Tagged with 'London'

Each year we work with the student jewellery designers at Central Saint Martins in London, giving them an opportunity to experience designing with pearls for their final year work.

We will be awarding the Winterson Prize 2016 to one of the students for ‘The Best Use of Pearls’ at the CSM Jewellery Awards Evening on 23rd June.

The designs are also open for viewing by the public at CSM during June 22-26th.

Here we feature the final part in a series of short interviews with designers from the CSM Jewellery 2016 show, including in this article - Kay Zhixin Guo, Stacey Huang, Stephanie Chase and Tia Liang.

Read about the Winner here and the other designers in Part I and Part II of this series.

I CANNOT LAST - KAY ZHIXIN GUO

Tell us a little bit about yourself.

A Buddhist, enjoy helping people. Like simple things. Interested in how people go through difficulties in their lives, where they put their bodies and how they cope inside of it.

What was the inspiration for this collection?

My first time of experiencing break-up and depression and the doctrine of impermanence.

What have you discovered about working with pearls?

Fragile and easy to be manipulated at the same time. Can be drilled, cut and carved in specific ways. Good to combine them with different types of material or just use them straight which fits in various designs.

Which designer or artist do you most admire?

Marina Abramovic

What’s next for you after CSM?

I am going to apply for jobs and work for companies

Who could you imagine wearing your jewellery?

People who admire minimal aesthetic, matured people, both men and women.

What is it that makes a piece of jewellery a design classic?

Simply, with a highlight on special details that communicates with the viewers and wearers easily. Good craftsmenship.

STACEY HUANG

Tell us a little bit about yourself.

I’m an observer of daily life and have a full passion for jewellery design.

What was the inspiration for this collection?

My inspiration is from Tesco, to tell viewers my point of view about the promotions in supermarket by using cheap packaging as the main visual language.

What have you discovered about working with pearls?

The colour and the luster of pearls are attractive for me, and the contrast between metal and pearl is attractive as well.

Which designer or artist do you most admire?

Sebastian Errazuriz

What’s next for you after CSM?

I’ll work for a company and prepare my own studio in the following 5 years.

Who could you imagine wearing your jewellery?

Every girl or lady

What is it that makes a piece of jewellery a design classic?

Delicate appearance with strong concept and high aesthetics.

View more of Stacey's work here.

MY BAKING MEMORY WITH NAN - STEPHANIE CHASE

Tell us a little bit about yourself.

Well this is going to be tough haha, Okay, I am a 21 year old student that is sadly coming to the end of my studies. Out of uni I display a keen interest in music as I enjoy playing piano (that’s when I get the chance!). I also have a strong interest in photography.

What was the inspiration for this collection?

After losing my Nan I began to form a sentimental relationship with my grandmother’s objects. By studying Alice Anderson Memory Objects Memory Movement exhibition I continued to embrace this idea of preserving “mummifying” an object therefore encouraging its sentimental value.

The memory of baking with my Nan was my next step. On choosing the sieve, I wanted to preserve the memories shared with her by creating my own wrapping technique.

What have you discovered about working with pearls?

The use of pearls in my pieces symbolise the sugary cake decorations i.e. hundreds and thousands, rainbow circus mix and chocolate silver pearls. This initiates a playful side to the emotional feelings already displayed.

Working with the pearls has been wonderful, I have enjoyed using all the different colour variations that has helped me create the idea of sweets.

Which designer or artist do you most admire?

Alice Anderson is my biggest inspiration, however I did research many artists in my previous uni that helped me to come to the conclusion of my collection. Jo Pond’s ideas behind her jewellery piece & Caroline Broadhead and Maria Militsi’s Second hand First hand exhibtion also inspired me.

What’s next for you after CSM?

To be honest I’m not entirely sure, I would like to use the funds I raise in my degree show to build my own workshop to use at home. I have others interests as well so I might use some of the funds to build a small photography set along my own workshop after finishing uni.

Who could you imagine wearing your jewellery?

I don’t want to characterise a particular individual as that’s not my aim in this collection. My pieces display a precious effect that immediately catches the eye, I want individuals to question the meticulous wrapping method and choice of object as my pieces are for the wearers to embrace the story behind it.

What is it that makes a piece of jewellery a design classic?

The simplicity of the pieces; from only using a wrapping technique combined with the pearls gives it elegance. I have used simple combination of materials to emphasise a story that is so dear to me.

SHAME - TIANYI TIA LIANG

Tell us a little bit about yourself.

An active and engaged student who has an individual way of observation.

What was the inspiration for this collection?

Shame is a fact of human life. throughout the researching of history, a couple of pictures about Chinese first lady Wang Guang Mei have been attracted my attention, as the first visited foreign country First Lady of the new China, she wore a long pearl necklace as national pride.

But just one year after, because of the Cultural revolution, she suffered public humiliation and wore a heavy-looking fake pearl necklace, forcing her body to be banned in order to show her guilt.

Thus highlighted the relation between shame and pride again, also explained shame as a common topic, whatever their wealth or status.

What have you discovered about working with pearls?

The sphere structure of pearls is the main discovery of my visual aim.

Which designer or artist do you most admire?

