I've yet to make it down to the annual SXSW festival, as it always seems to coincide with a vacation or a period when I have too much work. So I was psyched when Elizabeth Canon, founder of Fashion's Collective, organized a recap event, as I knew she'd be focusing on the highlights that were most relevant to what I do and am interested in. Here's an even more concise recap of the recap, from my perspective:

BIG DATA

Ok so it seems like all we've been talking about for the past 6-8 months has been big data - how to collect it and perhaps more importantly, how to leverage and maximize it to a brand's benefit. Whether you decide to spend only your time analyzing, hire an agency to do it for you, or even hire staff to create custom solutions tailored exactly to your business needs - it will be time/resources well spent. Ignore the elephant in the room, and  you'll be missing out on opportunities and spending much more on customer acquisition. Here's an impactful statistic: it's 10x cheaper to reactivate an existing customer than to bring in a new customer. 

A crucial part of leveraging and interpreting all the data your website/email/social media can put at your fingertips is putting it in the context of predictive analytics. Or rather, setting up a protocol so that your data is organized in a way that you can predict future behaviors. For example, don't ignore the "silent unsubscribes" (customers who haven't opted out but no longer open your emails.) That group is likely to eventually opt-out, unless you create a program with tailored messaging to bring them back into the fold. Customizing your message to a user's behavior is key - but creating welcome emails, cart abandonment responses and replenishment/reorder alerts all require different templates and approaches, one size doesn't fit all. If this sounds like too much work, consider another impressive stat: predictive analytics increases average click-through rates from 10% to 30%.

WEARABLES

Wearable tech certainly isn't a new trend, but what's new is the way the tech companies are approaching it. In the past, startups would come up with a concept and then hope that fashion companies would adopt it. An example of this is Everpurse, a company that doesn't create purses, but rather the tech and supporting apps for a lining that is enhanced with RFID object tracking. So your purse can charge your phone AND tell you where your keys are, for example. They were at SXSW last year, but came back this year with actual product from collaborations with fashion companies, so that other companies could better visualize the opportunity. Another interesting example is Ballantine's, who partnered with QD Circuit, a startup that creates the tech for LED screen tees that they call tshirtOS. Ballantine's commissioned a limited edition set of 25 tees with the tech, and distributed them to tastemakers around the world. The concept is that you control what your tshirt says, depending on your mood and what you'd like to project. Ideally, once there is more demand, and orders, the high cost of the tech will be amortized and a full line can be made available to the public. And of course, the most buzzed about example of this is the newly announced collaboration between Google Glass and Luxottica. The startups need the fashion companies to integrate the tech in a clever/hip way, so that an audience beyond techies and early adopters will become engaged and interested.

THE CHANGING RETAIL LANDSCAPE

This isn't a new headline either, but e-commerce continues to evolve and cause new behaviors among consumers at a local, national and global level. Even though e-commerce currently represents a paltry 8% of the $3 trillion retail industry, online activity has become even more deeply entrenched in the sales cycle. Brick and mortar storefronts remain the most important retail portal for a brand, but consumers are using their smartphones in increasing numbers (50-60%!), to compare prices, get reviews, etc. as part of their in-store experience. Constant access to the internet, via our computers, phones and tablets, represents the biggest shift in retail in 60 years, since the highway system was created, enabling development of suburbs and consequently, shopping malls to serve the suburban population. 

What's new for 2014 is the trend to recognize that online and instore aren't mutually exclusive, but rather each interaction with a brand is a session. Different sessions in different environments should help to build brand loyalty using the best of what works for each medium/platform. The sum of these experiences is a consumer's overall impression and relationship. So, for example, brick and mortar stores are increasingly incorporating tech into their storefronts in order to enhance, improve and innovate the retail experience. From mobile checkout to interactive touchscreens to behavior tracking, technology allows for easier access to comprehensive product/brand information and provides data that can be analyzed to address holes or missed opportunities, as well as to measure what's working as far as foot traffic and engagement. Some brands, like Rebecca Minkoff, are also now using tech to test out potential brick and mortar locations. Empty storefronts, installed with an interactive touchscreen in the main display window, have been set up by many brands to measure potential foot traffic and engagement. If you're interested in this sort of testing, definitely check out Westfield Labs - they seem to be the pioneers with the right tech and relationships with major malls & department stores. 

VISUAL & CONTENT-BASED COMMERCE

So now it's not just about social media, it's about meaningful, measurable social media efforts. From tying in product to social media posts (click to buy), to shoppable content in video and other media, content needs to be more than just interesting, it needs to be robust and strategically linked to the bottom line. In fact, since it's been shown that featured user-generated drives more sales, it makes sense that platforms like Olapic have popped up, allowing brands to easily curate and link user-generated content. These tools are only as good as what users produce, which means there needs to be a strategy behind the content that inspires them, but I think it's a promising next-step to higher engagement and a measurable boost to the bottom line. Another interesting tool is "The Latest," by Mulu, which allows you to turn any kind of content you produce into a shoppable experience. Again, there has to be a strategy behind usage, ensuring that campaigns that promote temporary events, like a sale, don't leave behind broken links when the promotion ends. But with regular planning, maintenance and oversight, it's getting easier and easier to implement content that creates interest, passion AND drive to sales, with measurable results. 

COMPELLING VS. ADDICTIVE

To close her portion of the presentation, Elizabeth talked a little about "Secrets of Addictive Storytelling." For the past 5 or so years, the adjective that we've seen in practically any article about good content has been "compelling." But while compelling serves to capture initial attention, it doesn't necessarily lead to future engagement. Addictive content, on the other hand, activates and engages on a deeper, more emotional level, so that's the new concept to strive for. 

Since we consume around 60 (!) hours of content/month, and check our phones about 100x a day, there's definitely the desire and space for brands to come up with content that fosters a connection and cuts through the clutter of all the other media one could be consuming instead. That means spending a lot of time and research figuring out what your customers want to learn about, and not just what you think you should be sharing. We may believe that since heritage is part of a luxury brand's DNA, that means stories about heritage should be communicated to our fans. But people choose to immerse themselves in content that aligns with visions of themselves (Dr. Bob Deutsch's biggest lesson!), that they can aspire to, that corresponds with their life experiences and connecting with their friends and loved ones. So if your content strategy revolves around just communicating the tenets of your brand architecture, think again. The right approach is to take those tenets and figure out how to translate them into relatable content - a great example is the now dated but still relevant Hermes scarf campaign. Discover our beautiful product and see how it works with your personal style/lifestyle - that's taking things in a direction end consumers can really relate to.

...

Since I had so many notes on this event, I'll be doing a separate post on the fascinating presentation by Mike Glaser of Google Art Copy & Code that followed, stay tuned!

If you ever heard your grandmother use the term "paste jewelry," as I did, you probably didn't really understood what it meant, but you knew from her disdainful tone that it was derogatory, something not as good as the real thing. Until a few days ago, I never realized that the term comes from the French "pate de verre" which means glass paste, and has nothing to do with fake gems being pasted to metal, which is what I'd always assumed! 

