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In the Studio: A Closer Look at NYC Heritage House, Oscar Heyman

by Tiffany Lucke

Oscar Heyman is an NYC cornerstone Heritage House that is third generation owned and operated, having produced some of history’s most breathtaking fine jewelry. While you won’t find their name displayed in flashing lights above a storefront, Oscar Heyman jewelry can be found in any significant collection of luxury jewelry across the word. Made by hand in Manhattan since 1912, Oscar Heyman’s NYC team of in-house experts do it all- from sourcing materials, to fabricating the tools that make the jewelry, to creating magnificent works of wearable art. 

We had the pleasure to take a look behind the scenes with Tom Heyman and see what it takes to create a work of Oscar Heyman from start to finish. During our visit, we came to understand what it means for OH jewelry to be completely hand made in their self-contained midtown Manhattan workshop, and why that makes all the difference in creating jewelry that stands the test of time.

Q: Hi Tom, thanks so much for having us! Could you give a brief history of the Oscar Heyman jewelry brand? How did it all start?

A: “The history of Oscar Heyman dates back to 1901 when Oscar, age 13, and Nathan, age 15, traveled from Latvia for a five-year apprenticeship at the legendary Russian House of Fabergé. Upon completion, the two brothers brought their extensive jewelry skills to New York, and in 1908, Oscar went to work for Pierre Cartier. In 1912, Oscar and Nathan, along with younger brother Harry, founded Oscar Heyman & Brothers. Eventually there would be six Heyman brothers and two sisters who worked together establishing the family business. Oscar Heyman earned the nickname the “Jewelers’ Jeweler” after manufacturing for four of the five exhibiting jewelers at the 1939 World’s Fair (among them Tiffany & Cartier). The company’s legacy is in having been an asset to the behind-the-scenes production for larger jewelry retailers, however, today Oscar Heyman sells proudly under our own label. The business is run by the second and third generation of the family, who remain dedicated to the old-world style of jewelry craftsmanship.”

Q: The Oscar Heyman jewelry making process is completely self-contained, with every detail made from start to finish in their midtown studios. What does that mean and why is it important?

A: “Our purpose is to ensure, in each step along the process of creation, the ultimate quality. We are lucky to have the capabilities, expertise, and space to handle every step of the design and manufacturing process in-house. This often starts by alloying platinum for use in our machine shop…”

“The machine shop is where we die strike our settings and components. A necklace clasp alone might have 5-6 separate pieces, all of which we make individually, and then give to a jeweler to assemble. Our pieces go between the jewelers, polishers and engravers many times before and after the setters’ work…”

“Above is a process called thrumming, where hard to reach areas on a setting are polished using thread instead of the wheel. This attention to detail is essential to the creation of our final product…”

“This attention to detail is essential to the creation of our final product. Invisibly set jewelry was invented by Van Cleef & Arpels (who call it Mystery Set), and we produced it for them for many decades. A jeweler made the setting, and now the lapidary is cutting two parallel grooves just below the table of the stone so it can be slid onto the track that will hold the stones in place with no visible metal. In order to manufacture this sort of jewelry well, it is essential that the jeweler and lapidary work in collaboration. The quality of the jewelry is only as good as all of the components and so we deliver perfection across the board…”

Q: Tom, you introduced me to more than one Oscar Heyman employee who has been working for the company for over a decade. In our current professional climate of high turnover and low long-term commitment, why do you think Oscar Heyman has been able to consistently retain a community of jewelry experts? How has that contributed to making the company what it is today?

A: “It is only possible to achieve the finest quality with a dedicated team of highly skilled professionals. To work creating jewelry at our level is a skill set developed over decades and we retain our talent by recognizing that each employee contributes to our success. Our family is committed to making our company a great place to work by treating everyone with respect.”

Q: Since the company’s birth over 100 years ago, what characteristics of the brand have remained consistent?

A: “We design gorgeous pieces of jewelry that showcase exceptional gemstones. We aim for a timeless aesthetic by minimizing metal, so our items can be worn and cherished for multiple generations.”

Q: What are some things that have changed?