Michael Wolf

What’s next for you after CSM?

I would tidy up my mind again, then continue with master courses.

Who could you imagine wearing your jewellery?

Anyone who has incomplete reduction of interest or joy, spend much of their life blushing.

What is it that makes a piece of jewellery a design classic?

Sense.

Each year we work with the student jewellery designers at Central Saint Martins in London, giving them an opportunity to experience designing with pearls for their final year work.

We will be awarding the Winterson Prize 2016 to one of the students for ‘The Best Use of Pearls’ at the CSM Jewellery Awards Evening on 23rd June.

The designs are also open for viewing by the public at CSM during June 22-26th.

Here we feature the second in a series of short interviews with designers from the CSM Jewellery 2016 show, including in this article – Coline Assade, Haorui Wang, Jessica Trafford and Joanne YiFang Tan.

Read about the Winner here and the other designers in Part I and Part III of this series.

UNCONVENTIONAL FEMININITY - COLINE ASSADE

Tell us a little bit about yourself

My name is Coline and I was born in France. I am passionate about jewellery, objects and colours in general.

What was the inspiration for this collection?

The inspiration came from a jewellery supply Christmas catalogue. The double page dedicated “to her” was full of cliché objects such as pink pliers and heart pendants. It made me both laugh and cry.

From there I created a collection that aims to make the viewer question his opinion around gender and hopefully help him to be more playful with his identity and jewellery.

What have you discovered about working with pearls?

I never worked with pearls before this year and was astonished by the diversity of their shape and colours. I fell in love with the baroque pearls.

Which designer or artist do you most admire?

Delfina Delettrez for her bold, colourful and surrealist take on fine jewellery.

What’s next for you after CSM?

I will stay in London, look for a job in the jewellery field and try to start my own studio.

Who could you imagine wearing your jewellery?

I would love to see my jewellery worn by Jemima Kirke because I admire the way she thinks. But truly, I will be happy to see anyone wearing my work because I hope to touch as many people as possible.

What is it that makes a piece of jewellery a design classic?

I would say a timeless design and beautiful materials. But everyone has a different opinion.

View more of Coline's work here.

NATURE AND MANMADE - HAORUI WANG

Tell us a little bit about yourself.

My name is Harry Wang, I come from northern China.

What was the inspiration for this collection?

I got inspiration from the natural form of twigs.

What have you discovered about working with pearls?

I very much like pearls. Some of them have very regular shapes and very smooth surface. I try to set them into plastic. I think those two material have very similar surface. And they join together in harmony.

Which designer or artist do you most admire?

I admire a German artist called Geirg Dobler.

What’s next for you after CSM?

I got a place form Royal College of Art, already.

However, I have delay the place until 2017. I want to try to do some of my own designs next year and travel to some places collecting ideas.

Who could you imagine wearing your jewellery?

Asian women.

What is it that makes a piece of jewellery a design classic?

I think time is important. A classic jewellery design needs a lot time to design and redesign. A masterpiece need time to making and try to archive high quality.

Also, an idea is another foundation of a classic design. It should let people give people a feeling, it may be beautiful, it could be interesting, any kind of feeling is fine.

THE ART OF IMPERFECTION - JESSICA TRAFFORD

Tell us a little bit about yourself.

I'm originally from the Lancashire countryside but have lived in London for 5 years now. I am 26 and this is my second arts degree, my first was fine art photography. I made this change due to photography jobs becoming increasingly digital, I'm only happy when I am using my hands!

What was the inspiration for this collection?

The inspiration for this collection was the mess and chaos of traditional artists studios, and how this reflects the beauty and serendipity that can occur when working with your hands.

What have you discovered about working with pearls?

Through working with pearls in this collection – it has opened my eyes to the sheer variety of shapes, colours, and sizes within pearls, which I found really inspiring.

Which designer or artist do you most admire?

In regard to jewellery, I'd say I most admire designers who have a playful and eclectic approach to both material choices and concepts – such as Delfina Delettrez and Solange Azagury-Parker.

What’s next for you after CSM?

Immediately - continuing to improve my making skills and learning more about the industry – to eventually (hopefully) have my own jewellery business!

Who could you imagine wearing your jewellery?

Anybody who takes a shine to it! I think my work is quite accessible and wearable – although a little adventurous! So somebody who likes to make a statement and who also has an appreciation for the handmade.

What is it that makes a piece of jewellery a design classic?

Wearability, durability, quality, beauty.

NOT YOUR AVERAGE BEAUTY - JOANNE YIFANG TAN

Tell us a little bit about yourself.

Originated from Malaysia, I came to the London when I was 17 to further study in Arts. Prior to coming to London, I was a science student. My science background influences and inspires most of my work. I’m interested in conveying and interpreting scientific images/information in an aesthetic form.

What was the inspiration for this collection?

The collection is inspired by the growing plastic surgery culture in Asia in relation to the Asian beauty perception and standard.

What have you discovered about working with pearls?

Working with pearls, I do realise that they are more delicate compared to precious stones. The pearl requires gentle handling when setting to prevent scratches.

Which designer or artist do you most admire?

