Castro NYC: for the love of Jewellery

“Coz the ring you know, it was shooting the fireworks up in there, I had the Mardi Gras on, I was like if I don’t get this ring back to this person I am going to have a DOA certificate on my toe from either him or one of these guys” says Castro founder and creative director of Castro NYC and purveyor of the best jewellery related anecdotes I have heard in an age. It is not often a cocktail ring is the potential catalyst of a crime scene, but when it is made by a man whose aesthetic is instantly recognizable, who revels in using a multitude of techniques, metals and gemstones in any given piece and has a devoted clientele located on all corner of the globe it is somewhat unsurprising. Over the course of our conversation, there is a predestined mixed with self-determined energy as Castro’s story unfolds. He has first and foremost charted his own path, seemingly unconcerned by popularity or being accepted warmly into the industry’s embrace. Of his name, which sounds like a brand already he says “I’ve been Castro since I was a little kid, it’s my last name and my grandfather believed that the last name was more important than the first because it is the one that carries on.” He gives as way of explanation. For Castro, his work is a response to a deeper call, one where he maintains the youthful enthusiasm but also continues to test, challenge and push the limits of his craft. “I watched a documentary about Basquiat and it was saying that what made his art amazing was he would create from a point of view of almost like an adolescent.” Castro also possesses a joie de vivre about his work, that has taken him on a quest across continents seeking truths about heritage, creativity and art.

Decay Ring Turquoise, Lavender Jadeite, Turquoise, Diamonds, Coral, Sapphire, Ruby. Image Courtesy of Castro NYC
Decay Ring Turquoise, Lavender Jadeite, Turquoise, Diamonds, Coral, Sapphire, Ruby. Image Courtesy of Castro NYC

Nomenclature and Other Stories

“I am a creator. Or a builder, I guess I could say that” Castro notes. Nomenclature, both in how you present yourself and the industry perceives you has become increasingly important for those working in jewellery. Add the word ‘artist’ and galleries flock as your work is deemed collectable, throw in the word ‘designer’ and you run the risk of being perceived as a mere ‘seasonal’ practitioner, like those work in fashion who are governed by the weathervane of trends. “I’m trying to make at the highest possible level” explains Castro. And sometimes that leads to frustrations from clients or indeed stockists, a state of affairs he is refreshingly unapologetic about: “we have been working these earrings for like, one year, and they [the shops and clients] are so used to mapping things out, but I am like you know, my thing starts with a dream. It’s a vision and sometimes I have to see it the whole way through.” In an age where some creatives are only recently educating themselves or their clients on the benefits of consuming less, and trusting and respecting a slower pace of production, Castro had it ingrained in his creative process from the start.

Portrait of Castro, Image Courtesy of Castro NYC
Portrait of Castro, Image Courtesy of Castro NYC

It was passion that drew Castro to jewellery. “In the beginning I actually wanted to possess some jewellery” he says with a throaty chuckle, “and then I met this guy who had a jewellery store, a big j and I was like how do I get in? And he was like well, why don’t you go to school and learn how to repair jewelry because this is the bread and butter of every jewellery store.” This seemingly inauspicious beginning was in fact the bedrock for his practice, as by mastering how to repair, he had to dismantle, and it is in the recalibration of old pieces that new methods of creating evolved. His first piece was in essence a customization, the aforementioned cocktail ring that landed him in a sticky situation in a dive bar, but it set him on a path where he made pieces that he sold on a sidewalk table in Manhattan, and Castro NYC was born.

Blood Sport Ring: Opal, Rubies. Image Courtesy of Castro NYC
Blood Sport Ring: Opal, Rubies. Image Courtesy of Castro NYC

Castro is quick to point out that dramatic arcs aside his is not a modern fairytale. Whilst impressive clients were drawn to his work “one customer was like a big wig at Macy’s and another one was a big wig at Tommy Hilfiger” he says in passing, fame and accolades were never his driver. Of the initial success he notes the tension it brought with it “I felt like I am just making it for the street, I didn’t feel like I am making it for me”. To decompress, he would read, research and attend exhibitions and it was the Met Museum’s Anglomania that became a turning point in his career. He reminisces “And so one of my clients was like why don’t you do a collection? And I was like, what is a collection? And she was like oh, so you love skulls, so why don’t you look up the word ‘skull’?” Back at the Met he notes “ there was one piece in there it was a rabbit skull and it had this cool like quartz crystal on top and if I am correct I think it was rutilated quartz and it had this wire wrapping around it and I was like that is fucking incredible. And I remember I called my guy and I was like, I want ALL animal skulls. And at that moment I was like I want animals, everyone does humans so it became human and animal skulls mixed together.” The piece he is describing was by Shaun Leane, and although Castro himself tries to avoid being overtly inspired by others work “they say never look” the visual motifs coagulated with his desire to make items that were not governed solely by commercial concerns.

Owl Ring, Image Courtesy of Castro NYC
Owl Ring, Image Courtesy of Castro NYC

The decision paid off but not without challenges, particularly in how the jewellery industry would place him. On first name terms with the creative directors and founders of Taffin and Hemmerle respectively “my boy James de Givenchy, he’s amazing, I have been in his studio, we’ve hung out. And Christian you know, I talk to him sometimes” Castro has nevertheless faced the unconscious bias that manifests in incredulity that he as a black man could have conceived and made his pieces. He reflects: “The first time I had an interview with Barney’s back in the day the lady was like, Oh God when I walked in we thought you were some skinny white dude with a bunch of tattoos because it was back with the skulls collections.” That certain aesthetics or artistic concerns or methodologies should be the domain of or ascribed to a particular race is in many ways absurd. But it also speaks to how systemic racism can rear its head in even innocuous settings, and demand that a black artist must first clarify, justify and expand on the locus of concerns that govern their work. It is also illustrative of the challenges of how audiences in turn might receive black artists’ work. And whilst there is nothing in Castro’s manner that is indicative of a muzzled soul, he does pragmatically add “at one point I didn’t want my face shown because I was afraid it might affect the sales.” It is also indicative of how in many ways there is still a great amount of campaigning, lobbying and interventions to be done in terms of perceptions vis-à-vis race and what true inclusiveness will look like, even if artists themselves are willing and open to accept one another’s work on its own terms.

Dark Jewels Ring: Pearl Ruby, Diamond
Dark Jewels Ring: Pearl Ruby, Diamond

Who’s Design Language Is It Anyway?

Lazy assumptions are real. And no more than when editors, buyers and writers are quick to distil a creator’s design language and keep it moving. This is especially the case with black or brown creatives where, even in this post-BLM moment, mere ‘engagement’ with the so-called ‘other’ is hailed as extraordinary and groundbreaking and sweeping statements go unchecked without further intellectual interrogation. Castro’s work has been described as mediaeval, gothic, fantastical and other-worldly, but asked directly he says, “If it is one word then I would say eclecticism”, which incorporates all of the above and more. His padlocks and series of be-jewelled porcelain dolls have been seized upon as heavily influenced by European heraldry, Mediterranean architecture and Byzantine religious iconography respectively, but Castro is forthright in his clarification. “As I was doing more research for example on these cathedrals, where did that influence come from in Spain? Oh, it came from the people who crossed over from Africa. So I was like, oh okay so then it is fucking African. And you (in Spain) are just doing a bad version of the original one. It is still based on the structure, on the mathematics and geometry that you didn’t have. So, I am not really doing gothic I am actually doing African. I said to myself shit, that’s even doper.” Castro’s point might seem contentious to the art historian, however it is a critical point to make. Epistemological explorations are important and will remain so for as long as the western artistic establishment continues to stubbornly ignore or minimize African contributions and to acknowledge that migration flows in both directions will result in a mélange of influences and ideas with no location having intellectual or cultural supremacy over the other.

Porcelain Doll, Emerald, Diamonds, Gold. Image Courtesy of Castro NYC
Porcelain Doll, Emerald, Diamonds, Gold. Image Courtesy of Castro NYC
Fruit of the Loom Ring: Opals,, Amethyst, Tsavorites, Emeralds, Ruby. Image Courtesy of Castro NYC
Fruit of the Loom Ring: Opals,, Amethyst, Tsavorites, Emeralds, Ruby. Image Courtesy of Castro NYC
Custom Lock, Image Courtesy of Castro NYC
Custom Lock, Image Courtesy of Castro NYC

Castro is searingly forthright when talking about race, avoiding diplomatic turns of phrase when exploring the realities of being a black man working in the rarified world of high jewellery. He adds “I personally do not think you can be black, African and your work doesn’t reflect some part of Africa or Africanism because we live in this world where we have to think about so many other things that other people don’t have to think about in a day. So, it is going to affect no matter what, you cannot escape.” Some of his pieces reflect this reality in their totality. We discuss his Zipporah Ring and Dolly and the Benin Cat ring and he expands “Those collections were dealing with the Black Death and death itself.” Of his choice of crow’s skull he notes “it meant two things of course death but it also meant life because the crows only come around when there is something to eat…With the skull itself, it is in you it is part of you, it is part of life but it is also part of death. With some black people they will see a skull and they will be like oh God, it’s voodoo and evil and I will be like well that means you’re evil too because you have a skull inside your head. You are walking around with that thing” he says laughing.

