019. We amassed a collection of 610 rings from the 20th and 21st century, which are all catalogued. Then the collection went into the Swiss National Museum. There was a small exhibition, but since 2019, there's a permanent display of 1,700 rings. May I add that the 610 contemporary rings are all on display, so we reduced repetitions within the historical part of the collection. Interestingly, this room's showcase is also round like a ring. With 1,700 rings, it's not an easy task because you have to go in a circle. We had big, brown panels of paper and played around with the rings. It starts with themes and then goes on chronologically to the contemporary. You couldn't make a mistake because once you got to ring 200, you couldn't go back to number 50. You can imagine going up to 1,700. I can say there are two rings that are not in the right place, but that's not too bad with 1,700 rings.   Sharon: Did you have to photograph them?   Beatriz: I'm very lucky to finish up on the Koch Collection. I'm now consultant curator to the Swiss National Museum in Zurich. I was responsible for the display there together with my colleagues in the museum. That was quite an experience. It's wonderful after 35 years to still be able to do this. I think they were a bit concerned about my babies and that I would want to run away from it, but that isn't the case. I really enjoy working with them. It's a pleasure. It's so rewarding, after 35 years, to see the collection on display, which was always in private hands from the 1900s onward.   I've just written six blogs for the Swiss National Museum. One is on the Napoleonic Wars, and the stories are all told by the rings. The next one coming out in November is on Josiah Wedgwood and his sculptor, John Flaxman. Rings tell lots of stories.   Sharon: Are the blogs in English?    Beatriz: Everything in the Swiss National Museum is English, German, French and Italian. So, you take your pick which one you want.   Sharon: Did you have to photograph everything? When you say you catalogued them, I think of a catalogue being a photograph and description.   Beatriz: Oh, no. The photographs of the historical collection were all done by a photographer. It's very difficult because we had to choose one background for all. That was complex. It's pre-1994, so it's sort of an old, pale, gray blue. One color fits all because it was the encyclopedic nature of the books.    With the 2019 book, I was working with the photographer in Zurich. I spent many weeks and months in Zurich sitting next to the photographer and choosing which angle because contemporary rings don't just have a hoop and a bezel. It's a piece of sculpture, so you have to know exactly which angle to take the photograph to show as much as you can of the ring. I was actually working together with the photographer. You learn a lot with such jobs.    Sharon: Wow! Today there are all kinds of degrees you can get with exhibitions. Was it something you learned hands on or learned by doing?   Beatriz: I was working at the practice in my second home of the Victoria and Albert Museum, because I was consultant curator to the William and Judith Bollinger Jewelry Gallery. I worked there for four and a half years on the displays. When you see the displays in the gallery, the concept was from me. I had little black and white photographs of the old gallery, nothing in color. It didn't matter that I knew the pieces by heart and each piece of jewelry was about the size of a small fingernail, and I got a damp hand from cutting out 4,000 images of 4,000 pieces of jewelry, very high-tech, of course. I had my pieces of paper, and I started thinking that every board has to tell a story. For me with an exhibition, the exhibit has to tell the story, and the text below on the captions really helps you understand it. Visually, I think it's very important that the pieces also talk. So, yes, I started before the architect was allocated and we worked together with 4,000 pieces. My colleague, Richard H. Cumber, worked on the watches, but otherwise all the jewelry is designed on black and white photographs on white sheets of paper with double-sided tape.   Sharon: Do you have thoughts about why you got so immersed in jewelry? You said you didn't want anything to do with jewelry, but here you are immersed in it. What were your thoughts?   Beatriz: You mean deep diving in it?   Sharon: Yes.   Beatriz: I grew up in the jewelry trade and experienced the Cuban Revolution and hardships, being refugees in New York and so on and then moving again to another country. It was complex. As a child, it wasn't quite easy. It didn't do me any harm. I've survived, but it was a really hard trade. What I was doing later, and still do now, is historical jewelry. It's a very different thing. I think I've gotten my love of jewelry back, yes, but I'm very keen on the wide picture of jewelry covering thousands of years.    In fact, I've been doing courses for the Victoria and Albert Museum since 2008. When I do the “Bedazzled” one, which is a history of jewelry, I start with 150,000 B.C. I jump off it pretty quickly, but for me, it's so important for people to go back to that time to understand what jewelry was about. To me, it was certainly more amuletic rather than status. It was status as well probably. We can't follow that, but certainly I think amuletic to protect from the dangers. They lived in a very natural world, so the dangers were much worse than we could imagine. I think it's fascinating to see what was in other periods of jewelry history. It makes it much more exciting to understand what's happening now.   Sharon: When you came to contemporary jewelry—it seems that you're pretty immersed in that also—what stood out to you? What made a piece different or jump out at you? There seems to be so much copycatting in many ways.   Beatriz: Definitely, a lot of copycatting. I've worked on a collection of 450 pieces of, and I can tell you that's one of the most copied ones. On Instagram, I have to be careful that I don't get nasty remarks because I do point out, “Yes, we've seen that before. He was ahead of his time, but his style is still modern today.” When we were putting the Koch Collection together with the 610 rings, 20 from the 21st century, the individual l idea was very important for me. It has to be innovative; the idea has to be new; it has to be interesting. For the materials, it should be an experiment with new materials; different materials; materials you wouldn't use for jewelry. We talk about sustainable jewelry. Pre-1994 we have two rings in the collection made of washing-up bottles. We were way ahead of the times. Of course, Peter Chang used recycled materials, and we commissioned a ring from him. We did commission people that never made rings before just to put them to the test. It was very interesting.   Sharon: I didn't know that Peter Chang was recycled.   Beatriz: The materials are all recycled materials, yes. That is the amazing part, the recycled materials. These two crazy rings we bought from a German jeweler, it's just washing-up bottles. If you're creative and imaginative, you make something interesting.    We have many important names who made rings. We have some wonderful rings from Wendy Ramshaw and so on. We have a lot of big names, but that was not the point. We have a lot of ones that just graduated or were young or completely unknown. It's more the idea and what they made. Of course, I was approached many times regarding rings and I had to decline, saying, “Sorry, we already have something like that.” I couldn't say it was not exciting. The idea was already there, so it makes it difficult. Unless it was interpreted differently, yes, that's fine.    