The diamond standard – Glass meets three of the leading figures behind the world’s most famous diamond jewellers, De Beers
On hearing that there is never a “dull moment” at De Beers – from the jewellers of light themselves – one might brush this off as a gimmicky bon mot. But from meeting three of De Beers’s most defining delegates, those who have made outstanding works of artistry synonymous with the name, it became brilliantly clear (excuse the pun) that the world leaders in diamond jewellery certainly aren’t wipers (a “wiper” happens to be jewellery talk for a lacklustre “dud” diamond). It’s a small but incredibly mighty team which keeps things running behind the scenes of this worldwide corporation.
Not at all surfeited by any hint of hubris, the individuals we met, from their bright spark Head Designer, Hollie Bonneville Barden, to their dedicated President of the De Beers Institute of Diamonds, Andrew Coxon, and Jennie Farmer, the brand’s enterprising Brand Director, all take pride in being able to work within a stimulating environment which they have each described as a playground for innovation in their own way.
With their rapidly rising reputation for quality – being an established retailer for only thirteen years, a comparatively short period in the jewellery industry – De Beers’s sui generis diamond excellence is instinctive to each and every gem the brand welcomes. Andrew, certainly the wisest gemmology giant in his field, with well over 40 years of experience selecting diamonds, did much to sum this up when speaking to Glass with his assertion that for De Beers, “It really is all about the beauty – and that’s the difference.”
Head Designer – Hollie Bonneville Barden
In 2011, De Beers saw in Hollie Bonneville Barden, primarily an illustrator with a background in fine art, the makings of a fine jewellery protégé. She is a Central Saint Martins graduate and a native of Hay-on-Wye, a village in the Black Mountains on the border of Wales and England, and tells us about her journey since her epoch-making promotion to head designer.
So Hollie, what do diamonds, your creative medium at De Beers, mean to you?
Diamonds are not only physically symbolic of one of the rarest materials on earth, but they possess both a kind of power and strength which, as a designer, intrigues me no end. On another level, there’s all the romance as well which surrounds diamonds
Your muse has actually been described as the diamond itself. Could you describe what qualities of a diamond inspire you?
They are lively, not just a material or an object; we don’t attribute Fire, Life and Brilliance to our diamonds at De Beers for nothing.
As De Beers’s head designer, it’s been said that you hold one of the most coveted creative positions in the luxury jewellery business. Could you tell us how it feels to have that to your name?
I’m delighted to hear that, but as for how it feels I would say I’m in a highly unique position. I graduated in 2009, and my relationship with De Beers has been a huge stepping stone in my career, one of the best opportunities I could have hoped for. And again, it’s hugely unique because of the brand’s young age. I think being able to have so much space for innovation is a dream for any young designer. I have all of the craftsmanship heritage to draw on, of course, but there is so much to play with in terms of design. If I could say it in a modest way, I’d say I’m in a dream position.
It seems as if everyone at De Beers plays their part to make sure the final product, whatever it may be, is flawless – from the jewellery designs and ad campaigns to the diamond sourcing, etc. How would you describe your role as part of a small but mighty team?
It’s a constant collaboration from day to day. As well working on design, I’m also very much involved in the production phase in the workshops to ensure the pieces are as per my vision. I’m also working with the communications team to make sure our vision is consistent before we share it with the world. The great thing about it all is feeding off each other’s knowledge.
At 28, your rise to such a sought-after position at De Beers, an exceedingly stimulating springboard to many things, has been rapid. However, you initially leaned more towards fine art. Could you describe how jewellery became something you wanted to pursue for the rest of your life?
I was 25 when I first joined De Beers. Before that, my first interest was in the world of art and design as a whole – though even now I’d say I am just as broad in my appreciation of art and design. During my art foundation I became really inspired by translating my ideas from something 2D into something three dimensional, and also something that related to the body.
I think these are two themes that always run through jewellery, turning something into a precious three dimensional object and specifically something that can be adapted to the body. This is something which really inspired me and led me to study Jewellery Design at Central Saint Martins, where I was finally able to experience a workshop environment for the first time.