The designer I like most is Shaun Leane. I like how traditional craftsmanship is infused with the contemporary designs of his works.

What’s next for you after CSM?

I’m currently planning to move to Italy to further study jewellery making techniques such as stone setting. I’m hoping by gaining more knowledge on different making techniques, I will be able to further develop my ideas and designs.

Who could you imagine wearing your jewellery?

For my final collection, anyone who is into face jewellery of the avant-garde kind is welcome to wear them.

What is it that makes a piece of jewellery a design classic?

I think classic jewellery is a piece with minimal design yet it conveys a strong background story or idea. Besides, it could be worn comfortably throughout our daily life. I also think that it is important the piece is well crafted to increase the durability of the piece.

Each year we work with the student jewellery designers at Central Saint Martins in London, giving  them an opportunity to experience designing with pearls for their final year work.

We will be awarding the Winterson Prize 2016 to one of the students for ‘The Best Use of Pearls’ at the CSM  Jewellery Awards Evening on 23rd June.

The designs are also open for viewing by the public at CSM during June 22-26th.

Here we feature the first in a series of short interviews with designers from the CSM Jewellery 2016 show, including in this article – Ambrin Howell, Anna Finch and Chloe Valorso.

Read about the Winner here and the other designers in Part II and Part III of this series.

A COLLECTION OF CURIOUS LUXURIES - AMBRIN HOWELL

Tell us a little bit about yourself

Jewellery student from Manchester, interested in exploring themes of value, luxury, and reflecting on the society we share.

What was the inspiration for this collection

My collection aims to shed light upon trends of greed and financial injustice within British society. Over the past year I have collected British newspaper reports that show problems that stem from what I consider to be attitudes of financial corruption and greed.

In order to illustrate these stories, I have chosen relevant, everyday objects and using conventionally luxurious materials, I have transformed them into ‘luxury’ versions of themselves. I have explored how the functionality of an object may be altered or even obstructed, when transformed into a luxury version of itself. For example, how can one wind down with a nice cold pint if it has been transformed into a gemstone? And can we really rely on ‘The Morning After Pearl’?

By transforming objects in this way, I am reassessing how and why we place value, as well as reminding us that the true value of these objects does not always depend on monetary worth. Ultimately, I have created a collection of objects that belong in a parallel Britain, where material wealth and economic value are prioritized above all else.

What have you discovered about working with pearls

I have discovered that I can use pearls in order to imitate ‘luxury’ versions of many different everyday objects. Be it beer froth or a piece of chewing gum! Pearls can have a real sense of playfulness and can participate as part of a wider narrative, as well as part of a precious piece of jewellery.

Which designer or artist do you most admire?

I admire the late René Lalique, for his innovative approach to designing luxury objects. I am inspired by the way he married function with opulence particularly with his perfume bottles. I also admire Banksy a great deal. I think he has a really fresh approach to creating art, that effectively communicates and reflects our society. He catches everyones attention, even those who might not normally participate in the world of art.

What’s next for you after CSM?

Long nap and then get a job within the jewellery community, whilst pursuing my own personal design interests.

Who could you imagine wearing your jewellery?

While the precious materials I have used may make my pieces exclusive in terms of ownership, I like to believe that both as pieces of jewellery and art objects, my ideas are accessible and relatable to everybody.

What is it that makes a piece of jewellery a design classic?

For me piece of jewellery becomes a classic when the ingenuity of the design and use of materials is unparalleled, and consequently becomes timeless and unique.

View more of Ambrin's work here.

QUESTIONING NOTIONS OF PRECIOUSNESS IN THE EVERYDAY: PAPER - ANNA FINCH

Tell us a little bit about yourself.

I am a jeweller with a key interest in the transformation of materials, especially discarded and disposable everyday materials.

What was the inspiration for this collection?

I wanted to explore how a material can be transformed from a discarded material into a material with precious connotations and value, particularly focusing on natural resources: Newspaper and receipts.

What have you discovered about working with pearls?

I discovered that the pearl almost acts as a light source brightening up the piece and drawing the eye around it. Also I learnt that the soft hue of each individual pearl aided the delicacy and beauty of the material I was creating.

Which designer or artist do you most admire?

Karl Fritsch: The way he treats all materials as equal in terms of value combining precious and non precious materials together. Commercially Polly Wales and Lily Kamper similarly explore this.

What’s next for you after CSM?

I intend to further my exploration into the transformation of materials into commercial, wearable pieces - whilst hopefully gaining experience through a brand.

Who could you imagine wearing your jewellery?

My collection could be considered non gender specific due to the placement on the white shirt. I personally see them being worn by professionals in the fashion world: the tailored trouser suit and stiletto girl.

What is it that makes a piece of jewellery a design classic?

The jewellery is timeless and not compliant to trends. It is a piece that carries its own value, portraying jewellery in a beautiful and successful way conceptually and technically.

BOB - CHLOE VALORSO

Tell us a little bit about yourself.

I consider myself as a cryptozoologist jewellery designer.

It consists of an interdisciplinary approach: Like an anthropologist, I collect objects and research extensively, I record my sketches and experimentations through various sketchbooks. I have both a methodical and imaginative approach to my work. I look at diverse disciplines such as contemporary and ancient art and artefacts, but also psychology and mythology.