So, I think we got a lot of crazy pieces. The collector always teased me. He said, “Can you wear the ring?” I said, “Of course, could you wear the ring? What do you think?” I always choose rings for wearing. Of course, I have to admit there are a few that are not wearable. I'll admit to that, but I think with a collection like the Koch Collection, you're allowed to do that. There are few you really can't wear, or you can wear them with great difficulty.   Sharon: Yes, I think about that. I always think about how it would be to type with a ring like that, or how it would be to work at a keyboard, something like that.   Beatriz: I always say you don't wear the big, high jewelry pieces when you go shopping or washing up.   Sharon: That's true.   Beatriz: I won't say any company names, but the high jewelers of New York, Paris, wherever, they make those pieces. Those are rings. If they look great, they're wearable, but you wouldn't wear them every day while you're washing up or shopping or doing other tasks around the house.   Sharon: That's true. That's probably why people don't buy them as much anymore. They don't have places to go, Covid aside.   Beatriz: I think with Covid, the interesting thing is that we have rings that are sculptures. If you're doing a collection and somebody makes a ring sculpture, I think it's valid to be in the Koch Collection. We do have a few ring sculptures, including Marjorie Schick. But it's interesting that you mentioned Covid and when the pandemic was on. I don't want to go into the pandemic, but we have a much-increased Zoom culture. It did exist before the pandemic, people trying to reduce travelling and climate change and so on. It did come before the pandemic, but it is definitely an increased media. You can't really wear a ring and say, “Well, here's my ring.” You have to wear something that's in the Zoom zone. That's earrings and brooches. Fortunately, I'm somebody who likes earrings and brooches. I always have on earrings and brooches.   Sharon: What you have on is very Zoom culture. It shows up well.   Beatriz: The color shows up, yes. The earrings, they're made of silver and made by Eve Balashova, who works in Glasgow. Zoom is not a problem with this jewelry because, as I said, I love the earrings and certainly the brooch that goes with it. In fact, when I bought the earrings I asked, “Can you make a brooch I can wear with it?”    Sharon: Wow! When you go out, do you see rings that make you say, “That should be in the collection”? Can you add new ones?   Beatriz: Since the display in 2019, there are only a few additions. It sort of finished with the publication and the display, but there have been the odd new rings. I write a lot about that. We have had a few, and I'm hoping that next year they will be on display. Maybe half a dozen rings; not many. We might have another exciting one, but we have to wait. Until the collector has actually gotten his hands on it, I don't want to jinx things.    Sharon: But you identify them and then they say yea or nay.   Beatriz: Yes. They have bought things on their own as well, but we've done this together, yes. I've identified and advised. For me, it was wonderful. First of all, they don't know the collector. It's always the Koch Collection, but the family's name is different, so it was always very modest, without great names. I was the one who negotiated everything, and it always gave me great pleasure when I could stand up and say, “We've chosen a ring for the collection.” You find this great joy on the other end, especially for those young or unknown ones. You could imagine what it meant for them. It's always great joy.    I love working with contemporary artist jewelers. I worked for 13 years as a visiting tutor under David Watkins. I always said I learned more from them than they learned from me, but I helped them with their Ph.Ds. I really enjoyed working with them, and it continued with being able to buy or acquire what they made for the collection.   Sharon: You do a lot of teaching. You're teaching other classes in January at the V&A.   Beatriz: Yeah.   Sharon: It started online.   Beatriz: Yes. In 2021, I did an online course, “Bedazzled.” Next year, in January and February, it's called “Jewels of Love, Romance and Eternity,” which is a topic I've worked on because I published the book “Proud Love.” We have a few other speakers who can bring another slant into it. Again, I start with antiquity, because you can't talk about love jewels without actually talking about Roman jewelry. Many people don't realize that the engagement ring or the proposal ring or marriage ring started with the ancient Romans.   Sharon: I didn't know that.   Beatriz: Diamonds in engagement rings started in the 15th century. It might be a little bit earlier, but that's more or less the dateline. So, there are lots of interesting things to talk about.    As I said, I've been doing courses since 2008 at regular intervals. Also at the Victoria and Albert Museum, I was co-curator of the pearls exhibition. I did a lot of courses on pearls as well, and that is a fascinating topic. It was wonderful to work on that exhibition. It was together with the Qatar Museum's authority, but I was asked by the Victoria and Albert Museum to create an exhibition for the British public, which was very different to what they had in mind, of course.   Sharon: There are so many new kinds of pearls, or at least kinds that weren't popular before. Tahitians and yellow pearls, that sort of thing.   Beatriz: Yes, all these extra pearls are the cultured pearls. It's a history of the natural pearl. Qatar was a center where they were diving for pearls, so we did all the diving history, how merchants worked in that area in Bali and Qatar. The cultured pearl is, of course, Mikimoto. There are theories that the Chinese started the cultured pearls, but the one who really got the cultured pearls going was Mikimoto. He certainly did the science with it. He worked together with scientists and had the vision. Natural pearls were very, very expensive, and his philosophy was that every woman should wear a pearl necklace or be able to afford a pearl necklace. I think his task is fulfilled.   It's interesting because the natural pearl doesn't have quite the luster of the cultured pearl. By the 20s, you have the cultured pearls coming in, and then by the 50s—when I did the exhibition, we had so many stories being told. Of course, some ladies from the Middle East are probably kicking themselves because they sold the family natural pearls because they didn't have the luster, and they bought the nice cultured pearls that are more flashy. Of course, now the value of natural pearls is unthinkable.   Sharon: Was there a catalogue?    Beatriz: With cultured pearls, you have the golden pearls and the Tahitian pearls and so on, but the color of the pearls depends on the shell they grow in, unless you have some that have been tampered with and are colored. But there are Tahitian pearls, golden pearls and all these different shades. Melo pearls have an orangey color. The color of the pearl is dependent on the shell it grows in. The rarest pearl is the pink pearl that comes from the Caribbean. That's the conch pearl; that's hugely expensive. You asked about the catalogue.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Take flight! There is no other creature so dually harmonizing pure aesthetic beauty and meaningful imagery than the bird. We discuss the origins of bird jewelry (about 130,000 years ago) and trace mankind's fascination with birds rendered into bling through ancient civilizations, Napoleon, World War II and into the modern high jewelry houses like Tiffany & Co's iconic "Bird on a Rock" and a certain controversial Cartier flamingo... The combination of symbolism and beauty (plus they can fly!) makes the bird an enduring, favorite jewelry motif worthy of analysis. Please leave a rating/review if you're enjoying the podcast! It makes a huge difference in the algorithm to help the showPatreon for exclusive bonus episodes & merchandise: https://www.patreon.com/teaandgemstonespodcastNarration - Jennifer Sieverling Research & Writing - Jennifer SieverlingMusic - Joseph McDade & Audionautix ---Stay Sparkly