A: “Styles have changed over the decades along with fashion and social conventions. As an example, we primarily produce in platinum, however, the consumer preference has been yellow gold at certain times, and so we will meet that demand accordingly. Another example is the brooch category – while beloved by us, they have been out of fashion for a decade or so. We believe they are now showing signs of coming back. What has stayed constant is our extreme focus on bright, beautiful gems and high-quality manufacturing.”

Q: Oscar Heyman does not retail directly, but rather sells through retail partners across the world. Where can someone interested go in NYC to find Oscar Heyman jewelry?

A: “In New York City, our jewelry is available at the newly opened Saks Fifth Avenue Vault, Cellini, and Asprey.”

Thank you to Tom Heyman and the Oscar Heyman team for this incredible look into a cornerstone brand of NYC’s Fine Jewelry industry! Thanks also to photographer Alex Manno for the images used in this interview.

Jewelry Collections: Generations of Jewelry: Odettte Channell

by Tiffany Lucke

The only thing that gets us more excited than spending an afternoon exploring a suitcase filled with jewelry, is getting to look through THREE suitcases full of jewelry… and that’s exactly what we did one dreamy afternoon with jewelry artist Odette Channell in her Harlem apartment.

While Odette makes and designs jewelry herself, the mission of the day was to help her sort and catalogue a collection of thousands of pieces of jewelry that she had recently inherited from her great aunt. This wonderscape time capsule is a treasure map of one woman’s lifetime of relationships, interests, and styles.

From fine jewelry, to costume jewelry (including a significant collection of authentic bakelite), we discovered a trove of delightful baubles and jewels that could keep us mesmerized for a lifetime.

Odette continues to make her own line of jewelry, drawing from an inherited love of gems and jewels that clearly runs in her family. You can find her jewelry, Odette Channell Designs, on her website, instagram, and at markets across NYC!

Photo Credit: Emilija Guobyte-Krzeminski

In the Studio: Behind the Scenes with Brice Garrett

by Tiffany Lucke

Brice Garrett in his Greenpoint Studio; Photo Credit: Emilija Guobyte-Krzeminski

On a warm, bright, Brooklyn Sunday, jewelry artist Brice Garrett welcomed the NYCJW team into his Greenpoint studio. He gave us an inside look at his workspace, process, and new works for his upcoming Baltimore Jewelry Center solo show, “Casting Shadows”.  

Each component of Brice’s work is steeped in process- a careful consideration of individual pieces that make up jewelry. Wall pieces, and installations reveal a jeweler’s eye. Although trained as a jeweler, Brice’s work has evolved into a multimedia expression of art that transcends the body and and the wearable, while never forgetting it. 

During our visit, we were fascinated by his jewelry journey, beginning with a family heritage of Goldsmithing that lead him to pursue a Masters in jewelry at Konstfack University College of the Arts, Crafts, and Design in Stockholm, and eventually continue on to a successful art and jewelry career right here in NYC. From residencies at institutions like MAD Museum, to exhibitions and workshops like the ones you may have seen at NYCJW18– Brice continues think through ideas of body, production, labor, value, and memory through wearables, sculptures, installations, and participatory projects.

Q: What was it that initially interested you in learning to make jewelry?

A: “I’m very fortunate as I didn’t have to look very far to learn about jewelry. Growing up in Southern California, I spent my summers visiting family at the beach where my uncle works as a goldsmith. Spending time in his gallery and workshop led me to understand, at a really young age, the possibilities in hand-made jewelry. These thoughts steeped with me over the summers until one year I apprenticed with him. During that brief time, I was immediately enticed with the scale of the work, the tactility in both the making and wearing, and the shift to thinking and working dimensionally. The first piece I made (with lots of help) was a cast silver ring with a Tahitian pearl. Between the challenges of carving that ring and the fascinating process of lost wax casting, I was completely hooked.”

Brice Garrett’s light filled studio; Photo Credit: Emilija Guobyte-Krzeminski

Q: What is a typical day working in your studio like?