Ziporrah Doll, Ruby, Tsavorite, Opal, Diamond. Image Courtesy of Castro NYC
Ziporrah Doll, Ruby, Tsavorite, Opal, Diamond. Image Courtesy of Castro NYC

Castro often leaves space for interpretation of his pieces. From his cryptic one-word captions on his Instagram handle to the intentionally discombobulating juxtapositions of forms on a single piece. The ambiguity or mixing of metaphors allows for a wide church of admirers as each client potential and existing sees and runs with what they connect with. He expands: “the doll was a combination of the old and the new revelation of things relating back to Africa. So the Z part became Zebra and the ears are zebra ears on the bird’s skull. People think it’s a rabbit or something but I am like no, that is zebra ears. So it was the cross breeding of things. Also with the doll the relation would be with juju and the amulets are all new like people grab the cross as an amulet and it just replaced your old amulet you know.” Jewellery as talisman is almost as old as human beings’ decision to adorn their bodies with objects but in Castro’s instance he proposes a different perspective, one where there is a constant need, in this instance the feeling of protection, but that how one feels protected is open to reinterpretation. Of the moving mechanisms within the dolls and figurative representations he explains “So it is the same idea of this movement in Africa of the festivals and we’re always dancing and we’re always moving. With the masks also represent the masquerade. And the binding of the two animals in European art it is figurative it is more actual for us in West Africa it’s more abstract. There are many meanings in one piece and unless you can talk to the artist you will never know the full meaning of that piece. And it is also about people being two-faced because also in there is the mask and when you lift it up there is another face under it.” Of the pieces names he adds “the whole collection was Hebrew names and so one name is Toam and Toamis twins and so it would be twin cat-skulls or whatever. But most people didn’t know what they meant so it was more about people having names and using names but they don’t know what they mean, especially in America, people have names but we don’t know what they mean.” It is rare that pieces dare to tackle the ontology of jewelery from an African perspective and how migration be it forced or of one’s volition has affected internal and external cosmologies, but Castro does so, and makes the ideas wearable with it.

Benin cat Ring
Benin cat Ring

Materialism is something that has been a hallmark of Castro’s work so far with collisions of metals and gemstones that might not ordinarily be used together. However, historicism played a huge role in his initial choices: “So at the beginning I was working with brass and bronze but that is how I started and they did things that I wanted. They were like gold and they had history. Because when I went to a museum you always see when they have a jewellery exhibit there will be silver, bronze, gold. To me they were historical materials that had been around forever. So, they became my choice metals at first.” Gemstones, both semi-precious and precious came later, although he concedes “I mean I love diamonds and pearls. Pearls are tears from the moon and diamonds I love because they’re hard that’s probably one of the biggest things.” And although he has become known for his liberal use of both, it did not result in an abandonment of his initial materials of choice. “Well I think it is sort of like, when I was seeing the JAR exhibition… he had his old pieces in there and they were silver because he started with silver, but when he got big he didn’t stop – he still kept working with this material.” He notes of one of one of the most celebrated living jewellery artists whose famed exhibition in New York and London remains one of the greatest visual highpoints for jewellery lovers who were fortunate to see it. Because of his status as an autodidact in terms of creating and making, Castro allows himself to be guided principally by emotion: “I just kinda feel there is no rules within thinking of what I want. If I want to use toilet paper I will use toilet paper but I will figure out how can I make it beautiful and how can it last, because I like stuff that lasts.”

Antique Porcelain Doll, Sapphires, Opals, Diamonds Image Courtesy of Castro NYC
Antique Porcelain Doll, Sapphires, Opals, Diamonds Image Courtesy of Castro NYC
Owl Ring, Mixed Metals, Ruby, Diamonds. Image Courtesy of Castro NYC
Owl Ring, Mixed Metals, Ruby, Diamonds. Image Courtesy of Castro NYC

Our conversation turns to the sort of clients he has and the feelings he wants his jewellery to elicit and his answer is as ever impassioned but with additional historical and sociological analyses. “I want them to feel like rap stars, not rock stars, but rap stars. I want them to feel like a rapper I want them to feel like they’re shining. I want people to pay attention to them. And be like where the fuck did you get that? What the fuck is it? I am always trying to achieve that. I love jewellery. I might not love all rap jewellery design, but I love the idea and the idea is to shine. Rap jewellery is a metamorphosis of the 60s, 70s and early 80s where all the rhinestones were on the clothing and the idea was you were meant to be like a star. Stars shine so it just changed from the clothing to the jewellery. That’s the only difference. That’s why on the stage you sparkle, when you walk up in the club, you sparkle so I want people to have that feeling.” On a personal note the Marauder Ring was an early favourite of mine a bold gold, diamonds and sapphire cocktail ring that is a jewellery companion piece to the A Tribe Called Quest classic Midnight Marauders. Like the flow and production of the aforementioned old-school hip-hop giant, it is at once showy, jazzy, confident, contemplative and not easily placed. Similarly, Castro’s clients are people who have a strong aesthetic sensibility as his are not ‘follow the crowd’ pieces. “If it is a woman she’s got to be strong already. One of my Russian clients told me there is two kind of Russian girls. You have got the one, they come from Siberia, they find a husband and the husband, he dresses her the way he wants and that’s it. And then you have the other one who is probably married but she aint taking no shit. She’s like you gonna be fucked up. I ain’t doing no fucking bunny jumpin’ no, no , no, no! She said that is the customer I’ve got here” he finishes with another throaty chuckle. And whether the clients are Russian or from any part of the world they are the sorts of individuals who exude confidence and certainty in their decisions. Who even if they don’t work in the performing arts, possess that superstar ability to shift the energy in a room upon their arrival and exit and create a memory to even those who have a passing encounter with them.

Marauder Ring Image Courtesy of Castro NYC
Marauder Ring Image Courtesy of Castro NYC
Pebble Ring, Coral, Opals Image Courtesy of Castro NYC
Pebble Ring, Coral, Opals Image Courtesy of Castro NYC

Third Acts and Future Adventures

Although his brand name retains the city where he made his name in the jewellery world, Castro himself is now based in Istanbul. “I was kind of done with New York, I was there and I was in a hamster wheel. So I went to my storage and a folder fell out and I look and I am like’ Oh shit!’ because it has my plan before I moved to New York. And there was nothing in that plan that said get rich or die.” As well as being reminded that financial success, although it had come, was not his principal motivation, his decision to move was precipitated by the series of racially motivated murders and protests in the USA in 2014. “So we were round the African Tea Shop in Harlem and everyone was saying ‘Oh, we are going to do this and do that and they went all around the table and they said ‘what about you Castro you’ve always got something to say.’ And I said actually, I am bouncing. And they were like what? I said, I’m out. I believe the source is in Africa, and I need to go to the source. Maybe I don’t stay but I need to go to the source. I need to make a pilgrimage. I was like everyone else in America makes a pilgrimage. People go back to Italy, they go back to Ireland, to Poland or Germany. We black people are the only ones that don’t make the pilgrimage. It just doesn’t make sense.” A visit to South Africa was problematic, “they had the xenophobia thing where they were killing Africans… they reminded me of Trump people but different face, with their ‘South Africa for South Africans.” A pitstop in Istanbul has started to resemble a more permanent arrangement “my plan was just to be here for 30, 60 or 90 days and then go back. But at that time I met a lady who had a gallery named Priyo she had this gallery and she became my first customer. So, things were good because there was no need for me to leave. I decided to get an apartment just to store my stuff in and before you knew it I had a table a chair and I started building.”

Exoskeleton earrings: Royal Purple Garnets, Green Sapphires, Emeralds, Black and Grey Diamonds Image Courtesy of Castro NYC
Exoskeleton earrings: Royal Purple Garnets, Green Sapphires, Emeralds, Black and Grey Diamonds Image Courtesy of Castro NYC

New York has come back front and centre courtesy of his work featuring in Brilliant and Black the Sotheby’s New York selling exhibition that features the work of 21 black jewellery designers. The exhibition has resulted in a flurry of interviews, press calls and attention. And whilst overall the feedback for the initiative has been positive, there have been murmurings of the timing of its ideation. Is it merely a response to the summer of race protests that were triggered by the murder of George Floyd in 2020? And is it a case of a heritage auction house seeking to tick a box and keep it moving? “I am doing this because of Melanie. Melanie Grant is the glue and because of her that’s the biggest thing, it is like having Oprah’s name on it.” Castro says of the writer editor and curator who is arguably one of the most powerful black voices in the global jewellery landscape and who has activated her considerable clout and network to successfully spearhead the initiative with support from Sotheby’s jewellery specialist, Frank B. Everett. For Castro and undoubtedly the other participants, Grant’s involvement is an essential component as it is illustrative of Sotheby’s daring to do something different operationally. Heritage auction houses or any other custodian of culture have historically ignored black talent or indeed expertise. Subsequently, many black creatives have had a cautious or hesitant desire to engage because of it. However, by deferring to Grant’s knowledge as well as her established relationships and impeccable reputation, Castro observes “they were able to bring it together and that is pretty impressive”. It augurs well for future generations and for a shift in perceptions in who is included in the global jewellery canon.

Money Brooch, Image Courtesy of Castro NYC
Money Brooch, Image Courtesy of Castro NYC

There are further collaborations in development, “I can’t say who now but it’s with a stone brand let’s put it like that” is all Castro will reveal, and he continues steady production for the select stores and galleries he chooses to be stocked in. However, for Castro his work in and of itself is a visceral discourse on time’s limitations and the pursuits of perfection. “I need infinity…I want you know, the moon and it ain’t enough. I think what’s next? Learning new techniques, learning new ways and just pushing the envelope. Like every time I make a porcelain doll I am trying to figure out how can I make it more extreme. It is just a test for myself, like okay, how can I beat myself?”

