White agate necklace, 18k gold clasp with coral flower
Design: Christine v. Schönburg
Sunday, December 14, 2008
A Rose is a Rose, is a Rose...
White agate necklace, 18k gold clasp with coral flower
Design: Christine v. Schönburg
Wednesday, June 4, 2008
Tuesday, June 3, 2008
Fashion wisdom from Yves Saint Laurent
Some quotes carrying fashion wisdom from the legendary fashion designer Yves Saint Laurent, who died Sunday, all attributed to the Foundation Pierre Berge Yves Saint Laurent:
_ "I participated in the transformation of my era. I did it with clothes, which is surely less important than music, architecture, painting ... but whatever it's worth I did it." (2002)
_ "I always believed that style was more important than fashion. They are rare, those who imposed their style while fashion makers are so numerous." (1993)
_ "The most beautiful clothes that can dress a woman are the arms of the man she loves. But for those who haven't had the fortune of finding this happiness, I am there." (1983)
_ "I tried to show that fashion is an art. For that, I followed the counsel of my master Christian Dior and the imperishable lesson of Mademoiselle Chanel. I created for my era and I tried to foresee what tomorrow would be." (1983)
-"The street and me is a love story. 1971 is a great date because, finally, fashion took to the street." (1971)
More on YSL here
We go in search of a dream
Fiona Rae’s new work is a mix of styles and stories, not surprising for an artist with an anything-goes type of attitude. A childhood spent in Hong Kong, Indonesia and England is reflected in work that has touches of Eastern influence. Rae pulls together elements from a variety of techniques such as calligraphy and bubblegum pop, adds a wash and a whole lot of movement, and the result is work that is at once cloyingly sweet and mysteriously dark in undertone.
Artist: Fiona Rae
+ timothytaylorgallery.com
Spondylus, the Mayan's sacred shell
18k red gold and Hematite necklace with Spondylus shell and Mother of Pearl.
Design: Susan Pearson and Christine v.Schönburg
Pendant from "Le grand Bleu" collection
18k gold pendant with White Coral, Imperial Topaz and Pearl.
Design: Christine von Schönburg
Tuesday, May 6, 2008
Fulco di Verdura, the "shell jeweller"
Born in Sicily in 1898, he was brought up in his grandmother's country house outside Palermo. The novel "The Leopard," written by a cousin, Giuseppe di Lampedusa, depicts his eccentric aristocratic and artistic family, according to Ward Landrigan, now the owner of the Verdura business legacy. In any event, the jeweler's early life in the Sicilian sunlight, as described in his 1976 autobiography, "The Happy Summer Days," had an important impact on his work.
Large, unsubtle, gemstones, a preference for gold, bright colors and a taste for natural objects - Verdura's designs often feature animals, flowers and seashells - found their way first into watercolors, and later into his jewelry. All went directly against the style of the time, which leant towards a delicate white-on-white vogue for platinum and diamonds.
Read more here.
Tuesday, April 15, 2008
Treasures from the Sea
Sterling Silver necklace with white corals and pearls
Design: Christine v.Schönburg
Sculpture by the Sea
If you’ve ever been fortunate enough to visit Australia’s eastern coastline, you’ve no doubt been blown away by the spectacular landscape, rugged terrain and stunningly wild ocean views of the South Pacific. It’s no wonder then that David Handley, founding director of Sculpture by the Sea, chose Sydney’s 2km coastal walk that stretches from Bondi Beach to Tamarama Beach, as the scene for his world-famous annual outdoor sculpture exhibit.
Handley launched the first exhibit ten years ago. Since then, every summer has seen original, abstract, and eye-catching works of art peppering the cliffs to a backdrop of open sky and sea.
Handley’s reasons for creating the exhibit are numerous and impassioned: “In Australia we are evolving our cultural identity and developing a sophistication alongside the traditional athletic hedonism of beach,” he says. “I created Sculpture by the Sea because I wanted to create something that reflected what I thought of Sydney and how I wanted Sydney to be projected to the world.”
Not a fan of “unbridaled capitalism,” Handley also wanted to be able to provide a free and engaging art exhibit to the public that would be supported by wealthy individuals and major corporations of Sydney. “There’s not much that is free in the world,” he says, “but as the saying goes: The best things in life are free!”