As a designer I seek to unravel the mysteries and create a new meaning.

What was the inspiration for this collection?

My collection takes inspiration from aspects of existing mythologies to create my own belief system. Using my alter ego “Bob” as a recurring motif throughout my work, I explore the importance of narrative and challenge the boundaries between real and unreal.

What have you discovered about working with pearls?

I am especially interested in baroque pearls and their fascinating shapes.

In my research, I was amazed by Renaissance jewellery using pearls. I like when the pearl is at the center and the design is constructed around it to enhance its narrative qualities.

Pearls have unique natural qualities, their reflections, colours and shapes make them uncanny and special, working with them is an ongoing discovery.

Which designer or artist do you most admire?

I like creating parallels between ancient and contemporary art. I am interested in the art of adornment in all cultures from pacific jewellery to contemporary one. I like Peter Beard's collages, Solange Azagury Partridge's colours, Mark Leckey's narrative, David Bielander's view on jewellery...

Going to exhibitions and looking at artists is an important part of my design process.

I have a thirst to discover and make connections between them.

What’s next for you after CSM?

Before continuing my studies in a master degree, I would like to do internships to collaborate, learn, open my mind. I am interested in the world of contemporary jewellery. Next August I am participating in a jewellery workshop run by Marc Monzo and from next September, I will be a resident in a contemporary gallery called Résidences in Paris.

Who could you imagine wearing your jewellery?

I see my pieces as amulets that support and empower the wearer. With my pieces, I aim to trigger an emotional response with the public.

I am intrigued to see who will wear my jewellery.

What is it that makes a piece of jewellery a design classic?

The combination of its overall qualities: its concept, its materials, its making and last, but not least, its relationship with the wearer and viewer.

I believe jewellery is one of the most interesting subject of study because of its nature: a piece of jewellery exists as an autonomous object but is also meant to be worn. It interacts with the body in a very intimate and special way. The art of adornment can be taken as one of the most ancient traditions of all culture.

I am interested in all the possibilities it carries.

View more of Chloé's work here.

We are delighted to announce that Evangeline Armstrong is the winner of this year's Winterson Prize for the Best Use of Pearls, for a witty and playful new collection of jewellery.

For the past three years we have been supporting the students of Central Saint Martins, the influential London arts institute, with pearls and advice on working with this beautiful gem.

Every year a number of students choose pearls as the main focus for their degree show collection and this year’s candidates did not disappoint with their work, delivering an impressive array of imaginative design.

The result was an exciting and varied portfolio of exquisite pieces, ranging from the classic through to the more avant-garde.

The annual BA Jewellery Design Awards took place on Thursday 25th June at an exclusive ceremony at Central Saint Martins, London.

Joining Andrew Fraser from Winterson on a panel of leading jewellery design experts was Caroline Broadhead, Programme Director at CSM, Maia Adams, Director and Founder at Adorn Insight, and British jewellery designer and Creative Director of Winterson, Alice Cicolini, herself an MA graduate of Central Saint Martins.

Titled ‘The Daily Grind: Secret Jewellery For the City Businessman’, we loved the modern approach taken by Evangeline. Setting classic pearls in concrete, with tailored men's fashion, fully reflected the fun and expression of the story behind the jewellery.

Commenting on the views of the judges, our Creative Director Alice Cicolini said: “We were intrigued by the whole concept of making these extremely beautiful flashes of subtle classicism appear from underneath the very conservative style of men’s shirts and suits"

A great winner for this year’s prize and congratulations to Evangeline!

Watch the video above or here. To learn more about this year's competition, read the first part in our series of interviews with Evangeline Armstrong and the students at CSM.

Here we feature the final part in a series of short interviews with graduate jewellers designing with pearls at the BA Central Saint Martins Jewellery 2015 show, including in this article – Fiona Kakei Chong, Yuanming Dennis Song, Qinying Queenie Wang and Danya Xie.

For the third year, we have been working with the students of the Central Saint Martins Jewellery Design course. We will be awarding a Winterson Prize to one of the students for ‘The Best Use of Pearls’ at Jewellery Awards Evening on 25th June.

Read about some of the other designers in Part I and Part II of the series and the Winner of the Winterson Prize 2015.

UNTITLED COLLECTION - FIONA KAKEI CHONG

Tell us a little bit about yourself.

I divide my time between three countries, and I like to collect and create things.

What was the inspiration for this collection?

My initial inspiration was the elaborate hairstyles seen on Ancient Roman busts. Seeing Ancient Romans taking hairdressing as seriously as nude bodies, I had this idea of a tribe where its noble women would crown themselves with lots of and solely seashells.

What have you discovered about working with pearls?

As soon as my fingers touch a pearl, their temperatures equalized. It is with its warm and organic feeling, and the contrast with metal and porcelain, that makes a jewellery piece alive.

Which designer or artist do you most admire?

Karl Fritsch. He likes to make ugly rings with precious materials and found objects.

What’s next for you after CSM?

I wish to work for a creative company or jewellery studio.