Space Monkey, Opals, Amethysts and Black and White Diamonds. Image Courtesy of Castro NYC
Space Monkey, Opals, Amethysts and Black and White Diamonds. Image Courtesy of Castro NYC
Infinity Lock, Tsavorites, Emeralds, Diamonds. Image Courtesy of Castro NYC
Infinity Lock, Tsavorites, Emeralds, Diamonds. Image Courtesy of Castro NYC

Yet underpinning this goal is his ongoing love affair with jewels and making astonishing pieces. “My Mum told me that when you are in a relationship you have to go back to the beginning of what brought you two together at that moment. Whatever that is… So, it’s the same with jewellery. I have to go back to that original thing and the original thing was when I didn’t know what the hell I was doing. What was it that these people liked about me when I first started? They were looking at something where I was just creating. I wasn’t thinking about retail, I wasn’t thinking about will you like the colour, will you not like the colour. I was just creating something that I liked.” Castro’s approach is a mantra for life, whatever your chosen discipline. One where one’s vocation takes you on a series of creative adventures and there is a constant yet pleasurable questioning of what your contribution means in a wider context and how best to encapsulate passions. In his practice one sees this manifest in pieces that stand out in a crowded marketplace, that defiantly refuse to pander to trends and are collected and worn by people who are governed by a similarly singular approach to self-expression and the pursuit of beauty. In a world that has increasingly been cowed by consensus thinking and doing, artists like Castro are akin to the rarest of gemstones that illuminate, inspire and are unforgettable.

Serpentine Ring: Pearls, Opals, Emeralds, Rubies, Purple and Black Diamonds, Ebony. Image Courtesy of Castro NYC
Serpentine Ring: Pearls, Opals, Emeralds, Rubies, Purple and Black Diamonds, Ebony. Image Courtesy of Castro NYC

Ute Decker: Jewellery Artist and Activist

“I grew up thinking I was not creative at all and it took me probably all the way into my thirties to overcome what I had been led to believe at school.” Ute Decker, jewellery artist and ethical jewellery activist is reminiscing about her earliest creative memories and I am surprised that there isn’t a strong biographical artistic thread. For an artist who since formally launching her brand in 2009 has experienced immense critical acclaim and commercial success with her work being described as ‘wearable works of art’ by the auction house Christie’s, and acquired for the permanent collections of both the Victoria and Albert Museum in London and the Swiss National Museum in Zurich, it is somewhat puzzling that there were no early indications in her childhood of what was to come. Our Zoom meeting, which takes on the energy of a stimulating conversation with an intellectually curious friend who is as engaged with the world around them as they are with their craft, doesn’t feel like ‘work’ at all. In fact, we both agree that the whole interviewing business would be greatly improved with a glass of Grüner Veltliner, a wine we discover we both love. As our conversation progresses it becomes clear that Decker is so much more than an artist or a pioneer and early advocate of ethical jewellery practises; she has that rare quality of being equally a thinker and a doer. Her sculptural pieces possess the physicality of being made by her own hand, yet her ideological beliefs are imbued in the fact that the materials she uses are wholly ethical and traceable. We discuss her beginnings, her methodology and why she hopes that more in the industry will truly embrace ethical practises, especially if the jewellery industry is to truly shed some of the negative connotations that linger to this day.

Portrait of Ute Decker wearing the Orbit Ring in recycled silver. Image Courtesy of U Decker
Portrait of Ute Decker wearing the Orbit Ring in recycled silver. Image Courtesy of U Decker

A Fearless Point Of View

Decker is unabashed about her beginnings; she says with a smile “I used to call it ‘winging it’ but of course nowadays I would say I am an autodidact…I went to evening classes just to have access to tools.” There is a pragmatism in her rationale for attending evening classes, but it also reveals a creative who is governed by process, knowledge accumulation and self-mastery, indicative of her previous job as a news journalist and researcher. That she came to her craft, via it being a passionate hobby also allowed her a more expansive, unburdened, relationship, something that she is quick to point out: “Making jewellery for myself [resulted] in me making it stronger because I didn’t come out of university with a jewellery degree and then have to earn money. I was completely creatively free.” Then as now, her pieces are not obvious ‘crowd pleasers’ but rather require a wearer who has an equally unapologetic approach to aesthetics as Decker. Indeed, bestsellers such as the Infinity and Orbit collections sit comfortably on the nexus of sculpture and adornment, and could easily be at home on a mantel shelf as they are on a wrist or finger.

Infinity Spiral Ring in Fairtrade Gold. Image Courtesy of U Decker
Infinity Spiral Ring in Fairtrade Gold. Image Courtesy of U Decker

Modern life has made many industries increasingly youth focused. We have become conditioned to saving our noisiest praise for young prodigies. Subsequently, creatives of all ages lose sleep thinking of ways to capture the eyeballs online and the money in real life of young consumers. However, Decker took a different approach: first and foremost she ensured her honoured her truth and pleased herself, she adds cheerily “I made very large sculptural pieces that commercially are a complete no-no..but I already had my own character, my own language. I didn’t want to please anybody.” This approach proved critical in tapping into a powerful and oft ignored demographic “ A lot of my clients are mature strong women” she notes when I ask her about who is drawn most to her work. By appealing to women like herself she ironically reflects our contemporary love affair with ‘relate-ability’, but in Decker’s case it happened organically rather than as part of a marketing strategy. Most pertinently, it has resulted in cementing, relatively quickly a client base that is neither driven by trend or, because they statistically earn more money, governed entirely by cost. Among her early collectors was the late architect Zaha Hadid, and the former Serpentine Gallery director Julia Peyton-Jones was another admirer of her work. But beyond attracting celebrity clientele and creative cognoscenti acclaim, her work connected on a meta-level. Formally launched in a group show in 2009, and significantly after the 2008 economic crash, it reflected a global yearning for jewellery that had depth of meaning. It also came at a time when there was a desire for original voices who could create something that stood apart from the offerings in the high jewellery meccas of Paris and New York.

Two Unicorns Rings in recycled silver. Image Courtesy of U Decker
Two Unicorns Rings in recycled silver. Image Courtesy of U Decker

On Inspirations and Methodology

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Decker’s atelier is situated in London’s Cockpit Arts, a jewellery and design hub tucked between the city’s historic jewellery district of Hatton Garden and the leafy legal heartland of the Inns of Court of Holborn. Decker, who is originally from Germany was drawn to the space because of its sense of artistic community in a large sprawling city. However, although self-taught her design process is influenced profoundly by principles drawn from eastern traditions: “Are you familiar with Ensō?” She asks before continuing “I try to work as with Japanese calligraphy, with the Ensō  it is a circle that you draw…you have to be an apprentice and practise it for twelve years before you can put your name to it. I think that kind of practice is how I work. When I start off with the garden wire, I work until l have something that speaks to me and I am happy with and then I keep making the same piece, over and over again in brass. I work it out until I no longer have to think of the process and my hands now know by themselves. Once I have an intuitive feel, rather than doing and thinking through a lot of things, I make the final piece in metal, in one go. Like calligraphy, it needs to have that flow and dynamism and a natural end. And even if a client said I would love that brooch in gold or smaller or bigger I would still go back to the brass, to get my hands in the flow again. So it might take a few days. Sometimes the lines won’t speak to me and I will work on it for months and then just by chance I walk past a piece, pick it up, do one thing and there it is.” A process such as this is seemingly at odds with the western driven bottom line, one where a bestselling design would be churned out with celerity with the maximising of profits at the forefront of all activities. But like with much Decker does, it is challenging but ultimately rewarding. Supreme self-discipline in the repetitious nature of initial work is coupled with a spiritual harmony of intrinsically knowing when the piece is ready. As with the Ensō, the goal is mastery borne out of a lack of inhibition.

Chaos Neck Piece in Fairtrade Gold. Image Courtesy of U Decker
Chaos Neck Piece in Fairtrade Gold. Image Courtesy of U Decker

Warming to the conversation on eastern philosophies and beliefs she continues: “I am very interested in Zen Buddhism and I have tried meditating but I am not a practising Buddhist. In Zen, it is very much the idea of creating with an empty mind. So I sit there without any preconceived ideas. Without thinking, without an aim and without a goal for the end. My work is much more about a sentiment or a sensibility so I never have a concept in mind before, it is only later something might come.” She also invites her collectors to embrace a similar notion, where preconceived ideas are left at the door and instead they engage with a piece ‘empty’ and wait to respond to the emotions it might elicit. It is poetic and places Decker’s work more in the jewellery-artist category than the conventional jewellery designer. Of the distinction between the two she adds: “I don’t say I am a jewellery artist because I feel it sounds slightly pretentious. I tend to say I make sculptural pieces…or I hold out my hand or my neck and say, that is what I do. I try not to define it…If you consider that art it is art if you consider it jewellery, it is jewellery. It is about bringing your own perspective.”

Shadows Earrings in Bi-Metal (recycled silver and Fairtrade Gold) Image: Jamie Trounce
Shadows Earrings in Bi-Metal (recycled silver and Fairtrade Gold) Image: Jamie Trounce

Perhaps because of her circuitous route into jewellery, Decker steers away from labels or classifications being applied to her work. When I ask her of influences she pauses before responding “I admire the Padua School who are also quite minimalist but I don’t see myself as part of an artistic creative or jewellery school. But I would see myself as part of the ethical jewellery movement.” The Padua School under the unofficial leadership of Mario Pinton were at the vanguard of experimental gold smithery in the 1950s and 60s and like Decker, members such as Giampaolo Babetto were drawn to creating exploratory pieces that could be seen as both sculpture and jewellery with a minimalist sensibility. Intriguingly, the Japanese writer Jun’ichirō Tanizaki also provides ideas that fuel her work: “I have read‘In Praise of Shadows’ by Jun’ichirō Tanizaki and although it has several political issues there are certain sentiments in the book that I agree with. Tanizaki describes how when you go into a Japanese house it is so empty but then the play of shadows is so powerful. Something so minimalist: the wind rippling through the trees, a gentle wave rolling in the ocean, looking into the fire…Those are the simplest smallest minimalist experiences…and because the process is so condensed and reduced that makes them the more powerful.” Relating it back to her practice she concludes: “I think quite often with jewellery people are thinking of where can they put another little diamond or another little swirl. For me, when a piece is done I am thinking what else can I take away to make it less busy.” This doing away with, condensing, distilling, until, one is left with a piece’s true essence is at the heart of all of her designs.

