Fashion

We are delighted to announce that the winner of the Winterson Prize for Best Use of Pearls this year is Felicia Swartling, showcasing a collection that combined imaginative sculptural elements with the freeform shapes of baroque pearls.

The CSM Jewellery Degree Show Awards took place on Thursday 19th June at Central Saint Martins. Each year this exclusive awards ceremony celebrates the new and exciting creations submitted by graduates of the influential London arts institute.

This year’s judging panel comprised Winterson Director Andrew Fraser, Caroline Broadhead, Programme Director at CSM, Maia Adams, Director and Founder at Adorn Insight, and British jewellery designer, Alice Cicolini, herself an MA graduate of Central Saint Martins.

The judges also commended Ruiyin Lin for work that drew parallels between how pearls take their form and modern materials that are constructed using 3D printing.

Commenting on the award, Winterson Director, Andrew Fraser said: ‘Felicia's work showed a well-judged appreciation of how each pearl could become an integral part of each piece, as well as being impressively accomplished at a technical level. We are delighted to award Felicia this year's Winterson Prize.'

Read more about Felicia's work in our interview here.

Thinking about what the jewellery trends later this year might be? We spot our favourite styles from the fashion catwalks of Milan, New York, Paris and London to wear and enjoy this Summer and Autumn.

BLUE IS THE COLOUR

Perhaps anticipating the warmth of the sea or a crisp clean sky, blue is the clear colour of choice this summer on the catwalk.

Think of a colour palette that ranges from bright electric to baby blue, but be sure that it is blue. Anna Sui, Dsquared2, Armani, Dior & Oscar De La Renta were just a few of the labels that will be influencing the look of this season.

In fine jewellery, we anticipate a selection of blue gemstones to match, from the deep blue of sapphires and London Blue topaz, to the mauve of spinels and the delicate pastel blue of aquamarine.

BOLD AND BEAUTIFUL

From the bold styles of last summer, jewellery designs this year continue the trend with more oversized gemstones and chains.

At Chanel, statement imitation pearls have been stretched to several centimetres in diameter. At Nina Ricci, rose quartz and malchite are worn in large rings and cuffs revealing their polished surface. Finally Balmain goes all the way with oversized chains in the form of chunky necklaces and bracelets, integrating these too in their womenswear collection.

CLASSIC PEARLS

Pearls continue to reign with a unique and effortless style that seems to complement the inventiveness and sophistication of today's catwalk.

This signature gem was playfully worn as pairs of giant headphones at Chanel, whilst models at Nicole Miller were draped with pearls layered  in varying sizes amongst chains and other beads.

Discover the new collection of earrings and pendants at Winterson this Autumn, styling aquamarine and other gemstones with the pretty white beauty of an Akoya pearl or the silvery-grey of a Tahitian pearl.

Opening this weekend is the V&A's major Spring show, 'The Glamour of Italian Fashion 1945-2104'.

Charting the rise of Italian fashion over the last 70 years, the exhibition follows the pivotal events, production innovations and individuals that have created an industry feted today for its glamour, sophistication and luxury.

The curator of the exhibition, Sonnet Stanfill who is also curator of 20th century and contemporary fashion at the V&A, has drawn together over 100 ensembles and accessories by many of Italy's famous fashion houses.

Visitors to the exhibition can admire the elegance and seductive style of Valentino, Prada and Armani, the intricacy of knitwear by Missoni, and fine leatherwork by Dolce & Gabbana and Gucci.

For jewellery lovers there will also be a rare opportunity to view the sheer opulence of a private collection of Bulgari jewels.

As more films were being shot on location in Italy during the 1950s and 1960s, Hollywood stars such as Audrey Hepburn and Elizabeth Taylor became style icons for Italian fashion. The American market, in particular, began to take note.

Taylor's husband Richard Burton even famously quipped 'the only word Liz knows in Italian is Bulgari'.

Rather than just being an amazing roll call of today's international design labels, the exhibition also offers the visitor a unique perspective in its examination of these early years.

In preparing the exhibition, Curator Stanfill has carefully researched the world of the Sala Bianca, pictured above, which is often regarded as the post-war birthplace of Italian fashion.

