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How are precious gems defined by today's jewellers and how has this changed over the years? Precious and semi-precious gems have become more difficult to define and distinguish from each other. At the same time more and more extraordinary, but less well-known stones have been added to the fine jeweller’s palette.

In this article we look at some of the key qualities of precious gems and how we look at these in our approach to jewellery design.

Early classification of precious gems

Traditional systems of gemological classification date back to the ancient Greeks when a young philosopher, Theophrastus, began to define the material composition of stones, based on their behavior when heated. His work called On Stones was the first exploration of gemstones to move beyond the ancient mythological fables, magical or talismanic properties that had been associated with them in the past.

Theophrastus was amongst the first to attribute preciousness to a limited number of gemstones. Although the term semi-precious was only coined later in the Victorian era, On Stones established the idea that particular gems were precious due to a set of natural qualities such as colour, clarity and carat weight. It remained a key text for jewelers throughout the Renaissance.

The Cardinal stones

Emerald, ruby, sapphire, diamond and amethyst were known as the Cardinal stones, a core group of gems that symbolised the power and wealth of the church and aristocracy.

Amethyst in particular was marked out as a regal stone; Queen Elizabeth I banned all commoners from wearing purple, including amethyst, the rarity and cost of the dye echoed in the rarity and the cost of the gem.



Image 1: A pair of Lief Earrings in Yellow Gold with Green Beryl and Tahitian Pearls
Image 2: A pair of Lief Earrings with Pink Tourmaline and Akoya Pearls

The distinction of preciousness reflected not only the scarcity of these stones in ancient times, but their material quality. All of the Cardinal gemstones are translucent with fine colour in their purest forms, even the diamond whose purity is judged on its lack of subtle colour. These gems are also very hard materials, registering 8 to 10 on the Mohs hardness scale.

Questioning precious

The established definition of precious does not necessarily encompass all ancient beliefs though. Pearl, opal and amber were equally revered as precious gems, and handcarved stones (emeralds, rubies, spinels and banded agates) were the height of perceived authority and craftsmanship. Great value was also placed on visual beauty, mythic and healing properties.

Nor does the traditional definition of precious reflect the contemporary value of gems. For example, while some garnets are relatively inexpensive, the tsavorite garnet can be far more costly than a mid-quality emerald.



Image 1: A pair of Tsavorite Garnet and Akoya Pearl Drop Earrings with 18ct Gold
Image 2: Lief Ring with Pink Tourmaline and Morganite

If preciousness is a quality of rarity, there are a number of coloured gems that might also lay claim to the description. Gemstones such as the paraiba tourmaline and tanzanite are found in only one location, and in limited, finite quantities.

Beryls such as morganite, aquamarine, helidor and green beryl, all of which share the mineral composition of emerald, and imperial topaz with its natural peach and orange tones are highly prized especially when they are found with strong depths of colour. Bold coloured stones such as mandarin garnet, tourmaline and even peridot are increasingly difficult to source in their most potent shades.

A new definition of Precious

At Winterson, we look for gems that have strong colour, whose tones complement the overtones and orient of our fine quality pearls.

We also highly prize a gem’s intrinsic natural beauty. Like many gemologists today, we perceive the value in each stone and each pearl based on their unique individual qualities - the new definition of preciousness.

One important and enduring design inspiration in jewellery is colour. The beautiful and unique qualities of a pearl and other colourful gemstones bring a unique aspect to jewellery design. At Winterson, we draw on our love of colour to create our contemporary heirlooms.

A pearl’s colour may be observed in its ‘body colour’ and ‘overtones’.  The dominant colour and shimmering surface radiance of a pearl are influenced by a number of factors. The natural tone of a host mollusc's shell, the genetic fingerprint of its tissue and epithelial cells, and the quality of its external environment, give the most significant clue to a pearl's eventual colour.



Image 1: Luna Moss Tahitian Pearl Ring
Image 2: Lily Eclipse Pearl Ring

Even then, colour remains one of the few things that the pearl culturing process cannot entirely anticipate – where nature’s unpredictability plays its most important and majestic role. Discovering a Tahitian pearl with cherry, peacock, or pistachio overtones is part of the enduring magic of working with this fascinating gem and a true design inspiration.

Matching pearls for colour and lustre – the quality of light reflected from the gem’s surface – is a job that requires morning light and an experienced eye.