A: My mornings are usually spent on the computer catching up on emails, planning class curriculums, applying to shows, writing applications, writing statements, rewriting applications, rewriting statements…etc. There is tons of computer work that needs to be done, and it comes easiest in the morning for me.

A lot of my studio practice requires some sort of curing, drying, or setting. If managed correctly, I can juggle different tasks throughout the day. I start off making the molds and casting as early as possible. This way they have enough time to dry while I work on fabricating or finishing other pieces. By the end of the day, I can go back and work on what I initially started with and prep it for the next stage. With this type of process there isn’t instant gratification, but the work slowly builds up over the weeks. I definitely didn’t plan to work this way, but I found my practice naturally evolved into this rhythm – I think partly because I live and work in NYC, and with the various freelance, commission, and teaching jobs that I juggle along with my studio practice, there is a lot of stop and go. 

Slip-cast Gems and Glazing Samples; photo Credit: Emilija Guobyte-Krzeminski
Flex Shaft tools hanging above the Jeweler’s Bench; Photo Credit: Emilija Guobyte-Krzeminski
Assorted Plaster Molds of Gemstones; Photo Credit: Emilija Guobyte-Krzeminski
Brice Garrett in Progress Casting a Porcelain Gem; Photo Credit: Emilija Guobyte-Krzeminski

Q: There’s far more to what goes in to making your cast porcelain pieces than meets the eye- can you tell us more about your process?

A: “In my recent work, I create the initial gemstone shapes with various digital 3d rendering programs. I make plaster molds from the 3d printed forms – this means creating a mold frame, making sure the model will release, and mixing and pouring the plaster…”

Detail of Textures in Plaster Molds; Photo Credit: Emilija Guobyte-Krzeminski
Mixing the Porcelain for Slip Casting; Photo Credit: Emilija Guobyte-Krzeminski

“I use stained porcelain and slip-cast into the molds. This technique allows me to create thin and/or hollow pieces, enabling me to push scale without compromising wearability. In between each additional cast, I continuously carve, reconfigure, and deconstruct the molds with various tools and methods. I have to work very methodically at this stage because I’m essentially destroying the mold, so going back is not an option. I oscillate between thinking about the positive form (the casting) and the negative form (the mold), and thinking how each mark will translate into the reverse form…”

Pouring Excess Porcelain During Casting Process; Photo Credit: Emilija Guobyte-Krzeminski
Marbling Glazing Process; Photo Credit: Emilija Guobyte-Krzeminski
At the Jeweler’s Bench, Preparing to Create Finishing Details and Findings; Photo Credit: Emilija Guobyte-Krzeminski
In Process of Creating Sterling Silver Finishing Details; Photo Credit: Emilija Guobyte-Krzeminski

“I try to work as little as possible on piece once it’s done, keeping the focus on the casting.”

Front and Back of Porcelain Gems; Photo Credit: Emilija Guobyte-Krzeminski
Detail of Completed Brooch; Photo Credit: Emilija Guobyte-Krzeminski
Cast Gemstone Wall-Piece; Photo Credit: Emilija Guobyte-Krzeminski

Q: Your artistic practices have expanded beyond jewelry- can you tell us more about what has inspired your sculptural pieces and workshop installations?

A: I would say my practice is centered on adornment, taking the form of jewelry, sculpture, installation, participatory works, and most recently, print. My sculptural and installation work uses the language of jewelry, but at a larger scale and within different contexts, like the built environment for instance.

My project “Workshop (2016-Ongoing)” – which I hosted an iteration of during NYCJW18 in the HQ space – is an interactive installation of plaster gemstones made collectively with participants. Taking influence from a workshop – a space for both working and educational purposes – I invite the community to help create and evolve the installation.