The Sala Bianca was the dream of an Italian business man called Giovanni Battista Giorgini who, whilst exporting Italian-made luxury goods to America, saw an opportunity to promote Italian artisanship and style. A gentleman, without profiting personally from the initiative, Giorgini was also a marketing genius.

Hiring crystal chandeliers, catwalk models and the surroundings of the famous Pitti Palace in Firenze, Giorgini introduced the Italian fashion industry to the world within just a few successful seasons.

The exhibition finishes with a video debate on the future of Italian fashion and questions its role in a world of overseas production and fast-fashion.

Promising to be a thought-provoking and affectionate look at the status of 'Made in Italy' today, the 'Glamour of Italian Fashion 1945-2014' opens on 5th April until 27 July 2014 at the V&A, London.

The world of the cultured pearl is always changing, with each year bringing a new set of pearl trends to discover as pearl farmers adapt their production and develop new techniques.

Our buying team recently returned from Asia with a stunning selection of the highest quality pearls for our collections of jewellery at Winterson, being carefully chosen for their lustre, colour and beauty.

But there were a few surprises too.

Here are our reflections from the visit and a prediction of pearl trends for the coming year:

SMALL SIZES…

Pearls above 11mm in diameter command a significant premium for their rarity, particularly for the highest quality South Sea and Tahitian pearls.

But this year more than ever before, we noticed that pearl sizes smaller than 7-8mm diameter, for the Akoya pearl and even seed pearls as small as 1-2mm, are very much in demand for necklaces, earrings and other types of jewellery.

Comfortable to wear and elegantly proportioned, these are the classic pearl sizes for a jewellery designer to work with.

THE EVER CHANGING FRESHWATER PEARL…

The shift in production and demand for Freshwater pearls over the past thirty years has been significant, with small cereal shaped pearls being steadily replaced by the introduction of rounder shapes, and more recently by larger nucleated pearls.

This year really is no exception. Round nucleated Freshwater pearls are now widely available in sizes above 12mm. The trend of the last few years towards large oversized baroque shapes in contemporary jewellery seems to be falling out of fashion.

Perhaps more concerning was the apparent level of processing treatment of some of the larger pearl sizes. Although designed to achieve a whiter colour, these pearls might lose their lustre over time. If in doubt, always buy from a retailer that specialises in pearls.

We only select the highest quality Freshwater pearls that we can find and we loved the dazzling metallic colours of the pearl drops above!

THE NEW WHITE IS…GOLDEN?

The boutiques and shops of Hong Kong are filled with many of the world’s luxury and fashion brands.

The Chinese home market of shoppers loves pearls and prices for high quality pearls are increasing with the growth in Asian markets.

Classic pearls that have a natural-looking white colour are the most favoured style, but it is the luxurious golden South Sea pearl, with its rich tones of champagne, gold and burnt orange, that is the most highly sought after pearl this year.

PREDICTION FOR 2014

The world of pearls is so varied that it is difficult, almost impossible, to summarise one single prediction for this organic gem next year.

Perhaps the most exciting trend is the popularity of small sizes - we are going to see more jewellery designers working with classic white pearls in many subtle, intricate and intriguing ways in 2014.

With September quickly fading into the Autumn, we look back to some of the SS14 jewellery and pearls that excited our attention this season at London Fashion Week.

Rock Vault, curated by jeweller Stephen Webster, is a showcase of ten of the most talented designers working in the UK. The initiative is into its fourth season and a perfect opportunity for press and buyers alike to see the group's new collections.

ALICE CICOLINI

Alice Cicolini's colourful new Kimono Collection, explores traditional patterns within circles and using her trademark enamelling techniques. The Kimono pieces mix vitreous enamel with vintage hand cut diamonds, polished opals and some truly fabulous pearls!

Our forthcoming Beau collection with Alice Cicolini, was also on show for the first time. We are very excited to be launching it at Winterson soon.

MELANIE GEORGACOPOULOS

Contemporary designer Melanie Georgacopoulos is admired for challenging traditional notions of what pearls mean in today's world.