I was enlightened in more ways than one by a fascinating lecture hosted by the American Society of Jewelry Historians on March 27. The lovely Deanna Farneti Cera was our guide to a very specific period of history, 1930-1950 in Paris, when 2 formidable doyennes of fashion enjoyed a fierce rivalry. Back then, couture simply meant "made to measure" and fashion shows were merely défilés of ten or so girls parading around an atelier for a select group of well-to-do clients. The bijoux de couture that adorned the models was created by highly skilled artisans in very limited quantity (3 pieces per style!) and available for order along with the suits and dresses. In fact, there were never more than 10 pieces produced of a particular style, to avoid upsetting the ladies of high society who ordered them (I guess some things never change, as this concept has evolved to a complex system of favors among red carpet stylists to this day.)

The artisan maisons who fabricated the bijoux de couture were few and incredibly talented. The most famous were Gripoix, who excelled in the pate de verre emaillé technique (glass paste melted onto metal forms in sheets, then melted again for shape) and Goossens, whose aesthetic tended toward barbaric, chunky metal with deep set stones. Both Chanel and Schiaparelli courted Fulco di Verdura and Coppola e Toppa to design select items for their collections as well. When you look at the slides of these pieces, and certainly when they are viewed close up, it's immediately evident that this jewelry, though not made of precious materials, is far from what we think of as 'costume.' The attention to detail is extraordinary, and the materials are lustrous and luxurious, designed to catch the light and attention from every direction.

CHANEL

Not all of the couturiers produced jewelry, but Mlle Chanel believed that a dress was not complete without at least a necklace. She loved to layer, and at minimum would wear 2 necklaces, a brooch and a pair of earrings as part of an ensemble. And as she presented herself as the embodiment of Chanel the brand, she expected her clients to buy in to the same concept. While her clothing was all about comfort and understatement, the perfect black dress in jersey - her jewelry was all about overstatement - and the 2 came together for the Chanel 'look.' The aesthetic was derived from history and tradition, the kind of jewelry you would see in a museum exhibit. And the 'jewels' only in colors that replicated their precious counterparts - rubies, sapphires, diamonds, emeralds, turquoise and of course, pearls - using historic patterns and motifs like the Maltese cross, and occasionally flowers like gardenias and roses, her favorites.

Deanna posits that Chanel was influenced by her Catholic orphanage upbringing as far as the cross motif, and that her burning desire to overcome her pauper past and join the ranks of the social elite was a huge reason for why her designs were rooted in tradition and history. This makes sense when you think about how historically, only the very rich could afford any sort of jewelry, and by emulating the designs commissioned for kings and queens, Chanel was positioning herself at the pinnacle of society.

Today, when we think about Chanel anything, it's hard to imagine it without the signature logo being prominently featured as part of the design. My favorite Chanel costume jewelry (until I saw some of the archives!) has always been the ropes of pearls interspersed with beads and fabric and lots of interlocked c's - so very chic! However, during this era, these pieces were rarely signed, which makes Deanna's work all the more remarkable. Chanel doesn't have archives; she laboriously identifies each piece she comes across based on her knowledge of the signature styles and materials of the period.

SCHIAPARELLI

Elsa Schiaparelli is probably best known for her collaborations with artists like Salvador Dali; her designs were usually conceptual, inspired by the Surrealists she surrounded herself with. Growing up as the daughter of the Pope's doctor, she was immersed in the very most elite of circles, with the Sistine Chapel for a playground. She therefore had the luxury of rejecting or reinventing tradition. Unlike Chanel, who focused on achievement, Schiaparelli was comfortable in her skin and simply wanted to create avant garde objets that made a statement. Her color palette revolved around her celebrated Shocking Pink, and she didn't hesitate to create pieces that were exaggerated, unnatural/artificial. That's not to say that she wasn't inspired by the past, and often used Victorian motifs like currents and ivy. Her favorite animal was the ladybug, and she also featured insects, horses and other fauna in her work. One of her most famous pieces was executed by Jean Schlumberger, and featured a circus. 

Schiaparelli's work was nothing if not eclectic, which makes it even more difficult to identify by historians. She collaborated with her artisans, and let them run with their own ideas, so different from Chanel's micromanagement. But a common thread throughout her bijoux de couture would be the spirit of avant garde, of pushing boundaries as a contemporary artist, and the result is a body of work that is innovative, fascinating, but not always beautiful or easy to wear. 

I didn't know about the rivalry between these two titans of chic, and it kind of makes me sad. Chanel in particular detested Schiaparelli, even once apparently pushing her into a fireplace when the latter was wearing a flammable dress! But each spied on the other, and constantly poached each other's talent and resources. It seems a shame that in an era when strong, independent, creative women were few and far between, they couldn't just get along like their modern equivalents, Anna Wintour and Lady Gaga. Ok neither of them are designers, but they each have their own unique ethos and way of commanding attention and fame!

In any event, I learned how much I don't know about bijoux de couture, but I'm hooked. Off to troll ebay and re-examine my neighbor's estate hoard that she recently entrusted me to resell.

For more information about Deanna Farneti Cera and her wealth of knowledge, check out her website for very cool retro images of 20th century celebrities wearing amazing costume jewelry - she also has select pieces from her collection for sale. 

And if you're at all interested in the academic side of jewelry, look into an ASJH membership - the events are really high caliber and worthwhile! 

NYFW went by in a blur, as usual. Those of us who love fashion devoured up-to-the-minute "reporting" on the shows, street style and trend analysis. And if you even casually browsed any of that coverage, you might have noticed the week-long publicity blitz promoting the global launch of Porter Magazine, the latest offshoot of the Net-A-Porter empire. I certainly did, anyway! And so when I saw that the Apple Store in Soho was hosting the inimitable Ms. Natalie Massenet for a sort of panel discussion on the launch, I immediately signed up to attend. 

A bit of backstory about my obsession with Natalie Massenet: I first heard her name when Daily Candy profiled the newly launched Net-A-Porter, way way back in the year 2000 when DC was still helmed by Dani Stahl and spoke authentically to my young fashionista self. At the time I was spending a good chunk of my income on samples sales and was an early adopter of all things e-commerce, from Kozmo to Bluefly. I subscribed to Net-A-Porter (wish I would've APPLIED there too!) and although it was purely aspirational, I devoured each email that looked like a page of editorial. I knew it was a different animal and loved how even back then in the Wild West of web design, the site was cohesive & intuitive, the look immediately recognizable, and the edit/merchandising impeccable, covetable and so Fashion (that's fashion with a capital F!) And one of my first blog posts, a recap of an interview with Imran Amed of the awesome Business of Fashion, was entitled, "Natalie Massenet, You're My Idol."

