It is noteworthy that the election campaign and the intrigue described in the film have already unfolded in a similar way in real life. The film is based on the 2016 novel by Robert Harris.
As Marion Hazel says, I'm fascinated by the thriller, set in Cardinal's College. The clash of loyalty, ambition and corruption, ever since I saw it in the cinema last year. I have to admit, however, that on first viewing, I could hardly concentrate on the plot. I was so focused on the large crosses on the chest worn by the cardinals. Although I couldn't see the fine details of the jewelry, it was clear that they were beautifully made.
The silver cross worn by Cardinal Lawrence is reminiscent of crosses dating back to the beginnings of Christianity. It is a symbol of hope and a gospel invitation to imitate Jesus in all things, accepting even suffering.
My mind was swirling with questions. How, for example, did the costume designer get all those unique crosses. Are they vintage? Were they chosen to match each character? I thought they must be.
I don't know if it's sacrilegious to say it, but I couldn't help but think how chic it was that crosses were worn on necklaces with chains. And then they turned into red and gold rope that resembled a climbing rope with tassels on the back. Now, I know that the cord is an authentic style of cardinal jewelry that symbolizes loyalty and rank.
The whole film is made with care. Every scene is framed like a painting, I just knew there was a story about the jewels.
I was lucky enough to meet Riccardo Penko, a Florentine jeweller. His family business created the production pieces at the «Sketch to Screen» panel presented by UCLA in Los Angeles the day before the Academy Awards. The annual event, moderated by Dr. Deborah Landis, features all six costume designer nominees. I enjoyed listening to all of them, but I was stuck with Conclave's Lisy Christl. She did not disappoint.
During the conversation, Lisy shared many behind-the-scenes details. For example, she described how she was given the wrong sizes for Ralph Fiennes. A mistake she only realized after she traveled to meet him. She worked in detail with the director, Edward Berger, to change the color of the cardinal's costume. From the orange-red silk worn by popes today to a deeper red velvet inspired by historical garments. Lisy also explained how she slightly adjusted the scale of the cape and the length of the robes.
Lisy stressed the importance of the crosses and gave Riccardo a thumbs up from the stage. He talked about how receiving the jewelry box from his workshop in Florence was such a gift.
With renewed interest in the film during the actual conclave, I contacted Riccardo and he generously agreed to answer my questions about the jewels in the film.
Tell me about your family jewellery company.
Penko Bottega Orafa was founded by my father, Paolo Penko, together with my grandfather, in 1985. This year, in December, we will proudly celebrate 40 years in business.
My brother Alessandro and I are continuing this family legacy. We represent the third generation and we continue to passionately bring to life the tradition of craftsmanship handed down to us.
Paolo Penko is one of the founders of the Florence School of Sacred Arts and made the Crucifix for the Eucharistic table created for the Mass celebrated by Pope Francis in Florence in November 2016. Could you tell me a few words about it?;
The Florence School of Sacred Art was founded in 2012 and my father is one of its founders. The goal was, and still is, to teach art from a vision deeply connected to the sacred, with particular attention to the theological and symbolic aspects.
Today we collaborate with the diocese of Florence, for which we make jewellery dedicated to sacred art.
How long did it take you to make all the jewellery?;
The work came together in a really short but intense period. We worked day and night to be able to complete everything on time. After about a month of planning, which started in October, we moved on to the actual construction of the jewellery, which had to be ready for shipment to Rome by the end of December.
In just two and a half months we made over 500 pieces, including rings, crosses, cufflinks and pins. Initially we were only asked to make jewellery for the main characters, but Lisy was so pleased with our work that she asked us to make jewellery for the entire cast, including the extras. I remember that we often met in the workshop even after dinner, had a bite to eat together and continued the work. My entire family of four was involved in this project, along with two precious collaborators.
The interpretation of each character in the jewelry is amazing. Can you tell me a little bit about the process?;
It was necessary to know the story and the characters and to constantly consult the costume designer to find out together what messages would come through each creation.
Sacred art is based precisely on the power of symbols and each character had to convey a specific message. We also paid special attention to the geographical origin of the cardinals: coming from different parts of the world. It was therefore essential that their jewellery should also bear witness to the culture and style of their respective countries.
Each cross is so personal and unique. Did you use historical crosses as models?;
We were not inspired by historical jewellery, but chose to create a completely new design, trying to imagine what could be worn in a modern conclave, where conservative and progressive personalities coexist.
Therefore, the choice of materials and colours was decisive. We used gold to represent the more traditional cardinals and silver for those with a more modern orientation.
Conclave is a film set in a contemporary context. And the jewellery was designed precisely to reflect this modernism. So they tell the story of each character's personality. It was a project in which even a symbol deeply connected to prayer. Like the cross, it was designed to have a touch of elegance, almost charm.
Do you have a personal favorite among all the crosses?;
My favorite cross is a little special because it represents a piece that I am very attached to. It was the original model conceived and designed for Cardinal Lawrence. It was the first cross I designed and also the first one I built. Its message had to be clear. A symbol of peace and brotherhood. And that's why we chose to include the olive plant, along with the Latin inscription Pax Tibi, or ’Peace to you«.
During the rehearsals for the costumes, however, the actor [Ralph Fiennes] and I decided to use another, simpler and more modest cross. One that was more in keeping with his character. This first olive cross was worn in the film by one of the extras, but it's not recognizable in the scenes.
Do you have future plans to make jewellery for the films?;
I have something in the works. but I don't know if I'm at liberty to talk about it. I can say that there are no crosses. It's something very different.
Source: marionfasel.substack.com