Curling Crest of A Wave in recycled silver. Image Courtesy of U Decker
Curling Crest of A Wave Ring in recycled silver. Image Courtesy of U Decker

The idea of embedded energy is another concept that for Decker has great resonance, citing Alexander Calder she expands “…what really gives me joy looking at his work is you see little images and videos of how he makes things and that joy that he brings across. And every time I look at one of his pieces I see that maker’s smile.” Making and the physicality and personality she brings to pieces is what posits Decker’s work most in the jewellery-artist category. “My hands think in three dimensions so I need to actually make and experiment” she says adding “I never draw anything. I couldn’t draw this (she gestures to her wrist, where she is wearing an iteration of the Orbit bracelet),…I just play and experiment and by the end of it something completely different will fit.” She is happy to see her pieces as wearable sculptures but it was only when the opportunity of making a large scale piece for a client came about that she realised how wedded she was to her particular process: “It was a wonderful budget and I thought ‘Yeah, I always wanted to make larger sculptures and here is an opportunity, someone is commissioning me!’ But I must say that the process was less satisfying because I had to hand it over to a fabricator. I was no longer the person…for me it is really important that my hands, that I am involved, it is that joy in the creative process.” Just as with Calder, her energy, her essence, indeed her joy, are intrinsic to the completed work. “I don’t think I am a designer because it can’t be replicated. I can’t give it to someone else never mind do so myself.” Again, she resists easy categorisation: “I actually find it very difficult with the nomenclature thing as well, and it seems to be [more about ]what people are thinking.” And as already explored Decker is loath to allow external gazes to qualify or quantify who she is or what she does. She smiles before finally conceding “Jewellery artist is probably the closest term. There is an artistic expression. There are some thoughts and constructs and concepts that while not at the beginning of my process are certainly part of it…that is probably the main reason I would say jewellery artist. But I am definitely also a maker.”  Indeed, her work is represented at one of London’s most renowned galleries for jewellery-artists, Elisabetta Cipriani.

ManRay Swan in Bi-Metal (recycled silver and Fairtrade Gold) Image Courtesy of U Decker
ManRay Swan Ring in Bi-Metal (recycled silver and Fairtrade Gold) Image Courtesy of U Decker

 

Activism and Jewellery

Jewellery was never going to be just about adornment given Decker’s background. “I am very politically interested, I studied Political Economics at the University of Hamburg, lived in Paris, and spent some time at the UN in Vienna and was involved with the climate talks” Unlikely to content herself with trotting out superficial statements to her conscience or her clients’, Decker wanted to ensure that her jewellery was as equally imbued with her values as it was with her aesthetics. She expands: “Being part of a bigger picture, working with fairly traded gold, being part of the whole earth and community is important to me. I don’t just want to make art for art’s sake. I like to express certain sentiments but also be part of the solution of the issues that are important to me…When I studied there was a whole course on the meaning of work. Who am I in this world? How do I fit in? Do I fit in to the anonymous production or do I want my work to be more meaningful to myself and to the greater context?” It was these questions, coupled with her news journalism background that prompted her into deeper investigations on ethical mining, sourcing and production. The private endeavour resulted in a rejection of using gemstones: “The Kimberley Process ( the global agreement that came about in light of negative publicity on so called blood or conflict diamonds) is not worth the paper it is typed on. There are no ethical diamonds, there are no fair trade diamonds, there are some that are better than others like Canadian diamonds with more traceability, but…” She trails off and shrugs, incredulous that the general public has by and large swallowed the notion of ethical diamonds when many gemstones for the most part, still come from parts of the world which have either historically or are currently in the midst of political, socioeconomic and human rights tumult. It is for this reason that Decker herself continues to not use gemstones in any of her collections and subsequently focused her investigations on precious metals.

Calligraphy Rings in Fairtrade Gold. Image: Jamie Trounce
Calligraphy Rings in Fairtrade Gold. Image: Jamie Trounce

We alight on the first online ethical jewellery directory that she created, that was previously housed on her brand’s website but now has a permanent home on ethicalmaking.org which is a partnership between Decker and the Incorporation of Goldsmiths, Scotland, she adds: “Metals have an incredible footprint, it’s an incredibly dirty business whether it is from the environmental perspective or in terms of human rights and exploitation…It’s an absolute horror story. And when I read about that horror story my first reaction was ‘Oh my God, I cannot be part of this. I cannot use these materials.’ Surely there must be some gold or some silver that has been mined in a more environmentally friendly fashion… I didn’t start off thinking I am going to build the world’s most comprehensive ethical jewellery directory. It was just one piece after the next piece…I put it all online and that opened up conversations.”

Chaos Brooch and Earrings in Fairtrade Gold. Image: Jamie Trounce
Chaos Brooch and Earrings in Fairtrade Gold. Image: Jamie Trounce

This is not to say that her activities were met with universal support within the jewellery community. In spite of sustainability and ethical having recently not so much become buzz terms as mantras that all must adhere to, there was push-back. Reflecting back on those early beginnings she relates: “I talked to other jewellers and some of them were like, ‘Yeah, I might be interested.’ But at the beginning there was a lot of hostility from other jewellers because once you start talking about ethical you open up a can of worms…. If you say ‘ethical’ [jewellery] there must conversely be unethical jewellery. So the jewellery world didn’t like it.” Of the ongoing trend for jewellery houses both small and independent and large conglomerates to tout their ethical credentials she warns that consumers should be “aware of ‘greenwashing’, which I now think is the biggest danger… what we have now is a proliferation of claims and the Responsible Jewellery Council which already sounds fabulous and if you go on the website you would think you were on the website of Greenpeace… but in fact it is just an industry association…all the big mining companies and a lot of the big diamond companies are in there and now everybody says ‘our diamonds are sourced responsibly Kimberley Process and our metals whatever are also responsibly certified or we are getting it from a Responsible Jewellery Council source.’ Both of them are utterly meaningless but as a consumer you think ‘Oh, fantastic all of them are sourcing ethically.”

Rolling Waves Moonlight Brooch in Fairtrade Gold. Image Courtesy of U Decker
Rolling Waves Moonlight Brooch in Fairtrade Gold. Image Courtesy of U Decker

Clarity of information is something of particular importance to Decker who in addition to her jewellery practice lectures and continues to lobby for greater traceability of where metals are from for both creatives such as herself, seeking to be ethical in their sourcing and consumers who want to be assured that what they are choosing to purchase is truly ethical. On her own journey one pivotal connection was with Greg Valerio an agrarian, artisanal mining and ethical trade activist. “Someone told me about Greg Valerio who really is the hero of the whole story. He comes from a human rights background and started an ethical human rights shop…. he also found out about a small mining co=operative in Columbia called Oro Verde – and they worked on the same values and principles such as re-foresting and such… And then he went to the Fairtrade Foundation and said ‘guys you must get on board, we must have something certified…because there are so many ethical claims’. So that is how the first fair trade gold came about.” Decker is also eager to qualify the difference between Fairtrade and fair-trade, something most consumers wouldn’t immediately differentiate between; “It is also very important to note that the word fair trade with a hyphen or small letters is not protected. But Fairtrade one word and capitalised is…Fairtrade standards involves women’s rights and also economic rights, strict environmental standards and the money is invested, so we are paying a fair price but we are also paying a Fairtrade premium. And that premium the community can then decide what they need….So it is the community that jointly decides what they need most. It is investing in schools and people need to understand it is not some kind of ‘aid’, it is paying a bloody fair price.” Her and Valerio continue to raise awareness and campaign, often appearing on panels together.

Rose Ring in Fairtrade Gold. Image: Jamie Trounce
Rose Ring in Fairtrade Gold. Image: Jamie Trounce

Empowerment, Conscious Consumption and Future Plans

For Decker empowerment does not stop with elucidating stakeholders of the ethical jewellery movement. It also comes via her invitation to wearers in the co-creation process. “I give my pieces relatively abstract names. I have a thought of what they make me feel or what they remind me of but then the title is abstract enough to invite others in.” She uses her collection Orbit to illustrate the point asking me what I think it reminds me of before concluding, “So when I said orbit, I was thinking in terms of the solar system but you were thinking of chemical elements and atoms and that is beautiful…individual empowerment and individual expression combine in my jewellery.”

Orbit Bracelet in recycled silver. Image Courtesy of U Decker
Orbit Bracelet in recycled silver. Image Courtesy of U Decker

Occasionally, with her private clients the tables will be turned. She reminisces, “There is one wonderful collector in New York who commissioned me for a piece…her brief was ‘wild and abandon’ but I have to be able to type in it’.” The process took a year but it was precisely because Decker had a plethora of ideas that she explored fully before settling on the one that she felt was best. Inevitably, she returned to her eastern philosophical principles adding: “There is a concept in Japanese philosophy aesthetic called Ma, which could be translated as emptiness…for us in the west emptiness is a negative. But the concept there is if it is empty, it has all the possibilities opening up.” Allowing time to be inspired, to play, to dream and ultimately make are key in her creative process, as she waits on ideas to have their full fruition. Clients in turn are encouraged to exercise patience and trust that the beautiful synergies and work will emerge. It can also ultimately result in a less exhausted earth as we are all forced to consume less and not expect every desire and whim to be met immediately.