Since then, I've consumed and subscribed to everything Net-A-Porter has developed, from The Outnet to The Edit on my iPad. I would say that I hold a perhaps misguided but unconditional belief that everything that comes out of this brand will be beautiful, clever and worthwhile. I also think Natalie Massenet is a genius in her own way, someone who understood not only the value of digital, but how to evolve and leverage it to her advantage in attracting the luxury market. I like that she is uncompromising on quality and aesthetic, and envy the way she trailblazed the now obvious formula of content + commerce. Let's be frank here: I kinda wish I could BE her!

And so, I quickly discovered when I arrived at the Apple Store event, do a million other star-struck fashionistas... the place was mobbed, SRO even though supposedly seats were limited. The crowd twitched with annoyance as an Apple event genius (?) tried unsuccessfully to play the role of audience wrangler (he figured out quickly that the room was too cool for school to participate.) And then, La Massenet walked onstage and the crowd went silent. The first part was an interview with Kinvara Balfour, kind of a retrospective on how the business got started. I didn't get much out of it, maybe because it's not the first interview I've listened to, so mostly I tried to get a good Instagram shot by standing on my tiptoes, holding my phone high in the air above the too tall (read: too high-heeled) people in front of me. I did notice her characteristic modesty regarding any mention of achievement: she credits her staff and good timing for most of her success. She mentioned that keeping things small in the beginning, while other e-commerce ventures plowed through millions toward the dot-com bubble burst, was in retrospect a very smart move. When the competition died off, it gave her the space to make mistakes, grow her audience and establish herself as the leader in digital commerce for fashion, while established luxe brands struggled to find their footholds. The focus was always on service, experience and quality of first impression. 

For the second part of the event, Lucy Yeomans (editor-in-chief) joined the panel to talk more specifically about Porter and the inspiration behind it. The obvious questions were asked, like, "Why invest in the print magazine business when it's not only saturated, but also on the wane?" And of course, it all comes back to that content + commerce formula. The concept is this: 1) Net-A-Porter takes a page from print magazines in developing a format with a very editorial feel 2) Porter takes the click-to-buy concept to print by presenting content in a way its online readers are used to consuming by now, in a glossy, pretty package that you can hold in your hands. In a nutshell, "Magazines are the marketing arm of the fashion industry; we allow customers to do both (aspire & buy) in one destination." So but why not just do an app, why bother with the enormous expense of a a print version? Her response: "Look at Apple's business model; their brick and mortar locations are brand temples, even though they do a robust online business as well. Porter is our brand temple that's also an extension, because not all of our advertised or featured products are available through our online retail channels."

Ok so... I mean it's not super-compelling and certainly not revolutionary as a premise. It's a risk that could pay off or fizzle like the dot coms who came on the scene with a bang and quickly ran out of money. This is basically all I took away from the talk, which was a little depressing to me, kind of like the lite version of what I was expecting. However, at the end, during the Q&A, I got another little glimpse of why (I think) I like Ms. Massenet so much. Most of the questions were pretty lame and not really questions, just opportunities to gush. But one girl had the chutzpah to not only proclaim her undying devotion to the cult of Natalie, but also ask her for a job. Ms. Massenet's reply was clever and coy, saying that the only 3 brands she's courted to be sold on Net-A-Porter who are still holdouts are Chanel, Balenciaga and Tod's. If this girl started a Facebook page or some kind of movement that resulted in getting these 3 accounts, she'd be glad to give her a job. Touche!

THE MARKETING

Ok so yes, I do follow Ms. Massenet on Instagram and so I saw all of the pix of the Porter launch event at a Grand Central newsstand as well as pix from all over the world where it was given prime positioning on the racks. They also created a cute app that allows you to be a cover girl for Porter, it's very simple and went VERY viral. If you share your pic, you're entered to win a shopping spree. Will it lead to subscriptions/newsstand sales? Difficult to measure, but I would think it generated enough buzz to get some desired early adopters. That would include yours truly.

And then when we were leaving the Apple store event, we were greeted by sweet young things dressed in black and white, proffering trays with a small branded box to take away. When you pull on the tab, out pops a little monitor with a promo video of the magazine pages turning, set to "She's a Lady." Lucy Yeomans said we would get a special very tech savvy gift when we were leaving (I would have preferred a copy of the magazine!) And it's true, I've never seen a promotional item like this, a tiny monitor with audio that activates with a sensor. The vehicle was cool, but the content, not so much. I guess you could say it was a teaser in all senses of the word.

THE MAGAZINE

I went to my favorite newsstand on Avenue A to pick up a copy of Porter a few days later. While I was there, two other girls bought it as well. The owner, Ben, asked me what the big fuss was about and I gave him a quick rundown. His response was that he doubted it would last, which made me laugh because this is a guy who carries every fashion & hobby publication you could think of, including lots of international editions. He's definitely seen a lot of glossies come and go, we'll see how his prediction pans out!

Anyway, here are my impressions of the Porter reading experience:

The cover: Giselle is stunning, of course, particularly in a "natural" state. And I did like the sophisticated headlines (only 3!) that give the impression that the insides will feel more Vanity Fair than Cosmo

The first 20 pages to flip through were of course ads, same that I've been seeing in all the other major fashion magazines this time of year. EXCEPT this one from Tom Ford that I'm dying over, I may have to acquire these if I ever get sick of my TF leopard print frames. Points for stopping me in my tracks with an advertisement.

The tone is highbrow, but not intellectual and certainly not condescending, the way it can come off in Vogue or Bazaar occasionally. Despite all the guest contributors with different voices (everyone from Elber Albaz to Carole Radziwell of RHONY) the overall feel was consistent, concise and fairly insightful. I personally found it interesting how certain abbreviations like USP were used in a beauty editorial without any explanation, I guess Unique Selling Point has become part of everyone's vocabulary?!?

The look, surprisingly, is what makes Porter stand out from the pack. I was expecting clean white layouts with bold black type treatments, and that's what it is. But somehow there is more fluidity here; after the initial gazillion ads, it almost reads like a book rather than disparate pages. And this means that the advertorials for select brands like Dr. Sebagh and Monica Vinader, were virtually indistinguishable from the adjacent advertorials at first glance. Tricky but smart, and I have to admit the design snob in me appreciated this aspect, as advertorials tend to look like they're trying too hard and are therefore usually super-unappealing, at least to me.

The editorial content is definitely geared towards the fashionista set, with profiles on front-row and street style stars like Dasha Zhukova and Sofia Barranechea, and a sprinkling of culture and business icons. The Porter girl is clearly one who dresses to be seen and appreciated and for whom "impractical" is not a consideration.  I liked how streamlined each article was, it's a highly digestible format. It seemed fresh to have Manolo Blahnik focus just on the mule silhouette, to have only one gorgeous photo of Penelope Cruz in Christopher Kane's sparkly sweater to illustrate the embellishment trend. I also really appreciated how in some of the profiles, the images aren't just big glamour shots, but also closeups of interesting objects a la The Selby. I'm really drawn to interviews that give little peeks into someone's personality by looking at their desks, what they collect, even if (and maybe better because) it's a little bit messy, and I tend to do the same when I've been writing designer profiles illustrated with my own Instagram shots.

