Cindy Chao came from a family of artists and her jewellery brand has grown as a perfect collaboration of all of these influences. You could describe her as a sculptor whose primary materials are precious stones and metals.
Chao’s father was a sculptor, and her maternal grandfather, Xie Zinan, found fame as the architect of Chinese-style temples across Asia. From an early age, Cindy developed an eye for volume and proportion as she shadowed them in their workshops and on construction sites. However, after being dissuaded from becoming an architect or interior designer by her mother, she fell into jewellery design, before realising that the learning during her early years was transferable.
In 2004, after studying at the Gemological Institute of America in New York, Chao returned to her native Taiwan and launched her own eponymous line. It wasn’t until 2007, that she really hit her stride and found the right direction for the brand, creating signature breath-taking designs.
Today her collections are like small sculptures crafted from the most beautiful gemstones. Each jewel is hand sculpted by Chao in a wax moulding, and a 360-degree gem-setting technique is used. This means every angle is equally as beautiful and thought out with impeccable detail, vividly depicting either the petal, leaf or wing of the design. So while the front of a butterfly brooch is covered in jewels, the back is entirely embellished too, making it especially special to the owner and wearer. No more than 36 of these unique pieces are produced each year, meaning they tend to be found at auction houses rather than on the shop floor.
Do you feel your family and upbringing have been highly influential in your career?
Absolutely! Coming from an artistic family, with my grandfather an architect and my father a sculptor, I was trained from a young age to see the world in a 3 dimensional way. Ever since I was a child, my father and grandfather imprinted an idea in me, true art has to be able to stand the trial of time, and only true art can transcend time and be passed on from generation to generation.
My grandfather used to take me to the temples he was working on, and I would stay alongside him while he explained the blueprints and constructions to the craftsmen. Two years ago I found some of his old design drafts while putting together a project. Back in the days when there was no computer technology, it was amazing to see how he was able to draft out the temple designs in three dimensional layers. I had the opportunity to see some of his projects from conception to completion. Because of my grandfather, I developed the love and passion for architecture. It was him who taught me to see things outside the box, to view every side of a building as a front, and to be meticulous with every detail. I would also accompany my father while he was immersed in his work at his studio, and he would explain various techniques and styles of sculpting. While he carved the clay, I would help him fan the pieces as the shape solidified, while observing him sculpt life and emotion into all his works. Very often to keep me quiet, I would be given projects, a piece of clay for my own creation. My father would often comment on my projects, and share with me his words of wisdom, ‘Regardless of the subject, the final piece must be as vibrant as it is in real life. Spend time to observe the object. Pay close attention to the minutest detail. And then, with your heart and soul, put into form what you’ve perceived.’
What motivated you to start your jewellery brand in 2004?
In fact, my first dream career was to become an architect like my grandfather. However, my mother, as the daughter of an architect and the wife of a sculptor, knew first-hand how difficult such vocation can be. Therefore, as the patron of my education, my mother strongly suggested that I choose a less stressful profession. Little did she know that one day my jewellery design and crafts would turn out to be even more time-consuming than being an architect or a sculptural artist!
When I first established the brand in 2004, I took on more custom-orders. After the first two years, I realised that I was not ‘creating’ but merely ‘producing’ jewellery pieces instructed by clients.
I decided to truly follow my dream in early 2006, when I stopped accepting traditional custom-made orders, and instead focused on one of a kind art jewels that I had always dreamt of creating. I began the wax sculpturing process for these new works, and at the same time set out to recruit a team of experienced craftsmen, spending countless hours to communicate with and convince them to try new creative ideas and techniques.
Four Seasons Collection
Can you tell us about the first piece you designed and the inspiration behind it?
The first collection that I designed as an art jewel was the Four Seasons Collection, and within which, the winter choker and cuff were the first to be completed.
When I first set my mind on creating ‘art jewels’, it was two years after my brand was established. The concept of artistic jewellery was very new in the market at the time, the majority of my collectors and even industry professionals were taking this new idea very cautiously. As a young artist, I was not certain if I was heading in the right direction. There was no guidance nor mentor for me to follow. I told myself to give it my all, because you never know what you can achieve until you give it a try.
The journey was definitely a solitary one. I think that was the reason why my first Art Jewel, winter choker and cuff were simply black and white, snow covered leaves on tough winter branches. They were the reflection of my emotional state during the 18 months spent on bringing life into these two art jewels. Eventually they were featured in the Christie’s New York fine jewellery auction in 2007, and each hammered at over twice their estimate.
