Interview: American Jewellery Designer Andy Lifschutz in Rome

DAM Gallery presents:

New Renaissance man: Andy Lifschutz photographed at his atelier in Rome's centro storico where artisans have worked since the 16th Century. "I love ancient history, psychology, mysticism, spirituality, working with my hands....The canvas of the human form gives me the best response and critique of my craft. Cover photograph and portrait by Paul James McDonnell

American jeweller Andy Lifschutz has a studio in New York’s hip Bushwick neighbourhood but has recently opened a gallery and studio in the heart of Rome. An artist in metal and stone, the designer's richly-textured pieces are hand-crafted and full of whimsical metaphor and poetry. Jeanne-Marie Cilento talks to the tall, laconic Portland native at his 16th Century bottega in Via Arco Di Palma

LEANING over his worktable covered in tools under a high, arched ceiling and an ancient map of Lazio, the bearded Andy Lifschutz could be a Renaissance artisan himself ~ apart from the small expresso in a stylish glass at his side. The jeweller describes how the sense that artigiani have worked in this same space for centuries is both an inspiration and reminder of the long history of his craft. The light and airy gallery at the front of the studio opens through an arched glass door on to a cobbled street that leads on to Rome’s famous avenue of antiquaries and art galleries, Via Dei Coronari.

Glinting golden in the afternoon light, Lifschutz’s pieces have a rough-hewn, organic quality that suggests his inspiration from the animals and wild forests of his Oregon homeland. A long brass cuff and collar have a sinuous texture of imprinted leather and tempt you to run your fingers over their surface to feel their lustrous curves. Chunky rings bristle with glimmering pieces of brilliant quartz that seem like a crystalline explosion ~ giving the natural stones an unusual sense of dynamism and life. Mixing artisanal techniques with raw materials such as reclaimed metals, wood, bone and stone, his pieces exude a natural spirit and form.

Andy Lifschutz' professional career is as original and complex as his pieces of jewellery, encompassing acting, wine making and working in politics. But he found his creative métier after being inspired by a piece of hand-made jewellery in the shape of a rose in London. He then passionately pursued learning all of the techniques and craft of jewellery design and making.

He began metalworking in Brooklyn with designer Kristin Hanson and then gained more experience in Portland, Oregon with Gunnar Adamovics. But it was under the tutelage of William "Billy" Thomas King at the Sterling Quest School of Jewelry Design and Creation in San Miguel De Allende, Mexico that set Lifschutz on his professional path after graduating in 2008.

Today, the jewellery designer's work has been featured in New York fashion shows and in top magazines around the world. He creates not only special custom made pieces but has his own collections of rings, bracelets and earrings.

1. After having been an actor, wine maker and working in politics how did you begin your career as a jewellery designer? 

Craft is a part of my framework. My grandmother is an award winning quilter and my father is a carpenter. Growing up I was encouraged to explore my creative aspirations to the fullest. After travelling the world, exploring a career in acting, wine making, and (yes) a brief stint working in politics I was called to a create objects of adornment. This happened while I was living in London with my then girlfriend, who introduced me to the amazing hand crafted work of a Roman jewellery designer. I fell in love with the detail and emotion that was shared through this artist's work in silver and gold.

Once I began apprenticing in New York all of the pieces of the puzzle started to come together. I was able to explore the human relationship to objects; the emotion behind something that is cherished, the value of creating something that will be treasured, loved and passed down. This process I found rewarding, and I possessed the ability to sit still for hours on end crafting one single piece of work. So it stuck.

Passion turned to obsession and soon I was up to my eyebrows in metal courses, study and practise. I didn’t really do anything else for a few years. It pissed my friends off at times as I was very much engulfed in developing my craft. There were a lot of months where I would only sleep three to four hours a night in order to get the most out of each day. That thankfully has got better now!

2. Why did you choose jewellery design as your artistic métier?

I’d say it chose me. I love ancient history, psychology, mysticism, spirituality, working with my hands, the continual search for what it means to be living here and now in 2014. All artists get to express the sentiment of what it means for them to be alive today, and express that in their own medium. I enjoy being able to see my work enjoyed by friends, clients and the general public. The canvas of the human form gives me the best response and critique: it helps me to refine and redefine my craft.

3. Can you describe the experience, person or training that has had the greatest impact on your design career so far?

I have been very fortunate to study and train with some of the best jewellers and teachers in the world (in my humble opinion). Of course, there is one that stands out more than others, mostly due to his larger than life approach and technique, William ‘Billy’ Thomas King, who runs the Sterling Quest School in San Miguel De Allende.