Jewellery is often something that makes an indelible impact on you during your childhood at a time when imagination runs wild and you catch your first glimpse of your grandmother’s or mother’s prized jewels. Does this happen to ring any bells for you by any chance?
Correct. My grandmother actually had a fascinating collection of jewellery and so from an early age I had a chocolate box moment, trying on everything the moment I could. What I loved was not only the visual aspect of rummaging through all her pieces but also the storytelling that came with all her many heirlooms that belonged to people that I had never met and other amazing jewels that had come into her possession in Burma. I loved the dream that it would inspire within myself as I listened to her relaying stories to me.
Would you like to see your own granddaughters rummaging around in your jewellery collection one day?
It would be an absolute dream. I haven’t had the chance to think that far forward, but it’s a nice image that you’ve planted in my mind. I would certainly have some stories to tell too, direct from the horse’s mouth, as it goes.
President of the De Beers Institute of Diamonds – Andrew Coxon
When we met Andrew Coxon to talk about the innumerable facets of his career, he was eager to demonstrate his latest patent pending invention, the new De Beers Diamond Brilliance Polishing Cloths. It was this passion for his profession and eagerness to share his knowledge that made us feel instantly at ease; this was a man whose instinctive elegance goes so well with the dazzling industry he works in.
Being an all-round diamond industry guru, Andrew, I’m sure you’ll certainly have quite a few sentiments about what diamonds mean to you?
Visual excitement. That’s something that becomes ingrained in you, especially so if you look at diamonds every day like I do.
When did you first feel you had a sixth sense for diamonds?
I believe this was the moment that De Beers revealed that my colour vision was almost as good as a woman’s during my evaluation when I first approached the brand. Colour is key in correlation to a diamond’s value and I am almost able to put myself inside the rough diamond thanks to my trained eye.
You preside over the quality of De Beers diamonds. What would you say is everyone’s aspiration for the direction of the brand?
That we can change the way people wear their diamonds. It’s very much in our interest that a new diamond purchase should be as surprising and as delightful as buying a brand new handbag, though considerably more sentimental.
Sourcing the best diamonds must take you on quests that span the globe. Could you describe where De Beers takes you from day to day?
We do all the final selections and rejections here in London at the De Beers Institute of Diamonds, though this is not exactly light work when you have diamonds flying in from all around the world from Antwerp to New York and Southern Africa.
How exactly do you gauge a diamond that is ready to be taken to the next stages of development?
According to Fire, Life and Brilliance. Every beautiful diamond does three things and it’s more or less one of those three in combination – a personal combination at that. Fire is defined as dispersion, or the flash of a rainbow of light, life is scintillation and the natural brightness of the stone, brilliance comes courtesy of either mother nature or the 57 facets of the diamond being perfectly aligned.
De Beers is known for improving upon the industry standard grading system of 4Cs, which entails cut, colour, clarity and carat, by adding Fire, Life and Brilliance into the mix. What compelled De Beers to do so?
The 4Cs are terribly important. Originally the Gemological Institute of America invented them and accordingly De Beers has always marketed them. What we realised, however, was that what the diamond does is just as important, if not more so, than merely what it is. Knowing what a diamond does is where you find the great pleasure and we care enough about them to demonstrate this.
As for yourself, Andrew, how does one go about becoming President of the De Beers Institute of Diamonds?
Spend 40 years looking at diamonds with De Beers; becoming an expert in any field takes repetition.
Expanding on your history in this field and your passion for what is essentially an art of connoisseurship, where can you trace this back to?
It’s a bit of a long story, so I’ll give you the facts. When I was a teenager, my father was our man in Rio, the Naval and Air Attaché, and on my school holidays I would travel to Brazil and surf on Ipanema beach. I never had enough money to buy the latest surfboard so I would make money by picking out the best semi-precious gemstones to be polished for the local jeweller. He told me, “You’re good at this,” with a beaming smile on his face – he was one of the first people to do so – and this is when I knew I could look inside a stone. I was always interested in stones, shells and gems, you see. I even thought about becoming a geologist.