At Winterson, pearl grading has been the family business for decades. For us, grading by colour is as important a value factor as grading for lustre, size and shape. Our access to and selection of high quality Akoya, Tahitian and South Sea pearls is at the heart of Winterson’s distinctive approach to designing pearl jewellery.



Image1: Classic Pear Drop Earrings in Ruby
Image 2: Luna Rose Tahitian Pearl Ring

Our designs celebrate the unique quality of a pearl’s colour, selecting precious and semi-precious stones that enhance this individual beauty, drawing out the subtle differences in every pearl.

Whilst the timeless combination of white diamonds against the rose blush of Akoya pearls will never tire, coloured stones emphasise every delicate movement in the overtone of a pearl; a grey Tahitian with steely tones responds to the languid blues of aquamarine, whereas a peacock Tahitian pearl flashes with vivid colour alongside the variegated blues of tanzanite, sapphire and blue diamond.



Image 1: Lief Earrings in Yellow Gold with Amethyst and Tahitian Pearls
Image 2: Lavender Eclipse Pearl Ring

This playfulness with colour, complementing tones in the pearl with colour in natural gemstones, is a distinguishing feature of the design inspiration behind a Winterson jewel.

To learn more about what causes a pearl's colour, read our Guide here.

Winterson's Creative Director Alice Cicolini takes a retrospective glance at the celebrated Al Thani collection of jewellery. The exhibition, which first appeared in Bejewelled Treasures at London's Victoria & Albert Museum, is set to open this Spring at the Grand Palais, Paris in March 2017.

The Al Thani Collection is a unique collection of jewels from an unusually broad chronological period that spans the Mughal period of the early 1600s to the present day. With such a diverse group of objects to select from, the V&A exhibition's curator Susan Stronge paints an impressive, if partial, picture of the development of Indian jewellery techniques and tastes.

Jewellery in Mughal society

The focus in the early part of the exhibition emphasises the almost ubiquitous presence of gemstones and jewellery throughout the Mughal court: from fly whisks and wine cups, to backscratchers and huqqa bases. The prevalence of precious and semi-precious gems led visitors to India in this period to remark on the magnificence of courtly life, its gem-encrusted thrones and imperial bodies that sparkled with jewels.

Hindu rulers lived under clear instruction as to the importance of establishing of an almost God-like regal body politic, through dress, jewellery and grooming. This remarkable profusion of jewellery, which their Mughal successors appeared to share, went far beyond the ruling classes to encompass men and women at all levels of society.



Image 1: Spinel and pearl necklace
Image 2: Silk sword sash with jewelled gold fittings

This is very revealing of the important role that jewellery played, not simply in the creation of status, but in what modern historian Daud Ali has described as “the spiritual and literary life of Indian societies” and the “association of jewels with light, virtue and beauty”. It is in early Sanskrit texts such as the arthashastra and brihatsamhita that the spiritual, cultural and healing values of stones, grading & assessment and jewellery techniques began to be established.

A love for pearls and gems

Many of these central tenets of gemlore still inform contemporary Indian jewellery making and buying practice, today with the navratna, or nine-stones, continuing to play a alismanic role in jewellery culture. Of these, the five great stones, or mahararatnani, - diamond, pearl, ruby, sapphire and emerald - dominate Indian jewellery culture as they did several hundred years ago.

As a result, for pearl lovers the Bejewelled Treasure exhibition offers a wealth of extremely fine examples. Visitors to India frequently remarked on the ropes of pearls that covered the bodies of both men and women, rulers and lesser subjects alike, upon which it would have been difficult to place a price. The arthashastra particularly notes methods for grading pearls, and the types of necklaces into which they could be strung, including one gravity-defying necklace of 1,008 rows.

It may be that one of the reasons that visitors saw pearls worn by non-royal courtiers was that, much like their British equivalents, Indian rulers charged their servants with wearing their pearls during the day to keep them both warm and luminous. Although the geographical proximity to the pearl fishers of the Arabian Gulf and Sri Lanka would have given Indian rulers greater access to pearls than some of their European peers, the pearl was still regarded a symbol of status. Some rulers were believed to drink powdered pearls as an aphrodisiac, and the Sanskrit word for pearl, manjari, means “bud” denoting the sensuality the gem has come to symbolise.



Image 1: Diamond turban jewel made for the Maharaja of Nawanagar
Image 2: Cartier Brooch set with emeralds, sapphires and diamonds

Other notable aspects of the exhibition include several exquisite examples of spinel, a stone which has long been celebrated in the subcontinent whilst remaining relatively unknown in the West. A combination of increasing scarcity, the price of tourmaline, the prevalence in the market of glass-filled and heat treated ruby and the spinel’s relatively low profile, however, marks this gemstone out as a major jewellery trend.