Her previous work has included splitting cultured pearls in half to reveal the concentric layers of nacre inside and drilling pearls from the inside out to leave a skeletal shell of its surface.

Previewing her new SS14 for M/G Tasaki, a collaboration with the Japanese fine jeweller, Melanie's collection featured white Freshwater pearls and stretched 18 carat gold chain. We loved the inventiveness of this ring.

Also on show was Melanie's new fine jewellery line of necklaces, pendants and earrings, exploring the relationship between pearls and diamonds that have been set in cages of 18 carat gold.

ORNELLA IANNUZZI

A welcome addition to the Rock Vault this September was Ornella Iannuzzi's coral fantasy pieces, which set a variety of colourful Freshwater and Tahitian pearls in gold and silver forms that have been inspired by nature.

Ornella Iannuzzi is best known for her sculptural, organic jewellery that is created by hand in her London studio, such as the fabulous Abyss ring above.

Launching at LFW for SS14 was Les Corallines, a new everyday wear range that continued the volcanic, underwater theme with silver and gold vermeil pieces and these baroque saltwater Tahitian pearls.

With summer drawing to a close, we look ahead on the catwalk  to some of the key jewellery trends for Autumn Winter 2013.

Two old favourites - rock and roll chains and statement rings - rocked the catwalks with a thrilling range of Ready to Wear fashions that referenced punks and queens alike.

Versace led the rebels with its ‘Vunk’ catwalk show of glamour punk. The model Kate Moss starred as the face of the campaign, surrounded by glossy black PVC, studs and metal spikes.

Amongst the royals, Queen Elizabeth I was honoured with a theatrical and contemporary revival of her wardrobe by Alexander McQueen. Corsets, hoop skirts, cages, embroidery, feathers and pearls created a stunningly beautiful journey into the opulence and design of the 19th century.

ROCK AND ROLL CHAINS

Chanel marked its Ready to Wear show at Paris Fashion Week with the remake of a signature accessory – the link chain. Reminiscent of the styling of the traditional strap of a Chanel bag, the white metal links were connected into oversized chains, layered or woven with velvet and other materials.

In a colour palette of black, grey or white, nearly every Chanel model was accessorised with a chain in the form of a necklace or choker, a bracelet, or wearing black leather boots enlaced with chain.

Lanvin also indulges in stacked chains in this season’s collection, made of white and yellow metal. The bold large links were connected in an abundance of chains, layered with variable lengths and sizes and completed with a chunky and youthful pendant expressing words such as Cool, Love and Happy.

STATEMENT RINGS

For Autumn Winter 2013, fashion house Christian Dior collaborated with The Andy Warhol Foundation for the Visual Arts to imprint an artistic influence throughout its catwalk show. The jewellery was feminine and graphic, with single earrings and layered statement rings.

One of Dior’s most classic looks is inspired by the iridescent pearl. In this new collection, oversized faux pearls rings were set in rings protruding with colourful geometric shapes. As an assemblage, they emulated a contemporary piece of art, perhaps inspired by the work of surrealist artists such as Joan Miró.

The rings at Chloé were also not for the fearful. Angular or bluntly round, metallic or organic, Chloe’s expressive brass rings accessorised a utilitarian, almost military, collection.

JEWELLERY TRENDS FOR AUTUMN WINTER 2013

This season has moved on from last season’s long rope necklaces and hoop earrings and is proudly bold and rock and roll.

Congratulations to Bella Mung, the winner of the Winterson Prize 2013 for the Best Use of Pearls.

Announced yesterday evening at Central Saint Martins, London, Bella was awarded the prize for her contemporary and often humorous exploration of the use of pearls in everyday fashion.

There were many pieces of a high standard in the CSM BA Jewellery Design Class 2013, including Claudia Rice's collection of historically inspired jewellery and Simeï Iréne Snyman's ambiguous fantasy garden of ceramic food.

The judges, which included CSM course leader Caroline Broadhead and designer Alice Cicolini, however, loved the detailed development of Bella's concepts throughout the last year.

Initially exploring the idea of the hidden shape and form of a necklace beneath a garment, inspired by her mother's jewellery, Bella playfully extended the concept to using pearls in different pieces of attire.

