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FRÉDÉRIC ZAAVY (1964-2011)

Frédéric Zaavy was a Parisian jeweller who took the jeweller’s art to a new plateau. Dedicated to perfection, he worked with both precious and semi-precious gemstones. He married superb craftsmanship with an eye for design and combinations of colour. With the eye of an artist, he ‘painted’ with gemstones.

Frédéric Zaavy was born in Paris on October 9th 1964. He was the third generation of a family of diamond merchants. After a classic French education during which he undertook courses at several art schools including the École des Arts Appliqués and the École des Beaux Arts, he decided not to enter the family business.

Instead, at the age of 20 he decided to travel the world. He was determined to be financially independent. As he had almost no money to take with him, he was forced from the very beginning to quickly improve his rudimentary knowledge of precious gemstones. He learnt about rough precious stones and rough diamonds in a number of countries in Africa and South East Asia, including India. He also became heavily involved with dealing in polished rare coloured gemstones and large polished diamonds, including coloured ones, in New York, Tel Aviv, Antwerp and Bangkok. At the age of 23 he was already well known in the world of gemmological rarities. Even at that time he was sometimes buying and selling ones for over three million dollars each.

So, how did he progress from dealing in rare stones, to making jewellery? The turning point came in 1994 when he decided to combine his knowledge and expertise in rare gemstones with his artistic streak by creating one-of-a-kind jewellery pieces. At this time he was living between New York, Bangkok and Paris. Having made the decision, he set about learning and mastering jewellery techniques in Paris. Two years later he established his first atelier in the French capital.

The new workshop comprised Frédéric, a master jeweller and a master setter. However, by 2002 there were six master jewellers and four master setters. From the beginning he was totally independent with regards to his artistic style. He believed that he created a new definition of craftsmanship in the world of making jewellery. Over the years he developed a network of private clients and knowledgeable jewellery collectors in the US, South East Asia, Japan and Europe.

In May 2007 Phillips de Pury & Company, the international auction house headquartered in New York and London now known as Phillips, announced that it would stage Zaavy’s first major exhibition of his work in the US. The exhibition featured ‘thirty exceptional pieces of jewellery’ with highlights being previewed from 10th to 25th May and the main exhibition in Manhattan being held from October 22nd through to November 2nd 2007. The collection was described as ‘especially impressive given that each awe-inspiring piece was anywhere from six months to three years in the making’.

No punches were pulled in the press release. Given that Zaavy was not a household name in the US (and indeed in other countries) it was explained that he was well-known among the ‘elite in the jewellery world’ and he was described as a man, ‘destined to share the ranks with the greatest jewellery designers of all time.’ This was not hype, as Zaavy’s passion and commitment to perfection was reflected in his creations.

Indeed, the press release elaborated, ‘Each piece is a small wearable sculpture that is not only to be enjoyed visually, but also begs to be experienced tactilely. The meticulous attention paid to each and every detail however small or seemingly insignificant draws the viewer in and demand closer inspection. These incomparable works of art truly need to be seen, touched and worn to be experienced in the way the artist envisioned. Frédéric Zaavy’s understanding and love of the inherent intimacy of jewellery is much of what makes each one-of-a-kind piece so uniquely compelling.’

It is unusual for an auction house to be so bold in promoting a living artist in such glowing terms, but being familiar with Zaavy’s work my opinion is that they were genuinely overwhelmed with what they saw. The final paragraph of the press release reads, ‘In his hands, the seemingly mundane is transformed into the extraordinary. Each of his comparably light and delicate flowers subtly yet powerfully embodies the singular quality of being at once ephemeral and timeless. Therefore the incredible lightness of each piece achieved by the rarely used mise à jour techniques not an insignificant detail used decoratively or to flaunt technical virtuosity, but a perfect example of form following function. As with any truly great art, these pieces must be experienced to be understood, and once experienced they cannot be forgotten. Much as a flower from a loved one blooms for a lifetime in the mind, the work leaves an indelible impression.’