One of the main centerpieces of the show, and one of the few pieces in the exhibition not from the Al Thani Collection, is the Timur Ruby, rather abstractly titled since it is neither a ruby nor was it ever owned by the famous Indian ruler. Now part of the collection of Queen Elizabeth II, the stone was given to Queen Victoria by the East India Company in 1851, and then set in gold, enamel and diamonds by Garrards in 1853. The gem itself demonstrates the significant value placed on these stones by a succession of Mughal rulers, engraved as it is with the names of five royal owners from Jahangir, son of Akbar, in 1612 to Sultan Nadir in 1741.

Contrasting traditional with modern

The Timur Ruby also demonstrates the differing understanding of value that remains central to much of India’s more traditional jewellery making practice. Unlike Western cultures, where brilliance, fire and perfect precision cutting constitute extraordinary gems, the Indian subcontinent holds true (in its more traditional manifestation) to the notion that a stone’s natural character and form – its scale, luminance, colour and clarity – are what defines its beauty.

One of the main techniques that the exhibition focuses on is kundan, the practice of using highly refined gold to set natural, irregular stone shapes within fine, symmetric settings. Its aesthetic is one that has come to define traditional Indian jewellery, and its abandonment by India’s contemporary high jewellers is one of the most notable characteristics of their perceived modernity.

It is the quite clear break with traditional jewellery making practice that the exhibition makes visible, which is one of the show’s most interesting features. Alongside the rejection of traditional setting techniques, it is the widespread preference for platinum (with yellow gold removed to the reverse or interior structure of these new jewels) that has seemed to define “modernity” in contemporary Indian jewellery.

Western influences

Certainly this trend is most evident within the fertile Art Deco period that saw such a volume of commissions from Indian rulers to luxury high jewellery houses in the West  such as Cartier, Boucheron, and more recently JAR, and more recently in contemporary jewellery from India itself.



Image: Gold and diamond hair ornament

Stronge implies that the increased cross-fertilisation with Western tastes has resulted in a loss of regional difference across Indian jewellery, although it's perhaps difficult to conclude about a wider trend from the prism of a very personal selection of objects. It is certainly true that the contemporary jewelers that Al Thani has favoured lean very heavily towards the language of Westernised Indian-ness that Cartier, his Indian clients, and the many other 1920s Western jewellery houses who operated in the country, helped to establish.

The exhibition catalogue relates a lovely vignette of Jacques Cartier’s first visit to India as part of the Delhi Durbar of 1911, marking the coronation of George V as Emperor of India. Cartier had brought, Stronge relates, a selection of jewellery for women, but rapidly realized “the enormous potential of this market was that the princes bought mostly for themselves”.

The legacy of the Al Thani treasures

Perhaps what makes this exhibition so unique in its presentations of high jewellery is that the majority of the pieces chosen have been created to be worn or used by men rather than women, and this in itself is something worth visiting for.

As masculine jewellery cultures diminish so dramatically across the world, the exhibition profiles a dying way of life – both that of the makers, as their traditional arts appear to fade from fashion, and the wearers, and ways of wearing, that these extraordinary gems represent.

Eclectic degree collections from jewellery design’s future stars went on display at Central Saint Martins last night (June 23rd), where Coline Assade was announced as the winner of the 2016 Winterson Prize for the Best Use of Pearls.

The influential arts institute’s annual graduate show saw students presenting original pearl pieces, created with advice and support from Winterson Director Andrew Fraser and Creative Director Alice Cicolini.

Coline was named this year’s winner of the prestigious pearl prize for her collection ‘Unconventional Femininity’, an exploration of identity and self-expression. Graduate Chlóe Valorso also received a special commendation from the judges for her work.

Each year we look for work that demonstrates an understanding and appreciation of the pearl and, with such a high standard on display this year, Coline was an excellent winner.

Coline described her collection to us: “My collection was about femininity and identity. I wanted people to be more playful with their identity and make them raise questions about what is gender and who they really are. I used the pearls as playful moving parts of the jewellery. On the ring there’s a contradiction between the very round and colourful shapes, so you can choose what you want to wear and what you want to hide.”