For the inaugural issue, the theme was "Incredible Women" celebrating fashionable feminism, I suppose (although that highly controversial noun was never used.) Not reinventing the wheel, but the target audience likes to read about beautiful, chic, successful but imperfect women in all varieties, so I think it worked. I especially loved the Inez & Vinoodh spread of Giselle - she wears clothes so incredibly, but they really succeeded in portraying her natural gorgeousness and personality in stunning images designed to show the legend as a real girl. And my favorite piece was the Uma Thurman profile - it really felt intimate and I liked the perspective of it being about her and her best friend, and babies, and pet bunnies! But still very chic and visual and fashion-y.

THE TAKEAWAYS

• There is a cult of Natalie, and I am a member. Even though the Apple Store event was more like a superficial press tour designed to make the fashionistas swoon, her modest, witty, sophisticated responses were like catnip. My husband (who attended with me) was not so impressed and chided me for drinking the Kool Aid, but then again, he grudgingly admitted that the promotional item was cool and that the magazine is beautiful.
• The decline of print magazines is inevitable, as is the (in my opinion) painful advancement of advertising towards placements and advertorials. If this magazine is the first hybrid entry, it's a solid start that keeps the bar high. And if it evolves the way Net-A-Porter did, I'm sure it won't be the last of its kind.
• Porter is definitely ambitious but lives up to the hype and easily stands up to the venerable, established fashion bibles.

As soon as the JAR exhibit was announced, I promised myself that I would make it over to the Met to see it in person (I'm still berating myself about missing the Alexander McQueen retrospective, no excuses!) When I found out that the American Society of Jewelry Historians was offering a private, guided tour to its members, I promptly signed up, as I'd heard that the exhibit included very little notation on the individual pieces. 

Walking through the museum at 9:30 am, before it opened to the public, was a treat in and of itself... it's so rare to be there without the crowds. As we trekked through Antiquities then 20th Century, I found myself facing a wall of Georgia O'Keeffe paintings and caught my breath, happily surprised by the serendipity. Since I was a little girl, I've revered O'Keeffe's work and studied her life/career pretty seriously when I was working on my senior thesis, a third of which was devoted to poems inspired by her paintings. But I digress... we soon departed the bright white salons of modernity and entered the mysterious world of Joel Arthur Rosenthal. 

My confirmation from ASJH included a note to bring a flashlight to the tour, which I found odd but understood immediately when we stepped into the exhibit space. It was dark, really dark, and the jewelry was lit dimly from above. I kind of felt like a voyeur, peeking into a forbidden window, and I have a feeling that's exactly what the curators were going for. The space is sort of a convex, egg-shape, with 2 main walls and a forest of 4-sided lightboxed pedestals set in between. Although over four hundred one-of-a-kind works were displayed, the layout allowed each piece to breathe and get noticed, which I really appreciated. 

At first I listened attentively to the docent, eager for any background info on the notoriously private designer. Here are some of the takeaways:

• JAR was born in the Bronx and had a very New York upbringing. Before transferring to Harvard (and graduating with a degree in art history in only 2 years!) he spent a year at City College.
• The Met exhibition is only his second; the first major exhibit was at Somerset House in London a few years ago; his final will be in Venice in 2 years
• Although never formally trained as a jeweler, he ran in the art circles once he moved to Paris, and managed to land a gig working for Bulgari. He also became a sort of artisan of high-end needlework, collaborating with his partner Pierre Jeannet until they opened their boutique. 
• He created his first piece at the age of 35, and so now at age 70, he's spent half of his life devoted to jewelry
• When he opened his shop on the famous Place Vendome, it was a modest atelier designed to exhibit his work. The location is nearly hidden, and over the years a sort of mythology has developed surrounding the ability not only to find it, but to be invited inside. 
• Although he maintains a small staff in the boutique, JAR sends most of the metalsmithing and setting work out to some of the finest artisans in Europe. No one knows exactly what his process is, but it must be painstaking, as many pieces took years, even almost a decade, to complete.
• JAR is most interested in fulfilling his elaborate visions, and creating a private dialogue between himself and the wearer. Many pieces include stones and designs that can only be seen on the back when they are flipped over.
• Known for his superior sense of color, for selecting materials for their intrinsic value and properties (from priceless diamonds to wood, enamel, even aluminum), and for techniques and applications that fly in the face of time-honored "rules" (like mounting stones to show the pavilion cut - basically upside-down), JAR pushes boundaries and designs for effect, not comfort. Apparently the ladies who JAR know that numbing cream is required when one wears many of his gem-encrusted, heavy earring designs!

After about 20 minutes I'd gleaned all the info our guide had to offer; since she was a decorative arts, rather than fine jewelry expert, she couldn't really answer a lot of the group's questions. In fact, many of the attendees volunteered information that she seemed really happy to learn about. I think that, however lovely our guide was, it would have been a much better experience to have someone explaining more about what made these techniques so unique. But it did give me plenty of time to break off from the group and spend one-on-one time with the individual pieces.

This exhibit has been somewhat controversial in the fine jewelry industry. First of all, JAR doesn't credit the exceptionally-skilled artisans who execute his often convoluted visions. Over the years, all of the major houses like VCA, Cartier, Tiffany etc. have begun to credit the designers who created under their brands, so this kind of flies in the face of "the right thing to do." Secondly, he's still living. Most artists don't get retrospectives until they've passed. Thirdly, there's a celebrity or maybe more like a cult-of-personality element that rubs some the wrong way... JAR was highly involved in this exhibit, from the lighting to the color of the velvet displays to recruiting his socialite and celebrity friend/clients to contribute pieces from their collections for the event. It seems that he's quite controlling and demanding... but really, what uber-talented person isn't?

I've no idea if M. Rosenthal is a complex, domineering person, but history has shown that the geniuses who produce truly exceptional work, who won't compromise on their vision and tend to drive their support teams crazy are not necessarily candidates for Mr./Ms. Congeniality (i.e. Steve Jobs, Picasso, Sheldon from 'The Big Bang Theory.')

In the end, since I haven't heard that JAR is a horrible person, what counts for me is the work. The incredibly impressive body of work. I can't stop thinking about the fantasy, the level of detail, the way he creates meta-versions of flora and fauna - these pieces are captivating, almost animated despite being made of cold, hard materials. I stood in front of the wall of butterflies/dragonflies for nearly 1/2 hour with a jewelry designer as we tried to understand HOW - how did he make enamel look like watercolor paint, how did he carve something so delicate from agate, how did he come up with these ideas?!? I'm pretty sure that's what JAR wanted the attendees to experience - a sense of wonder as you contemplate.

