A Conversation with Marion Fasel

Marion Fasel is an esteemed jewelry historian, trend forecaster, award-winning journalist, and author of The Adventurine on Substack. She has consulted with premier luxury jewelry brands, acted as a guest curator at the American Museum of Natural History and moderated several sold-out discussions on jewelry at the renowned 92nd Street Y in New York City. The New York Times has quoted her as a trusted and insightful source more than 25 times in the last 10 years. As a new member of our Honorary Committee, Marion joined us for a rapid-fire round of questions on changes she's seen in jewelry collecting, her greatest influences, and more.

Salon Art + Design is celebrating its 15th anniversary. What do you think has been the key to the fair's lasting success?

The show is a big counter-signal to the algorithm of sameness. Experiencing the joy of discovery at Salon Art + Design keeps people coming back year after year.

What's the biggest change you've seen in jewelry collecting over the past 15 years? And what gives you the most optimism for its future?

Collectors today are savvier, because they are exposed to a lot more jewelry on social media from great designers and vintage dealers than they were 15 years ago. In other words, they learn about contemporary design as well as the history of jewelry daily on their phones. The challenge is that there is much more competition for great vintage pieces. The silver lining is that there is a lot more interest in the field.

If you could bring home one museum-quality jewel, what would it be—and why?

This is really an impossible question, Sophie's Choice. But I think I would choose a bib necklace, because I would want people to really see my treasure and you can't miss a bib necklace.

I recently wrote a story about Alexander Calder’s jewelry, so I think I am going to say his all-gold feather necklace, which looks at once ancient and totally contemporary. It is so spectacular and singular, it would shut any party down.

Whose work has had the greatest influence on your eye as a curator?

The Cartier Archives have had a great impact on my work. For decades, Cartier has prioritized the acquisition of masterpieces and in turn the support of scholarship of museum curators. Their collection is also in front of my eyes more frequently than any other, because there is a regular cadence to the release of Cartier books and museum exhibitions.

What's one jewel you've lived with—or encountered—that continues to reveal something new every time you see it?

For the Beautiful Creatures exhibition I curated at the American Museum of Natural History in 2021, I had Salvador Dalí’s Étoile de Mer ruby, diamond and emerald brooch, which was made by his brilliant manufacturer Alemany around 1950 for Rebekah Harkness. The piece features two detachable colored diamond butterflies and the arms of the starfish are entirely flexible like the living animal. The mount maker and I pored over the jewel for quite some time, because I wanted it to look like it was floating in water in the display without the arms drooping. He made it happen.

What's one piece of advice you'd give someone buying their first significant jewel?

People buy jewelry for various reasons. Some focus on pieces they will get their money out of or they will make money when they sell them. Others buy a significant jewel as a token of affection. If it is the latter, I’d advise you to follow your heart. Don’t be overly influenced by what people are purchasing just because it is the thing to do. Buy something you truly love.

What's one myth about collecting jewelry that you'd love to debunk?

It’s not all about important gems. There is a long list of great designers whose work carries beauty and value in the ideas.

What do you hope Salon Art + Design is known for 15 years from now?

I hope there is more jewelry, but you knew I was going to say that.

What's currently capturing your attention—whether it's a project, a collection, or a new area of interest?

I have an advance copy of Bodyworks: The Jewelry of Art Smith by Joanne Hyppolite and Toni Greenbaum produced by the Smithsonian’s National Museum of African American History and Culture. It’s a stunning publication and long overdue. I look forward to reading and reviewing it.

What's the best jewelry exhibition you've seen recently—or one you're especially looking forward to this fall?

In America and even abroad, jewelry exhibitions don’t happen too often, because museums don’t have jewelry departments. So jewelry exhibits are always events. Last year, I traveled to Ohio to see Radiance and Reverie: Jewels from the Collection of Neil Lane.

Neil is a longtime friend of mine and knows more about jewelry history than anyone I’ve ever met. His collection covers rarefied 19th-century archeological designs and lots of early Tiffany. I contributed an essay to the catalogue on his collection of jewels from silver screen stars Mae West, Joan Crawford and Gloria Swanson, among others.

What's one jewelry designer you think deserves much more attention right now?

VRAM is a contemporary collection by Vram Minassian that is really special, bold and unlike anything else. I also think in the jewelry history world, we have kind of been sleeping on René Boivin.