The social or relational aspects of jewelry are really interesting to me, especially within the production of it. Jewelry (and craft in general) has a long history of working collectively, and I’ve used this as a starting point for “Workshop (2016-Ongoing)”. When the making is emphasized, it’s easier to have important and interesting conversations about value, labor, exchange, community, the strengths of working collectively…etc. This project is an attempt at creating an accessible art project about contemporary jewelry and conversation while working side by side 

Assorted Wall-Pieces Hung Artfully in the Studio; Photo Credit: Emilija Guobyte-Krzeminski
Up-close Gem Detail; Photo Credit: Emilija Guobyte-Krzeminski
Wall-Pieces and Prints Hung in the Studio; Photo Credit: Emilija Guobyte-Krzeminski
Large Cast Gem Wall-Piece in Front of a Print; Photo Credit: Emilija Guobyte-Krzeminski

Q: What are some new things that you’re working on that you are excited about?

A: Last fall I received funding from the Manhattan Graphics Center to take a silkscreen class and use the studios for a semester. I used this time to learn a new process and to explore ways of making larger, more immersive installations. I’ve always thought of my mold-making and casting process as a three-dimensional print. This opportunity allowed me to further explore this idea, and bring out the parallels between screen-printing and the casting process. There’s a lot of source material within this conversation, the tools, materials, the way of building up form, layering, capturing detail, texture, and mark making. 

I’ve approached the prints in a similar way to my casting process, I utilized the ability to offset and layer screens, distort the prints through scanning, and employing both analog and digital printing, complicating the hands-on processes. I envisioned a display or installation that navigated this shift between 2D and 3D forms and formal qualities, and I have just now materialized it for the first time.

Brice Garrett’s in Progress Works in His Studio; Photo Credit: Emilija Guobyte-Krzeminski

Q: You have a solo show opening this month- Congrats! When and where will that be? What can we look forward to seeing there?

A: Thank you! “Casting Shadows” will be on view at the Baltimore Jewelry Center from July 19th– August 30th, with an opening reception July 19th from 6-9pm. Ultimately, the show is a culmination of my jewelry, sculpture, and prints, creating an installation that merges a lot that I’ve mentioned above. The work complicates the narrative of producing by carving out, reconfiguring, and deconstructing the process – reimagining and accentuating the methods that generate authenticity and form.

Along with the exhibition, I’ll activate my project “Workshop (2016-Ongoing)” on Saturday July 20th from 12-6pm.

Sterling Silver Cast Gemstone Rings; Photo Credit: Emilija Guobyte-Krzeminski
Detail in Brice Garrett’s Studio; Photo Credit: Emilija Guobyte-Krzeminski
Brice Garrett in the Studio, Wearing a Cast Gem Pendant; Photo Credit: Emilija Guobyte-Krzeminski

DINNER

On June 17th, NYC Jewelry Week, in conjunction with Brooklyn Metal Works, presented  a private one night only event pairing jewelry and scent as an exploration of craft, design and intention. Designed to fill your senses not your stomach, eight exceptional jewelers hosted an intimate 4-course “meal” of the ingredients behind their work to small table of guests.

Curated by NYCJW and BKMW, the night featured scent pairings selected by Desmond Zhengs of Atelier d’Emotion  to support the artists’ presentations and was hosted by R & Company at their 64 White Street location in TriBeCa.

Participating artists: Brice Garrett, Debra Rapoport, Soull and Dynasty Ogun of L’Enchanteur, Melanie Bilenker, MJ Tyson, Lynn Batchelder, Rachel Radar and Taisha Carrington.

Photos below by Emilijia Guobyte-Krzeminksi.

NYC Jewelry Week celebrates NYCxDesign

 

NYC Jewelry Week is excited to announce their partnership with Jonathan Adler in conjunction with NYCxDesign. In honor of the most celebrated design festival in the country, NYCJW will create a series of special events bringing together the worlds of jewelry and design.

From May 10th – 19th, Jonathan Adler’s Lexington Avenue showroom will host rotating trunk shows featuring exceptional and innovative collections from NYCJW’s One for the Future jewelry designers.

One for the Future supports the inclusion of young creatives in their chosen field within the jewelry industry. Learn more about this initiative here.

A reception and panel discussion moderated by NYCJW co-founders, Bella Neyman and J.B. Jones featuring designers and retailers will take place on May 16th from 6-8pm.

Scroll down for full schedule of events.