Three days later, I'm still thinking about some of these pieces. I covet them, I marvel at them, I keep looking at my Instagrams that I surreptitiously took (ok I got in trouble twice for taking pics but I couldn't help myself, I wanted to capture everything!) If you have a chance to visit the exhibit, make sure to bring an LED flashlight (my colleague brought a regular one but my LED white light brought out much more authentic color than her yellowish incandescent.) It's truly an extraordinary journey if you love jewelry, craftsmanship, and the pursuit of beauty.

For more on JAR:

Overview of the Met exhibit

Theories on JAR's inspiration by Jewels du Jour 

Another recap by jewelry journalist Anthony de Marco who attended the November opening

A rare interview with JAR (all about him as a person, not jewelry! but still interesting...)

One more note... you can buy JAR jewelry designed exclusively for the Met retrospective when you leave the exhibit. When you see the pricetag on the coffee table book set you'll understand why I took so many of my own photos!

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For the most part, my writing over the past few years has been focused on the trade. So I was really excited when Nicole Bromstad asked me to do an editorial on bridal jewelry trends for 2014, to be featured in the 2nd annual edition of The Wedding Ring Book. The magazine is geared towards couples researching engagement & wedding bands and will be distributed to top independent retailers as well as online. I loved researching & selecting some of my favorite pieces I've seen at shows and online (maybe I did miss my calling as an editor despite how much I hated temping at Conde Nast back in the day?!?) 

In any event, here's a link to the online version of the magazine, my article is pp 55-59. And here are a few of the pieces I selected that didn't make the final cut:

After breakfast and a gracious introduction to the Big Data segment by the lovely and brilliant founder of Fashion Forward and Fashion's Collective, Elizabeth Canon, the conference started off with Dr. Bob Deutsch. Dr. Bob is the only speaker who has been invited to return for every consecutive FF conference, and for good reason. A Renaissance man with expertise in the diverse fields of anthropology, neuroscience, geopolitics and business, Dr. Bob is full of interesting insights about human behavior. Challenging us to think about our individual motivations as well as how our customers are motivated, Dr. Bob's talk focused on storytelling and an investigation of the concept of "brand." Here are some choice soundbytes I found particularly compelling, I've paraphrased a bit, not all direct quotes!

• Create communications that show your audience that you understand them; it's not about them getting them to understand you
• "Look at our great stuff" isn't a story... a story has to have plot and character(s)
• The mind is a machine that makes stories, incessantly
• Brand is not a marketing tool, it's more than a persuasion, it's longing on a mass scale, the engine of history, a primal mechanism of mind
• Brand occurs when my story of myself gets metaphorically merged with my story/perception of you (that's the golden connection we all seek with our audience!)
• The design of attachment is like an equation that encompasses these elements: FAMILIARITY (it's like me) - relief; PARTICIPATION & TRUST - it likes me, understands me; POWER - it's more than me, it can make me more, sense of self-expansion. You (your brand) as a venue can help an individual feel more of herself/himself.
• People who are brand loyalists don't talk in prose, they speak in poetry (because they are inspired!)
• Big data must comprehend the beautiful curvaceous nature of human cognition
• A luxury experience allows me to have an expanded sense of myself and the world (also the definition of art)
• "Any great song has a beautiful emptiness." That emptiness gives the listener space to insert themselves in the narrative. (quote from Dr. Bob's interview with Paul Simon)
• When results conflict with your beliefs, that means an opening/opportunity, not obstacles (in the context of Big Data)

Clearly I took a lot of notes during this lecture, I love Dr. Bob's straightforward, no-nonsense way of presenting us straightforward information that turns on that imaginary lightbulb floating above your head. I'm not much of a non-fiction reader but he teased us with so many excerpts from his new book, including wisdom from The Boss, Bruce Springsteen, I may have to download it!

Next up under the topic of The Story of Big Data was Dr. Omer Artun, CEO of Agilone, a company focused on predictive technology solutions for e-commerce. Omer's presentation had a lot of spreadsheets and numbers, but he still managed to keep up interest on this extremely relevant topic. Some of my takeaways included:

• Comprehensive analysis of e-commerce requires attention to behaviors, not just transactions
• The main factors/behaviors to focus on are: propensity to engage, unsubscribe, convert, buy, churn; predictive lifetime value, size of wallet
• Intelligence Application instead of Artificial Intelligence (the former is bigger than what humans or machines can do separately)
• Certain customer profiles are attached to a group of brands while they reject other groups of brands = Brand Clusters

The final speaker in the Big Data section was Guarav Shirole, whose company Analytics Media Group, worked on both Obama campaigns. It was fascinating to hear how they took a new approach to analyzing voter behaviors, reaching out to potential supporters based on more than just demographics or psychographics. I guess in a world where Siri can tell you where the closest ATM is I shouldn't be surprised that companies can drill down to the smallest relevant detail of your lifestyle to create interest. My main takeaway was "let the data drive the passion," meaning you have to look at data in a different way - it's the means to an end, not just a result. I also love the term "surrogate celebrities" which means people like Michelle Obama or Jay-Z or Bill Clinton who can make public appearances in place of the President because an audience can relate them in the same way.

With so many insights to report on, I'll be recapping other segments of the day separately. I'd like to end this post with my favorite quote of the entire day by Dr. Bob (this one is a direct quote, btw!), "The future has an ancient heart, we have to capture and train it." Poetry, not prose!

The event was of course very chic - velvet rope, step-and-repeat and all. Every element was spot on, from the PR girls all in black lace dresses to the custom fruity cocktails (not too sweet, so refreshing!) to the balanced floral arrangements of hydrangea, roses, red fern and other unusual stems, to his signature Diptyque candles, to the DJ, Taryn Manning, who was cool, friendly and of course, decked out in some of Eli's pieces. It was a great turnout and I hope it brings all of the recognition and interest that he deserves.

I used to go to quite a few of these types of events and always kind of felt like it was a lot of money to spend for a lot of hype and maybe not so much tangible ROI. But this party was different because I sensed Eli's touch on every single aspect. Eli's jewelry comes from this sort of contemporary yet historical aesthetic - most pieces are in 18 or 24K gold with matte finish and interesting, precious gems, evoking Byzantine and other rich historical periods. But the pieces are made to be styled the way we wear jewelry today - layered, mix and match, etc. That aesthetic permeates the entire boutique - every object feels curated, its placement & lighting thoughtful - but it's not fussy, it's casual, elegant eclectic. So I felt like the event was a huge dynamic calling card for Eli - he's welcoming everyone into his world. And I for one love hanging out there!

I'm not sure that this designer set out purposefully to make a cohesive lifestyle statement representing his jewelry brand the way an agency would. I think that he knows what he likes, has amazing taste and vision and just trusted his instincts. Maybe that's why his "brand" feels so authentic - he's not trying to conform to any set of rules, just trusting his gut and of course, leveraging his considerable talent!  Below are some of the images I captured from last night's event - if you like them you should definitely stop by the boutique to get the full experience. To find out more about Eli Halili check out his website and also his Instagram to see how he gets inspired.