Silk Folds Bracelet in Recycled Silver. Image: Elke Bock
Silk Folds Bracelet in Recycled Silver. Image: Elke Bock

As our conversation comes to an end I pose to Decker whether she sees jewellery as another pit-stop in her portfolio career or the arena in which she intends to stay. She pauses before responding: “We could say jewellery is totally unnecessary, we have enough stuff in this world and with the materials and the issues, do I need to make jewellery? But I think making very few pieces, making pieces that count, that are not just in and out of fashion before you can blink, is worthwhile. Sometimes clients come and say ‘oh yes, I bought this at your very first exhibition and I have been wearing it all the time’, and hearing that gives me so much joy.” Decker has a mind that is so agile and a seemingly insatiable curiosity and desire to share knowledge and beauty, that it feels unlikely that jewellery in and of itself will be an adequate framework for what. Has already been a considerable body of work. However, jewellery redefined and deconstructed within her broad locus of concerns and passions has become a much more nuanced proposition in and of itself. All creative disciplines need a dose of disruption to truly evolve, Decker is doing this for jewellery one sculptural, beautiful, ethically produced piece at a time.

Articulation Neck Piece in recycled silver. Image Courtesy of U Decker
Articulation Neck Piece in recycled silver. Image Courtesy of U Decker

Rabun The Radiant: A Career Observed, Part 1

“I started designing jewellery that spoke to me, because there wasn’t much jewellery I wanted to wear…I wasn’t really sure where it was going of course, but I knew it would find its place” reflects Jacqueline Rabun in the first of two Zoom calls in which we discuss her three decades and counting career in jewellery design. Immediately evident in her opening answer is the power of intent married with application. The impetus for designing began with her, she was neither creating with an ideal client in mind or at the mercies of a ‘market’ to court or appease. This unapologetic approach has brought dividends although not without challenges along the way. Rabun is motivated by a passion and desire to actualise an alternative design offering, one that is rooted in her own experiences and values. It is this distinct point of view that has seen her contribution to the jewellery world not only unequivocal, but also a catalyst for opening the doors to wider participation in the industry as a whole.

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Mercy Ring, Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun
Mercy Ring in White Gold , Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun

Of course, it is easy to eulogise from the vantage point of a career of her length and breadth which contains within it the ‘holy grail’ of commercial success, critical acclaim and continued resonance in the here and now from peers and design aficionados alike. But Rabun’s is a story that is first and foremost anchored by jewellery that found it’s way onto the bodies of many and intriguingly varied clients; from rock stars and supermodels to business leaders and members of royal families all over the world. Coupled with this is her prodigious work ethic and a tenacity that hasn’t let setbacks, curveballs or racism, derail her from her goals. Rabun is softly spoken, with an accent that sits squarely in the mid-Atlantic but without any of the international-jet-set affectations that many have come to associate with such. Dressed in a deceptively simple yet perfectly cut white tunic, her hair pulled back, skin clear and eyes animated, she appears the embodiment of a woman seated confidently and elegantly in her power, who hasn’t been discombobulated by the uncertain, pandemic ridden times we are all living in. When I note this she laughs: “I carry on as I always have” which for her is working largely from home as she straddles her work for her eponymous brand and her long term collaboration with Scandinavian heritage jewellery house, Georg Jensen.

An Autodidact Finds Her Voice and Place

Rabun surprisingly did not train as a jeweller: “I studied fashion design at the Fashion Institute in San Francisco, that was the world I always thought that I would be a part of… My mother taught me to sew, and I actually knew how to cut a pattern and make my own clothes from a really early age. But as I was studying fashion design something came over me and I felt as though this wasn’t my world anymore… the fashion industry is amazing but I guess I was quite sensitive at the time…so I stopped and by pure accident I started working at a jewellery gallery, a very beautiful one in Los Angeles , called the M Gallery and it was like no other space I had ever been to.” In many ways the M Gallery was the perfect training ground for Rabun’s own as yet conceived design practice. Proprietor Michael Dawkins had a curatorial approach, with collections by jewellery-artists, architects and other interdisciplinary practitioners that didn’t fit the classic high jewellery mould, finding a home in his destination space that attracted an eclectic clientele who were drawn to contemporary and directional pieces. At home, inspired by what she saw, Rabun started experimenting: “I started teaching myself: first how to design and then how to actually make. I am a better designer than maker, but I can do it if I have to” she adds laughing.

Portrait of Jacqueline Rabun. Image Courtesy of J Rabun
Portrait of Jacqueline Rabun. Image Courtesy of J Rabun

Romance precipitated a move to London in 1989 and it was here that her processes and her ideas solidified. Her first collection, Raw Elegance, launched in 1990 was a commercial triumph with Barney’s New York an immediate stockist – unheard of for a new designer, never mind a female black one. Rabun herself is uncomfortable with using the term ‘collection’, with its undertones of ‘in today, out tomorrow’, and prefers the term ‘series’ which hints to a continuum of states and a revisiting and exploration of themes, a notion that ties in with both her first and all her consequent bodies of work. Speaking of what it was that drew in a retail behemoth like Barney’s and the slew of luxury stores around the world to stock her immediately she expands: “I think it was because it was unlike any other jewellery they were stocking at the time. It was quite masculine but there were feminine undertones. It was very organic and natural using shapes and forms that follow the lines of the body and it was just very different for that moment.” Crucially, Raw Elegance coincided with the genesis of reimagining gender boundaries in fashion and beauty and that was to be a hallmark of the 90s: Calvin Klein’s unisex fragrance CKOne, was the scent of the decade, Jean-Paul Gaultier had a mixed gender fashion show in Paris for his Spring/Summer 1994 collections and indie bands with effete lead singers such as Blur with their anthem to blurred gender role boundaries Girls & Boys ruled the airwaves. For the jewellery world Raw Elegance was an early presentation of similar ideas – themes that many jewellery brands have since explored and developed.

A Selection of Pieces from Raw Elegance Series. Image: Courtesy of J Rabun
A Selection of Pieces from Raw Elegance Series. Image: Courtesy of J Rabun

London in the 90s was arguably the coolest city on earth, with a creative renaissance not seen since the swinging 60s. It was the decade that saw the dominance of British fashion designers with John Galliano at Dior, Alexander McQueen at Givenchy and Stella McCartney at Chloe dictating how the world dressed. The Young British Artists or YBAs as they were collectively known, all featured in Sensation, an exhibition at the Royal Academy of Art in 1997 that placed fine art at the heart of pop-culture. In the jewellery world, Rabun alongside Shaun Leane designed pieces that were in diametric opposition to the ostentatious 80’s aesthetic and resonated with subcultures in what was then an edgy East London and bourgeois West London bohemians alike. Looking back at the cross-pollinating and dynamic energy of the city then Rabun remarks “when I first moved to London in about a week I met Judy Blame through a friend and he loved my work, so he immediately used a couple of my pieces for Neneh Cherry.” The fortuitous meeting with the legendary uber=stylist brought her into contact with others luminaries. “It all happened very organically, I have to be honest. It was all very word of mouth because of course we didn’t have social media, but pretty quickly I was connected with a few people at I-D Magazine and I had some articles in I-D, The Face, Dazed, thinking back I had a lot of publicity” The coup de grace was landing the cover of British Vogue’s September 1992 issue with Linda Evangelista adorned in pieces from the now extended Raw Elegance Series. “I guess that was one of the little signs that were a cosmic okay, you’re moving in the right direction. Because actually when you start off in a career where you haven’t actually studied and trained and you have taught yourself, you always question whether you are doing the right thing.” From there, her star was fully in ascendant, with musicians particularly drawn to her work. Madonna, Whitney Houston, U2 and Lenny Kravitz were just some of her many A List clients. Living in London, which at the time was the de facto laboratory of new ideas across multiple creative disciplines had an undoubtedly positive effect on Rabun’s own practise.

September 1992  British Vogue Cover. Image by Peter Lindbergh
September 1992 British Vogue Cover. Image by Peter Lindbergh

Distilling Her Design Language

Rabun is unabashed in her love for design and it seeps into every aspect of her life. The slither of her home visible on the screen, is dotted with beautiful artwork and artefacts picked up from her travels. She relates that her passion for mid-century furniture has resulted in a considerable collection, some of which is in storage. It is illustrative of a woman for whom aesthetics across all touch points are of profound importance. But for Rabun it is more than surface level prettiness informing her. “When I speak about design language it is about the shape and form of a particular object but it is also the story behind that body of work. For me, my whole design language is about the human experience…each one of my bodies of work is definitely inspired by what I am going through in my life which is probably what everyone else goes through as well,”.In many ways the clues are there in the names of the series of work: Love Distance  for instance features two rings with corresponding curves that unite when together but look equally beautiful on their own speak to a long distance relationship. And her first collaboration with Georg Jensen, Offspring, was inspired by the birth of her son: “Offspring is about the unbreakable bond between mother and child and a lot of women go through this…[and] the actual shapes of the pieces are taken from an egg form and eggs are the beginning of life, so it is symbolic of new beginnings. When you have a child your life begins anew and there are challenges but even when it is difficult you’re still in it. It is unbreakable.”