I decided to go to Mexico based on word of mouth that I needed to study with this guy. His website was down at the time, and all I had to go on was an expletive-laced 20 minute phone conversation on Boxing day of 2006. Billy’s method teaches you the technical side of metalsmithing, while insisting that your creative spirit is in charge of translating your design into metal. This approach allowed me the freedom I needed to build my creative set.

4.  Where did you grow up and does this place inspire your creative work?

I grew up in the Great Northwest of the United States in and around Portland, Oregon. I continue to be inspired by Oregon, with its unscathed natural wonders of forests, mountains, beaches and good people.

5. Today, you split your time between studios in New York and Rome. What does each city give you?

Well Rome is connected to all empires both current and former, so there is a similarity in a sense. For me, Rome now is more laid back and the pace of life is much more agreeable. However, in our current world New York offers so much to an artist and growing brand. There is no other place in the world that has so many wonderful and successful ideas being activated all at once. That synergy is magnetic.

Sure, it’s a tough place to live, but once you get the hang of it there is a real magic to being a New Yorker. So I’m grateful to have both for now. I can get out of town to the hot springs in Tuscany one month and next month I’ll catch my favourite flea market in Chelsea on Saturday. For this balance I am extremely grateful.

6. Do you find your creative process when designing jewellery is more rational or instinctive? 

Instinctive. If it’s a custom piece I want to study the hand of my client when designing a ring for them. So not just that the size fits, but also the actual design responds well with the shape of their fingers. For my collections I try to be as present-minded as possible and create in relation to what is going on in our world and how I feel about those realities.

7. What do find the most challenging aspect of your work as a jeweller?

Time!!!! I love creating my work and there are so many directions that I have yet to explore.

8. What part of the jewellery designing and making process gives you the most happiness?

When the perfect piece finds the perfect home. That smile on someone’s face when something that I have created really speaks to him or her.

9. Do you have a set schedule of working creatively everyday or is the process more fluid?

I have different parts of the year where I divide my time into separate camps. If I am finishing an order and getting ready to meet my deadlines then I am on a strict schedule. Whereas, if I am doing research for the next collection or working on a custom piece I ignore all clocks, timers, phones and immerse myself in the creative task at hand.

10. In our digital age, what does jewellery give us as an art form?

Trick question? Sadly, most of the jewellery that you see on the high or low streets today is at least partially designed by a computer program. I’m not completely anti CAD program, but I do feel that there is something very special about a truly hand crafted piece of jewelry. 

Given that you are choosing to put something on your living, breathing, conscious body, isn’t it nice to know that you are expressing yourself with a piece of jewellery that came from the process of someone else’s own creative spirit? I think that jewellery gives us a connection to a greater depth within ourselves. We are not reminded of how many apps we have, or what TV program we plan to watch by what jewellery we wear. Hopefully we are reminded of those we love, a special moment and the unique individuals that we all are. 

To view more of Andy Lifshutz's work visit: www.DAM-Gallery.com

Click on photographs for full-screen slideshow

Andy Lifschutz working in his studio in Rome on his hand-creafted jewellery: "If you are choosing to put something on your living, breathing, conscious body, isn’t it nice to know that what you are expressing yourself with a piece of jewellery that came from someone else’s own creative spirit?" Photograph by Paul James McDonnell

The Caipora cuff from Lifschutz's Le Havre collection. Model Alisa Nadolishny. Photograph by Rudolf Bekker

Caipora Collar from the Le Havre collection that explores decay and reclamation. Lifschutz deconstructed a 1920's leather handbag and transformed the worn material into jewels of reclaimed bronze and sterling silver. Photograph by Jeremy Kirby

Andy Lifschutz working in Portland, Oregon at the short lived but successful Mercy Studios. He is pictured working on one of the pieces for his debut collection Love Letters.  Photograph by Basil Childers

Ice on Fire ring from the Nature Speaks collection hand-made by the jeweller in cobalt quartz and bronze. The quartz stones are from Arkansas in the USA and are set in their raw and uncut form. Photograph by Jeremy Kirby

The jeweller's chunky rings bristle with glimmering pieces of brilliant quartz that seem like a crystalline explosion ~ giving the natural stones an unusual sense of dynamism and life. Model: Alisa Nadolishny. Photograph by Rudolf Bekker  

Artemis Ring in Rose Silver with sterling silver prongs and set with rainbow quartz is an original piece part of Lifshutz's Nature Speaks collection. Each piece is custom made from by the artist using uncut quartz crystals and reclaimed metals. Photograph by Jeremy Kirby

From the Garbo Collection, the rings are made of yellow gold and set with sapphire's, rubies, emeralds, and diamonds. The collection was inspired by the intriguing actress Greta Garbo.