The contributing artists are selected by a curatorial panel of two (one of whom is always a sculptor themselves). Each year over 600 artists from around the world apply for a coveted chance to display and sell their works, with just over 100 artists making the cut. This year, 106 sculptures will be displayed by artists from 19 countries, including Japan, Iceland, Pakistan, France, the United States and, of course, Australia.
As well as the outdoor pieces, two venues along the coastal walk will host smaller wall and floor pieces. The exhibit is believed to be the biggest annual selling exhibition of sculpture in the world with prices varying from six figure sums to as little as AUD$300 (€190), “all in keeping with our ‘something for everyone’ philosophy,” adds Handley.
Handley sees the exhibition as an opportunity to provide artists with a “space in which to play”. His ethos about art centers around the idea that artists are free spirits and, as such, should be allowed “artistic freedom”. Of curated and themed exhibits he expresses his disdain: “There’s nothing worse in the visual arts, in my mind, than a public art project brief that says the sculpture must actively relate to local history, social issues, etc. Art can be and has historically been wonderful, simply because it is beautiful and magnificent.”
And from which countries does Handley see some of the best emerging talent this year? “Some of the most beautiful sculptures are coming from Japan,” he says. He names Keizo Ushio, Harayuki Uchida and Yoshio Nitta as ones to watch. He also highlights his partiality to some young Australian sculptors, including Angus Adameitis, who works with scrap metal, and Alex Seton, whose marble sculptures include a sofa that gives the illusion of being soft, plush and inviting.
Around 500,000 visitors, including collectors from around the world, are expected to attend the exhibit, which will be on display in Sydney from November 1-18 and then transported to Australia’s equally breath-taking western coast – on Cottesloe Beach, Perth – from March 8-18.
More details here
Handley launched the first exhibit ten years ago. Since then, every summer has seen original, abstract, and eye-catching works of art peppering the cliffs to a backdrop of open sky and sea.
Handley’s reasons for creating the exhibit are numerous and impassioned: “In Australia we are evolving our cultural identity and developing a sophistication alongside the traditional athletic hedonism of beach,” he says. “I created Sculpture by the Sea because I wanted to create something that reflected what I thought of Sydney and how I wanted Sydney to be projected to the world.”
Not a fan of “unbridaled capitalism,” Handley also wanted to be able to provide a free and engaging art exhibit to the public that would be supported by wealthy individuals and major corporations of Sydney. “There’s not much that is free in the world,” he says, “but as the saying goes: The best things in life are free!”
The contributing artists are selected by a curatorial panel of two (one of whom is always a sculptor themselves). Each year over 600 artists from around the world apply for a coveted chance to display and sell their works, with just over 100 artists making the cut. This year, 106 sculptures will be displayed by artists from 19 countries, including Japan, Iceland, Pakistan, France, the United States and, of course, Australia.
As well as the outdoor pieces, two venues along the coastal walk will host smaller wall and floor pieces. The exhibit is believed to be the biggest annual selling exhibition of sculpture in the world with prices varying from six figure sums to as little as AUD$300 (€190), “all in keeping with our ‘something for everyone’ philosophy,” adds Handley.
Handley sees the exhibition as an opportunity to provide artists with a “space in which to play”. His ethos about art centers around the idea that artists are free spirits and, as such, should be allowed “artistic freedom”. Of curated and themed exhibits he expresses his disdain: “There’s nothing worse in the visual arts, in my mind, than a public art project brief that says the sculpture must actively relate to local history, social issues, etc. Art can be and has historically been wonderful, simply because it is beautiful and magnificent.”
And from which countries does Handley see some of the best emerging talent this year? “Some of the most beautiful sculptures are coming from Japan,” he says. He names Keizo Ushio, Harayuki Uchida and Yoshio Nitta as ones to watch. He also highlights his partiality to some young Australian sculptors, including Angus Adameitis, who works with scrap metal, and Alex Seton, whose marble sculptures include a sofa that gives the illusion of being soft, plush and inviting.
Around 500,000 visitors, including collectors from around the world, are expected to attend the exhibit, which will be on display in Sydney from November 1-18 and then transported to Australia’s equally breath-taking western coast – on Cottesloe Beach, Perth – from March 8-18.
More details here
Friday, February 15, 2008
Ocean's Treasure
Pearl neacklace, white coral pendant with red coral and pearls set in steling silver.