One-on-one podcast recorded live and uncut from Glendale. Chris and Jason talk about having a Canadian-style pre-drink, trouble at the Cartier store, all animals want to live, where do you draw the line? Animal chiropractic influencers, Chris is glad that the World Cup virus has ended, how to style a Pyrex Tears short, Ignacio Mattos is sexy, Equinox steam room vibe report, Gorilla Mode, remember the Versuz Battle? Subscribe to my newsletter because I don't know how long I will be on this hell site, Elon Musk is merely a pawn in Jay-Z's game, Tory Burch > Tory Lanez. twitter.com/donetodeath twitter.com/themjeans --- Support this podcast: https://anchor.fm/howlonggone/support

To learn more, please go to https://themelkshow.com/grayandsons/ Mel welcomes her friend and luxury collectibles expert Keith Gray, the Founder & President of Gray & Sons Jewelers. His company specializes in Luxury Watches, Jewelry, & Diamonds. Have you considered alternative methods to hedging against inflation? With all the ongoing geopolitical uncertainty, now is a great time to protect your wealth with hard liquid assets. For 42 years, Gray & Sons has been BUYING, SELLING and REPAIRING new and meticulously restored & like-new condition Certified Pre-Owned watches. They also offer an impressive selection of modern & estate jewelry, sterling silver, and certified diamonds of all types & qualities. https://themelkshow.com/grayandsons/ Popular Watch Brands include: Rolex, Patek Philippe, Audemars Piguet, Cartier, David Yurman, Van Cleef and Arpels, Tiffany & Co. and more. There are many ways to protect your sovereignty from those that are actively seeking to take it away. Prepare and take action to protect your financial freedom and consider solutions away from the institutional financial technocracy Gray & Sons strive to offer high-quality merchandise and service, at an affordable cost. Maintaining this goal and holding themselves to a higher standard than others has led them to grow into the popular and successful business that they are today. https://themelkshow.com/grayandsons/ Thank you all for your support and we hope that this content and service helps you find some piece of mind in these unprecedented times. Love & Light Mel & Rob God Wins!

Christiana Mavromatis has over two decades of experience leading marketing and creative for iconic brands like Cartier, MAC Cosmetics, COACH, Peloton, W Hotels, L'Oreal, and Compass. Christiana began her career as a creative in the advertising agency world before going brand-side, where she is now. She's passionate about using data to develop marketing strategy and to ensure creative efficacy, taking brands to cult status by accelerating affinity while also achieving the business's revenue and profitability goals. In this episode, Christiana and Jessica Quillin chat about how an equally left-brained and right-brained approach has steered Christiana's success in driving results for some of the world's most iconic luxury brands.

What you'll learn in this episode: How the jewelry industry has changed over the last 50 years How the Women's Jewelry Association helped women jewelry professionals get the recognition they deserved What it was like to work with Elizabeth Taylor and Hilary Clinton to design iconic jewels for them Linda's advice for young jewelry designers About Linda Orlick Linda Orlick is a longtime public relations expert in the jewelry industry as well as an accomplished business executive with experience branding high-end products, people and companies. She is co-founder of the influential Women's Jewelry Association, a volunteer organization founded in 1984 that began with 10 women in an apartment in Manhattan and blossomed to become a formidable entity and powerful voice for women in the jewelry industry worldwide. Linda served as its President for a four- year term. Additional Resources: Instagram LinkedIn Photos available on ThejewelryJourney.com Transcript: Linda Orlick entered the jewelry industry when gold was $35 an ounce and jewelry designers were unknowns who worked behind the scenes. Due in no small part to Linda's passion for the industry and her work to brand and promote emerging designers, retailers and shows, jewelry is now a respected part of the American fashion scene. She joined the Jewelry Journey Podcast to talk about the history of the Women's Jewelry Association; why it's so hard for people to leave the jewelry industry once they enter it; and how she helped facilitate the design of the 4.25 carat canary yellow diamond ring Hilary Clinton wore to the 1993 inauguration. 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.    My guest is Linda Orlick. Linda has spent her whole career in jewelry. She has been very successful as a retailer and a consultant to retailers. She's one of the cofounders of the Women's Jewelry Association, and she helped build it into a powerhouse. I'm sure many of you are members of the Women's Jewelry Association. Today, we will learn a lot more about her jewelry journey. There's a lot to say. Linda, welcome to the program.   Linda: It's so good to be here. Thank you, Sharon.   Sharon: Tell us about your jewelry journey.    Linda: Well, I hope we have a lot of time. In 1974, when gold was $35 an ounce—   Sharon: Wow!   Linda: I guess, wow. My family and a few friends spent the summer in the Catskills. At that time, there were three ladies who had a company and were selling a collection of gold jewelry to other women like a pyramid scheme. It was a combination of chains and necklaces and earrings. I said to a friend of mine, “We should do this.” So, we went ahead and invested $400 each, and we got our first collection.    We thought we would be brave enough—we lived in Riverdale in the Bronx—to take a trip into the city and go into office buildings in the garment center, introduce ourselves to the receptionist, go into the bathroom and set up wares. There you have it: we were selling our jewelry. Women used to come in and give us hundreds of dollars in deposits, and we would come back and deliver pieces to them. The two of us looked at each other and said, “I think this is fun. This is good. Better than doing it out of our home,” because we both had small children. That's how it all started. Again, gold was $35 an ounce. Can you imagine that was 48 years ago?   My next introduction was to a silver designer by the name of Minas. He was from Greece, and he had a beautiful collection of 18-carat pieces. In fact, I'm wearing two of his pieces. I fell in love with his collection. I had never sold to a retailer before. I didn't know how to go about it. I walked into Bloomingdale's one day with my little jewelry roll, and I said, “Knock, knock; I'm Linda and I'd like to introduce myself.” The buyer—her name was Susan; I can't remember her last name—said, “Do you have an appointment?” I said, “Oh, did I need one?” Before I knew it, I was showing her the collection. She fell in love with it also, and she bought a nice selection of it. Now, mind you, a ring like this was $22. Again, it was 18-karat gold and silver. Everything was very affordable, so they sold out immediately. I kept the money from the order, and then I started to work full time for Minas, and I kept the relationship with Bloomingdale's going.    