These often amusing and sometimes peculiar pieces of fashion included a pearl necklace that transformed into a tie, a hoody with its suggestion of pearls and a pair of gentlemen's pearl-studded brogues.

The stand-out piece was this pearl necklace (above) that was transfixed like the wearer's hair blowing in the wind. The considered shape and graduation of the necklace was perfect.

We asked Bella about her inspiration and plans for the future:

Tell us about yourself.

I studied the foundation of art and design in Los Angeles and found out I am very interested in the jewellery field.

What was the inspiration for this piece?

I love the way my mother wears her mother's silver chain half hidden by her clothes and half shown. I copy the way she does this by combining a pearl necklace with everyday wear.

What's next for you?

I will be doing an internship in BLESS after I graduate and applying for an MA degree at the Royal College of Art in 2014.

Name one jewellery toolbox essential that you can’t live without.

My Pearl knotter.

We recently announced a very special collaboration in Pearls with the BA Jewellery Design course at Central Saint Martins (CSM), the creative arts institute of the University of the Arts London.

This week sees the start of the second set of degree shows at CSM, which are a celebration of design and the final year students' work. Later this week, we will also be announcing the winner of our prize for the Best Use of Pearls amongst the final year Jewellery students.

Here, we take five minutes with Caroline Broadhead, who is the course leader at CSM, to ask for her views on jewellery and pearls.

Caroline's own work in jewellery has explored the use of textiles and developing her work into garment form. She has exhibited extensively in the UK and internationally, including recently in the Unexpected Pleasures contemporary jewellery exhibition at the Design Museum, London.

Tell us a little about yourself and your role at CSM?

I am Course Leader, which means I have responsibility for the overall direction and management of the 3 year course. I also teach across the years, though mainly I am involved with the final years, along with the Year 3 tutor, Lin Cheung.

What does ‘jewellery’ mean to you?

Jewellery can be superficial or significant; an accessory or fundamental; mean nothing or everything. The subject can be interpreted widely, as it represents what we value.

It can be a spatial, formal construction relating to the physical body; as something worn close to the body it can relate to the emotions; it can indicate our relation to materials and what we do with them; it can be the means of expressing identity and reading that of others.

What influences have inspired you in your own design, can you give us an example?

A very obvious example was when I travelled to Africa in the late 70s and saw Masai jewellery being worn, colourful, bold designs that dominate the body. I also observed the women weaving baskets in the markets and both those came together later in woven nylon work. Other than that, it is a combination of a lot of different things.

What should come first in design - material, form or function?

I think that the best designs are those where these work together. Some people start from a particular material, shape or function and take it from there, but everyone has a different process and there is no failsafe formula.

What trends in current jewellery design do you like the most and least?

I am very supportive of the growing awareness of ethics and sustainability in the jewellery world.

What do pearls mean to you?

They are beautiful and organic.

What are the opportunities today for using pearls in jewellery design?

A string of pearls is an iconic piece of jewellery and pearls, as such, are ripe for experiment and questioning to extend their potential.

What are the main challenges for a new jewellery designer starting out?

Gaining the relevant experience of how to run a business is something that takes time and it is easy to make expensive mistakes. Each person has to find out what the appropriate context is for their work and how best to promote, sustain and develop it.

What is the best advice that you give to your students?

Have faith in yourself, don’t stop working.

What is your favourite part of the working day?

The first bit, when I feel I can get through all the things on my To Do list!

Just opened at Somerset House, London until 1st September is a celebration of the work of Erwin Blumenfeld, one of the most innovative fashion and advertising photographers of the twentieth century.

Featuring over ninety restored and coloured corrected prints of  his work, the Blumenfeld Studio exhibition tells the extraordinary story of Blumenfeld's journey behind and in front of the lens.

Born in Berlin in 1897, Blumenfeld was given a camera at the age of 10 by his uncle, a gift that was to help shape his future life.

The young Blumenfeld experimented from an early age with the technical aspects of photography, using innovative darkroom techniques, solarisation and multiple exposures to develop his own trademark style - without  the current temptations of Photoshop.

