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Exclusive Interview With Jewelry Artist Cindy Chao: Pioneers And Wall Breaker

2019/12/7 11:22:00 0

Exclusive InterviewJewelryArtistsCindyChaoPioneersWall Breaker

Unlike the common Taiwan women's gentle image, Cindy Chao stood there, giving people the impression of succinct, competent and agile.

Indeed, this is not an ordinary woman who grew up with dolls and little jewellery. She was born as the granddaughter of Xie Nan, a famous architect in Taiwan. Cindy Chao recalls her childhood playground. It is nothing more than a grandfather's studio, full of lines and shapes, and most of them are sculptors who are sculptors.

Since 2011, her works have been updated many times in the auction of jewel, Christie's and other international auction houses. The master's series "Royal Butterfly Brooch" is listed as a permanent collection by the Smithson National Museum of history in the United States. In 2018, the peony Red RUBY BROOCH she participated in the famous cultural and art exhibition, London's Masterpiece London, stood out from thousands of ancient Dong Yi exhibits, and won the "outstanding art creation model award" selected by 150 professional appraisal teams. In 2019, she took the master's series "winter leaf chain" again to participate in the "great masters' Tibet art fair, and finally won the highest award" outstanding award of the conference. The girl who grew up in such a tough artistic family atmosphere has now grown into an international jewellery artist.

This winter leaf chain, together with Cindy Chao's famous annual butterfly series new year 2019 "Aurora butterfly" and other jewelry works, was exhibited at The Peninsula Hotel in Shanghai recently.

In the field of jewelry design, how can Cindy Chao win? Philip Hewat-Jaboor, chairman of the London Art Gallery, said: "I admire her understanding of the vitality of nature. Her works are full of three-dimensional architectural sense, lines and rich emotional tension, perfect combination of stone and excellent matching. In the collection of her Butterfly Brooch works at the National Museum of natural history in Washington, D.C., Smithson, hundreds of media outlets in the United States came to ask why the curator collected a live artist. "We are an academic institution and have the obligation to collect future antiques," said curator Jeffrey Post. Three to five hundred years later, people can see that this collection is an indicator of art in twenty-first Century. " The international media praised her by breaking the boundaries of art and jewelry and opening the Nouveau new of art.

At the end of November, Cindy Chao received an exclusive interview with the twenty-first Century economic report reporter at the The Peninsula Hotel 2019 Black Label Masters Series Masterpieces exhibition in Shanghai, explaining her design concept and her understanding of jewelry art.

360 degree examination and application of "unseen color"

Twenty-first Century: people say that family environment shapes one person. Can you tell me about the details of your childhood growth and how the family will affect your future design work?

Cindy Chao: when I was young, I was different from an ordinary kid. My playroom was my grandfather's studio. At the same time, there are father sculptures around me every day. So today I have a distinct architectural thinking, rich sense of hierarchy, and pay attention to the skills of sculptors. Recently, I spent three years sorting out tens of thousands of grandfather's architectural sketches. At that time, he liked to train me. When I pointed to the sketch that this is the main gate, he would say, "why not the side door?" He taught me to look at objects 360 times. This 3D thinking is what I used in designing jewelry today.

Twenty-first Century: your design emphasizes vitality. How can you endow a piece with artistic vitality only if it is not enough to constitute the vitality of art?

Cindy Chao: creativity and ideas are important. For example, the pink Damascus brooch, maybe you will see it is a rose, maybe you will see it is peony, these are not important. I make jewelry in the way of painting, which is beyond the concept of jewelry, but to paint. Color matching is very important. It is part of our three brand spirit: architecture, sculpture and vitality.

Twenty-first Century: what advantages do you have in the use and collection of precious stones? What are the distinctive features of your work in terms of stone?

Cindy Chao: next year, CINDY CHAO The Art Jewel will usher in 15th anniversary. Over the past decade, our efforts in the industry and our uniqueness have attracted many suppliers and miners, hoping to cooperate with us in creating some special jewels for them.

In terms of stone, in addition to emphasizing the sculptural and three-dimensional sense of these technological processes, color matching aesthetics is a very profound knowledge. For example, the pink Damascus rose that you see in your eyes, actually used a lot of yellow and orange to set off the pink, and some layers of construction skills are reflected in the works. Another work of more than 100 carat cat's eye stone is the main jewel. The normal way of dealing with it is to use the cat's Eyeliner straight. I crabbed it while creating it, and the cat's eye had a smile effect. I chose a green drill instead of a common white drill to highlight the elegance of the golden green cat's eye stone. It's a dozen or so green, with purple and blue in the middle to highlight the charm of the cat's eye. Gemstone is a mineral stone that can be activated. The added value of an artist is the key to life and value.