Along the way, gold went from $35 an ounce to $800 an ounce. It was at the same time that Minas decided he was going to turn his business into all 18-karat gold. He felt that staying in the United States, it would be difficult for him to continue to sell his collection in all gold, so he decided to go back to his homeland in Greece and continue with his collection. By chance, I was at the Sheraton Center when the JA had their shows there, and I got a part-time position with Marsha Breslow, who was a wonderful colorist. She used to do lapis and 18-karat bead jewelry for Cartier and had her special collection for them. She used to take semi-precious beads and make the most extraordinary necklaces and earrings.    It caught the attention of Vera Wang, who was then an assistant at Vogue Magazine. Vera kept coming up to the office and working with us on different collections. Vera was working on a collection for Calvin Klein for one of his original runway shows. She asked Marsha to create a collection that would go on his runway. Excitingly enough, it also made the cover two seasons in a row of Fashion Times Magazine. For a jewelry designer to be on the cover of Fashions Times was unheard of.    Along the way, I called Women's Wear Daily, who never featured fine jewelry. I believe it was Agnes Carmack, who was then an assistant, who answered, and I said, “I've got a gorgeous collection of earrings,” and she said, “O.K., bring it over.” We went up on the rooftop. I had a friend who was a model. This wonderful photographer they had, Tony Palmieri, photographed about six different earrings on her, and they landed on the front page of Women's Wear Daily. It was the first ever.   I started to think to myself, “If Seventh Avenue can promote by name, why shouldn't the jewelry industry?” I went back to Bloomingdale's and told them about the Marsha Breslow collection. After being in Vogue Magazine and with Vera Wang putting it on Calvin Klein, people began to really take notice of the designers and names. We were in Bloomingdale's, which was a Federated Store. The parent company was associated with Associated Merchandising Corporation. I became friendly with the CEO of AMC, Lee Abraham, and he called me one day and said, “Linda, I want something different for Bloomingdale's that no other store has.” I said, “O.K., give me a few days to think about it.” I called him back and said, “Lee, I want to have the first design boutique ever in a department store, and I want it to be in Bloomingdale's, in the 59th Street store.” He said, “You got it. The buyer Marty Newman, whom everybody loves so dearly, and the DM will be visiting you in the next week.”   Sharon: The DM is what? I'm sorry.   Linda: The department manager. “It's our secret, but they are going to listen to your story about a designer boutique and it's going to happen.” Sure enough, a week later, I get a phone call from Marty Newman, who went on to be one of my dearest friends. He said, “I'm not sure what I have here, but I want you to create a collection. We can give you six feet of showcase space.” If you walk into Bloomingdale's and see the Louis Vuitton store to the right, there's always that big flower. Exactly where that beautiful flower is was the showcase that he wanted us to work with.   So, we put in a collection. We were responsible for designing the showcase and hiring our own salespeople. They gave us a sales goal. We quadrupled that. Lee and the buyer were so impressed, he said to me, “Now you can go to the rest of the Federated stores,” which included Woodward & Lothrop. I created the first designer boutique. What can I say? The rest is history. Marsha Breslow went into these stores and the word “jewelry designer” came along with it.    It was a slow process because jewelry designers were still not recognized. It was a real uphill battle. In 1981, I was invited by the Manufacturing Jewelry and Silversmiths of America, MJSA, and I eventually met the man who became my former husband, Henry Dunay. I was invited to do direct mail advertising and public relations for the first group of American jewelry designers that were invited to the Baselworld Fair. Basel didn't want any Americans to come to it. They fought and said, “Americans, what do they know about jewelry design? They design in 14-karat gold. They have no sense of design.” So, they stuck us in a little corner behind the cafeteria where nobody could see them. We did a mailing to hundreds and hundreds of retailers across the world. Little by little, when you have a designer like Henry Dunay or Jose Hess, names who were emerging designers, and they're not being sold by weight, which is what they did early on. You sold your jewelry by weight. People started to recognize it. They became a real force in Basel. They were invited back every year, and every year the collections grew more and more incredible.    The American jewelry designers outdid all the other countries as far as designing metals and working in 18-karat and precious and semiprecious stones. I went to the Basel Fair for 21 years and became very friendly with the then-head of the fair. Eventually, the Basel Fair hired me to promote the fair to American retailers to try and get more American retailers to come to Basel. That was when there were so many competitions in New York. There was the emergence of JCK, the JA show, which launched the Couture Show, the JCK Show, which launched Luxury. They converged on Las Vegas and took over the ability for retailers to come to one place and see extraordinary designs. Then, of course, you had the European retailers wanting to come, too. It gave Basel a real run for its money. I had done public relations for the JA Show for many years, and I helped create a lot of exciting highlights for the Couture Show. I had a very close relationship with Robb Report magazine.   Sharon: Which magazine?   Linda: Robb Report magazine.   Sharon: Robb Report, O.K., yes.   Linda: Robb Report is very high-end luxury jewelry. I created a Robb Report event at the Couture Show after the major entertainment, which was always sponsored by Vogue Magazine. It had over-the-top musicians performing, and it was a luxury fair the couture jewelers could go to with over-the-top desserts and interesting things. That grew to be very big and kept the tour very special until Couture and JA decided to make its move to Vegas.    When that program was over, I became the public relations and marketing person for the JCK Show. I was also watching the Luxury Show within the JCK Show. We came up with a lot of programs and conferences that would create wider visibility for the show. In fact, because of my 21 years in Basel and my relationships not just with jewelry designers, but with the watch companies, I was able to create the first watch luxury show. I introduced the concept to my colleagues at JCK and I brought my dear friend, Steven Kaiser, on board to oversee the show. The Luxury by JCK Watch Show is still in existence today and is the first and only luxury watch show in the U.S. So, that was very exciting.    The rest, as they say, is history. I watched the industry go from $35 an ounce and deciding how much I should pay for this based on a scale, to a showcase with the most beautiful designs ever created in the world. I have to give a lot of credit to my former husband, Henry Dunay, because in my opinion he was—and still is—one of the greatest jewelry designers in the industry. He set the tone for finishes on jewelry with his love for pearls, his love for precious and semiprecious stones, his ability to search out stones and create a design around it.    