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A sterling collar, often hinged and set with no stone, is one of the core Sigi Pineda forms, a close-fitting band that depends entirely on the shaping of the silver around the neck. The collar recurs across his work, a silhouette he returned to as a defining shape.
Sigi's grounding was in the Taxco school's best workshops. Morrill places him among the silversmiths in Margot van Voorhies Carr's atelier, where he oversaw the enamelers for four years before opening his own shop in the mid-1950s (Morrill, p. 168). The hinged sterling collar belongs to the independent line he developed afterward.
That line later turned, in Morrill's account, toward die-cast production to make it less expensive to manufacture (p. 250). For a collector, a Sigi collar is among his most recognizable forms, modernist structure in silver worn snug at the throat.
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