MICHAEL BERGER 

This Germany-based goldsmith presented his line of "kinetic" rings. Very geometric shapes but everything with round edges, in silver as well as gold. Interesting that he chose to present each piece on a simple white plate - I'm sure it was his own idea, just coincidental that Delfina Delettrez leveraged the same concept in her presentation in Paris last week! In any event, the aesthetic wasn't exactly my style but I loved the movement, it was so fluid! Here's my attempt to capture how one of the rings works:

CHRISTINE J. BRANDT

This designer has a line crafted in olive wood with huge statement stones like geodes and drusy...   close to my heart as my mother-in-law did a similar concept years ago and her anemone ring is my favorite favorite piece of jewelry. Christine is based in Brooklyn and also has a stunning, sculptural silver line. 

SOWON JOO

I didn't get to actually meet this designer but she's based in Korea and I fell in love with her dreamy cocoons and blossoms of spun wire, amazing how she is able to capture such lightness!

MARGARETA NIEL

I spent quite a bit of time with this Austria/Milan-based artist who does stunning work in silver. Her finishes are amazing, some layered with her own words and images. I especially liked the pieces featuring stars and moons. 

 ASHLEY BUCHANAN

What I loved about Ashley's work in hand-cut, powder-coated metal is that it could be equally at home in a gallery or featured on a contemporary e-commerce site. I wouldn't be surprised if you start seeing her line in editorial, blogs and the like. These are not your run of the mill statement necklaces!

GUSTAV REYES

Gus has developed a unique process that allows him to create organic wood forms that remain flexible - he uses reclaimed wood and all eco-friendly practices. Beyond the interesting story, the pieces are gorgeous - kind of rough but so sophisticated at the same time. I went crazy for the bracelets in particular - coils, cuffs and knots that are made for layering/stacking and looked amazing with my favorite wood ring. 

CLAIRE KAHN

Beads have kind of saturated the market, not so interesting to me anymore. But I have to make an exception for Claire's line of necklaces and bracelets; the beadwork is more like mosaic work with gorgeous subtle ombres in both the beading and the semiprecious stones attached. Her sense of color is extraordinary - it's obvious that she is an artist as well as an artisan.

JEE HYE KWON

 I didn't have the opportunity to meet this Brooklyn-based artist but one of the docents let me try on the below ring... I find her work fasinating. The forms are organic but the patterns/textures feel industrial, almost mathematical.

MARINA MASSONE

Based in Argentina, this designer is all about folding metal, almost draping it in interesting ways. Her necklaces and rings are huge and bold, so Mme Chanel's rule about balancing your jewels would certainly apply - I kind of think you might want to design your outfit around one of these pieces instead of vice-versa! I also really admired the simplicity and craftsmanship on the below toggle necklace - simple, chic, perfect.

MATHILDE QUINCHEZ

The stippled effect that this Paris-based designer achieves in her Nuee Dentelle - "Lace Cloud" - collection is delicate and allows light to pass through in a very lovely way. I am putting the below earrings on my wish list, I can already envision them with so many ensembles, love!

JANKA JUHOS

Based in Hungary, Janka has this very balanced aesthetic, her work feels like the definition of contemporary. I really liked her take on geometric, almost Mondrian-like shapes softened with a pastel palette of colors. Extremely feminine - in fact, the necklace below is part of her "Essentia Femina" Collection.

AREK WOLSKI

Arek is also based in Hungary. I was drawn immediately to his showcase when I entered the room. Swarovski jewels suspended in geometric cages shaped like jewels, love the concept, it's just executed so beautifully. 

SAMANTHA NANIA

Young, bright and full of charisma, this designer definitely sees beyond the box and creates sculpture as jewelry, rather than just sculptural jewelry. She's developed some interesting bangles and rings, but the showstopper was the "necklace" below. As Samantha explained, it looks great with an evening dress but she likes just wearing it with a t-shirt and jeans - so millenial of her.

TZURI GUETA

An Israeli living in Paris, Tzuri has collaborated with major (think haute couture) fashion houses on capsule collections featuring his patented "lace fed with silicone" method. It's pretty out there, the textures and forms are fantastic, they seem pulled from abstract paintings. So editorial, so runway, so FFF-Fashion David Bowie-style!

Originally published on Fashion's Collective, September 17, 2013

When a creative brief is first finalized, it becomes a go-to document for nearly all of your brand activities – it’s a reference for every project as you establish a unified voice and visuals across your communications. However, in my experience, after a few months or years of working with a brand, it feels like all the important elements have been memorized, and it’s not as necessary to refer back to the original document anymore.  You know intuitively what “feels” on-brand and it becomes second nature to use the approved color palette, set of fonts, voice/vocabulary, etc. But what happens when your brand adopts a new platform, particularly in the digital space, that simply doesn’t allow you to use the standards that have always defined your brand? It may be time to go back to your original brief for a refresh. It’s not really a question of modifying the building blocks, but rather creating a set of complementary rules and assets to provide more options and flexibility.

TARGET AUDIENCE

There was a time when customer demographics didn’t vary much, year-to-year or even decade-to-decade. But with the advent of social media, luxury brands in particular have seen the advantage of engaging with a younger, aspirational customer, even if she’s years away from being able to make a big-ticket purchase. We are all competing for the millenials’ future discretionary budget, while of course attempting to maintain/increase market share with our traditional customer base. How does this all translate to your update? Well, since one of the goals of a creative brief is to differentiate, rather than try to be everything to everyone, you may want to revisit this section by doing more than just the traditional audience identification. Think about including some psychographics as well as your demographic info, and come up with some specific sub- messaging points or statements that speak directly to the segment while aligning with your overall positioning. In addition, you should take a look at your analytics (website and social media as well as bricks and mortar) to see which segments are interacting most with particular points of sale and platforms. Spelling out this information will not only help your team to craft brand and audience appropriate messaging, but it will also help you to identify which areas may need work or modification.

KEY WORDS/CONCEPTS

This is usually one of the shortest, yet most time-consuming sections of a creative brief to develop, because getting to the essence of your personality means throwing a lot of adjectives and concepts in the air until you get to a place that feels right. But since your key words are crucial in order to establish a cohesive look and feel for any new campaign, it makes sense to revisit and build out these concepts in a bit more detail. For example, if you break out some of your most important key words with supporting ideas, you’ll have more to work with when it comes to applying them. If one of your major concepts is heritage, supporting relevant ideas that are more visual or mood-oriented like iconic, craftsmanship, and lineage, along with sample thumbnail inspiration images, can help to create parallel brand standards for various purposes down the line. It may also be helpful to prioritize your concepts or even assign them to different digital platforms or usage as appropriate.

