||From Alex Popov’s perspective, the diamond industry and trade are almost like a family that mostly keeps to itself. Still, after having been an integral part of it for more than 20 years, Alex Popov continues to think outside the box, and definitely outside the loupe.

Alex believes diamonds are not a commodity. He looks at diamonds far beyond their gemological characteristics and commercial properties.

For him, diamonds are part of the jewellery world, which in turn is an integral part of the world of art, history and culture – his favourite subjects. Everything he does is ultimately related to the human interactions that diamonds generate. Establishing relationships between industry members around the world, working on the projects of the World Federation of Diamond Bourses, organising jewellery exhibitions – all these are part of his same desire to encourage interest in diamonds, throughout the supply pipeline, down to the consumer.||

Congratulations Alex on such an incredible and interesting publication, purely dedicated to diamonds and their presence throughout history. I couldn’t put the book down and was amazed by such captivating stories. I am glad to announce that the book has just been released and is available for purchase through https://facetsofmankind.org/shop/

Let’s talk in details about Facets of Mankind (FOM) and Diamonds Across Time.

• CG: Alex tell us more about Facets of Mankind/World Diamond Museum, and what was the reason behind establishing such organization?
• AP: Throughout my career I have had the privilege to make the acquaintance of scores of people who are the guardians of public and private collections which most often remain inaccessible to the general public. Seeing and touching all these incredible pieces, I always felt the desire to share this knowledge. So, in 2014 I brought the renowned “India, Jewels that Enchanted the World” exhibition to the Kremlin in Moscow. That exhibition was extremely successful and put my mind firmly on the World Diamond Museum project. Three years later I gathered together several like-minded people from around the world and established the World Diamond Museum. We added the phrase “Facets of Mankind,” to emphasize the human relationship with this magnificent stone. The goal is to preserve the heritage, conduct research and educate the people about diamond and diamond jewellery.

• CG: How do you think FOM/WDM are going to help the diamond industry and reignite the passion for diamonds?
• AP: First and foremost, by taking diamonds out of the commodity basket into the world of art, history and culture – where they belong. The museum intends to make all beautiful famous diamonds known and, also, to make all beautiful, exceptional and unknown diamond and diamond jewellery collections famous. The World Diamond Museum is to serve as what the Germans call a “Fundgrube”, a Treasure trow, the ultimate source for knowledge and enjoyment of those epical diamonds that tell us a story.

• CG: Circling back to the book, it is such a remarkable publication, how long did it take for all these stories to be put together?
• AP: We have been busy participating in conferences and consulting other museums and organisations. This work has mostly remained invisible, so we decided to engage in publishing, to reach out to the industry and the general public. Diamonds Across Time is the first such publication. The book consists of ten – seemingly unrelated – essays, written by ten different researchers from different countries. It contains over 300 images, including our proprietary photography of famous diamonds and jewellery, archive documents and even some computer-generated historic diamond reconstructions. It took more than three years of hard work. Our chief curator, Dr. Usha Balakrishnan, together with a dedicated team of researchers, authors, photographers, logistics experts and an army of well-wishers did the incredible work. World famous book designer Misha Anikst designed a completely different book and the results are truly remarkable. I don’t want to recite content that all can read at their own leisure on our website. It is, in my opinion, the most exciting book about diamonds ever, both in design and in the contents. I’m biased, of course, but the first reviews are very favourable.

• CG: My favourite part is the story of the Nizam Diamond. which one is yours?
• AP: I’m biased towards the Romanov jewels. Their history is interwoven with India, my second favourite country, the cradle of diamonds. Unfortunately, their fate is in a way similar to Indian Royal treasures – wars, revolution, destruction, riots, death and resurrection. The real reflection of human life – the Facets of Mankind.

• CG: What is next for FOM/WDM? Will there be an actual museum to exhibit some of the most extraordinary pieces? Any virtual tours to showcase rare diamonds?
• AP: If you had asked me this a year ago, I would have said that digital has a bright future, but that it is an uphill battle. The COVID-19 health crisis, with all its drama, deaths, and devastation, was like a tsunami, and very bad one, from an economic and social point of view. But it has also swept away a lot of the barriers that we thought would take years to break through. We are moving slowly to our goal – the creation and population of a full digital museum that will not only impact the industry, but more importantly, also the general public. Recently, the International Council of Museums (ICOM) has accepted a definition of a fully digital museum. Again, this would have been thought very difficult to achieve a little as a year ago. Naturally, this opens new opportunities to us, and of course to the museum world at large. Rare diamonds will be showcased online but will also be displayed at exhibitions which are an integral part of the Facets of Mankind concept.