 Love Distance Rings in Yellow and White Gold. Image: Courtesy of J Rabun
Love Distance Rings in Yellow and White Gold. Image: Courtesy of J Rabun

 

Love Distance Rings in Sterling Silver. Image Courtesy of J Rabun
Love Distance Rings in Sterling Silver. Image Courtesy of J Rabun

 

Offspring Bracelet in Sterling Silver. Jacqueline Rabun for Georg Jensen. Image courtesy of J Rabun
Offspring Bracelet in Sterling Silver. Jacqueline Rabun for Georg Jensen. Image courtesy of J Rabun

 

Offspring Bangle in Sterling  Silver. Jacqueline Rabun for Georg Jensen. Image courtesy of J Rabun
Offspring Bangle in Sterling Silver. Jacqueline Rabun for Georg Jensen. Image courtesy of J Rabun

 

Offspring Earring in Sterling Silver. Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun
Offspring Earring in Sterling Silver. Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun

Her collaboration with Georg Jensen is how Rabun is perhaps best known. Indeed many wonder how an American based in London came on the radar of the Danish heritage house that has been seen as the custodian of Scandinavian design. As with much of Rabun’s story serendipity met with an impressive body of work, she relates “I have a friend who is in fashion and I went out to dinner with her and her partner and they invited Mark Olm who is a Danish photographer and he mentioned that Georg Jensen were looking for designers and he thought my work would be perfect and he happened to know someone there, So he basically spoke to them the next day, gave them my telephone number and we emailed but it wasn’t a thing. I got a telephone call the next day the design director from the jewellery came to see me and then gave me a brief and we were working together.” The whole process from dinner to commencing work took ten days. Astonishing by any measure. But when I gasp in exclamation Rabun adds that she views it as manifestation for both parties as Jensen were looking for someone and she too was seeking to expand her horizons after by that point, nine commercially successful years in business. Most critical to the speed of engagement was her design language which she notes “has an equal dose of Scandinavian and African influences and interestingly there is a lot of Scandinavian jewellery where you can see the designer is very knowledgeable about African jewellery.” Certainly the collaboration which commenced in 1999 with Offspring launched in 2001 and then rebooted for 2018 has been beneficial for both parties. Offspring, is as time of publication, Georg Jensen’s bestselling jewellery collection.

Mercy Bangle in Yellow Gold. Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun
Mercy Bangle in Yellow Gold. Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun

 

Mercy Rings. Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun
Mercy Rings. Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun

Rabun continued to plough the myriad of human experiences and emotions for other series with the heritage house. Cave launched in 2002, a series celebrated amongst jewellery connoisseurs globally who are clamouring for its re=issue, featured concave circular forms occasionally with pave diamonds in a hollowed form. It was a comment at the need to sometimes retreat and find a place for quiet contemplation and reflection. Mercy was launched in 2019 but Rabun notes “I started developing it fifteen years ago and then Georg Jensen asked kindly if they could launch it under their brand. Originally, it was designed for them but we were working on so many projects that it just never happened…but if you think about the time we are living through now it really resonates…we need a lot of mercy. There is a big need for compassion and empathy for others and to walk in somebody else’s shoes for five minutes. It is about not being selfish. It is not that moment now.” To encompass those sentiments, the sculptural forms look different from each vantage point, for both the wearer and those viewing the pieces on the wearer’s body, resulting in an exquisite metaphor for Rabun’s intention. As ever with Rabun, diamonds when utilised are done so discretely, something that some assume given her African-American heritage is unusual as African-Americans and their biggest cultural export, hip=hop are intrinsically linked with the maximalist ‘bling-bling’ aesthetic. She laughs in recognition at what is ultimately a lazy assumption: “My design language is minimalist, but actually there is a lot of African design that in itself is quite minimalist. From art, to furniture, to jewellery. As with me, there is a lot of use of organic forms and that is my link. I draw more from my African heritage, rather than the popular media stereotypes of what black glamour is. I draw more from African jewellery and African art.” It is a reflection of what for many years have been the silos of expectations creative people of colour have oftentimes had to work in. The assumption that one voice, one style, one set of experiences fits all, when in actuality, things are more nuanced and varied.

Cave Ring in Sterling Silver, Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun
Cave Ring in Sterling Silver, Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun

 

Cave Ring,  Yellow Gold and Pave Diamonds. Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun
Cave Ring, Yellow Gold and Pave Diamonds. Jacqueline Rabun for Georg Jensen. Image Courtesy of J Rabun

Rabun’s eponymous line has continued to expand on her thesis of jewellery that reflects, documents and harnesses the human experience. A recent special series A Beautiful Life for the PAD Fairs in London and Paris in 2018 included a re-imagined Beautiful ring in aventurine and yellow gold as well as one featuring rutilated quartz crystal and yellow gold. There was also a pendant with a yellow gold vessel form in which a removable aventurine sits, giving the wearer the choice of removing it and holding it in their hand for on-the-go meditative purposes. The choice of gemstones for these pieces was deliberate “my work always has to be honest, I have to like the stone, I have to feel an affinity with it otherwise I cannot work with it”. In the instance of aventurine Rabun was drawn to its historical healing properties which is said to aid the nervous system. Green aventurine in particular is known in the Hindu Chakra system as a heart healer that dissolves negative thoughts for the wearer. Rabun adds “jewellery can give you a sense of security [and] If you walk out of the front door without it you feel like something is missing, I think everyone has had that experience who wears jewellery, and so it is a form of armour and I think if we take that into a spiritual realm it calms you and it gives you comfort.” When we speak of her attraction to rutilated quartz, whose beauty lies in the visible inclusions that sometimes have the appearance of spun gold thread left to form a messy  yet captivating pattern, she adds “When you look at these stones you think wow, how did that happen? How did all that imperfection arrive in that stone? I like those imperfections. Because I think that is what we are inside we are not perfect.” It is in many ways a radical proposition, especially as there is a whole sector of jewellery that is dependent on gemstones of almost supernatural perfection that will imbue their wearer with similarly polished, beguiling powers. Rabun is offering wearers to feel comforted and empowered but also vulnerable and open enough to show and share their authentic self rather than a carefully crafted facade. If the gemstones can be honest so can we.

A Beautiful Life Ring, Yellow Gold and Aventurine. Image Courtesy of J Rabun
A Beautiful Life Ring, Yellow Gold and Aventurine. Image Courtesy of J Rabun

 

A Beautiful Life Pendant, Yellow Gold and Rutilated Quartz Crystal. Image: Courtesy of J Rabun
A Beautiful Life Pendant, Yellow Gold and Rutilated Quartz Crystal. Image: Courtesy of J Rabun

Present Realities and Future Series

Whilst many creatives have been emotionally buffeted by the ‘new normal’ that Covid19 has heralded, Rabun true to form has observed the peculiar needs the season has brought with it and created solutions. “I have been quietly working on some objects for the home and some furniture.. because the home has obviously become so much more important to everyone in the world.” Expanding her canvas from the human body to a room is a natural progression. She has also used the time to reflect on how she wishes to present herself and her work moving forward. She states “I definitely prefer to be known as an artist because whilst of course my speciality is jewellery, I have designed objects furniture and sculpture.” She pauses, before adding “This word designer, I think when you have worked for a long time and you have a specific recognisable look and feel to your work it takes you in to the space of being an artist.” Her oeuvre is ever evolving, but as with many artists, it is doing so on her own terms

A Beautiful Life Ring, Yellow Gold and Rutilated Quartz Crystal. Image Courtesy of J Rabun
A Beautiful Life Ring, Yellow Gold and Rutilated Quartz Crystal. Image Courtesy of J Rabun

 

A Beautiful Life Pendant, Yellow Gold and Aventurine. Image: Courtesy of J Rabun
A Beautiful Life Pendant, Yellow Gold and Aventurine. Image: Courtesy of J Rabun

.
We close our conversation with a question that Rabun is initially a little hesitant to answer, “you answer it” she challenges me jokingly, and that is how would she describe the Jacqueline Rabun aesthetic. She expands “A lot might say or think that my jewellery is organic and minimal. But it is important for me that those shapes and forms have meaning. I don’t design for design’s sake. I really need to have something to say when I am designing because there is an awful lot of jewellery in the world.” Suffusing jewellery with her own spiritual practises and beliefs is of paramount importance to her, far more than sales figures or public acclaim. “I really hope my work will have some sort of a positive impact on someone’s life, whether they feel empowered or inspired or comforted or cured. Recently, a woman who had cancer wrote to me and said she used one of my pieces as a talisman to get her through her cancer treatment. To me that is why I do what I do.” None of us fully knows how we will be remembered, but for the fortunate few such as Rabun, a body of work that speaks to her truth and resonates in such visceral and powerful way with her clients, provides a validating clue.

The Lustre of Melanie Georgacopoulos

In her 2007 Royal College of Art MA Degree show Melanie Georgacopoulos made modern jewellery history when she reimagined a string of pearls by doing something that at the time was sublimely subversive – slicing them. Reflecting back on it she notes:”It was a very instinctive thing. I wasn’t thinking conceptually what am I doing ? Why am I doing this now and what does it mean?” Her understated comment is typical of the London based Greek native who has been credited with reviving pearls as an option for the contemporary jewellery wearer; a gemstone that had hitherto felt preserved in the visual aspic of portraits of aristocrats and maharajahs, suddenly feels incredibly modern and appealing in her hands. With an eponymous line launched in 2010 and a successful and groundbreaking long term collaboration with heritage pearl house Tasaki now in its eighth year, her contribution to the 21st century jewellery canon seems secure, but like all great living artists, she continues to push boundaries and ask questions of her work, the material she has chosen to work with and the emotional energy and fiscal value we place on pieces made from these treasures from the sea.

Sliced Necklace M/G Tasaki (image courtesy of Melanie Georgacopoulos)
Sliced Necklace M/G Tasaki (image courtesy of Melanie Georgacopoulos)

Craft Mastery and Pearl Discovery

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Georgacopoulos’ love of jewellery has been life-long. Growing up in Greece she reminisces: “I remember a lot of school trips we would always go to museums and in Greece all of the museums are filled with gold jewellery and artefacts.” Home was a creative one, with a French Interior Designer mother encouraging artistic endeavours although jewellery was at her brother’s suggestion: “I was always making things and leaving them around the house. We had a big desktop computer that had fallen apart and I found all those microchips that were inside and I started making smaller pieces with it and my brother said Why don’t you turn it into jewellery at least you can wear it and not leave it lying around. And this is how it started really.