The Smoke on Water ring from the Nature Speaks collection is hand carved by the artist. The quartz stones are from Arkansas in the USA, are set in their raw and uncut form. Photograph by Jeremy Kirby

An original neckpiece created by the jeweller for Delphine Diallo's pictorial Faith. The leather was salvaged from a 1920's leather handbag and reconstructed into this wearable art collar. Photograph by Delphine Diallo

Custom brass knuckles created for one of the jeweller's clients. The hand-engraved rings read: Mina Mama. Photograph byTyler Kohlhoff

Copenhagen Fashion Week Spring/Summer 2016: The New Eclecticism

An exuberant Scandinavian confection of straw and chiffon at Nichols Nybro during Copenhagen Fashion Week SS16. Photograph by Jesper Bang P. Thortzen

The Scandinavian designers at this season's Copenhagen Fashion Week filled the catwalks with androgynous and eclectic designs that brought an original and fresh look to Spring/Summer 2016, writes Limor Helfgott. Photography by Jesper Bang-P Thortzen



Flowing gown at Mark Kenly Domino Tan.

ESTABLISHING an influential place among the other important fashion events in European capitals, Copenhagen Fashion Week is attracting press and buyers from around the globe. Known for a laid back and effortless style, this season there were over sized designs again but this time with bolder colours and some serious chic.

One trend dominated the catwalks: the genderless look – a fast and growing theme in the fashion world, especially in Europe. It has been a very strong element in past seasons at Copenhagen. Designers featured both men and women in their shows while clothes and models blended together.

The most important Scandinavian designers presented interesting and quirky collections, and we chose some highlights:

The Queen of Goth

Barbara I Gongini. Photo: Jesper Bang-P Thortzen

 Known for her androgynous creations and for not following fashion trends Barbara I Gongini didn’t disappoint this season. She sent out on to the catwalk, mysterious, Gothic silhouettes, but this time surprising us by adding pale elements to her collection such as striped white pieces and matching trainers. Other colours appeared in the form of bright blue sneakers, which certainly stood out in the sea of monochrome, and added a touch of freshness to the dark collection.


Barbar I Gongini. Photo: Jesper Bang-P Thortzen

The abstract genderless pieces included tailored jackets, over sized t-shirts along with wide-legged jumpsuits all created with strong geometric cuts. We could see a lot of layering with the use of sheer materials, leather details and straps, all teamed with heavy asymmetric and bold abstract jewellery that fitted perfectly to the no-nonsense feel of the collection.

AGL ~ Photo: Jasper Bang-P Thortzen

The Rule Breaker
Last season Asger Juel Larsen offered a rock and roll collection. Winner of the European International Woolmark Prize for menswear, the designer’s presentation for SS16 had a lot of 70’s jungle fever and less romantic looks.

With his signature elements of sportswear mixed with tailoring, AJL presented a strong androgynous collection with garments such as cropped tops, slick pants, textured leather and some very short shorts mixed. The patterns of the materials included jungle leaf prints in deep greens and fiery oranges. All teamed with Huckleberry Finn scarves, and with a “socks-in–sandals” look which which added to the whole fresh feel of the collection. 

Henrik Vibskov. Photo: Jesper Bang P. Thortzen

The Spiritual Guide
Henrik Vibskov’s SS16 collection continued to combine his men's and women's shows together in a unified mix of looks. The collection, called “The Hot Spray Escape” was all about exploring the human survival instinct and our search for spiritual calmness and physical perfection. It demonstrated survival in the desert through different symbols and textures with bold geometric patterns, abstract prints, vertical lines and polka dots, and a lot of reverse layering, transparency and sheer panelling.

 Vibskov. Photo: Jesper Bang-P Thortzen

Most of the collection was kept black and white with some contrasting colour and elements such as curved lines and circles and the transparent materials adding a touch of elegance. Vibskov said the plan was to have a collection purely based on white, but while creating it, the designs slowly became more colourful.

This season Vibskov presented a new collaboration with iconic Danish swimwear brand H2O. The designer created his first swimwear collection for the brand, known for mixing sporty and functional, which goes well with Vibskov's own designs. Two-dimensional wool hats were a creative nod to desert landscapes.