How does it feel now to be able to extend a helping hand and an expert eye to someone who is seeking the perfect diamond for a once-in-a-lifetime investment?
It really is an everlasting pleasure to witness the instant reaction when a woman finds the diamond she wants.
Where do you see your future of diamond delving taking you?
I’ve reached an age where I could retire, but after being invited by the Science Museum to host a talk on the science of diamonds, I have found that this is one of my new callings. I make sure to always include the beauty factor, however, where science and poetry meet. Sharing my knowledge before I forget it has turned out to be what I enjoy most of all.
Brand Director – Jennie Farmer
Jennie Farmer, engaging and with an infectious enthusiasm, has in many ways adopted the brand she directs – as a brainchild of sorts. And this has done the corporation the world of good since she joined De Beers Diamond Jewellers in 2011. Discussing the enterprising lengths to which a jewellery brand can go, Jennie revealed all that can be achieved by allowing personal ambition to unleash the true potential of luxury retail.
What do diamonds mean to you?
Emotional connection. Even as the world becomes progressively fast paced due to technology, diamonds still shine to me for this reason.
What type of character does it take to muster what is necessary to be one of the industry’s top strategy developers and brand builders?
Being able to balance the long-term with the details. It’s about surprising and delighting clients with details but always keeping in mind where you want to be in three years’ time.
You have clearly undertaken a variety of highly ambitious tasks throughout your career so far. What assignment would you say has shaped you most?
Definitely the Moments In Light campaign, something which started as a rather loose idea between me and Francois Delage, our CEO, based on centring everything on De Beers’s aim to celebrate women – specifically, talented women.
Moments in Light saw you assemble a selection of talented and inspiring women, celebrating their unique stories by capturing their spirit in light. How personal a project was this for you?
It was something that I felt very genuine about. I really wanted to do something that gave back, so we decided to start working with Women For Women International (WfWI), which was hugely inspiring. It allowed us to give something back to the women who are much less fortunate than those we deal with on a regular basis at De Beers. What’s so wonderful about WfWI is that they show you the real women you have helped and you actually feel like you’ve made a difference.
How did you go about choosing the five inspirational women – famed Australian chef Skye Gyngell, critically-acclaimed Canadian-born choreographer Aszure Barton, visionary Chinese photographer Chen Man, one of the UK’s foremost fine dress designers Alice Temperley and Turner Prize nominated artist Cornelia Parker OBE, an elected member of the Royal Academy of Arts?
We wanted those who are a true talent in their field, being masters of their own unique craft. We selected five women who were genuinely excited about the project and came together to make this clear.
Is this a project that you will be developing over time?
Absolutely. We are looking at working with Mary McCartney again, the wonderful photographer who captured Moments in Light in her imagery, and we’re also going to be introducing some new women next spring.
What did you learn from initiating the Moments in Light campaign, and how has this informed your tactics when it comes to the future of De Beers?
I was so impressed by all of the inspirational women involved, women who prove that you should always follow your dream – something which resonates with us as a brand with big ideas, big aspirations and a lot of belief in what we are doing.
Moments in Light was described as a project “by women, for women”. Could you expand on what this meant to you?
Mary (McCartney) was the curator of the photography and from there onwards, everyone we worked with along the way, from stylists to art directors and even, by chance, Women for Women, were women. It really came together perfectly in that way.
How did the collaboration with Women for Women International come about?
It was very organic actually. When we started to think about the charity that made the most sense to De Beers looking to celebrate women, one of our team, an avid supporter of WfWI, introduced us to their work. Once we met them and witnessed all the amazing work they do, we knew it was a great fit.
Each of the profiles who contributed to Moments in Light was asked to unveil their own “Moment in Light”, essentially one of the most monumental moments of their life so far. What would you describe as your De Beers moment in light?
My De Beers moment in light would definitely be when I saw our new advertising campaign featuring Andreea Diaconu in print for the first time. When you’ve spent as long as we did developing the project, it was really special to see it in its finalised glory.
by Liam Feltham
From the current issue of Glass Winter 2014 – Destiny
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