Formal training began at the Mokume Institute in Athens and was in her words  “three years of intense and traditional jewellery technique learning. Not only were we hand-making pieces but we also [learnt about] production so we did casting, diamond setting, granulation, mokume-gane, all these jewellery techniques that we don’t really use  these days but it is very important to know..I  am very grateful for those years, although I didn’t enjoy all of it at the time” she adds candidly. Sadly, the Mokume Institute has closed, a victim of the Greek Sovereign Debt crisis of 2009 that ravaged the economy. However, the comprehensive training equipped Georgacopoulos for launching her own line in 2010, as unlike many of her contemporaries, she was able to do much of the  practical work herself, outsourcing for specific technical purposes only.

Tiles MOP Loop Necklace (Image Courtesy of Melanie Georgacopoulos)
Tiles MOP Loop Necklace (Image Courtesy of Melanie Georgacopoulos)

Although now associated with pearls, Georgacopoulos’ gravitation towards working them was gradual. Post Mokume, she took a step away from jewellery design, embarking on a BA in Sculpture at Edinburgh College of Art. However, sculpture expanded her curiosity regarding materials providing a wider remit for exploration, “[with] sculpture you are, just working with the material and figuring out what the material gives back or tells you or what you can do with your hands… You don’t start with a design in the same way that one might start in jewellery. You might have a design but you cannot force it, instead you treat the material in a certain way so that it translates into your design.”  Her methodology,  one that is simultaneously respectful of the materials involved yet at its heart is untethered to established norms and rules allowed her to be boundless in her ideation processes. Alighting on pearls was serendipitous, once enrolled on the Royal College of Art’s prestigious MA in Jewellery Design, one of her tutors noticed that many of her designs featured rounded forms that would lend themselves well to pearls and suggested she explore it. Critically Georgacopoulos adds “sculpture gave me the hands on approach and a certain degree of fearlessness”. And if she had thought too deeply about the act that precipitated the Sliced Collection?  “I would have been too scared to cut a pearl, because you’re not supposed to do that with gems in general, you are supposed to enhance their beauty and cutting something in half can feel like you are destroying it.” Or indeed rebirthing it as she did.

Sliced Bracelet, M/G Tasaki (Image courtesy of Melanie Georgacopoulos)
Sliced Bracelet, M/G Tasaki (Image courtesy of Melanie Georgacopoulos)

From that much talked about Degree Show, Georgacopoulos settled into a dual professional life, one that she admits as a recent graduate in super-competitive London she was fortunate to find herself in: doubling up as a design assistant for Antoine Sandoz where work included designing for companies as varied as Boucheron and Tom Ford and continuing to fulfil orders from her steady stream of private clients. By 2010, a mere three years since graduating she was already stocked in Dover Street Market and met the renowned jewellery curator and agency owner Valery Demure, who immediately suggested they work together. The meeting proved to be a career turning point “I thought okay, I have to decide. I am either going to carry on designing for other people or I am going to jump in, create my brand and focus on pearls….redesigning them and reinventing them.” The three years between graduation and launch allowed Georgacopoulos to refine her initial thesis, dream of new possibilities for the gemstone and critically do market research, “people had just forgotten about pearls. They just didn’t want to touch them and they didn’t know what to do with them,” This perfect storm of early critical acclaim, prestige  retail stockists and a unique niche were all she needed to proceed.

Stretched Stud Earrings M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)
Stretched Stud Earrings M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)

Georgacopoulos’ methodology and ethos is reminiscent of the jewellery-artists of old, figures such as Rene Lalique, who she cites as an influence and other interdisciplinary practitioners such as Margaret De Patta, who like her had ambitions of dismantling the elitism found in jewellery design because it limited wider participation. When we speak about nomenclature and whether she perceives herself as an artist, jeweller or something else she expands “It is only in the last year or two that I have allowed myself to see myself [as a jewellery-artist]. I think before I was really keen to prove that I was a good designer” Influences on her own design journey are varied; “Of course all the big houses but also Greek jewellers like Lalaounis, Zolotas and Fanourakis.”  She also has  high regard for another female pioneer at a heritage jewellery house, who also worked extensively with Mother of Pearl during her tenure at Tiffany and Co., Angela Cummings; “I think she did everything before anyone did anything. And she has not really been credited, I am not quite sure why, but I absolutely adore her work.”  Going back further to the first female creative director during the Art Nouveau movement in Paris she references the House of Boivin which was at the forefront of it adding “Yes, I am a fan of Suzanne Belperron like everyone else but at the same time I think I gravitate towards jewellery that is not obviously expensive.” 

Tiles MOP Bracelet (Image Courtesy of Melanie Georgacopoulos)
Tiles MOP Bracelet (Image Courtesy of Melanie Georgacopoulos)

Given the trajectory her own work has taken, it is craft jewellery she returns to for inspiration: “Munich Jewellery Week or Schmuck for example, I find them much more stimulating.” The craft jewellery scene, particularly now, is where one often sees the most experimental work, with creators unburdened by the history, commercial demands and the sales and marketing expectations of large jewellery houses. For Georgacopoulos stimuli comes in many forms, “I tend to be drawn to work where I am not quite sure how it was made… For example David Bielander, his collection called Cardboard…it looked exactly like cardboard but it was actually made with silver and gold…I  also like pieces from certain people…like Taffin and Caroline Broadhead who was the head of department at Central Saint Martins for many years. I guess it is more about specific pieces rather than one designer’s repertoire for me.” What consistently appeals to Georgacopoulos and is echoed in her own work is a certain intellectual vigour either in concept or execution and crucially a singular point of view that translates in the pieces.

MOP Cube Stud Earrings (Image Courtesy of Melanie Georgacopoulos)
MOP Cube Stud Earrings (Image Courtesy of Melanie Georgacopoulos)

Democratising Jewellery and Celebrating Materials

Whoever thought that jewellery collections cannot involve an intellectualism or speak to deeper questions would find a riposte in many of Georgacopoulos’ collections for her eponymous brand. For someone working with pearls, hitherto considered one of the most conservative of luxury gemstones there are streaks of bold commentary and rebellion in her work. There is also an outright challenging of aesthetics and notions of value particularly in her work with Mother of Pearl as seen in the collections, Nacre, Tiles, Gemstones and Cube. Explaining the genesis of her ideas she relates: “It started as a very spontaneous response to the jewellery auctions that I was observing at the time, very big gemstones, coloured diamonds, the Blue Moon of Josephine ( a rare blue diamond that fetched $48,468,158 at a Sotheby’s auction in 2015) , I don’t know the other ones names,  but all these massive diamonds were fetching a ridiculous amount of money.” The auctions were happening around the same time Georgacopoulos was exploring ways that she could utilise Mother Of Pearl, hitherto a waste product of the pearling industry in her designs. “I feel about Mother Of Pearl the same way I felt about pearls ten years ago, which was what is going on and why was no one doing something interesting?” Unlike pearls, which have always held a high monetary and aesthetic value to collectors, Mother of Pearl has not. She adds laughing “Philip Sajet who is another jeweller says everyone always talks about the pearl but no one talks about the mother…[But] once I realised that I wanted to make a comment about all those crazy jewellery auctions I thought what is the simplest design I can create that people will immediately recognise and identify with, and that was the most common jewellery cuts. Which were the brilliant, the cushion and  seven other different cuts and I decided to make a mosaic of all in Mother of Pearl. The resulting Gemstones collection completed in 2016 challenged conventional thinking. What makes a faceted ‘stone’ covetable and desirable, is it provenance, cost, colour, rarity? And for those concerned with the environment, something that even the most reluctant have to concede some awareness of, isn’t using both the Pearl and Mother of Pearl a responsible and preferred way to consume jewellery? And surely in this age of inclusivity shouldn’t democratisation of participation in jewellery, as Mother of Pearl pieces carry less hefty price-tags, also be up for discussion? Georgacopoulos adds “There should be a cap in my mind on how much things can cost [as when prices get this high] … it almost doesn’t feel like jewellery anymore it becomes something else”

Gemstones MOP Emerald Cufflinks (Image Courtesy of Melanie Georgacopoulos)
Gemstones MOP Emerald Cufflinks (Image Courtesy of Melanie Georgacopoulos)

 

Gemstones MOP Cushion Cut Ring (Image Courtesy of Melanie Georgacopoulos)
Gemstones MOP Cushion Cut Ring (Image Courtesy of Melanie Georgacopoulos)

With Nacre, designed in 2019, Georgacopoulos has given the clearest indication of where she is heading both as a jeweller and an artist, with this deep meditation on the soul of the pearl resulting in a bold and uncompromising collection that hint at her  time at Edinburgh studying Sculpture. “I always joke I am trying to return the pearl to its oyster” she explains of the pieces that see pearls set in correspondingly coloured Mother of Pearl seemingly disappearing back into their shell. The collection represents Georgacopoulos granting herself the permission to surrender fully to where her artistry will take her: “I accept what the piece comes out as without putting restrictions; whether they are monetary restrictions, or thinking Oh, who is going to wear this? Or it needs to be a bit smaller or it needs to do this or it needs to do that. The Nacre pieces…can stand as small sculptures in a space. So it is that line between jewellery looking like jewellery, having jewellery elements but also being an object. And I think that is why it ends up being more expensive because one needs for example a thicker piece of gold as you need that balance for the piece.” The collection alongside Cube (designed in 2018) which also features a pearl juxtaposed with a cube of Mother Of Pearl have not only opened discourses around a material which was hitherto disregarded but also allowed Georgacopoulos to play more with proportions and task herself with a new challenge. “What people consider a beautiful and valuable pearl is usually perfectly round, no blemishes, perfect lustre to the point that it looks fake especially if it is a really large one . I thought it was a good idea to reunite the pearl to the oyster to show that this is actually quite amazing even if it is a cultured pearl, as it is still a little animal creating this.” In her able hands she fashions that reality into adornments that are evocative of this particular truth.