The Young and the Wild

Mardou & Dean.Photo: Jesper Bang P-Thortzen

 The Oslo-based hot young fashion brand Mardou & Dean presented their first international show this season in Copenhagen, with a parallel women’s and men’s collection. The collection was a fantastic mix of wild, wearable pieces with strong industrial references using woven metallic fabrics together with leather, denim and velvet details.

The palette was mostly grey, white, gold and silver. And although some of the silhouettes on the catwalk could be described as androgynous with both masculine and feminine touches, we could also find some softer pieces such as tight-fitting dresses and puffy sleeves. An eccentric touch were the protective plastic goggles that added a futuristic vibe to the collection.

The Grown Up

Baum und Pferdgarten.Photo:Jesper Bang-P Thortzen 

Baum und Pferdgarten offered a sophisticated collection as always, with classic elegance mixed with some eclectic and daring garments. It was a more “grown up” collection than what we have seen before: blazers played a key role, and although it was a women’s collection there were some menswear influences, like the collared dresses and masculine-feminine combination of a boyfriend blazer.

The collection was very wearable, the fluid silks and lightweight chiffons were combined with bold patterns, Victorian inspired details and exaggerated turtlenecks. We especially loved the use of lace in both the long skirts and pants that added an element of glamour.

Hair and Make up

Backstage at Barbara I Gongini. Photo: Jesper Bang-P Thortzen

This seasons’ catwalks at Copenhagen featured some standout hair and make-up looks from glamorous retro waves to graphic eyes. Here are some of the looks that caught our attention: wet-look hair was clearly a trend and it appeared again at Barbara I Gongoni with side-parted waves, teamed with dramatic smudgy eye make-up.

Nichols Nybro. Photo: Jesper Bang-P Thortzen

We loved the basket-weave braids at Nichols Nybro and can easily see this look as a fun hairstyle for a special summer party. Effortless chic is always in style and at Mark Kenly Domino Tan  a bright orange lip was simply featured on an otherwise bare, fresh face. Another key look on Tan’s runway was the bold green eye makeup in clean, graphic shapes.

This season in Copenhagen showed that Scandinavian fashion is full of creative and original designers and the design future in this part of the world looks to be an exciting one. 

Click on photographs for full-screen slide show

Vivid colour and curving patterns at Henrik Vibskov. Photograph by Jesper Bang-P Thortzen

Bold geometric patterns, abstract prints, swirling lines and burnt orange, pink and black brogues at Henrik Vibskov. Photograph by Jesper Bang-P Thortzen.

Floating dresses with sea like motifs at Henrik Vibskov. Photograph by Jesper Bang-P Thortzen.

Black on black at Barbara I Gongini. Photograph by Jesper Bang-P Thortzen

Lighter notes at Barbara I Gongini with stripes and white trainers. Photograph by Jesper Bang-P Thortzen

 A whimsical mix of jacket, scarf, shorts, sandals and socks at Asger Juel Larsen. Photograph by Jesper Bang-P Thortzen. 

Black mixed with brilliant prints at Asger Juel Larsen. Photograph by Jesper Bang-P Thortzen. 

Backstage at Asger Juel Larsen. Photograph by Jesper Bang-P Thortzen. 

Clashing colours but matching prints at Asger Juel Larsen. Photograph by Jesper Bang-P Thortzen.  

Jungle prints, sandals and short shorts at Asger Juel Larsen. Photograph by Jesper Bang-P Thortzen.

Ferny green ensemble at Asger Juel Larsen. Photograph by Jesper Bang-P Thortzen. 

Dramatic black evening gown with fur earrings by Mark Kenly Domino Tan. Photograph by Jesper Bang-P Thortzen.

All in grey with a dash or orange lipstick at Mark Kenly Domino Tan. Photograph by Jesper Bang-P Thortzen. 

Futuristic oriental inspirations at Mark Kenly Domino Tan. Photograph by Jesper Bang-P Thortzen.

Stripy silks at Baum und Pferdgarten. Photograph by Jesper Bang-P Thortzen 

Flowing gowns at Baum und Pferdgarten. Photograph by Jesper Bang-P Thortzen

Lace and long jackets at Baum und Pferdgarten. Photograph by Jesper Bang-P Thortzen 

Denim and floral shirts Baum und Pferdgarten. Photograph by Jesper Bang-P Thortzen 

Blazers and lace at Baum und Pferdgarten. Photograph by Jesper Bang-P Thortzen

Pale denim and perspex glasses at Mardou & Dean. Photograph by Jesper Bang-P Thortzen.

