ON THE COVER
Picchiotti «A 10 ct. fancy yellow cushion diamond is the focal point of this important ring. Belonging to the Unique Diamond Collection, the cushion is enhanced by a special «trellis-workmanship» where each single diamond is set in its own box creating an irregular grate. Typically Picchiotti, it clearly denotes Picchiotti’s mastery in working with calibrated stones.»
See Picchiotti’s Cover Feature HIGHLIGHT

Los Angeles is rarely thought of as a hub of the diamond and jewelry trade, but during one week of the year it matters more than all the other centers combined. I realized this in February, when a visit there happened to coincide with Oscar week. Even though I grew up in LA, the Hollywood of popular imagination eluded me because I lacked an entree into its exclusive circles. This time, armed with invites to a few Oscar gatherings, I had every intention of soaking up the spectacle. My first stop was Erica Courtney’s 10th annual Oscar party at the W Hotel in Westwood. The designer, profiled in this issue’s special report on ethical jewelry, has teamed up with the Tanzanite Foundation on a collection featuring the rare, blue-violet gemstone. It seemed only fitting in this milieu of outsize personalities that a flawless 525-carat specimen with a rich, velvety sheen was the example on display. Next up was the Thompson Hotel in Beverly Hills, where H. Stern was hosting a suite. International Communications Director Andrea Hansen had brought a collection of baubles gorgeous enough to woo the most snobbish of stylists, the real fashion powers in Hollywood. She showed me vintage cuffs from headquarters in Rio de Janeiro, an 80-carat diamond necklace worn by pop princess Fergie during her recent nuptials, and the new Giverny collection, described in this issue’s global brands feature. But not even these stellar jewels could guarantee H. Stern a coveted red carpet endorsement.

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Meanwhile, down the street, at the iconic Beverly Hilton Hotel, another Oscar suite hosted by the PR firm TMG was in progress. I arrived just in time to watch a crew from the TV show Access Hollywood tape a segment on Sethi Couture’s ornate diamond jewelry. TMG was hoping to dress Slumdog Millionaire’s Freida Pinto in something extravagant. (Good luck, I thought; they were hardly the only ones.)

My stay in the mythical Hollywood ended at the Spirit Awards for independent films, a raucous, irreverent ceremony held on Santa Monica beach on the day before the Oscars. As a guest of Piaget, a premier sponsor, I sat behind the table occupied by the crew from The Wrestler, including director Darren Aronofsky, his partner, actress Rachel Weisz, and the star of the film, Mickey Rourke. Every time the cameras panned to Mickey (which was often, given that he won for best actor and the film won for best feature), there I was in the background, giggling at my image on the big screens flanking the stage. When Mickey, a gregarious and gracious if somewhat strange personality, learned we were with the company responsible for outfitting him with a luxury watch, he pulled back the sleeve of his silk jacket and flashed a Piaget Polo in white gold with diamonds. “Is that you?” he asked no one in particular.

The gesture made me wonder what the brand actually meant to him. Like the other celebrities Piaget dressed that day (Anne Hathaway, Jessica Alba and Alec Baldwin, to name a few), Mickey almost certainly wore what his stylist had chosen for him after some intense brokering. I doubted his own taste figured much into the equation. It was a simple but revealing moment. The Oscar dressing game is an illusion we collectively — and happily, might I add — embrace. Why? Because much of our industry’s success comes down to helping the Hollywood myth sparkle even more seductively.

By Victoria Gomelsky