• CG: Please share your thoughts on how digital medium (social media, online shop, online auctions, etc.) is impacting the diamond industry; positive and negative aspects?
• AP: The digital medium is here to stay forever, technology is perfecting itself and soon we’ll witness new opportunities. It will be extremely positive, and exciting! exciting!. There is, however a certain degree of confusion due to the proliferation of information, often incomplete or just false. Education is needed to navigate this web. We hope to play exactly this role.

• CG: How have you been dealing with COVID-19? It is for sure taking a toll on every industry across the globe, how do you think it is affecting the diamond industry and what would be the long-term impact?
• AP: I don’t want to resort to trivialities. We haven’t yet seen yet or experienced the full impact of the tsunami I mentioned before. There will be many more changes and developments but nobody knows how it will end. At the same time, for those thinking outside the box, opportunity is calling, and the virtual sky is the limit. As I said, COVID allowed us to finish the book. I’d rather finished it a bit later, without COVID.
• CG: Thank you Alex for your time, you can now purchase a copy of Diamonds Across Time here: Diamonds Across Time

I have been in touch with Francesca since 2017 and occasionally we would talk about the progress of her book, so when in September 2019 I received the very anticipated email from her informing me her book is finally published and I will receive a copy soon, I was thinking wow she finally did it….it took her 10 years to put together a history of 4 generations with all the joy, hardships, troubles, successes and failures that make foundations of the brand we are all admiring so much. The Cartiers! Since November 2019 we were in contact to find a different angle of all the press and media presentations she had done so far and here is the result. I asked Francesca six questions that would go beyond the book and give us a glimpse into her life, without any further ado, here is my Q & A with Francesca Cartier Brickell:

The Cartiers‘ Front Cover

• CG: We’ve been talking about ‘The Cartiers’ for years and you’ve been writing for a decade. How does it feel now that you’re holding this great book?

FCB: Yes, I remember when I started blogging, you were one of the first people that connected with me, thank you! As for when I finished the book, I was just frazzled. Due to publishing deadlines, I hadn’t taken a day off for over a year: I’d been waking up early to write, working late into the night, all weekend, not spending time with my kids, holidays cancelled, the works. So yes, when that Random House package arrived by courier from New York, opening it and holding that finished book was… quite something. It made the effort more than worthwhile. And I loved how the hardback turned out, not just the family stories in there, but also the visual details. My ancestors had created such beautiful pieces, so I wanted the book to be beautiful. I love how, when you open the front cover, you are confronted with a montage of long-lost family letters and telegrams, just as I was when I opened the trunk. I had no idea of the reach the book would have, I wondered if it was maybe just me and a few jewelry historian friends that would read it, but I have been bowled over by the response, from reviews and articles in brilliant newspapers and magazines, like the Economist, the New York Times and Hello Magazine, but also from readers as far away as Riyadh or the Philippines who took the time to tell me how immersive they found it, and how the three Cartier brothers came to life for them. That is an amazing feeling: to feel that the Cartiers – who I have lived with my own for the past decade – are now out there for others to get to know and hopefully draw inspiration from too”.

• CG: Tell us about the process of writing the book. Which part of the book were most emotional for you, and why?

FCB: Well, the book took about 10 years in total! Digesting the letters from the brothers was an enormous job but I also tried to study the social context – whether that was revolution and sieges in 19^th century Paris or the growing emancipation of women after World War One (which impacted Cartier as more androgynous haircuts led to a range of bandeaus designed to be worn across the forehead etc.). Working out the structure of the book – how to best tell the story across timelines and countries – was a vast task and I had huge whiteboards all over the place while I plotted it all out. In terms of the writing, I would say the Introduction and the Afterword were the most emotional, as that is where I tell my own story. At the start, I describe my relationship with my grandfather, the holidays I spent with him as a child, and the promise I made to him as an adult to tell the family story. And then at the end I talk briefly about how this whole journey into my past has affected me. Because writing this book was not simply a job to me – it was a labor of love, something I felt a duty to complete. But it was also something that ended up being very rewarding and which – at the risk of sounding cliché – taught me a lot about myself. Through studying my ancestors, their relationships, their drivers and their character traits – both good and bad – I understood not only my grandfather much better but also myself, and even my children. And some characteristics that I berated myself for – like that perfectionist streak that sometimes stops me from doing things – are now something I can accept and even see as positive because, in a way, it is that same streak that led the Cartiers to create the most staggering jewels.”

• CG: How would you describe yourself in five words? And which of those are Cartier traits?