For instance, my dear friend who worked at the Diamond Information Center, called me one day and said, “I have a 4.25 canary yellow diamond that was found in a mine in Arkansas by a local jeweler. If Henry could create a ring for Hillary Clinton to wear at the inauguration, she will wear it.” Henry was leaving for Europe the next day, and I said, “You're not going. To design a ring for Hillary Clinton and have her wear it at the inauguration, that comes first. Please put off the jewelry trip for another few days.” Sure enough, he created the most beautiful cinnabar ring. It was from the argosy of Arkansas. You saw pieces of platinum and different textures in the 18-karat gold that depicted the topography of Arkansas, with the 4.25 diamond set inside. It was a cushion shape. It was never cut. It came out of the ground just the way you see it in the ring. It was extraordinary.    Sadly, the jeweler wanted the diamond back rather than having the whole ring donated to the Smithsonian as it should have been, so Henry had to take the ring apart. He said, “One day, I'll have a stone made that looks exactly like it and I'll reset it.” I don't think that ever happened, but people got to see it. It went on view in the Museum of Natural History. It became part of one of the exhibits at the Museum of Natural History. It was an extraordinary ring. I do have pictures of it to share with everybody.   Sharon: We'll have those on the website.   Linda: It's an exciting journey. Back in the early 80s, I made lots of good women friends in the industry. I think it was in 1982. There was a blustery, snowy night, and we were all at the JA show. It was at the Hilton in the Sheraton Center. We were invited by two representatives from New England to a meeting to tell us about the women's group they put together, New England Women in Jewelry. We thought it had a lot of merit, and my friends and colleagues and I kept going back and forth and back and forth. Do we need this organization? What do you think?    We finally decided we would call our friend, Ronny Lavin, and 10 women we were close with to talk about it. There was Nancy Pier Sindt, who was an editor with National Jeweler; a designer, Joan Benjamin; Jo Ann Paganetti, who was a professor at FIT; Marian Ruby, who was the jewelry buyer at Finley at the time. I hope I'm not leaving anybody's name out. We said, “O.K., I think we should do this. Let's become mentors. Let's create a scholarship program. Let's create a platform for women to share their ideas and grow their businesses.” We voted on the name Women's Jewelry Association.    Nothing could have prepared us for what was coming next. I sent you our original newsletter. We came on like such a force that we expanded our bylaws to include the rest of the country. The New England group became our first general chapter, and the rest is history. Most importantly, of course, there was somebody we all loved and respected, Gerry Friedman, who was the editor in chief of National Jeweler Magazine, and we were going to ask Gerry to be our first president. She was like, “Of course.”    We had several meetings where we put together a group of programs of other women to talk about what's going on in the industry, what suppliers and vendors to use, the world of design and all different topics. Gerry always had a group to her home for dinner, and one day we were talking about what's going to make us stand out. There are lots of men's groups or enough men's groups, and they had dinners. All of a sudden, it came to me: We had to create the first awards in the jewelry industry for women, by women. We all agreed we would do this. Through Gerry's connections at the Lotos Club, we created the first Awards for Excellence dinner. It was at the Lotos Club, and it was a total sellout. We had to move it to the Harmonie Club, which was a little bit larger in space, again through Gerry's connections. Again, it was a sellout. We honored Helene Fortunoff and Bess Ravella. We honored Angela Cummings for best designer, Marian Ruby for best retailer. We had Nancy Pier Sindt for best editor. The list goes on and on. It became such a sense of pride for all of us, to recognize each other for our accomplishments in the industry.    The award dinner kept growing and growing. We moved to Tavern on the Green, and again, it was a total sellout. We kept growing. For the last two years, it's been at Chelsea Piers. There are over 700 women and men that attend. The awards have literally become the ticket in the industry. It's a current event. It's a great place to network. It's a great place to catch up with your friends and your vendors in the industry, and it's a beautiful, beautiful evening.    I am proud to say that from those original 10 women in Ronny Lavin's apartment, there are now 20 chapters all over the world with, I believe, a membership of 17,000 women and men worldwide. The Women's Jewelry Association is a force to be reckoned with, and now they have programs in all different regions. They have ongoing programs. When I look back on my career, the Women's Jewelry Association stands out as one of my greatest highlights. Along the way I've gotten beautiful emails from members who said I actually changed the course of their lives by creating the Women's Jewelry Association. I take those comments very seriously and to heart, because I was always trying to do something different and trying to make room for people to grow. If somebody got laid off from a job, I was the first person they would come to. I would always help them find a position or help them with what they're going through and perhaps help them look at a different career within the industry.    When I started in the industry, there were barely any women. One of the women that stands out to me is Helene Fortunoff, because she was one of the very first women to ever have retail experience. She took all of her children to work with her every day. Five of her children worked with her every single day. Now not only are her children in the business, but Esther and Ruth have carried on their mother's incredible journey in the jewelry business. It's remarkable to see how, from the beginning to where we are now, the jewelry business has become one of the major industries in the world. Diamonds and precious and semi-precious stones, pearls, pearls, pearls—because I love pearls—are now the mainstay of what people look for when they're going shopping for birthdays, anniversaries, holidays, or just when a woman wants to buy her own jewelry.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Patrice Leguéreau est le directeur du studio de Chanel Joaillerie. Avant d'atteindre ce sommet, il a oeuvré dans d'autres sommets comme Van Cleef & Arpels ou Cartier. Cela fait trois ans que je lui cours après pour lui demander comment on passe de l'établi de gravure en modelé à l'école Boulle à la direction d'un des studios les plus créatifs de la joaillerie française. J'ai compris en arrivant dans son bureau. En voyant ses crayons avant de trouver son clavier. Sa table de dessin en marbre, nue, au centre de la pièce. Les couleurs dans ses carnets. L'extrême minutie de ses traits. Patrice Leguéreau est un homme qui dessine. Il dessine ses émotions, il dessine ses créations. Il a dessiné son chemin. Trait à trait. Page à page. Il a dessiné une trajectoire aussi précise qu'un gouaché et aussi vivante qu'une esquisse à la volée. La virtuosité d'un graveur et la sensibilité d'un créateur se conjuguent au creux de sa voix, à mon micro ce matin là.