DESIGN CONSIDERATIONS

An initial creative brief usually lists out all potential applicable projects, so that designers can work within those parameters and ensure successful standardized usage of the logo and creative. However, unless your brand was established less than 5 years ago, favicons, apps and web-safe color palettes probably weren’t included as considerations. Identify every touchpoint, and analyze areas where a provisional solution just isn’t as strong as it could be.  This is also an opportunity to list out opportunities that you aren’t leveraging yet, but may in the future, i.e. HTML 5, mobile, shoppable video, in-store kiosks and technology, etc.

If you consider the creative brief as a document that evolves incrementally, it will better reflect and enhance the growth of your brand and business.  The basic pillars should be strong enough to stand the test of time, but not all aspects should be rigid or set in stone. Digital has revolutionized the way we do business, but the revolution isn’t static, it’s ongoing. Revisiting your creative brief at least once a year, then applying the results to your standards manual, is one way to ensure that your team embraces the tenets AND the tweaks in a consistent, brand-appropriate manner.

Eliot was my first warm-blooded pet (I'm not counting the lizards and frog that went before) and so, the first I have truly mourned. He's named after T.S. because of my special affection for The Love Song of Alfred J. Prufrock and well, the original Eliot wrote the poem that inspired Cats! Unlike his gifted yet misogynistic and racist namesake, my Eliot was a lover, not a fighter. His attachment to me was pure, unadulterated and intense. When he would knead his paws against me and purr like a motor his eyes would glaze over and he would drool, so intent was his focus. He was a gentle soul and tolerated the other cats and dog, let my husband and guests pet him but his heart was reserved for me. He taught me the meaning of unconditional love over the course of nearly 15 years of my life; he has been present for every moment that makes up the patchwork of my time in NYC. I don't know how to deal with this loss except to write out what he has meant to me, what he will always mean to me.

Growing up, I was allergic to cats, but when I moved out post-college, my roommate had a beautiful female named Ursa, and I soon realized my blood chemistry had changed and I didn't react anymore. Pam encouraged me to adopt a kitten and it was one of my first acts of independence. We went around to different shelters and found a darling pair of grey & white tiger kittens at the Newark Humane Society. I held Eliot and his brother, but Eliot was mewing and crying and so I chose him. The first day he came home with me, he scuttled about crying and crying, but after a bath, swaddled in a towel on the bed with me, a loud raspy purr emerged. I couldn't believe how much noise a tiny being could make, I called him my love bug and that was it, we were both smitten.

The first trauma of his young life was at the hands of the resident vet at Newark Humane Society, who somehow butchered the very simple procedure of getting him fixed. Instead of coming home with me after the procedure, Eliot was at the clinic for 3 days. Thankfully he recovered fully but I still blame that incompetent vet on his chronic kidney problems.

Trauma #2 happened when Pam moved to California - she and Dustin loaded up their moving truck while I was at work. When I came home, Eliot wasn't at the door waiting, in fact, he was nowhere to be found. I called Pam, frantic and asked her to check the truck. She didn't really believe he wasn't in the apartment but dutifully looked in the back and there was Eliot, hidden inside their sleepaway sofa. Trauma #3 happened because he was inconsolate after Pam and Ursa moved away, and I was advised to adopt another to keep him company. I stupidly chose a cat a colleague was getting rid of without asking "why exactly are you getting rid of her" and soon found she was not the type who shared attention well. Eliot was terrified of her, so thankfully I found her a loving forever home with a friend.

I finally adopted another kitten, Varo, and Eliot tolerated her, was gentle despite her shenanigans and found comfort in her constant attempts to make him love her. Most of my photos of Eliot involve the two of them snuggling because it was so goddamn adorable, but his heart-light still only ever came on for me. 

When my future husband came into my life, Eliot had to share me with yet another. Then came Arturo, the most adorable bundle of canine energy and need. Then came the move to a shared apartment and 2 additional cats. Let's just say that adjustment was a long and somewhat painful process involving lots of hiding and inappropriate urination. But Eliot eventually overcame his fears and found his place next to me again. I would awake to the familiar sound of chewing on my hair, letting me know he was ready for breakfast, just waiting for me to open my eyes so that he could head-butt me until I got out of bed.

And so we were all one big dysfunctional but very happy family/menagerie from that point on. Eliot had always been a good eater, and at one point topped out at 19 pounds, but about a year ago he started to lose weight. At first I thought it was a good thing, due to my efforts monitoring his attempts to eat the other cats' food. But his belly went from touching the floor to being non-existent in a matter of months. I selfishly delayed bringing him to the vet as long as I could, worried what the diagnosis could be. But in February I screwed up my courage and we brought him in for blood tests and urinalysis. The vet told me, as all of the vets have told me, what a special cat he was and that there wasn't anything out of the ordinary, his levels were good and just to let him eat as much as he liked. Outside of regular meal-times, Eliot always had a dish of dry cat food and developed an appetite for anything we were eating, especially ice cream, crackers, cheese and anything with butter. His meows were loud, insistent and always rewarded with something to eat; I was spoiling him silly and didn't care. 

It seemed like he would be fine, after a few weeks he gained a few pounds and didn't feel so wispy when I picked him up to cuddle (unfortunately all the other cats benefitted from Eliot's always-available buffet and packed on the pounds, so in comparison he was still skinny!) His energy was good, he was his super lovey-dovey self and he even managed to catch an unfortunate stray mouse in the kitchen while the rest of the animals looked on. 

Then, about 2 weeks ago, things started to change. My husband went to Italy and I stayed behind, noticing that Eliot was choosing to sleep on the floor under the table instead of his usual preferred spots, chair-level. He didn't wake me up crying for food in the morning and there was some inappropriate urination. I thought maybe he was affected by my husband's absence - cats don't like change in routine. But since he was still eating and drinking and seeking me out for drooling love-fests I didn't think much of it, preoccupied with missing Gigi.

On Friday, all of a sudden it seemed like Eliot had shrunk. I could feel his bones since he lost all the weight, but now I could see every vertebra. His eyes, always big and luminous, were suddenly enormous, dominating his tiny face. Movement changed from being fluid to rickety in a matter of hours, and he seemed to have a fever. When he tried to jump up on my desk and fell, I called the vet office - the tech told me the doctor would call me back. When he did and I explained the symptoms, he told me to wait it out and come in when I was ready. But that night Eliot got worse and worse, he struggled to lift himself and barely ate a thing. Even his favorite treat, vanilla Haagen Dazs, solicited only a little interest and a few licks before he turned away. I couldn't sleep, afraid he would slip away in the night. Every few hours I checked on him, caressing him, telling him the story I'm writing out now. When he heard my voice he purred louder, but still so faintly compared to his usual roar. He would lift his head but couldn't really pull himself up without falling. It was heartbreaking. He made it through the night and seemed to rally a bit, but by Sunday morning he collapsed trying to get to the food bowl, and made a painful attempt for the bedroom before I scooped him up, agonizing over the idea he was heading under the bed to die. His nose was scabbed, his mouth was stained yellow and smelled of infection. It was time to go to the animal hospital, as our regular vet wasn't available (another disappointment!)

