The first image that comes to mind when one hears the word “watch” is usually the current most popular style: the wristwatch. We forget that the first watches were hung on chains or fobs and kept in the pockets of men’s waistcoats.

It’s refreshing to see that designers are remembering that and starting to think outside the band.

A few months ago, I was looking for a necklace that would go with everything, but I also felt that I needed a watch because I was tired of rummaging in my bag for my cell phone whenever I lost track of the time (which is often).

That was when I opened VOGUE magazine to see Marc by Marc Jacobs’ ultra-chic pendant watches. It solved my accessory dilemma in a snap. I got the black resin heart on a silver chain. I’m still constantly late, but at least I look great.

Since then, I’ve seen retailers offering pendant watches, charm bracelet watches, bangle bracelet watches – it’s only a matter of time before they come in ring form. And when they do, I’m going to have to have one of those, too.

The watch is a somewhat paradoxical accessory. Most jewelry serves no purpose other than to enhance its wearer’s style or look. In fact, the more superfluous an item is, the more luxurious it seems.

The watch, however, has a practical primary use: the telling of time; the prevention of tardiness; something to glance when saying, “It’s late; I really must be going.” Judging by the inverse ratio of utility to luxury, the watch ought to be the plainest and stuffiest of accessories.

But I love the paradox of the timepiece as jewelry. Long live sensible sensations, practical luxuries, and timeless timepieces.

Watchin’ Out,

Olivia

These are interesting times in the jewelry world. Tammy Powley posted a great entry on her Jewelry Making Blog today, listing some jewelry blogs and vendor websites.

Enjoy!

Defensively, over the years, I’ve stayed away from the word “artist.” And I’ve stuck to being an architect. History says it’s an art form. But “architect” feels good to me.
– Frank O. Gehry

At first blush, Tiffany & Co.’s Frank Gehry collection looks like the latest installment in the “art as jewelry” movement. But a closer look reveals that this fascinating collection is, in fact, architecture as jewelry.

Frank O. Gehry is, debatably, the greatest living architect today. His innovative designs are breathtaking: the Walt Disney Concert Hall in Los Angeles, CA, for example. His building/sculptures are the epitome of form meeting function.

It’s no surprise, then, that Gehry’s collaboration with Tiffany and Co. reflects this philosophy. His pieces look modern, but feel classic. Gehry himself comments that, “the Tiffany design work was similar to doing a building. It has the same DNA, so to speak.”

As magnificent as this collection is on display, one can only grasp the true beauty of it while seeing it in its intended context: on the human body.

His “Fish” collection, for example, showcases an abstract form, reminiscent of sinuous movement in deep water. Although these pieces are mostly crafted from metals, the shape looks sensual and warm when nestled against a woman’s skin.

It is altogether entirely apt that Tiffany & Co.’s tagline for Gehry’s collection is “Beauty without rules.” While Gehry’s deconstructivist eye is clearly seen in his pieces, one cannot help but to suspect that this unconventional designer had a very conventional function in mind when he agreed to collaborate with Tiffany & Co.: to create jewelry that would make its wearer feel like a million bucks.

Here’s to Innovation,

Olivia