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest today is Eva Eisler, Head of the Jewelry Department of the Academy of Arts in Prague. She's probably one of the most well-known artists in the Czech Republic. Welcome back.    How long were you in New York? A long time?   Eva: 25 years.    Sharon: Wow! I didn't realize that. And did you teach the whole time?   Eva: I taught for a few years at Parsons School of Design, and then New York University pulled me in. It was Judith Schwartz, who was the Director of the Department of Art Education, who wanted to expose the students to metalworking. So, she asked me to come and teach there.   Sharon: Did you do jewelry and other things because you wanted to have not so much grayness in the world, to have color, to have joy?   Eva: Are you asking?   Sharon: Yeah, I'm asking. Did you break out, in a sense, because of the world around you?   Eva: I think that one challenge after the other gave me strength and conviction. This is something I can work with, the medium of jewelry, because it's so communicative. I had so many incredible encounters through wearing a piece of jewelry. For example, I went to a party at Princeton University. I'm talking to this professor of physics. He's telling me how they are developing an artificial sun, and he's looking at my piece. When he finished talking about his project, he said, “Is this what I think it is?” I said, “Clearly, yes.” It was a piece of metal bent into an S, one line and one dot. It's basically telling you that it depends on a point of view and how you perceive things. I used to like to come up with a concept that I would play with in different theories.    Sharon: Did you expect to be in the States for 25 years? That's a long time.   Eva: No. We were allowed by Czechoslovakia to go for one year. After one year, we politely applied for an extension. It was denied to us. So, we were actually abroad illegally and we could not return because we did not obey the rules.    Sharon: When you came back, did you teach? We saw some of your students' work. What do you tell them about your work? What do you teach them?    Eva: It's a different system. In New York, you teach one class at a time if you're not a full-time professor at the university. In New York, it's very rare. The intensity and the high quality of professionals in all different fields allows schools to pull them in, so they can take a little bit of their time and share with students what they do. It's not that you devote your full time to teaching.    In the Czech Republic, it's different. At the academy where I have taught for 16 years, you're the professor, and you have a student for six years with a special degree in the master's program. For six years, you're developing the minds of these young people. I don't teach them techniques. We have a workshop and there is a workshop master. I talk to them about their ideas. We consult twice a week for six years. It's a long time. I would be happy if somebody talked about my work for half an hour once a year. I would have to ask somebody because I need it as well. It's a different system, the European system of schools.   Sharon: You're head of the K.O.V. Studio. How would you translate that?   Eva: The academy is divided into departments, and each department is a different media: Department of Architecture, Department of Industrial Design and so on. We are part of the Department of Applied Arts, which is divided between ceramics, glass, textile, fashion. My studio is about metal, and for metal in Czech, you write “kov.” When I took over the studio, I put dots in between the letters, which stands for “concept, object, meaning.” In Czech, meaning isn't even a word. That way, I could escape the strict specialization for metal, because when you're 20 and you go study somewhere, do you know you want to work for the rest of your life in metal? No. Today, we are also exploring different materials, discovering new materials. I am giving them assignments and tasks. Each of them has to choose the right material, so the person comes up with using concrete or cork or wood or paper or different things, glass or metal.   Sharon: How do you balance everything? You have so much going on. How do you balance it?    Eva: I have to do three jobs because teaching does not make a living, even though I'm a full-time professor. It's an underpaid profession, maybe everywhere.   Sharon: I was going to say that, everywhere.   Eva: Then I do my own art, and I do large projects like designing exhibitions, curating exhibitions, designing a design shop. Things like that to make money to support those other two. It's a lot, yes. I have grandchildren.   Sharon: A family. Yes, it's a lot. You've done jewelry shows and you've evaluated shows. What's important to you? What stands out? What jumps out at you?   Eva: I sit on juries. In 2015, I was invited to be a curator of Schmuck, the jewelry exhibition in Munich. It's a big challenge, selecting out of 600 applicants for a show that at the end has only 60 people from all over the world. When I looked at the work, we flipped through pictures one after the other. It's so incredible what jewelry has evolved into, this completely open, free thing, many different styles, many different trends and materials. There's organic and geometric and plastic. I noticed these different groups and that I could divide all these people into different groups, different styles, different materials. Then I was selecting the best representation of these groups. It made it quite clear and fast when I came up with this approach.   Sharon: Does something jump out at you, though, when you're looking through all these—let's say you've divided all the glass, all the metal—   Eva: Very rarely, because we go to Munich every year. I go and see exhibitions all over, so it's very random. You can see something completely different and new. I worked on a very interesting exhibition that year at the Prague Castle. Cartier does not have a building for their collection, a museum. They have the collection traveling around in palaces and castles and exhibition galleries around the world, and each place has a different curator. I was invited to curate it in Prague. It was the largest Cartier exhibition ever displayed. It was around 60 pieces for this show, and it was in Bridging Hall of the Prague Castle, an enormous space.    That was very interesting because at the moment I accepted this challenging job, I had never walked into a Cartier anywhere in the world, in New York, Paris, London, because I was never curious. It was real jewelry, but when I started working with the collection, which is based in Geneva, and I was going to Paris to these workshops and archives, I discovered the completely different world of making jewelry, how they, in the middle of the 19th century, approached this medium and based it on perfection and mechanisms and the material. So, the best of the best craftsmen were put together in one place. It was very challenging.   