Who could you imagine wearing your jewellery?

I would like Natalie Portman to be part of the shell tribe.

What is it that makes a piece of jewellery a design classic?

A jewellery piece that is able to draw a line between now and then.

 View more of Fiona's work here.

THE BEAUTY OF TIME FLOWING - YUANMING DENNIS SONG

Tell us a little bit about yourself.

I have studied Jewellery design at CSM for 4 years since Foundation and I really enjoy it. My final collection is all about 3D-printed fine jewellery.

I love using pearls in my design, pearls have played significant roles in all the pieces from my final degree show collection.

What was the inspiration for this collection?

Time is a magical thing which can not be seen, touched or felt but everything in this world is experiencing it in every single moment. Time, flowing like a river. Illustrating the flow of time through a piece of jewellery has always been an extremely powerful idea in my mind.

What have you discovered about working with pearls?

Working with pearls, I have learnt many things, such as the different qualities in pearls, how expensive that one pearl can be and the true value about pearls.

I have found that pearls as a precious material can magically make a piece of jewellery to be very elegant and feminine. I have not used pearls in a traditional way. I make the pearls roll and move in the piece, also because movement is a significant part in my collection.

Which designer or artist do you most admire?

Wallace Chan, Gustav Klimt, Jeanne Toussaint.

What’s next for you after CSM?

I will stay in London and start working，I haven’t decided which brand I am going to work with.

Who could you imagine wearing your jewellery?

Any elegant and mature ladies, such as Monica Bellucci, Charlize Theron, Angelina Jolie, Helen Miller or Sharon Stone.

What is it that makes a piece of jewellery a design classic?

Unique design, a special element and the meaning behind the jewellery.

REFLECTION - QINYING QUEENIE WANG

Tell us a little bit about yourself.

Born in China, I moved to the UK and began to study Fine Art in my A-level years. I specialised in jewellery design 4 years ago and I believe that all forms of art are interlinked and connected.

What was the inspiration for this collection?

Water reflections were my initial inspiration for the collection. Influenced by Evelie Mouila, I tried to explore the relationship between wearer and jewellery, and her photography got me to rethinking the meaning of “wearing”. Based on the concept of reflection, I mainly focused on mirror reflections.

Women are always staring at the mirror; admiring their jewellery and themselves. My collection aims to enhance the luminosity of our own bodies and appreciate our own specialness.

What have you discovered about working with pearls?

To work with pearls was a new experience for me. Pearls are always giving us a feeling of being elegant and graceful. I was able to find many possibilities by mixing different materials with pearls.

Which designer or artist do you most admire?

Gijs Bakker’s works are always influencing me strongly.

What’s next for you after CSM?

I intend to pursue a Masters degree after CSM.

Who could you imagine wearing your jewellery?

The Minimalist. And women who have their own personal styles.

What is it that makes a piece of jewellery a design classic?

The one that could broke through time's boundaries, with a strong story or concept behind it.

WONDER OF NATURE - DANYA XIE

Tell us a little bit about yourself.

I’m a Chinese girl who likes collecting natural materials and using them into jewellery.

What was the inspiration for this collection?

I find my inspiration in nature. In my work I visualise the relationship between man and nature. I am fascinated especially by the human interference in nature; the traces that are left behind by taking care, organising or controlling nature.

This unpredictable power of life is for me a source of inspiration. This dialogue between control and freedom has become the general theme for my jewellery.

What have you discovered about working with pearls?

Pearls always give people a sense of the gentle, the delicate and the feminine, but I found pearls are actually a material with potential to be strong and powerful.

Which designer or artist do you most admire?

It’s hard to say who’s the most important, but Sam Tho Duong, Andy Goldsworthy, Henrique Oliveira did inspire me for this collection.

What’s next for you after CSM?

Natural materials will always be my inspiration for making this art jewellery.

And pearls and wood are my favourite ones; I think I will keep working with them.

Who could you imagine wearing your jewellery?

The women who enjoy natural materials like I do.

What is it that makes a piece of jewellery a design classic?

The connotation, the story behind the piece and the refined finishing would make the jewellery classic.

View more of Danya's work here.

Here we feature the second in a series of short interviews with designers from the Central Saint Martins Jewellery 2015 show and pearls at CSM, including in this article – Hye Ri Kim, Lucy Parker and Ellie Castillo Siu.

For the third year, we have been working with the students designers of the Central Saint Martins Jewellery Design course. We will be awarding a Winterson Prize to one of the students for ‘The Best Use of Pearls’ at Jewellery Awards Evening on 25th June.

Read about some of the other designers here in Part I and Part III of this series and the Winner of the Winterson Prize 2015.

MEMORY, ETERNITY & MOURNING - HYE RI KIM

Tell us a little bit about yourself.

I was born and raised in Korea. I received a Bachelor's degree in Fine Art a few years ago. After graduating, I desired to make objects that can be worn on the body so I decided to study jewellery design at CSM.

What was the inspiration for this collection?

My collection is inspired from Victorian Mourning jewellery. The meaning of mourning jewellery is not only to keep the memory and commemorate the death of a loved one but also to remind the wearer of mortality. A locket is considered as a memory keepsakes and the belt/buckle motif represents eternity and memory forever. It also represents secure the bond of life between the deceased and the bereaved.