He initially focused on portraits and the nude female form, influenced in part by the work of Man Ray and the free expression of the Dadaist movement. The use of mirrors, silk, elaborate shadows, abstraction and angles also contributed to his work becoming noticed.

Moving to Paris in 1936, Blumenfeld was introduced by Cecil Beaton to French Vogue and was given a year's contract to work for the magazine.

Following the outbreak of Second World War, and a period of internment, Blumenfeld successfully fled France with his family for America.

Fashion photography for Harper's Bazaar, Vogue and advertising campaigns for Elizabeth Arden, Dior and L'Oréal followed, securing Blumenfeld a near legendary reputation.

Even today Blumenfeld is known as the photographer for having the most Vogue covers, an achievement all the more remarkable for his persistence in refusing to compromise with the magazine's picture editors.

Celebrity models such as Grace Kelly and Audrey Hepburn contributed to the glamour, but the exhibition images demonstrate that throughout Blumenfeld continued to develop  his work.

The confidently striking picture of a single eye, a beauty spot and a perfect pair of red lips for Vogue's March 1950 edition would be unknown on the front covers of today's magazines.

In a fitting tribute to Blumenfeld for Chanel, the Norwegian fashion photographer Solve Sundsbo commented "Blumenfeld was shooting 60 years ago what the rest of us will be shooting in 10 years time”.

Blumenfeld passed away in 1969 in typically unconformist style, believed to have deliberately forced a heart attack on himself by running up and down the Spanish Steps in Rome.

Following his death, an archive of some 8,000 prints were shared between his assistant and three children. Many of these have recently been faithfully restored and digitally mastered.

Blumenfeld left a stunning, much-copied and admired body of work that is surely as inspiring today as it was pioneering in the 1940s and 1950s.

Modernism characterised the style of 1920s jewellery, inspiring design even today with its bold, geometric lines and forms.

Following the end of World War I, this decade saw increasingly prosperous times and technological advances. Most of the creative arts sought a break from the past and looked for new directions.

In fashion, it was the decade of the Roaring Twenties with working women wearing more comfortable and practical clothes with slim, streamlined designs. Jewellery was also no exception with a number of important changes and developments.

BAUHAUS AND ART DECO

In the 1920s jewellery broke away from the romantic and elaborate, natural forms and arabesque designs of the Art Nouveau movement of 1890-1910 (during the "Belle Epoque").

In this new decade, jewellery was stripped back bare to its geometric shapes.

Aesthetic clean lines were inspired by designs found in industrial machines. A key influence of this modernism was the influential Bauhaus movement, with its philosophy of form following function.

Contrasting textures and colour were also in fashion. Examples of changing tastes in design were the use of diamonds being set against onyx or translucid citrines and amethysts juxtaposed against opaque coral and jade.

COSTUME JEWELLERY

Fashion designer Coco Chanel broke away from real gemstones with cheaper glass products. The Maison Gripoix, which still exists today, was an early partner for Coco Chanel in creating a range of glass jewellery. The iconic long pearl rope necklace was a signature piece of faux jewellery created at the time.

Josephine Baker, pictured below at the Folies Bergères in Paris, was an icon for the new Art Deco movement, with her fearless style, slicked down hair and bold earrings, oversized rings and ropes of pearls.

Glass jewellery was still expensive and only became affordable in the 1930s with injection-plastic moulding techniques. But Coco Chanel, by stepping into the world of faux jewellery, in effect launched a future industry of costume jewellery.

MACHINE-CUT GEMSTONES

Until the 1920s, gemstones were hand-cut and hand-polished. With the latest developments in machinery, it also became possible to machine-cut and polish gemstones, generating sharp lines and edges, sparkling facets and complicated new gemstone cuts.

The rectangular baguette-cut became hugely popular around this time, as it complemented the geometric designs of the day.

Jewellery of the 1920s then was an innovative period that would become notable for its stunning, daring design.

At Winterson our Luna Rose Tahitian Pearl Ring evokes the 1920s jewellery style of this creative period. The gold shank of the ring has a geometric, solid shape and an angular, baguette cut pink sapphire.

The unusual aubergine colour of its Tahitian pearl, however, would have been unknown in the 1920s and is perhaps entirely modern too.