Another exhibit I worked on was for a craft museum. It was called The Radiant Geometries. Russell Newman was the curator, and I was doing the display faces. My work was part of the show as well. That was a super experience.    An interesting show I had was at Columbia University at the School of Architecture. The dean was Bernard Tschumi, the deconstructivist architect. He invited me to do an exhibition of jewelry and drawings for their students of architecture. Can you imagine? The students looked at the work, and they thought they were small architecture models. I developed a new system for how to hold them together. For that exhibition, I built cabinets that I later developed into a system with vitrines. After the exhibition with vitrines, I started making chairs and tables and benches, and later on I used it again for an exhibition when I was in Brussels. One thing leads me to another. One thing inspires the other. I go from flats, from drawings and paintings, into three-dimensional objects. I need a lance, so I design it and then some company makes it.   Sharon: Wow! What do you think has kept your attention? We'll have pictures of the jewelry on the website so people can see it. I love the necklace you have on. It's avant garde. Everything in the exhibit and everything your students did was avant garde. So, what holds your attention about it? How would you describe it?   Eva: I think making something like many people did before you doesn't make any sense. We are surrounded by so much stuff. It only makes it worth spending your talent and time when it's something new. You're discovering something new that somebody else can learn from and apply somewhere else. For example, this necklace is just held by the tension of the spring wire. Next time, maybe I can use it for some lighting. Who knows?   Sharon: I'd like to see that if you do it. What makes a good exhibit? You've been in charge of so many exhibits. What makes a good jewelry exhibit?   Eva: It should be based on a common theme or concept, and all the objects should together tell a story. Also, the exhibition design or architectural design of the show is very important. A lot of exhibition architects are creating something so powerful that you can't see the work that is showing. My rule is that the installation basically should disappear. The work is the most important thing, right?   Sharon: Yes, that's true. You mentioned a story, like each area or part should tell a story. Would you agree with that?   Eva: If it's large exhibition of jewelry in different styles, let's say, it should be grouped into similar topics so it empowers them. If you have one piece of this kind, another piece of a different kind next to each other, then—I don't know; it can be anything. It depends on the curator or the architect. Look at the Danner Rotunda in Munich. Their collection is strung together. Maybe the curator or the artist who did the installation wanted to create a dialogue of completely different characters, like when you have guests for dinner and you're thinking who sits next to whom. You want to create an exciting dialogue.   Sharon: When you came to New York, do you think you stood out? In Czechoslovakia did you stand out? Could you hold your own within these different parties?   Eva: I'm not the one who can judge it, but yes. I heard from different people what caught their attention, and why, for example, Judy Schwartz said, “I was waiting patiently all these years,” whenever she finds the time to teach at NYU. I was always amazed by her education. Toni Greenbaum wrote a beautiful piece when we first met. She was intrigued by what I wore and how I looked, but mostly by a piece of jewelry I wore. I sewed the dress a day before because I thought, “What am I going to wear?” I designed it myself. If somebody asks me what I collect—mostly everybody collects something—I usually say I collect people. People together create society, create culture. One cannot stand alone. Through the work I do, it brings me to people. I try, and the results bring me to better people. That's what I value most.   Sharon: That's interesting. That was going to be my next question, but you answered it. Everybody does collect something, and people have different definitions of collections. Collecting people is a collection, yes, and you collect people all over the world. Thank you so much for being with us today, Eva. I really appreciate it.   Eva: Thank you so much for inviting me and talking to me. I'm saying hello to everyone who is listening.   Sharon: Well 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.  

Philippe Cloutier, CEO of Cartier Resources, joined us to discuss the upcoming news flow from the Chimo mine area. The company is expecting a long list of new drill results as it approaches the anticipated PEA for the project.

5 of My favorite Self Help Reads to Grow my Mind & my Business   Aesthetic Intelligence by Pauline Brown Profit First by Mike Michalowicz The Power of Habit – Why we do what we do in life & business by Charles Duhigg Leadership 101 by John C. Maxwell Breaking the Habit of being Yourself by Joe Dispenza   1.Aesthetic Intelligence: How to Boost It and Use It in Business and Beyond by Pauline Brown Aesthetics is the appreciation of beauty or the concern of beauty. Aesthetics creates a feeling, a beauty that clients and customers love. Look at Louis Viton, Channel, Cartier, Tiffany & Co. They all create a feel good experience in their stores.   Profit First by Mike Michalowicz – Transform your business from a cash eating monster to a money making machine.                         This book was a game changer for me when it came to managing my money. I give this book to my clients as a gift to read and implement into their businesses.   The Power of Habit – Why we do what we do in life & business by Charles Duhigg                         What are your habits and how do they affect your business? Are you willy nilly? Do you have a routine? Or are you flying by the seat of your pants most days? This read will help you break out of those bad habits or habits that aren't serving you and your business and recreate good habits.   Leadership 101 by John C. Maxwell                         Who doesn't need a lesson in leadership? I know I'm always trying to be a better leader. Whether it be in my business or just with my children. John Maxwell is THE person to look to for leadership tips.   5.Breaking the Habit of being Yourself by Joe Dispenza – this book was pretty eye opening. By unlearning what we have always known allows us to create new habits, reinventing ourselves into a new improved you. 5 Stars for sure!   Each of these books, I keep handy and reference often. They also make great gifts. So gift one to a fellow business owner.   