Design: Christine v. Schönburg
Sunday, February 10, 2008
"Le Grand Bleu" collection
Atlantis necklace
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Spondylus shell necklace with 18k gold clasp, rutilated quartz and white coral
Design: Christine v. Schönburg
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Spondylus shell necklace with 18k gold clasp, rutilated quartz and white coral
Design: Christine v. Schönburg
Friday, February 1, 2008
"Le Grand Bleu" collection
18k gold ring with white coral and blu topaz
Design: Christine v. Schönburg
18k gold ring with white coral and moonstone
Design: Christine v. Schönburg
Wednesday, January 23, 2008
Valentino says goodbye with flowers
HAUTE COUTURE
PARIS: With vestal white dresses on the runway and a phalanx of his iconic red dresses projected on the sides of a giant tent, Valentino bowed out of fashion on Wednesday with an ovation of bravos but few tears, as the designer himself set the happy tone by waving to the audience as he took his bow.
But like a chorus in a Greek tragedy, Valentino's friends and clients, who gathered at the Rodin Museum for the couturier's last and final curtain, started their comments with a single phrase: "It's the end of an era," they all said.
to read more:
www.iht.com/articles/2008/01/23/style/web-0123-rvalen.php
Spring time, all year round
" A Flower is a Leaf mad with Love " collection:
18k gold bracelet with green and rose quartz,amethyst,sodalite and rockcrystal
Design: Christine v. Schönburg
18k gold bracelet with crystal, amethyst, agate,amazonite, rose and cherry quartz
Design: Christine v. Schönburg
18k gold earrings with coral, opal, turquoise, jade and topaz
Design: Christine v. Schönburg
18k gold bracelet with green and rose quartz,amethyst,sodalite and rockcrystal
Design: Christine v. Schönburg
18k gold bracelet with crystal, amethyst, agate,amazonite, rose and cherry quartz
Design: Christine v. Schönburg
18k gold earrings with coral, opal, turquoise, jade and topaz
Design: Christine v. Schönburg
Saturday, January 19, 2008
Friday, January 18, 2008
Monday, January 7, 2008
"A woman needs ropes and ropes of pearls" Coco Chanel.
18k gold, pearls, amethyst,rose and green quartz,topaz
Design- Christine v. Schönburg
18k gold clasp with pearls
Design- Christine v. Schönburg
18k gold choker with coral, pearls and cristal
Design- Christine v. Schönburg
Sunshine Companion
18K gold necklace with blue topaz, garnets and pearls
Design: Christine v. Schönburg
Sunday, January 6, 2008
Some more pins !
Sterling silver with pearls brooch
Design: Christine v. Schönburg
18K gold and topaz brooch
Design: Christine v. Schönburg
Saturday, January 5, 2008
Lacroix hangs history out to show.
PARIS: The skirt is black-and-white striped like a Regency awning. The lacy sleeves might belong to a social dandy. And the red satin shawl is haute folklore from Arles. But even before you get the past/present game in a Christian Lacroix couture outfit from two decades ago, your eyes switch to the background, where more striped dresses dangle from rails as if hung out to dry.
"What I love is Dorothée Bis in there," says Lacroix, referring to Op Art stripes from the 1960s, alongside a Claire McCardell dress from the 1950s and a Louis XV shepherdess costume that might have inspired the couturier's own 1987 creation.
"Christian Lacroix, Histoires de Mode" (at the Musée des Arts Décoratifs until April 20) is an exhilarating take on fashion history that mixes decades, centuries and designers - yet makes sense of each section from "cobwebs" through "flowers," "graphics," "patchwork" or "stripes."
In the different showcases are 400 historic pieces, many never before displayed. The earliest is an asparagus-green gilded jacket from the 16th century that fits with a miniature religious robe that once clothed a tiny saint's statue and with a 1987 couture jacket with religious embroidery.
This inventive history lesson, with 80 Lacroix pieces on show, is both a celebration of 20 years of the couture house and an homage to the designer's student dream of becoming a museum curator. His idea for a scholarly thesis was to show how fashion history was a carrousel in which the same themes kept spinning around.
Via International Herald Tribune.
pins, they are coming back
18K Gold brooch with tourmaline, topaz, garnet and pearls.
Design - Christine v. Schönburg
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