Commenting on the award, Winterson's Creative Director Alice Cicolini said "Coline embraced the pearl and put it at the heart of her collection, celebrating the uniqueness of the baroque pearl as a symbol of feminine individuality. We were impressed by her willingness to experiment and her bold, distinctive voice."

A throughly deserving winner for this year's prize, congratulations Coline!

Read more about Coline and the other CSM designers' work here.

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.

A unique opportunity to win one of our stunning strands of pearls with celebrated publisher Bloomsbury.

To mark the release of The Drowned Detective, the latest book by Oscar-winning writer and novelist Neil Jordan, Bloomsbury are giving away one of our beautiful freshwater pearl necklaces to reflect the gem’s prominent role in this haunting love story.

For details of how to enter and more about The Drowned Detective, read more here.

The competition closes on 24th March. Good luck!

Each year around five per cent of us choose to show our love by giving our beloved a piece of jewellery for Valentine’s Day. Whilst diamonds have been a firm favourite in recent years, they're not the only choice.

Here are a few simple tips to help ensure your choice of gift this Valentine’s Day is as beautiful and perfect as the recipient.

SENSE HER STYLE

While it’s easy to be tempted by the changing trends of fast fashion, most of us take less risk when it comes to our taste in jewellery. Before you start shopping, try to gain a clear idea of preference when it comes to the different types of precious metals and gemstones. For example, does she prefer rose or white gold to yellow? And perhaps establish whether she tends to go for classic or more contemporary pieces.

UNDER PROMISE, OVER DELIVER

It’s important to consider what your valentine is hoping to see when presented with luxury jewellery. If you’re yet to pop the question, think very carefully about the disappointment you may unintentionally cause by opting for anything that comes in a ring-sized box. Instead think about opting for a piece of jewellery that makes it clear you’re not about to drop down on one knee.

Pendants in pearl, diamond or gemstones, are a thoughtful choice, especially if you can choose something that is lovely paired with her favourite dress.

LET TIMELESS BEAUTY ENDURE

A national rise in the average transaction values of jewellery purchases at this time of year suggests that many do feel it’s a good time to invest in what’s possibly the most romantic of Valentine’s Day gifts, an engagement ring.

While engagement ring fashions in the twentieth century leant heavily towards diamond solitaires, this hasn’t always been the case, with many different gemstones and pearls being traditionally used in the past.

A stunning central pearl accented by two princess cut diamonds is a timeless classic with a contemporary twist, while opting for a Tahitian or a white Akoya pearl offset by a brightly-coloured gemstone promises enduring beauty in a decidedly 21st century style.

Or for something altogether different celebrate your love with a burst of colour by selecting a ring featuring vivid run of breathtaking pink or blue sapphires.

ALL WRAPPED UP

Whether it’s elegant earrings or that all important ring, ensure your gift delights from the second that she lays eyes on it by opting for expertly gift-wrapped jewels.

Each piece of Winterson jewellery comes in our stunning signature zigzag wrapping, which means your purchase is guaranteed to be beautiful inside and out, just like your loved one.

Following the success of the enchanting Lief earrings, designed by Winterson’s Creative Director Alice Cicolini, a series of irresistible gemstone rings and pendants are now joining the collection.

Hand-crafted in the UK and finished to perfection in 18 carat gold, the six new striking pieces continue the theme of colourful gemstones and the wild leaves of Winterson’s signature flower emblem.

Four bright blue sapphires, shouldered with eight supporting diamonds, the Lief Ring with Blue Sapphires and Diamonds combines the unforgettable timeless appeal of these precious stones with a stylish modern design.

Reminiscent of pretty peonies in bud, the petal-like tones of pink sapphires shine bright in the Lief Ring with Pink Sapphires and Diamonds.

Considered to be an ancient symbol of honesty, loyalty and trust, sapphires make a unique and elegant choice of engagement ring and these rings are the precious gift for a loved one to cherish whatever the occasion.

Perfectly suited to more everyday wear, two additional new delicately crafted three stone rings also join the Lief Collection this autumn.

Beautiful hues of blue are the theme of the first which showcases stunning Aquamarine and Tanzanite, while a spectrum of soft pinks sparkle in the Winterson Lief Ring with Pink Tourmaline and Morganite.

These gemstones are also the stars of the new Lief pendants, with a choice of sparkling Aquamarine or Pink Tourmaline set in place with two delicate flower leaves fashioned from 18 carat gold.

The Lief Collection offers elegant femininity amid the delicate colours of an alpine meadow. A perfect gift for someone special. Including you.