Born into a family of jewellers and watchmakers, metalsmiths and sculptors spanning four generations, gems and precious metals were never alien to ELISA GILBERT. They were objects of art that gave her boundless joy. However, the artistically inclined Elisa chose to pursue law and practised it for three decades!
Later, the pull of her illustrious bloodline and its rich legacy of jewellery-making proved stronger. Elisa decided to embrace her family’s tradition, tapping into an inherent—though long-hidden—talent. In a move that felt only natural, albeit delayed for decades, she founded Vivienne Charles in January 2020. The brand is an ornate tribute to her parents and their family legacy—one not meant to be relegated to the hoary past, but reimagined for a new generation of customers, blending a watchmaker’s precision, a sculptor’s expression, and a metalsmith’s artistry.
The brand is named after her parents—Vivienne, a New York City fashion illustrator, and Charles, a sculptor who studied at the High School of Music & Art and Pratt Institute. His artistry extended beyond jewellery to include sculpture.
Elisa’s by-appointment atelier is tucked away in a cedar-clad Balinese tea house in Tuxedo Park, New York, a departure from a traditional jewellery retail showroom.
The brand’s wearable artworks are all handcrafted, and enshrine nature’s wonders in gold and gemstones. Each piece bears Elisa’s unmistakable imprint, making it quirky yet covetable.
Your transition from a 30-year legal career to jewellery design is so refreshingly offbeat. What reflections accompanied this significant shift, and how did your legal background influence your approach to craftsmanship and entrepreneurship?
When my father passed, a lifetime, a treasury of artisanal wisdom seemed on the brink of fading. The measured precision and disciplined rigour of law taught me patience and thoroughness, skills indispensable at a jeweller’s bench. Law sharpened my eye for detail; it honed a respect for meticulous craftsmanship and instilled in me a drive for thoughtful precision. These are qualities I now pour into every piece I create, jewellery not merely as adornment, but as intimate, timeless narratives of heritage and connection.
You graduated from Cornell University with a background in music and art. How did that early creative foundation shape your journey when you transitioned to jewellery design and founded Vivienne Charles?
Music and art were my earliest loves, my first languages. They gave me a nuanced understanding of rhythm, harmony, and proportion, elements just as crucial in fine jewellery as in composition. My Cornell years deepened my appreciation of visual storytelling, empowering me to see jewellery not merely as decorative, but as expressive artworks infused with cultural resonance. This creative vocabulary bridged my legal career to my current path, allowing each piece to resonate deeply, personally, and memorably.
Tell us more about your creative process—from the initial spark of inspiration to the final polished piece?
Each creation is born from a narrative, an intimate observation of nature, a brushstroke from mythology, or the stirring resonance of architecture. I sketch out the vision, often evolving significantly through meticulous iterations.
Sometimes an initial whimsical idea, such as my Prince Charming necklace, transforms organically from a playful sculpture into a refined jewellery piece. Every step from wax carving to final polish is an adventure, balancing precision with poetic spontaneity.
How did your early experiences at your father’s jeweller’s bench shape your aesthetic sensibilities and technical skills?
My childhood was filled with the delicate music of metals being shaped, of gemstones finding their rightful place. The patient mastery of my father and grandfather instilled a profound reverence for craft and taught me that discipline and imagination are inseparable allies. These early experiences form the foundation of my aesthetic, blending the thoroughness of a master watchmaker with the expressive boldness of a sculptor’s hands.
I grew up in “The Place,” our family’s studio. My first formal lesson was how to sit still while someone filed gold beside you. My grandfather could melt heartbreak into a casting flask, and my father could make metal feel like silk. I didn’t just learn technique, I inherited storylines.
Your atelier in Tuxedo Park, with its cedar-clad Balinese tea house and treehouse-turned-lapidary workshop, sounds enchanting. How does this unique environment influence your creativity you embed in your jewellery?
My studio is deliberately nestled within nature, crafted to mirror the harmony and tranquillity I strive for in my designs. Here, among sun-dappled greenery and serenely reflective waters, creativity thrives naturally. Each stone polished, each metal cast, carries with it the peaceful cadence of its birthplace, representing the very essence of tranquillity and timelessness I seek to instil in every piece.
The name “Vivienne Charles” evokes a sense of structured legacy and artistic elegance. What inspired this name?
“Vivienne Charles” is a tribute to my parents – Vivienne, an imaginative fashion illustrator trained at Parsons School of Design and Industrial Arts, and Charles, my father, graduated from Music and Art and studied architecture at Pratt Institute was a sculptor who transformed metals and gemstones into tangible poetry. Their combined legacy represents an artistic elegance, a merging of heritage craftsmanship and innovative design that defines every creation under this name. My mother, a fashion illustrator with an eye for drama… my father, an architect of dreams, also knew the tensile strength of 14-karat gold. Together, they created beauty. I’m just continuing their work.
What sets Vivienne Charles apart in the world of fine jewellery?
At Vivienne Charles, every jewel is a story, crafted not merely to adorn but to resonate deeply, personally, timelessly. I see jewellery as an intimate art form, an enduring connection between the creator, the wearer, and the myriad stories we silently, elegantly tell. If you take nothing else from this: remember that jewellery is not about sparkle, it’s about resonance. It’s the beginning of an heirloom, the echo of a memory, the glint of your grandmother’s laugh and her favourite phrases, caught in things of timeless value. It should be beautiful and in beauty we connect through time and across generations. That’s what we make here.
What are the current trends in jewellery?
The jewellery world today dances elegantly between sustainability and bold self-expression. Ethical sourcing and personalised pieces reign supreme, alongside a renewed appreciation for bold statement designs.
Bespoke craftsmanship and vintage revival speak to collectors’ desires for uniqueness and meaningful storytelling, juxtaposed with the sleek simplicity of hyper-modern minimalism.
Where does a consumer buy your jewellery? Do you have an omnichannel retail model?
Vivienne Charles pieces can be bought in exclusive spa retreats and soon, through our online presence.
Our Tuxedo Park atelier is open by appointment, offering visitors a personal, immersive experience within our enchanting studio spaces. We treasure these intimate engagements, ensuring every interaction is as bespoke as the jewellery we create.
What are your aspirations for Vivienne Charles? Are there new collections, collaborations, or artistic directions you’re excited to explore?
The future is brimming with exciting possibilities, a zodiac and mythology-themed collection, more for the nature-inspired series, and participation in prestigious international competitions. Each project represents an opportunity to weave deeper narratives, to collaborate with artists who share our passion for excellence and artistry, and to further establish Vivienne Charles as a coveted symbol of artistry and timeless luxury.
We have several new collections that we are working on, a very urban elegant line called “Links” and a more traditional line. We’re also working on mixing material –hand-dyed silks and suede with sculptural designs and faceted stones.
We will submit something to The Singapore Venice design competition which should showcase our ability to tell a story of two artistic nations in metal, silk and diamonds, an evolution where folklore meets functionality.