2007 was an interesting year in the world of jewellery. In January Pallinghurst Resources announced it had acquired Unilever’s entire global portfolio of trademarks, licenses and associated rights relating to the Fabergé brand name for an undisclosed sum. It also announced that the company intended to restore Fabergé to its rightful position as the leading purveyor of enduring and endearing personal possessions. Later it announced the reunification of the Fabergé name with the family. Tatiana and Sarah Fabergé, both great-granddaughters of Peter Carl Fabergé, had become founder members of the Fabergé Heritage Council that was to counsel the unified Fabergé in its pursuit of excellence and creativity. This was the first occasion for nearly 90 years that members of the family have been directly involved with an international company that bears their name.

It is always good to have some serendipity. In the Spring of 2007 Tatiana Fabergé learnt of Frédéric Zaavy’s forthcoming exhibition in New York. She was impressed with his creations and offered to write the Foreword for the catalogue. Sadly, it was never published. In May 2007 Tatiana Fabergé recommended Frédéric Zaavy to Fabergé – indeed, images of his work were shown at a seminar the company held that month. While the Fabergé project had developed beyond the embryo stage, it was still a fledgling concern with no CEO being identified, yet alone recruited. The team had to be formed before looking for jewellers.

Early in February of 2008 Tatiana met Katharina Flohr, Fabergé’s recently appointed Creative Director for the first time. Katharina had previously been the Fashion and Jewellery Director at Condé Nast Publications. They discussed a diverse range of artistic individual contemporary jewellers. Katharina was impressed with Tatiana’s knowledge. After having discussed the attributes of several, Tatiana then said, ‘And there is the other young jeweller in Paris’, but she could not remember his name. Katharina slowly pulled out her diary, which was filled with notes from her days at Condé Nast and extracted an invite to a preview the previous year of Frédéric Zaavy’s jewels at Phillips de Pury in London. She had been trying to contact Frédéric, but the only problem was that she had no contact details. These Tatiana supplied.

Later that month Frédéric presented his collection to Fabergé in London. One member of the team was moved to tears; Sean Gilbertson, a main board director, rang his wife and suggested she come immediately as there was some incredible jewellery to see. It is fair to say that there was a definite WOW factor with the 45 pieces Frédéric showed. However, there was a lot more. Like Peter Carl Fabergé, Frédéric is an artist-jeweller and was regarded in certain quarters as the most talented one of his generation.

In 2008, some of those with cognisance in this field regard him as the ‘new’ JAR (Joel Arthur Rosenthal, the elusive Parisian jeweller whom is very selective to whom he sells his creations). Although FZ’s reputation was beginning to grow – for example, he featured in the American edition of Vogue during March 2008, together with other rising jewellers – he was still relatively undiscovered, which clearly was beneficial to Fabergé, as indeed it was for Frédéric’s link-up with the company.

Frédéric Zaavy signed a contract of exclusivity with Fabergé on April 22nd, 2008. The company purchased his existing collection of 45 pieces outright and commissioned further creations so that approximately 100 pieces would be available for the 2009 launch. Fabergé therefore became his benefactor. On July 1st 2008 Frédéric signed a new rental contract for a larger atelier and offices near Place Vendôme, Paris and recruited new master jewellers as well as setters. From 2008 Fabergé took delivery of 134 pieces designed and made by Zaavy.

Not only was this Fabergé’s first collection of high jewellery since 1917, but Frédéric Zaavy was also appointed a Fabergé workmaster, the first such appointment since the Russian Revolution. It had been thought that Frédéric’s treatment for cancer in late 2008 had been successful. Unfortunately it returned with vengeance in the summer of 2011. Sadly he died on 15th September 2011.

Tatiana Fabergé commented upon hearing the news of his passing, ‘Like my great grandfather, he was an artist-jeweller who worked with both precious and semi-precious gemstones and combined superb craftsmanship with an eye for design and colour combinations. Consequently he took the jeweller’s art to a new plateau. He will be greatly missed.’

Katharina Flohr, then Fabergé’s Creative and Managing Director, who worked very closely with Frédéric explained why his work was so special, ‘It was his dedication to perfection and the sensitivity seen through the eye of a painter who painted with gemstones. It was – and indeed still is – the emotional engagement that you have when you hold a piece of his work in your hands.’