Nacre Necklace (Image Courtesy of Melanie Georgacopoulos)
Nacre Necklace (Image Courtesy of Melanie Georgacopoulos)

 

Nacre Double Ring (Image Courtesy of Melanie Georgacopoulos)
Nacre Double Ring (Image Courtesy of Melanie Georgacopoulos)

This is not to say that Georgacopoulos is satisfied with her pieces being worn by habitués of PAD Fair, Frieze Art Fair and the Front Row at major global fashion weeks, although her work has an obvious appeal to people working in the creative industries and those who already have strong aesthetic sensibilities. She expands “I want to keep the jewellery open enough design wise that it appeals to a wider range of women and not just have one specific art or design lady who earns a lot of money and has eclectic taste as my client. I think women, people, are more diverse.” Furthermore, Georgacopoulos is determined to take  pearl jewellery out of the for-special-occasions-only silo adding “I intentionally want to have very wearable everyday pieces that people can buy without having to save up money for them ” To this end the Essence collection designed in 2014 and aforementioned Cube fit the rubric as they have an informal feel without compromising on Georgacopoulos’ design language. She adds “I don’t want to lose that connection with people who like the pieces I design but are not able to spend five figures on them” 

Essence Rings, (Image Courtesy of Melanie Georgacopoulos)
Essence Rings, (Image Courtesy of Melanie Georgacopoulos)

Co-Creating with an Innovative Heritage Brand

Recounting how her long-term collaboration with Japanese pearl heritage house Tasaki came into being, the predestined qualities of the story shine through. “The director of Tasaki was in London and saw my pieces in Dover Street Market…And I think they tried to locate me through my agent and I got an email saying that they wanted to invite me to Japan to meet with them over a week but  they didn’t really say what it was about.” What ensued was a creative courtship, with Georgacopoulos recalling  “They took me to Nagasaki to their pearl farm where I opened some oysters, I found some pearls inside and then they took me to Kobe where their production facility is and I was completely blown away. I remember thinking I am in Japan, I am talking to a Japanese pearl jewellery company, they are interested in my work, how crazy is this? I am basically a Greek girl, designing pearl jewellery and I have a giant of the pearl industry contacting me.” What the comprehensive tour indicated, was that the team at Tasaki had identified the talent that would assist them in creating collections that clearly positioned them as the avant-garde alternative to their main competitor  Mikimoto. Furthermore, they were willing, in spite of their history as an established heritage house, to humbly court her until she acquiesced. For her part, Georgacopoulos, on signing her contract in 2012  handed her breakthrough  degree collections: Sliced, Drilled and Arlequin to be extended and produced under the new marque they created  for the collaboration M/G Tasaki, in 2013.

Drilled Earrings M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)
Drilled Earrings M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)

 

Arlequin Bangle, M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)
Arlequin Bangle, M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)

Georgacopoulos is remarkably calm about what many might perceive as giving away her trademark work, she adds: “I was thinking, well, through my agent, and through me wholesaling I can probably sell five or ten of these [pieces] , but Tasaki can sell hundreds of these. Which means that for hundreds of customers, maybe thousands over time, they will have embraced something that is to a certain extent quite radical.” Additionally, from a creative perspective “it forced me to say okay, I have done this but now I move on. I want to test myself, challenge myself. I don’t want to repeat, just because it works. I don’t want to do this for the x amount of years I am going to work as a jeweller.”

Wedge Ring M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)
Wedge Ring M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)

Subsequent collections have followed the same commercial success and the collaboration has availed Georgacopoulos with the opportunity to have two parallel careers in the same industry.  Tasaki provides production and development facilities that a smaller brand can only dream of, whilst Georgacopoulos continues expanding on her mandate of reimagining pearl jewellery, but keeping a keen eye on commercial considerations, such as using diamonds and other gemstones. Collections of note have included to name a few Segment (2016), Grain and Woven (2018)

Segment Ring M/G Tasaki (Image courtesy of Melanie Georgacopoulos)
Segment Ring M/G Tasaki (Image courtesy of Melanie Georgacopoulos)

For a company steeped in history she reports that neither her gender or her not being Japanese have impeded her progress or created logjams.“It is by far the best professional experience I have had in my life. Not because it has been easy but because it has been very straightforward from the beginning. They chose me because they liked my jewellery voice, so they never imposed anything. Whenever I am supposed to do a new collection…I receive a plan with certain price points and a list of what has sold well in the past. But they never give me any directions in terms of design, so I come up with the design directions, I send a huge amount of drawings and they tell me okay we feel this is right for us this season and we will develop that.” It speaks positive volumes of Tasaki’s corporate culture and in many ways future-proofs them for the 21st century. With call-out and cancel culture catching many a jewellery and fashion behemoth in the crosshairs, the arrangement between Georgacopoulos and Tasaki is one where mutual respect is forefront, exploitation and discrimination is entirely absent and she is availed the technical support and expertise to deliver products that customers will love. It is a collaboration template that many will no doubt seek to emulate as increasingly discerning customers seek out jewellery that is  both beautiful and made by brands that share their values.

Woven Necklace M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)
Woven Necklace M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)

Authenticity and the future of Jewellery

“I am very excited to see students working with pearls.” Georgacopolous says. As a Visiting Lecturer in the BA Jewellery Design course at Central Saint Martin’s, she works  principally with final year students. She is also quick to encourage them to be as audacious as she was adding “We should always try to imagine something different. There is no point in repeating the past… fine, it is not easy for anyone but what will make you stand out ultimately is your individual expression.” Authenticity, has become something of a buzzword in the worlds of jewellery and fashion with brands large and small, devising multifarious plans to engage and attract customers in an ever crowded marketplace. By teaching students to chart their own course early, Georgacopoulos hopes to provide them with a blueprint for a successful existence that stretches beyond the jewellery bench. And generous to a fault, she uses her own Instagram handle as a means of amplification, posting graduate and recent graduates’ work to followers.

Grain Double Ring M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)
Grain Double Ring M/G Tasaki (Image Courtesy of Melanie Georgacopoulos)

We close our conversation considering the luxury space in light of the Covid19 pandemic, which in addition to claiming lives, has laid waste to businesses globally. What does she feel this time means for the future of luxury and jewellery in particular? Georgacopoulos’ response is emphatic. “Whether it is fashion, jewellery, or objects , I really hope we are going to embrace more craftsmanship, handmade things and not just buying something that is made five thousand times and paying a premium because it has a nice big logo on. I just cannot identify with that for my own life.” `Conscious consumption aside, lockdown has also been  a season where Georgacopoulos has not only embraced the juggle of parenting, homeschooling and designing, but also questioned the way jewellery is currently marketed and the myth-making that goes hand in hand with it. She notes “I feel this moment is generally translating into people showing a bit more of themselves and not the image they think they have to project.” Discussing her forthcoming campaign imagery she expands “I really don’t want the beautiful woman with the perfect nails looking absolutely stunning and wearing matching jewellery pieces which is the typical stereotype…. I think as women we are relaxing a little bit more [in regard to] how we show ourselves and this idea of perfection that essentially men have imposed on us.” Pearls as the ornamental armour for the woman who is in control of her own destiny, rather than a debutante or grand dame whose identity is contingent on her provenance or who she married? It doesn’t get more modern than that.

Nacre Bangle, (Image Courtesy of Melanie Georgacopoulos)
Nacre Bangle, (Image Courtesy of Melanie Georgacopoulos)

 

Georgacopoulos’ trajectory is a masterclass in the power of focus and determined application. Each creative chapter on her journey so far seamlessly feeds into the next: from childhood experimental maker to student silversmith, sculptor, jewellery designer and now jewellery artist. Whilst her ascent may appear speedy, having courage in her convictions has also played its part. Few would dare to present a degree show with such a fundamental rule broken  or indeed continue to challenge pre=conceived notions in high jewellery. Her design explorations and collaborations also indicate a creator who although fortunate to find her niche early, has still remained open to widening its locus and the modus operandi of execution, as seen in her work for her eponymous brand, M/G Tasaki and special commissions, exhibitions and shows such as ‘Le Cabinet de Curiosites de Thomas Erber,’ held in Paris in 2015. Her humility in light of her successes is indicative of a creator who still believes there is much more to explore as hubris is normally borne out of complacency which Georgacopoulos is the very opposite of. Before we part company she leaves me pondering a profound statement that incapsulates the emotional connection people form with their jewellery and by extension the jewellery creatives they admire: “People buy energy…You buy the energy of a piece, the energy that you take from it, the energy that it gives you, the energy that you feel when you wear it or when you own it.” Groundbreaking designs aside it is her enduring optimism and candour that guides her work: “I try to be as honest as I can and I like the idea of opening things up instead of saying ah, this is a secret and exclusive.” In this modern age of inclusiveness, collaboration and widening the remit of participation, her career feels built to last.

Thomas Erber Rectangle Necklace (Image Courtesy of Melanie Georgacopoulos)
Thomas Erber Rectangle Necklace (Image Courtesy of Melanie Georgacopoulos)