FCB: The five words I would choose are: curious, positive, family-focused, determined and lastly perfectionist! Those last two are definitely Cartier traits: “The Best is Good Enough”.  In psychology, they divide people into satisficers and maximizers. Satisficers are people who are happy to settle for a good enough option, maximizers are people who strive to get the best out of every decision.  Overall, maximizers achieve better outcomes than satisficers, but they are often less happy, because they tend to second guess themselves. The Cartiers were (and are!) maximizers. I’d say that’s most typified by my great-great uncle Louis Cartier, but they all had it, including my grandfather. A good example is the Mystery Clocks: these are clocks with a dial made from transparent crystal and the workings not visible. The clocks caused a sensation when they were first made because no one could fathom how they worked (even the salesman weren’t told). The clockmakers told Louis it was impossible to make one to his specifications but he persisted regardless. It took the Cartier workshop a full year to make the first one; a year is a long time! Louis kept sending it back and they were terrified of his exacting standards. But he made it happen, and he kept perfecting these clocks, eventually creating the figurine mystery clocks of the 1920s which are, for collectors, the equivalent of Faberge’s eggs. So Louis’ perfectionism led to unquestionable innovation, but it didn’t mean he was always happy, he could be frustrated and restless because his standards were so exacting.

• CG: What is your favorite historic Cartier piece?

FCB: I couldn’t name just one. I love so many of the pieces, like the mystery clocks or the Maharaja of Kapurthala’s emerald turban ornament or the royal tiara the Duchess of Cambridge wore on her wedding to Prince William, or even the simple trinity ring that I always wear. But one piece that I fell back in love with recently is the Mountbatten tutti frutti bandeau. It’s a brilliant design, made under my great-grandfather in London in the 1920s, as it could either sit flatteringly on the forehead or be split into 2 bracelets. (3 jewels for the price of 1 really!). In 1928, Jacques wrote to his brother Pierre telling him about a London charity fashion show that he was working on with Lady Cunard. “The idea” Jacques explained, was “to show what women with short hair can wear, both now and when they start to grow their hair again.” The days of pre-war big hair up-dos and heavy tiaras were over and the Cartiers quickly adapted their offerings to include a vast array of head-dresses, bejewelled hair clips and diamond crescents and circles to decorate tightly shingled heads. This colourful bandeau, comprised of carved rubies, emeralds and sapphires that Jacques bought on his regular trips to India, was one of 100 pieces that Cartier made for the fashion show but it was snapped up before it even made it to the runway. The buyer, Lady Mountbatten, was a strong stylish and well-connected woman who knew what she wanted when she saw it. She would also, rather aptly given her choice of the Indian-inspired headdress, go on to become the last Vicereine of India! If anyone wants to see it, the bandeau is in the V&A museum in London. I show some other wonderful Cartier pieces and talk about the Cartier style and “Never Copy, Only Create” in this YouTube video.

• CG: Pre-book you were traveling the world to find pieces of the puzzles, and post-book, you are touring for all these events. As a wife and mother, how do you manage work-life balance?

FCB: A bit of a mix really. When the kids were little and I was traveling for research, I often took them with me and now the book is published, I’ve been trying to take the children on book tours with me as I think it’s a fantastic chance to see different places. Recently they came to India which was incredible: in Jaipur Literature Festival, they were there, with my mother, in a crowd of thousands smiling up at me from the front row. But the reality is the work-mother-life balance is not easy. I’m sure if you asked my children, I didn’t always manage it that well! When writing, I had to close myself off from the world. I had all these different threads I was trying to weave together so I didn’t always have the headspace to let in the outside world too. I was at times so absorbed by my work that my children had to fend for themselves – my daughter became very good at preparing supper. I just wasn’t around for games or long bedtime stories or taking them out anywhere fun. Now that’s not ideal parenting and I felt guilty – but then again, it meant I finished the book. And, in the end, my children were truly delighted to see my dedication to them in the book. As I wrote each chapter, I told them about it: it could almost be a bedtime fairytale, a rags to riches story, with princesses, kings, cursed diamonds and new inventions thrown in for good measure. So, although it was tough, I think they appreciate the work that went into keeping the family history alive. Plus they have seen that, in order to create something, you have to put in the work – that’s hopefully a good life lesson.

• CG: What does the future hold for Francesca? What is the next chapter?