Perseverance, breaking the existing diaphragm

Twenty-first Century: tell me about the elements that you understand as a collection value.

Cindy Chao: some important principles include the rarity of precious stones. Now the reserves of rare precious stones are becoming less and less. The ruby of Burma is almost out of production, the price of blue diamond is 450 times, and that of diamond drill is 300 times increasing. Beyond the material is the uniqueness of the work. It is an important challenge for artists to give the value of works to creativity and technology.

Twenty-first Century: people usually chase big jewelry. What are your unique skills or advanced technology compared with them? What is the process of cooperation with the master in Europe?

Cindy Chao: usually we need 6 Seiko masters in each year, which takes two and a half years to complete. They have to finish forty or fifty hidden fold points in their works. They are actually miniature buildings, and they are engineering. We have factories in Geneva, Paris and Lyon, working with famous European diamond masters. This process is not easy. I remember that in 2016, we designed and manufactured winter leaf chains for the antique Biennale of Paris for more than two years, and selected 2300 pieces of tens of thousands of precious stones. This process has many conflicts with the production master. The difficulty of the chain is to make very soft lines with the hardest titanium metal. I keep asking for details and perfect angles. I have been arguing with them for two years. After quarrelling, they are faced with a few champagne champagne. Until they finished the parts of their separate parts and saw the finished works, they suddenly cried out that they finally knew what you were thinking! A craftsman left after finishing, saying that I would never hear your phone again in two months, I would like to rest. But soon he was on the phone and knew how to break the next leaf. They say that Cindy has become accustomed to turning us into an indomitable Chinese -- a good art that breaks the gap between language, race and culture.

Twenty-first Century: in the field of jewelry design, is it necessary to expand your international influence? What difficulties or advantages does it bring to you as an Asian?

Cindy Chao: jewelry is actually a world dominated by men and Westerners. The owners and main designers of international brands are usually male, while bare rock is Jewish. As a woman and Asian, I have no advantage in the international market. But when you insist, it will become a powerful force to break the gender and cultural inequity. At this time, many people will not care about your nationality, your gender, and where you come from. I remember meeting with five bearded Jews in Hongkong when I first entered. I was only thirty years old and I was very green in this industry. No one knew me. I remember shaking my legs at the time, but I talked with them very bravely for a long time. Later they told me that you were scared at that time, but it seems that you are bigger than five of us. Your persistence and confidence in ourselves have touched us. To this day, I think my works are sparks from the exchange and collision between East and West.

Being a pioneer, influence means transformation.

Twenty-first Century: in business path, please talk about your mode design, your expectation of profit, company size and annual output control.

Cindy Chao: we now have fewer than 200 pieces of work on average every year, with an average sales of up to 150 pieces. Our advantages and disadvantages is that there is no entity store, only the need to make an appointment of SHOWROOM, not mass production, the pursuit of a unique. Less than 15 pieces of master series each year attract more than half of the works on GEM selection and craft originality. Such a pattern is not the best way to make money. It is more important to sell the brand and lay the foundation for a hundred years. Our headquarters is in Hongkong, and we have SHOWROOM in Taiwan. We hope to establish SHOWROOM in Shanghai in three years, then New York. But in fact, our work is very few, so it will not operate for operation, preferring to have natural conditions, instead of making the works become commodities. Even so, over the past 5 years, the company's annual turnover has increased by 30%-40%. China is a very important market. Many collectors are in Beijing, Guangzhou and Shenzhen. About 60%, the rest are collectors in the Middle East, Russia and Europe and America, accounting for 40%.

Twenty-first Century: do you have your own idol about jewelry artists? Please talk about your expectations and the height you want to achieve. What kinds of things do you want to bring to this industry?

Cindy Chao: if our first 15 years are created for survival, our second second years will be created for creation. One of my goals is to make my brand the most influential Chinese brand and give young people an example. Speaking of idols, there are several masters of architectural design, like Dan Jian Jian three, who are my idols. Their works are very advanced and have created some leading masters of contemporary architecture. They are the real pioneers, appearing before the market. I think a person's influence is to transform people's concept of the industry. (editor Dong Mingjie)

 

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