How would you describe your design philosophy?
Life is the true essence of my works. To me, each piece tells a different story, and has its own life and mood, which reflects the emotions I felt when I was creating it. There are fragments of myself in each of my art jewels, and its story continues on with the addition of the collector’s own, eventually becoming a part of his or her life. With such sentiment, each art jewel comes to life in a very organic way, becomes impossible to replicate, and therefore is distinctively one-of-a-kind. Through my creations, I wish people to feel the life and emotions flowing through each of my art jewels, to experience the instances enclosed.
What is your favourite stone to work with and why?
I enjoy working with a multitude of materials but gemstones are my passion. Of the gemstones, I would definitely say that my favourite are emeralds, however I have a great sensitivity towards diamonds with the way they dance and evoke a sense of awe and brilliance when exposed to light. The contrast that can be achieved when working with these gemstones, bringing to life each art jewel in its own unique matter is something that I continue to strive to embody and make a priority.
Your designs are clearly inspired by nature. Where do you like to visit, to relax and gather ideas?
My inspirations have always come from my surroundings and experiences, as well as my love for nature with its majestic beauty that unfolds in mysterious and delicate ways at every moment. Nature is mesmerising because it is always in the passing. It is that brevity that makes it the more intense and captivating. Yet, every evanescent moment is so very subtle. What I try to do with my creations is to capture the fleeting moments, a frosty maple leaf in early winter dawn, a midnight rose, a whimsical flower in the wind, and I endeavour to do so by using the toughest and most timeless material, diamonds and precious gemstones. They are complete opposites, sharing a perfect synergy. I also love to travel and read books on architecture and haute couture. It is extremely important for an artist to experience various cultures and art forms, and to be stimulated. Florence, Barcelona, Paris are a few cities that I adore. In these cities one can find history at every street corner.
Tell us about a pivotal point in your design journey, when you felt you had accomplished what you had set out to achieve?
Looking back, I would say that my first auction at Christie’s New York had been a huge turning point for me. As a young artist at that time, I was not sure whether what I did was the right. There were many voices putting me down, telling me to go back to traditional jewellery-making. At last, I let the works speak for themselves, and the auction result showed that there are people out there appreciating what I was creating.
Since then there were many milestones that continued to help me evolve, for example the induction of the Royal Butterfly into the Smithsonian National Museum of Natural History, but it was always that first push that left the deepest mark in my heart.
Which of your designs are you are most proud of?
I am proud of all of my designs, especially the Black Label Masterpieces where we fuse rare gemstones, creativity and exquisite craftsmanship. But I am also the type of person who is always looking for improvement. So whenever a piece is completed, I would be extremely proud for two minutes, and then I would start telling my team on the points to improve for the next creation!
You make a new butterfly piece every year. Do you feel a great pressure for each one to be more intricate and statement than the last?
A butterfly’s life span is fleeting yet pure, undergoing several transformations in a short period of time. This metamorphosis is one I have undergone as an artist, transforming and pushing myself to create and share something pure and beautiful. Pushing limits to give life to something even more spectacular than the last creation.
I have given life to a singular butterfly each year since 2008. While each butterfly evolved with my journey as an artist, coincidentally every one of the six butterflies so far also has its own unique legacy. The 2009 Royal Butterfly was inducted by the Smithsonian National Museum of Natural History for its usage of gemstones and its breakthrough in craftsmanship. It was the utmost honour for anyone, and I was extremely encouraged. The 2012 Transcendence Butterfly was sold at Christie’s Geneva for almost five times the estimate.
Since the Butterfly-themed Masterpieces symbolise my artistic journey, part of my story, each has its own unique success. They are about progress, growth, moments bring new experiences and lessons.
How did you feel when Transcendence Butterfly sold for close to $1million, almost five times the pre-sale value?
Most of the time, the value of a piece of jewellery is defined by its centre stone. However, this particular auction result far exceeded the value of gemstones alone. Transcendence Butterfly has truly transcended from how the general public view a jewellery piece, and into a true piece of art. I was very proud, not because of the price fetched, but for the fact that the ideology of fine jewellery as art, that I had believed it was slowly being accepted, understood, and appreciated.
What are your plans for the future of the brand?
2016 is our 12th anniversary of brand establishment.
by Eliza Scarborough