With these motives, in my collection I want to reinterpret mourning jewellery in a modern way.

What have you discovered about working with pearls?

As my inspiration is mourning jewellery, the pearl has been considered as tear drops that are perfect for this. Also the pearl has a very natural and traditional beauty that has been consistently loved over the years. Throughout the collection, I have combined traditional design and material with modern techniques.

Which designer or artist do you most admire?

I love David Hockney’s work. Particularly, his photo collages give me lots of inspiration.

What’s next for you after CSM?

During my studies at CSM, I realised that I would like to research more about jewellery, so I decide to study further in London. But my ultimate goal is having my own brand.

Who could you imagine wearing your jewellery?

I expect everyone should love my pieces. But this collection, I could imagine being worn by people who keep their memory in a small piece of jewellery.

What is it that makes a piece of jewellery a design classic?

In my opinion, time and personality makes jewellery classic.

CLASSY - LUCY PARKER

Tell us a little bit about yourself.

Studying at Central Saint Martins for the past 3 years has given me the chance to discover the type of jewellery designer I am and where my interests lay.

I have always been curious as to why there are stereotypes, either through the way someone behaves or what they choose to wear, and how this can put someone into a group, similarly how can an object or piece of jewellery become a symbol or an icon.

I like to challenge these stereotypes and beliefs through my jewellery. Using humour or romance as a guise to transform a stigma around the topic in hand.

What was the inspiration for this collection?

My concept stemmed from my fascination with the class system in Britain. I started to notice the many different types of people living in the same place, and the subtle harmony amongst these people, regardless of class and status.

Most of my interest lay in the working class and the ‘underclass’, which is the unemployed part of the population also labelled as ‘Chavs’. By watching documentaries and films such as; Fish Tank, Skint, All in the Best Possible Taste and reading different texts and theories for example the book ‘Chavs’ by Owen Jones, I noticed a romanticism to this class, the sweet, sentimental side to the class that are still mourning the loss of industry in Britain.

The empty, desolate feelings they have replicate those of the working class when Thatcher was in power, feelings that being part of the working class wasn’t good enough, as if history is repeating itself.

What have you discovered about working with pearls?

I used pearls as a medium to express the feeling of preciousness, luxury and wealth that is seen amongst the middle and upper class. I discovered what pearls mean symbolically, and what they can say about the person wearing them and how certain types of pearl jewellery have become icons.

For example I used the symbol of the hoodie and the hoop earring to interrupt the classic pearl necklace or drop pearl earring, to mirror the harmony I noticed amongst different people living in the same place.

Which designer or artist do you most admire?

Grayson Perry.

What’s next for you after CSM?

I would like to work for an established jewellery designer and eventually become an independent jewellery designer and potentially teach jewellery to university level students or higher.

Who could you imagine wearing your jewellery?

Most of my pieces are unisex, they are all quite different from one another. The Hood is more of a statement or catwalk piece, or maybe used as part of a photoshoot for an editorial. The pearl chokers and earrings are more versatile and wearable.

I wouldn’t like to restrict who could wear my jewellery, but I would imagine someone who is either a creative or someone looking to make a statement with their jewellery, a fashion blogger or stylist with a unique style.

What is it that makes a piece of jewellery a design classic?

I think it would be time, it would mean that the piece of jewellery is still being produced or worn 20 years later and maybe it is redesigned many times with different variations of stones or materials but the shape or idea remains the same. 

View more of Lucy's work here.

SOFT DIAMONDS - ELLIE CASTILLO SIU

Tell us a little bit about yourself.

Despite the often polished and refined tone that is in the final outcome of my work, the combination of materials that I use are somewhat unconventional.

I really enjoy the transforming of materials from something non-precious to precise. Influenced by my Chinese and international background, I tend to create pieces that merges different cultures together.

What was the inspiration for this collection?

One of the contemporary jewellery piece that most influenced my collection was Otto Künzli’s ‘Gold Makes Blind’. The piece questions the way we associate value to substance like gold by concealing the ‘precious’ material underneath a blanket of the ‘non-precious’ rubber.

Fundamentally, Künzli is setting two kinds of value that opposes each other. One being the value of ‘precious’ materials, which encompasses conventional jewellery, and another being the value of artistic expression and the conceptual idea behind the work, which underpins the value of contemporary jewellery. In turns, one can no longer judge which is the more important or precious.

I was very inspired by his way of questioning material value and the value of artistic expression, whether one is more important than the other. This in turns made me question our perceived value of materials which ultimately started this collection.

I intend to juxtapose ‘precious’ and ‘non-precious’ materials in the hope to invert their ‘material hierarchy’. So that materials that are regarded as non-precious can be put together with precious materials as equals. So that ‘precious’ materials like silver and ‘non-precious’ materials like threads can be valued solely by their aesthetic qualities and not their material value. I decided to use needle and threads to embroider Queen Elizabeth II's jewellery, as they epitomise the apex of luxury jewellery.

What have you discovered about working with pearls?