FCB: I’m not sure – people have asked for another book and yes, there’s more to the story of the Cartiers as I was trying to squeeze in 150 years of history and four generations into one book. But at over 500 pages, it is probably long enough to keep people going for now! It’s also being translated into quite a few languages, and I’m working on edits for the new paperback edition, which comes out next year. The thing is I keep finding out more, last month I went to St Moritz where I watched the terrifying Claude Cartier Challenge race for the Cresta Run, and while there, I happened to learn more about my great-grandfather mingling with characters like Coco Chanel on the slopes in the 1930s so I’ll look to add that in. Since the book launched, I have been doing lots of speaking events and signings all over the place. Writing was such a solitary period, so it’s been a fantastic contrast now to be able to share the story with others who are interested. Jaipur Literature Festival earlier this year in India was one of the most incredible experiences I’ve ever been part of – I found myself up on this colourful stage with the Princess of Jaipur and the head of Penguin India in front of a massive audience of thousands – and it just made me realise that I’m still learning what this book will lead to. Later this year, I did have a pretty packed schedule planned – events like a JCK keynote in Las Vegas, a talk at the V&A in London, an event in Dallas amongst others, and another book festival – but obviously now with Coronavirus, everything is on hold. Fortunately I am sitting it out with those I love – I am currently under lockdown in the South of France with my husband, children, dog – and chickens!

The Cartiers available now via Amazon and leading bookstores:

For more information visit the-cartiers.com

Paolo Costagli

 Another exciting encounter during my SIJE2015 experience, was meeting the outstanding designer Paolo Costagli in person. It was a delight to see the incredible pieces that are made under his name brand Paolo Costagli. The brand’s main house is located in New York and the pieces are showcased through his atelier on Madison Avenue, Bergdorf Goodman and select independent boutiques. I managed to ask few questions from Paolo himself, read below to get a better image of the designer behind the brand:

CG: Paolo, it is a great pleasure to meeting you in person! Let’s start with a bit of background on how did you get involved in jewellery industry and design in particular? 

PC: My passion for gemstones first emerged during frequent visits to the famous Ponte Vecchio in my hometown, Florence, where my mother would take me frequently during my childhood to admire the jewels and gemstones displayed in the shop windows. When I was 21 years old, I left Florence against my parents’ wishes and studied Gemology at the Gemological Institute of America, which was at that time in Santa Monica, California. In following years, I worked with and collected many stones, but didn’t start designing my own collection until I moved to New York City in 1991.

CG: When did you establish Paolo Costagli? What was the inspiration behind that?

Paolo Costagli Signature Stacked Florentine Rings

PC: Paolo Costagli New York was established in 1993. The inspiration behind the designs in my early days, and still today, are the materials and gemstones themselves. I am a gemologist at heart, and my intention is to create a jewel that will showcase the natural beauty of the gemstone or precious metal that has inspired the design in the first place.

CG: Given you are based in New York, how much art and fashion are influential on your unique designs?

PC: I appreciate art very much and end up at the Metropolitan Museum of Art at least once or twice a month. I just can’t stay away… Each visit is a lesson of proportions, shapes and beauty.

CG: What is the process of making one piece from sketch to finish and how much time do you spend on creating each?

PC: I actually do very little sketching, but instead see the final piece in my mind first and work backwards to realize my vision. It is an unconventional design process, but it comes naturally to me. Of course, we incorporate modern technology into this process, but the root of our design is my initial vision.

CG: I have noticed that you use coloured gemstones in your designs as the main feature, what is your favourite gemstone?

PC: I can’t pick one favorite gemstone… it’s like asking a parent who is their favorite child!

CG: Do you hand select the gems? What sort of standards do you have when selecting a gemstone for a specific piece?

PC: I do hand select the gemstones used in our collection. The standards vary with the material. For example, with diamonds, we look for old mine material in unusual shapes and cuts that I find more interesting and unusual than many modern cuts. With colored gemstones, I very much prefer a stone with no window, intense color and antique shape. But, I have been known to fall in love with gems of all kinds…

Paolo Costagli Oval Diamond Golconda Type IIa D IF 3.34 carats set in Platinum further enhanced with pave-set round brilliant diamonds weighing approximately 1.80 carats, D-F VVS

CG: As you know, I have a particular fascination for diamonds; please share with our readers about the most exquisite diamond you have come across with through your career? PC: The most exquisite diamond I have come across is actually currently in our collection and has been featured in your work! It is our 3.34 carat moval “Golconda” diamond (a cross between a marquise and oval cut). In addition to being colorless and internally flawless (D, IF), it is also certified by GIA to be type IIA “Golconda”. As the story is told, the Maharajas in India would describe “Golconda” diamonds as having a mix of fire and ice, and it is so true in this diamond. Mesmerizing… The mounting is a love knot to complement a jewel that will represent the purest love possible.

CG: When should we expecting the new collection of Paolo Costagli, and give us a hint of what theme we should anticipate?

PC: We are continuously making new jewels and designs in our Bespoke collection which are revealed daily on our Instagram page, website and email newsletter. The next complete collection is to be revealed soon and is named for my first love in Florence… I hope that’s enough of a hint to get you thinking!

Thank you again Paolo for your time, wishing you all the best and looking forward to the launch of your new collection.

You can visit www.paolocostagli.com for more information.