Christmas Balls

From the Cynthia Rybakoff archives, here's an understated holiday look from 1989. I'm not going to exaggerate the time and effort that went into gluing each Swarovski crystal and vintage bugle bead, one piece at a time, with tweezers and delicate fingertips, to this 3 tiered neck piece with a zillion sparkling baubles. If made today, the piece would retail for about $18,000.

The necklace was part of a collection designed for the Fall/Winter Isaac Mizrahi runway show, and included a braided suede wrist wrap, that doubled as a necklace. The versatility of this piece is nicely demonstrated in this not at all provocative ad for Harvey Nichols.

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Isaac Mizrahi clothing with Cynthia Rybakoff Papier Mache Jewelry
by Irving Penn for Vogue, early 90's

Throughout his multifaceted career as an artist, graphic designer and photographer, Irving Penn challenged traditional ideas of beauty, treating fashion models, consumer products and urban detritus with equal dignity, perfect lighting and sumptuous color. There was also a remarkable consistency to his expression, whether he was shooting an allegorical still life, fashion spread or anthropological study. The quiet stasis of his compositions were as classic as a Greek frieze, yet delivered a modernist punch.

After Dinner Games, by Irving Penn, 1947

On two memorable occasions, Irving Penn photographed my jewelry for Vogue magazine, the fabulous Isaac Mizrahi clothing being the actual editorial subject matter. Later on, I briefly met Mr. Penn in his studio, when a good friend of mine landed a plum job as his personal assistant. Star struck by his noble presence, I was far too polite to do anything but whisper a very nice to meet you, and fade into the seamless backdrop.

Vintage Mags

Isaac Mizrahi in Vogue, March 1989

Here's a hot flash back to an item from my Summer 1989 fashion jewelry collection. The primitive textured beads on knotted leather cord were designed for Isaac Mizrahi, to accessorize his flowing silhouettes that season, along with Moroccan style shoes by Manolo Blahnik. The photograph, above, from the March 1989 edition of Vogue, by Irving Penn, with it's striking harem dancer legs and feet, captured the exotic mood of Isaac's bright palette of chrome yellow silk with colbalt blue and emerald green suede mismatched slippers, and a tribal twist of gilt beads wrapped around the model's ankle.

Isaac Mizrahi in WWD, January 1989

The necklace was carried by Barneys New York and Body Sculpture in Boston, a fabulous jewelry gallery that represented most of the designers from the Robert Lee Morris gallery Artwear in Soho. Made from polymer clay, the beads were hand formed, baked in a convection oven, and then given a gold leaf finish.

Working with Isaac was always a blast; ideas moved quickly and spontaneously from his pencil to the runway. Isaac's early shows were a dazzling riot of color, fluid forms and over-sized hand crafty "jewels". In 1989 he was by far the most popular designer on Seventh Avenue and a pioneer in his downtown Soho studio, just two short years into his stellar career.

Vintage Ads

The other day I was showing a friend some vintage media featuring my jewelry, and this ad practically leapt off the page of my chocolate leather portfolio. "Oooh, Janice Dickinson!" my friend squealed (she would never have recognized the diva, were she not currently a reality TV star). There she was, looking exceptionally young, gorgeous and natural, sitting for Richard Avedon in 1989.

Stylist Julie Britt, who hired me to design jewelry for Revlon's "The most unforgettable women in the world" campaign, was a creative dynamo, custom making everything, like those sculptural organza collars (I still have the fabric she gave me for inspiration). The pave rhinestone jewelry was originally designed for Isaac Mizrahi's first runway show, but lots of stylists and editors were requesting it for shoots, including Sarajane Hoare at British Vogue. Julie decided just one earring was enough, but make it longer!

I was invited to the shoot at Avedon's Upper East Side studio and remember meeting him briefly. The models were quite ethereal, having their make-up done. Not much conversation there. Truthfully, I was just delivering props for the set, so off I went back to my own studio slash bedroom, not quite ever believing I was really there.