Using pearls made me realize the elegant and lustrous quality that the gem adds to my pieces. The addition of pearls not only adds depth and beauty to my piece, it also lifts my 2 dimensional embroidery to life, by juxtaposing the 2 dimensional embroidery with the 3 dimensional pearls.

Which designer or artist do you most admire?

One of my all time favorite designer is Shaun Leane, I really admire his way of transforming the female silhouette into something fiery and untouchable. The sharp refined edges with the compliment of pearls in his work really intrigues me. In addition his use of unconventional material with precious material is also one of the reasons I was attracted to his work.

What’s next for you after CSM?

I have been awarded a G.I.A scholarship to study a ‘Graduate Geologist Course’ in Hong Kong for six months. Upon receiving my bachelor’s degree I will start my G.I.A course immediately.

Who could you imagine wearing your jewellery?

As I mentioned, in the beginning of my collection I always imagined for Her Majesty The Queen to wear my jewellery, as the pieces are indeed an imitation of her personal jewellery in embroidery. All of my pieces are, embroidery versions of her actual jewellery pieces.

What is it that makes a piece of jewellery a design classic?

I believe in order for a piece to be considered as a classic, it will definitely involve craftsmanship, quality of material, display a certain elegant aesthetic and be exceptional of its kind.

For the third year, we have been working with Central Saint Martins, the leading art and design centre based in London.

Our collaboration gives the student designers an opportunity to experience designing with pearls at CSM  for their final year work, which is showcased at a sparkling Jewellery Awards Evening on 25th June. We will be awarding our Winterson Prize to one of the students for ‘The Best Use of Pearls’.

The designs are also open to the public at CSM during June 24-28th.

Here we feature the first in a series of short interviews with designers from the CSM Jewellery 2015 show, including in this article - Evangeline Armstrong, Hoonik Chang and Soo Hyun Jeong.

Read about some of the other designers here in Part II and Part III of this series and the Winner of the Winterson Prize 2015.

THE DAILY GRIND - EVANGELINE ARMSTRONG

Tell us a little bit about yourself.

I have never viewed jewellery in a conventional sense - I rarely wear jewellery and haven’t got my ears pierced!. It was introduced to me as ‘3d design on the body’ or body-sculpture during the CSM Foundation. Through the duration of the BA course, I have become passionate about the subcultures that do not adorn themselves and why this is so. Starting with this project, I aim to inject fun and expression into these areas.

What was the inspiration for this collection?

While caught in The City at Bank during rush hour, the prominent grey colour of the palette that prevailed struck my attention: the grey faces in grey suits, set against the grey concrete of buildings and pavements, against grey skies. Uniformity is discernibly the nature of this environment as this tailored army marched the streets.

The starting point from this collection grew from seeing a man sitting down at a café, flashing brightly coloured socks as he did, breaking the monotone monotony.

My aim is to make a collection of Secret Jewellery for the City Businessman by working within the strict codes of dress in the business environment to eject fun and expression where adornment appears limited.

What have you discovered about working with pearls?

How well they go with concrete! I think they have such a beautiful material juxtaposition. I have been discovering new ways of setting them with in a fluid mix in plasticine negative. I have favored them in a lot of projects while at Saint Martins, and think they are very versatile and non-synthetic.

Having quite graphic designs, the subjectivity of a pearl's shape by being a natural object really adds a new dimension of sensitivity to my pieces.

Which designer or artist do you most admire?

Depends on what day it is! There are so many niches for style, mood, sensitivity and skill. For this project, tailors fascinated me: it is an age-old tradition yet has been re-invented time after time- take McQueen for example. I was greatly inspired by the BA LCF tailoring students that I collaborated with: Zoe Yates had wit, skill and sensitively novel designs that I’m sure will go far.

What’s next for you after CSM?

I intend to keep pushing the ‘blind spots’ in Jewellery design. Working with people and contacts gained over the years has set me up with a few fun projects that I would love to do.

I am mostly open to learning and enjoying creativity. I have a plan to balance my work life/London living with enough time to focus on my creative work. It would be the most wonderful bonus to make a living out of what I Love but essentially it is the doing it that is of real reward. This I always hope to maintain.

Who could you imagine wearing your jewellery?

Someone who could do with more smiles in their 9-5.

What is it that makes a piece of jewellery a design classic?

Again, looking for the ‘blind spots’ in design, to innovate ways of wearing, fabricating or making the Jewellery. As much as there is aesthetic beauty, I find that what attracts me is something emotive or provoking: making you think further than ‘oh that’s nice.’

IMAGINARY PRINCESS OF KOREA - HOONIK CHANG

Tell us a little bit about yourself.

I am a hardworking designer who is energetic, flexible and open for any opportunities to achieve development and improvement.

I strongly believe that jewellery is a key element that has completed the fashion style throughout any historical period.

What was the inspiration for this collection?

My collection is designed for an imaginary Korean princess living in modern day Korea. Royal objects have a very rich, delicate and elaborate feeling so I have chosen an extensive use of materials and colours in the design and construction of this collection.

The collection is a harmonized mix of Korean tradition with modern luxury fashion designed for my muse.