White Nehru collared shirts and silvery, zipped trousers at  Mardou & Dean. Photograph by Jesper Bang-P Thortzen.caption

A splash of orange to enliven a 70s colour combo of green and Mission brown at Mardou & Dean. Photograph by Jesper Bang-P Thortzen. 

Nichols Nybro's evocative straw creations during Copenhagen Fashion Week SS16. Photograph by Jesper Bang-P Thortzen

Modern Ballet: NYC Dance Project by Ken Browar and Deborah Ory

Ashley Ellis, Principal Dancer at the Boston Ballet shot by photographers Deborah Ory and Ken Browar at their studio in New York City.

American photographers Deborah Ory and Ken Browar created the NYC Dance Project to shoot contemporary and classical dancers in New York, capturing their dynamism and beauty, Antonio Visconti reports

DEBORAH Ory started her career as a modern dancer while Ken Browar worked as a fashion photographer. Today, working together they are able to use each of their different strengths to create startling portraits of New York's top dancers. The dance project grew from their shared love of the human body in motion. 

“It is a celebration of dancers’ bodies," says Ken Browar. "Dancers must simultaneously be artists and athletes, and we try to highlight both qualities of our subjects in the photographs.” Ory and Browar describe their collaboration as one of  "give and take" between both them and their subjects.  

“We want to showcase and celebrate the dancers as individuals so that our project becomes a diverse portrait of New York's dance community,’’ says Browar. “Even in photographs where the dancers wear costumes, we look for the human being within the character they are playing.”

They prepare each shoot as though it is a dance production, working like choreographers and designing the sets, lighting, mood and movement to reflect the particular qualities of each dancer. “Our favorite moments are the simple ones: the breath the dancer takes after a jump, the quiet introverted moments often only seen backstage, or the second, mid-motion, when the dancer feels free,’’ says Deborah Ory.

Today, Browar and Ory live in Greenpoint, Brooklyn with two teenage daughters who are studying to be ballerinas. Browar’s passion for dance began when he lived in Paris and photographed dancers from the Paris Opera Ballet. His fashion photography has appeared in Vogue, Elle, Marie Claire and other European fashion magazines.

Ory began studying dance as a child and  made it her profession until she was injured and began her photography career, shooting the rehearsals she could not participate in. After moving to New York City, she worked as a photo editor at magazines such as House & Garden and Mirabella and began shooting editorial work for international design publications.

Click on photographs for full-screen slideshow

Marcelo Gomes, Principal Dancer at the American Ballet Theatre. “Our work is a celebration of dancers’ bodies," says Ken Browar. "Dancers must simultaneously be artists and athletes, and we try to highlight both qualities of our subjects in the photographs.” 

Ashley Ellis, Principal Dancer from the Boston Ballet making a graceful pose in New York. “Our favorite moments are the simple ones: the breath the dancer takes after a jump, the quiet introverted moments often only seen backstage, or the second, mid-motion, when the dancer feels free,’’ says Deborah Ory

The sheer physicality of dance ~ Alexandre Hammoudi, Soloist at American Ballet Theatre. They prepare each shoot as though it is a dance production, working like choreographers and designing the sets, lighting, mood and movement to reflect the particular qualities of each dancer. 

“Even in photographs where the dancers wear costumes, we look for the human being within the character they are playing,” says Ken Browar. Dancer Gabrielle Salvatto, currently shooting the film Flesh & Bone. Photographed in New York at Browar and Ory's studio.

The expressive Daniil Simpkin, Principal Dancer at the American Ballet Theatre.

Stretching ~ Daniil Simpkin of the American Ballet Theatre. 

Anthony Javier Savoy of the Dance Theatre of Harlem shows his elegance and strength.

Perfect alignment ~ Anthony Javier Savoy and Gabrielle Salvatto, dancers from the Dance Theatre of Harlem 

Expressive contemporary dance ~ Anthony Javier Savoy and Gabrielle Salvatto from the Dance Theatre of Harlem

Taking a flying leap ~ Anthony Javier Savoy of the Dance Theatre of Harlem.

Dancer Gabrielle Salvatto, currently shooting the film Flesh & Bone. Photographed in New York at Browar and Ory's NY studio.

Hee Seo is a principal dancer with American Ballet Theatre. Born in Seoul, Seo is the first South Korean principal with the ABT as well as being one of the youngest dancers in the company to hold this title.

All suited up and ready to dance ~ Daniil Simkin of the American Ballet Theatre.