The ‘Conclave’ Jeweler Confesses All
Each pectoral cross in the movie tells a story
In the lead-up to the real-life election of a new Pope currently underway in Rome, the Oscar-nominated film Conclave has surged to the top of the streaming charts in America. Remarkably, the campaigning and intrigue depicted in the film, based on Robert Harris’s 2016 novel, have already unfolded in similar ways in real life. (I am looking at you Cardinal Angelo Becciu.)
I have been fascinated by the thriller, about the College of Cardinals and the conflict of faith, ambition and corruption, ever since I saw it at the theater last year. I must admit, however, during the first viewing, I could barely focus on the plot. I was so fixated on the large pectoral crosses the cardinals were wearing. Even though I couldn’t see the fine details of the jewels, it was clear they were beautifully crafted.
My mind reeled with questions. How did the costume designer source all these unique crosses? Are they vintage? Were they chosen to match each character? I thought they must be.
I don’t know if it is sacrilege to say, but I couldn't help thinking how chic it was that the crosses were worn on chain necklaces and switched to red and gold rope resembling climbing rope with tassels on the back. Now, I know the cord is a legit cardinal jewelry style that symbolizes devotion and rank.
The care with which the entire film is crafted, every scene is framed like a painting, I just knew there was a story to the jewels.
I was lucky enough to meet Riccardo Penko, a Florentine jeweler whose family firm created the pieces in the production, 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, includes all six nominated costume designers. I enjoyed hearing from all of them, but was fixated on Lisy Christl of Conclave. She did not disappoint.
During the discussion, 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 traveling to meet him. She detailed worked with the director, Edward Berger, to change the color of the cardinal’s attire from the orangey-red watered silk that popes wear today to a deeper red velvet inspired by historic garments. Lisy also explained how she slightly adjusted the scale of the cape and the length of the robes.
Lisy emphasized the importance of the crosses and gave Riccardo a shout-out from the stage. She talked about how receiving the box of jewels from his workshop in Florence was such a gift.
With the renewed interest in the film during the real life conclave, I reached out to Riccardo and he generously agreed to answer my questions about the jewels in the movie.
Tell me about your family’s jewelry 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 carry on this family legacy. We represent the third generation and continue with passion to bring to life the craftsmanship tradition that has been handed down to us.
Paolo Penko is one of the founders of the Sacred Art School of Florence and produced the Crucifix for the Eucharist Table created for the Holy Mass celebrated by Pope Francis in Florence in November 2016. Could you tell me a little about this?
The Florence School of Sacred Art was founded in 2012 and among its founders is my father. The goal was, and still is, to teach art from a vision deeply connected to the sacred, with particular attention to theological and symbolic aspects.
Today we collaborate with the Florentine diocese, for which we make jewelry dedicated to sacred art.
How long did it take to make all the jewelry?
The work was concentrated in a really short and intense period. We worked day and night to be able to complete everything in time. After about a month of planning, which began in October, we moved on to the actual making of the jewelry, which had to be ready for shipment to Rome by the end of December.
In just over two and a half months we produced over 500 pieces, including rings, pectoral crosses, cuff links and pins. Initially we were asked to take care of only the jewelry for the lead actors, but Lisy was so pleased with our work that she asked us to make jewelry for the entire cast as well, including extras. I remember that we often met in the workshop even after dinner, eating something together and carrying on the work. My entire family of four took part in this project, along with two valuable collaborators.
The interpretation of each character in the jewelry is amazing. Can you tell me a little about the process?
It was essential to know the story and the characters and to constantly consult with the costume designer to figure out together what messages to convey through each creation.
Sacred art is based precisely on the power of symbols and each character had to carry a specific message. We also paid special attention to the geographic origin of the cardinals: coming from different parts of the world, it was essential that their jewelry should also tell the culture and style of their respective countries.
Every single cross is so personal and unique. Did you use historical crosses as references?
We were not inspired by historical jewelry, but chose to create a completely new design, trying to imagine what could be worn in a modern-day Conclave, where conservative and progressive figures coexist.
For this, the choice of materials and colors was crucial: we used gold to represent the more traditionalist cardinals and silver for those with a more modern orientation.
Conclave is a film set in a contemporary context, and the jewelry was designed precisely to reflect this modernity, telling the story of each character’s personality. It was a work in which even a symbol deeply connected to prayer, such as the cross, was designed to have a touch of elegance, almost glamour.
Do you have a personal favorite among all the crosses?
My favorite cross is a bit 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 made. Its message had to be clear-a symbol of peace and brotherhood-which is why we chose to include the olive plant, along with the Latin inscription Pax Tibi, or ‘Peace be to you.’
During costume rehearsals, however, together with the actor [Ralph Fiennes] we decided to use another, simpler and more modest cross, more in keeping with his character. That first cross with the olive tree was worn in the film by one of the extras, but it is not recognizably visible in the scenes.
Do you have any future plans to make jewelry for the movies?
I do have something in the works. but I don’t know if I am at liberty to speak about it. I can say there are not crosses. It’s something very different.