What have you discovered about working with pearls?

I have discovered that pearls could be interestingly used with their drill holes. Using the holes could create any form, any shape with any materials.

Furthermore, pearls generally give jewellery design a very classic and colourfully luxurious look.

Which designer or artist do you most admire?

Solange Azagury-Patridge

What’s next for you after CSM?

I am going Geneva to do my internship in September. Then, I would like to work in Paris or other European countries since there are various opportunities within great luxury fashion and jewellery companies there.

Who could you imagine wearing your jewellery?

A group that is fashionable, smart, polite, feminine and luxurious.

What is it that makes a piece of jewellery a design classic?

In my opinion, the form and material of jewellery influences a design classic.

FACE & PEARLS - SOOHYUN JEONG

Tell us a little bit about yourself.

I was born in South Korea and came to London in 2011 to study art and design.

What was the inspiration for this collection?

I started my collection by considering the issue of plastic surgery in South Korea. I wanted to talk about false desire of the beauty that people have through my collection!

What have you discovered about working with pearls?

Pearls are attractive for their pure beauty, brilliant colour and how they are made. They are such an easy material to work with compared to other precious gems!

Which designer or artist do you most admire?

The designer that I admire the most is Delfina Delettrez. Her unusual concept has humour and she transfers this into jewellery with style.

What’s next for you after CSM?

I want to experience how the real world of jewellery is and to find out more about my own style and strong points of design.

Who could you imagine wearing your jewellery?

I can imagine that people, who are looking for jewellery that has something new and is still wearable and ornamental, would wear my jewellery.

What is it that makes a piece of jewellery a design classic?

Considering how to make wearer feel comfortable and to have pride in the jewellery is the way to make a piece of jewellery a design classic!

View more of Soohyun's work here.

Two current exhibitions in London reverentially showcase the work and career of Alexander McQueen (1969-2010), one of fashion's most innovative designers.

Alexander McQueen: Savage Beauty at the V&A and Nick Waplington/Alexander McQueen: Working Process at Tate Britain offer different perspectives on the late designer's talent, influences and processes.

First shown in New York and extended here at the V&A, Savage Beauty is a wonder, a series of rooms filled with gothic fantasy, tribal identity, romantic inspiration and a passion for nature.

The exhibition is structured as a narrative of different collections, starting with McQueen's tailored and revealing bumster trousers, his 1995 Highland Rape collection, 1996's Hunger and the exhilarating Horn of Plenty from 2009.

The exhibition finale recreates 2010's Plato's Atlantis collection, a futuristic and thrilling fusion of technology and fashion, complete with its famous Armadillo shoes.

Deeper within the exhibition is the dramatically macabre Cabinet of Curiosities.

This centrepiece room is a spectacular double-height gallery showing archive video footage from McQueen's catwalk shows and accessories, including a butterfly headdress of hand-painted turkey feathers (pictured above) by milliner Philip Treacey.

Jewellers Sarah Harmarnee and Shaun Leane feature prominently. Leane was a long-time collaborator of McQueen, having first met at Central Saint Martins in London.

Leane's distinctive aesthetic is recognisable in the pieces shown in the Cabinet - a Tusk earring for McQueen's Hunger S/S 1996 collection and this neckpiece (pictured above) with silver thorns and grey Tahitian pearls from 2001.

Performance and footage from McQueen's shows feature throughout the exhibition, with one highlight being a hologram of Kate Moss floating eerily in the finale to the 2006 Widows of Culloden show.

The staging of the exhibition has been beautifully done with many pieces such as the razor clam dress (pictured above), arguably being close to works of art themselves.

A must-see retrospective, this exhibition gives a glimpse of the extraordinary and creative talent at work.

On McQueen's right arm was a tattoo, with words from A Midsummer Night's Dream 'Love looks not with the eyes, but with the mind'.

If you are left wanting more, it would be to understand and hear from McQueen himself.

Savage Beauty is open at the V&A, London until 2 August 2015.

Victorian splendour met some Bright Young Gems last week and London sparkled!

Well done too to the organisers of the International Jewellery London show (IJL) this year, which for the first time was hosted in the dramatic, galleried setting of Olympia in London.

We visited on the first day of the show. This fabulous new venue for IJL is light and spacious, offering a perfect environment to explore the latest designs and collections of outstanding jewels.

For the 9th year now, the Bright Young Gems initiative celebrates the work of some of our future leading jewellery designers. Nominated by a prestigious panel of editors and jewellery leaders, the finalists this year are Fortuna Weeks, Joanna Bury, Jessie Seo, Youjin Nam and Kiki Tang.

There was much to admire, with their original designs experimenting with materials including wood, silk, pearls and enamel, with forms ranging from baroque to the geometrical.

KickStart, sponsored by IJL and the British Jewellers’ Association (BJA), also supports ten flourishing UK designers in helping them to exhibit their work at IJL.

Amongst these talented designers, we loved the work of Iwona Majdan in particular. Her jewellery is bold, with clean design lines and an elegant edgy style.

With no doubt, this was one of the most successful IJLs in recent years and a wonderful opportunity for designers to reveal and introduce their latest collections.

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.