Jonathan Adler Showroom
715 Lexington Ave., 3rd Floor, New York, NY 10022

EVENTS:

May 10th – 13th: 10am – 7pm Friday and Saturday and 11am – 5pm Sunday
A trunk show featuring Angely Martinez, Andrea Rosales-Balcarcel, and Ada Chen.

May 14th – 16th: 10am – 7pm Monday – Thursday
A trunk show featuring Jean Prounis, Maya Rose Weiss, and Liz Leupold.

May 17th -19th: 10am – 7pm Friday – Saturday and 11am – 5pm Sunday
A trunk show featuring Meiyi Yang, Mando Bartlett, Taisha Carrington, and Michelle Yun.

RSVP here for the trunk shows and check out the work of the jewelers here.

May 16th: 6pm – 8pm
Join NYCJW Co-founders Bella Neyman and J.B. Jones on May 16th for Jewelry Outside the Jewelry Store: A Conversation a panel discussion about what makes jewelry an appealing addition to any retailers repertoire and why consumers are following suit.

Featuring Jean Prounis of Prounis Jewelry, Cat Birch, Director of Retail, The SHOP, Cooper Hewitt, Smithsonian Design Museum, Michele Varian, Designer and Retailer, Michele Varian and Co-founder and Chief Strategy Officer, Guesst.co, and Meghan Patrice Riley of Meghan Patrice Riley Jewelry. RSVP for the panel here.

For Press Inquiries contact us here.

NYCJW Welcomes Elliot Carlyle

NYC Jewelry Week is excited to announce Elliot Carlyle will be joining the NYCJW team to head up their new Cultural Diversity and Inclusion division.

Elliot Carlyle, known as “the brand. the voice.” is a New York City-based fashion & creative consultant, speaker, and coach with over a decade of tenure in the fashion industry. Elliot began his fashion career in production, working for Mercedes Benz New York Fashion Week for many years. Since this time, he has seamlessly navigated multiple facets and roles within the fashion industry including public relations, model development, and creative direction. Elliot has worked with notable brands and organizations including Atlanta International Fashion Week, Obvious Magazine, and the Legendary Empress of Soul, Gladys Knight. He received his formal education at The Art Institute of Charleston, a branch of The Art Institute of Atlanta, earning a BFA in Fashion & Retail Management. Elliot now works in an executive capacity with award-winning creator of New York Fashion Week and international fashion & design consultant, Fern Mallis. Elliot is also the author of The Influence Workbook, a book filled with clarifying keys, liberating exercises, and empowering takeaways that will position you on a trajectory to get to your “next” by moving you beyond the questions and unblocking your personal power. As his career continues to evolve, Elliot is committed to executing his personal mission and brand statement, “building people for global influence.

On his new position, Elliot comments, “I am very humbled to have been asked by the NYCJW Founders to work with their organization in the arena of diversity and inclusion. I believe that jewelry is one of the most artistic ways to express ourselves on a variety of levels from individual belief systems, values and attitude to cultures, personal style and more. Jewelry has the ability to speak, inspire, educate and also engage conversation…but in essence; jewelry demonstrates. I salute the NYCJW team for the intention to reflect the world we live in today – which is diverse and inclusive – within their organization. I celebrate them for being bold enough to implement a channel to have necessary conversations for creatives of all colors and ethnicity within jewelry, fashion and art. I am honored to use my gift to help create this culture and I look forward to building a program that enhances the lives and careers of every person whom this program will impact.”

As Director of Cultural Diversity and Inclusion, Elliot will develop a series of events focused on creating opportunities for inclusion within the jewelry industry.

NYCJW is dedicated to promoting inclusion throughout the jewelry industry. “Our mission has always been to have NYCJW be a reflection of the NYC’s diversity and culture and speak to the importance of that diversity in how we, as a community, interact with – buy, sell, and wear – jewelry.  Our intention with expanding this platform for our 2019 programming is to allow NYC serve as a model for cultural inclusion within the jewelry industry not only within NYC, but throughout the world.  We are excited to push this agenda forward with Elliot Carlyle’s unique and exceptional vision at the helm.” says NYCJW c0-founder J.B. Jones.

Learn more about Elliot Carlyle here.

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