In the taxi, Eliot was stretched across my lap, making the most plaintive of noises. We thought it was a good sign that he was talking and just didn't want to leave home. But when we arrived at the emergency care facility, the way the staff activated to get him downstairs to the ICU, giving him top priority in the waiting room - well, clearly, in retrospect, the cries came from a painful place. After they stabilized him the vet on call met with us, told us that it was good we brought him when we did, that when she got to him he was "practically moribund."  Heart. Breaking. Normal glucose levels are 70-110, his were at 20. His red blood cells were self-destructing. Why? What does this all mean???

What came next was a series of estimates, little meetings with the vet that left us more confused than before. All that I could understand was that there were so many things wrong with my cat that it was currently impossible to diagnose what was causing all of these system breakdowns. And that it would take about $7,000 and 5 days in the ICU/Internal Medicine in order to get the results to determine a diagnosis. Please note, that does not include a cure, it would only tell us what was wrong.

How do you determine what a life is worth? How much is too much to spend to save a being that lives to love you? How much time left would rationalize the cost - if they could give him a year, 5 years, a month? What if we spend the money on the tests only to find there is nothing that can be done to save him? These are the questions that hurt your heart, a cruel version of "Would you rather..." We compromised by asking to run the tests one at a time while keeping him stable on the IV. After the chest x-rays came back negative, we waited for ultrasound results. Gigi was forcing me to confront the possibilities, "What do you want to do? What do you want to tell them if there is nothing to be determined by the next round of tests, should we commit to all of them, to this unholy amount of money?" It was my decision but I wouldn't make it, I wouldn't discuss. I refused to say to Gigi what was in my heart of hearts, what I had known intuitively since Friday. I didn't want to jinx, I didn't want to make it real by uttering the words. I had been saying goodbye to my most beloved of cats each time I sat with him over the weekend, stroking him and whispering to him how much he was loved, how special he was.

And then the moment came, when I had to face reality. The vet brought us into the room one more time, showed us the ultrasound. Cancer everywhere, in the intestines, abdomen, lymph nodes and approaching the kidneys. Apparently it had been there, caused the weight loss, but his body and his strong little heart overcame as long as it could. Then in a matter of days, he was past the point of no return.

It all happened so quickly, I didn't understand at first that this meant we had to end his suffering, it was time. I think if Gigi weren't there I would have had a total breakdown. We were escorted downstairs to a room, the vet tech lowered the lights and brought my Eliot in on a soft, furry pillow. We were told to take as much time as we needed. More emotional conundrums - how much is enough time to say goodbye? How do you have the courage to say, "Ok, now?" With his glucose levels stabilized he was more alert, he purred hearing my voice and rested his head on my hand as I tried to be reassuring, holding back my sobs as best I could. I could have chosen not to be there when they administered the dose, Gigi would have stayed there for me, but I couldn't bear not to be there for him in his last moments, it was even worse than the alternative. Eliot still cried painfully, struggled to get up, his genes telling him it was time to slink away to a corner I'm sure. The vet was patient, gentle, explaining everything but I still wasn't prepared for how fast he went from purring under my hand to gone from this world.

When we got home I was numb, in shock, I think I still am. I tried Xanax for the first time and I understand its allure - it somehow blocks you, keeps you from accessing things that will upset you, I guess? It helped me sleep but I didn't really like it, I want to think about him, see him. It will take awhile for me to not get upset preparing one less bowl of food, wondering why I don't hear his morning meowing. But I think he deserves to be remembered right now, he was a beautiful soul who gave me so much comfort. 

As I write I know I can't actually describe my feelings; whatever I write sounds cliched. I go back to Alfred J. Prufrock, my favorite line of the poem, the refrain that I've used to title this piece of writing.

I don't mean to make light of the many tragedies one can go through, losing a human loved one is certainly the ultimate loss, especially when it happens in an inhumane way. I was lucky to have Eliot in my life, lucky that he only had a few days of suffering during a lifetime of being cherished. I was also fortunate that I had several days to think about saying goodbye, and that I could be there comforting him in his last moments. I am nearly 38 years old, but I just grew up a little bit more, this experience has changed me. I still have 3 cats, a dog and the most amazing husband and they all give me so much love, each in their own way. But there is a little piece of my heart that will always be reserved for my sweet Eliot, and I'm quite sure I'll never love another cat the same way.

Last night I was privileged to attend the first annual WJA Jewelry Night Out in New York, one of 12 cities with WJA chapters celebrating. The venue was the stunning Gilbert Albert boutique and gallery on 57th Street. I wasn't familiar with this extraordinarily talented designer's work, although I remember reading about the opening of the NYC maison earlier in the year - if you have a passion for jewelry, craftsmanship, art and eclectic use of jewels, you must check out the website, or better yet visit in person! Right now in the 2nd floor gallery there is a really beautiful exhibit featuring a curated selected of sculptures by artist Dashi - so emotive and finely crafted and set off perfectly with some of Gilbert Albert's fauna-inspired jewels. 

The event itself was packed with WJA Metro's most prominent members, great to catch up with so many people and network a bit after most of the industry took the summer off. I think everyone left energized and ready to go full force into the busy Fall season. Once again I'm impressed by the quality of these member events, it's been such a huge improvement over the last year, I'm even prouder to be a WJA member!

Below are some images that captured the evening for me: 

In the mad dash to capture market share and keep website visitors engaged and returning on a regular basis, e-retailers have lately been drawing on the “crowd” and individual customer preferences to help shape their offerings. A contradiction to the conventional wisdom that the fashion world should control all aspects of creative direction and production, this trend is an interesting bellwether of the evolution of the relationships between customers and the companies they are most loyal to. Click here to view the rest of the article.

This week I attended the latest in a series of WJA (Women's Jewelry Association)  Metro Mixer events, hosted by the dynamic Janet Goldman, CEO of Fragments. If you're a jewelry aficionado and not familiar with this store, you should be! Although it was easy to get distracted by the venue, a veritable candyland of beautifully-curated jewels at a variety of price-points, Janet's colorful stories of how she built her renowned business kept everyone's attention. Here are some choice takeaways from her presentation:

• Up-and-coming designers interested in selling their collections to bigger retail outlets should consider a carefully edited grouping of about 72-84 pieces to present to buyers; if you're not there yet, consider a thematic capsule collection with a strong POV that can be shopped to smaller retailers
• Notable trends seen at the Vegas shows that will most likely continue for the next seasons: finger (knuckle, pinky), layering, mixing up designers & textures, "unusual adornments"  (hand jewelry, ear cuffs, etc.), return to yellow gold, opals, rare stones/cuts, paraiba tourmaline, oxidized & rose gold, unique aesthetics...

And my favorite quotable from Janet, "People remember your jewelry more than your face!"