I want to give YOU this special offer! I'll be hosting a Group Mastermind Course "Spotlight on Your Business" starting Tuesday, January 3rd and I want YOU to be a part!!! This mastermind is for women in small business that want to grow their business by leaps and bounds!   The value of this mastermind is $997 but as long as you sign up NOW it will only cost $397! That's almost 2/3 of the cost eliminated! As of December 1st this course will return to the original price of $997. So DON'T miss out!    Click HERE to get started! ENTER coupon code BLACKFRIDAY22 to get $600 OFF!   Link for checkout - https://emily-janzen-mcgrath-s-school.teachable.com/purchase?product_id=4430721     If you like listening with us, then leave us a review! By leaving us a review, you help us get out there. This boosts our ratings, gets us seen and be sure to share this podcast with a friend. You can also join our social community on FB at https://www.facebook.com/rowanhouseSoCo/ or Instagram at https://www.instagram.com/rowan.house/  Also, if you'd like to be part of our email group then click the link and sign up to receive weekly letters from ME! https://preview.mailerlite.io/preview/57855/sites/56091871117576166/32OKsx   All my love, Emily  

Today we speak to Anthony Traina, one of Hodinkee's freshest editors — a keen-eyed vintage watch aficionado with a love of weird designs and classic Cartier. Of course, many people will know Traina from his phenomenally popular newsletter Rescapement. We chat to Tony about what it's like to leave a stable career in law for the world of watches, championing weird watches and whether or not Franck Muller is on the cusp of cool (again). This episode is sponsored by G-Shock Australia, This week in our retrospective exploration of the iconic model, we talk about future of the iconic model, including some exciting 40th anniversary pieces. Discover more at G-Shock Australia. Heading to Sydney? Don't forget your Artem. Buy one here. Like your watches with a dash of salt and spice? Try our Discord . Show Notes: Britt Pearce on why watches are not assets G-Shock 40th Anniversary Flare Red MTGB3000FR-1A G-Shock 40th Anniversary Flare Red GWG2040FR-1A G-Shock 40th Anniversary Eric Haze GMWB5000EH-1D Anthony Traina on Instagram Pappyland by Wright Thompson   How to follow us: Instagram: @ot.podcast Facebook: @OTPODCASTAU Follow hosts: @fkscholz + @andygreenlive on Instagram. Send us an email: otthepodcast@gmail.com If you liked our podcast - please remember to like/share and subscribe.

Welcome to THE IDEALISTS. rewind, where we revisit some of our favorite past episodes. This week's rewind is Fariel Salahuddin, the founder and CEO of UpTrade, a bartering service which enables rural communities in Pakistan to exchange livestock for solar-powered water pumps and solar home systems. More than 40% of the people in Pakistan live off the grid and without lights in their homes, or  electricity to pump water. Women can spend up to four hours a day fetching water from distant wells. This episode was chosen by THE IDEALISTS. Head of Marketing, Alisa Jones, because Fariel shares her vision for an inclusive economy that values more than just fiat currency. The BBC calls her : "A business a solution for the desert" and Fariel is both a 2021 TED fellow and a 2019 finalist with Cartier's Women's Initiative.In the episode:- Fariel begins the conversation describing how UpTrade works and the ways she gets off-grid, rural communities to opt into bartering their goats for solar water pumps and solar home systems.- She then shares what inspired her to start UpTrade and how her model is based on community and self agency versus traditional charity-focused interventions.- Fariel then describes her vision for tech-enabled marketplaces that are not bound by fiat currency.- Fariel ends the episode sharing her vision for rural, unbanked communities to be able to participate in the mainstream economy using the resources they have.

Cartier Resources Inc. is a Canada-based exploration company. The Company's activities primarily include the acquisition and exploration of mining properties in Canada. The Company focuses on the Chimo Mine property, which is situated approximately 50 kilometers (km) south east of Val-d'Or. Chimo Mine consists of approximately 12 contiguous claims covering an area of about 334 hectares (ha). Its Benoist property consists of approximately of 73 claims, which is located in Miquelon, Quebec. Its Fenton property consists of approximately 18 contiguous cells, which is located in Chapais, Quebec. Its Wilson property consists of approximately 42 contiguous claims covering a surface area of about 1,660 ha. Its Cadillac Extension property consists of approximately 39 claims. Its Dollier property consists of approximately 40 map staked contiguous cells covering an area of about 2,228 ha. Its MacCormack property consists of approximately 89 claims covering an area of about 3,808 ha.

Brad Cartier joins us today to share compelling ideas on how to alleviate the housing affordability crisis while providing communities with variety and character to fulfill the aspirations of today's customers. Tuned in to learn more about market trends, risk management, and solutions to the housing issue!Key Takeaways to Listen forWhat's the concept of “Missing Middle Housing” all aboutThings you need to look for when developing a multifamily unitBuilding a property vs. buying a propertyThe recession's impact on the real estate industry and investors How to prepare your business for an economic downturnEffects of rising interest rates on real estate lenders and investorsResource Mentioned in This EpisodeFree Apartment Syndication Due Diligence Checklist for Passive Investor About Brad Cartier Brad Cartier is a real estate developer, writer, proptech investor and advisor, and marketing consultant in the real estate technology space. Brad is a co-founder of Blair Capital Asset Management which develops and manages missing middle multifamily in Canada. Brad is also an advisor and angel investor to a number of property technology startups and a marketing mentor for the MetaProp accelerator program. Brad is also a writer on all things real estate for Briefcase where he is a co-founder, as well as other outlets such as Motley Fool, Roofstock, and Stessa. In all, Brad oversees a portfolio of around 100 rental properties, including long, medium, and short-term rentals.  In his spare time, Brad enjoys time with his wife and four daughters, who gifted him the coveted '#1 Dad' coffee mug for Christmas. Brad also volunteers on the Ottawa Real Estate Investors Organization executive board, a local group of 300 real estate entrepreneurs. Connect with BradWebsite: briefcaseEmail: brad@fundmore.ai To Connect With UsPlease visit our website: www.bonavestcapital.com and please click here, to leave a rating and review!SponsorGrow Your Show, LLCThinking About Creating and Growing Your Own Podcast But Not Sure Where To Start?Visit GowYourShow.com and Schedule a call with Adam A. Adams