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Some designs are instant classics that will never age; others are provocative and positively ahead of their time. Elsa Peretti’s ergonomic Bone cuff, designed for Tiffany & Co. in the 1970s, manages to straddle both categories.

 

The sensuous curves of the Tiffany & Co. Bone cuff, which celebrates its 50^th anniversary this year, were actually inspired by the dead rather than the living. When designing the cuff, which was lauded as a ground-breaking design upon its release, Peretti drew inspiration from childhood trips to the Capuchin crypt in Rome, a room beneath the 17^th century Santa Maria della Concezione del Cappuccini church that is decorated with thousands of human bones.

 

Peretti also noted the influence that Casa Milà, Antoni Gaudí’s striking 1912 building in Barcelona with an undulating façade and surrealist sculptural roof, had on the design. Compare the two, and the curves seem synonymous.

 

Above all, Peretti wanted this thought-provoking cuff to be as enjoyable to wear as it was to talk about. “I have always been interested in the mechanics and its feel,” said Peretti, who designed the jewels to be worn both singly and as a pair. “Every jewellery piece should be captivating and comfortable to wear.”

 

To celebrate the 50^th anniversary of the Tiffany & Co. Bone cuff designed by Peretti, the jewel has been given a modern update through colour. In a nod to Peretti’s love of bright colours, these new editions of the copper Bone cuffs have been been lavished with electric reds, blues and greens. Each of these special edition cuffs features a celebratory inscription on the inside of the design.

 

The 50^th anniversary celebrations will continue throughout the year, with new additions to the Bone cuff collection being launched in the coming months. In September, Tiffany & Co will launch an 18ct yellow gold Bone cuff with green jade accents. Silver editions with black jade or turquoise details will follow in October.

From Netflix to Beauty Pie, we have all gone mad for the subscription model. Now, there is a new subscription service launching just in time for Christmas that allows you – or a loved one – to have access to a rolling roster of luxury jewellery through Covett.  

 

Covett is a jewellery co-ownership concept that launched last year, allowing its shoppers to buy shares in luxury jewels rather than splashing out on the full price. By buying into a piece of jewellery, co-owners can access their pieces some of the time, much in the way that one might operate a timeshare holiday home, and can sell the share or trade up when they choose.

 

For example, shoppers can buy into a £15,000 diamond tennis necklace for £2,500, which will allow them access to it for five consecutive days a month as well as 12 floating days throughout the year. There is also a monthly fee of 1.75% of the share price that covers cleaning, insurance, repairs and delivery.

 

There is already a club element to Covett. When shoppers buy a share of at least one piece of luxury jewellery, they receive what the retailer calls Open Vault privileges. This allows them to rent other pieces of jewellery in the Covett hoard for an additional fee.

 

Access to the Vault is now being extended with the launch of the Covett jewellery subscription. Rather than choosing a single piece to invest in, you can now pay a subscription fee to get access to the vault.

 

Jewels in the Vault include a Picchiotti Burmese sapphire and diamond ring valued at £53,000 and a fancy yellow diamond pendant valued at £23,250. There are also signed jewels by Cartier, Judith Ripka, Leo Pizzo and David Yurman, and classic staples such as strings of pearls and diamond eternity bands.

 

A full Covett subscription, which will allow you to wear a luxury jewel for five days each month and is currently only open to those based in London, works out at £120 a month, though there are less expensive options that allow you to dip in once a quarter. Covett believes that the subscription service will not only appeal to women who want access to luxury jewels without the upfront investment that buying into pieces requires, but will also be appealing to those seeking out gifts for jewellery lovers this Christmas.

 

“We are so excited about the launch of our new subscription service to the Covett Vault, just in time for the holidays,” says Covett founder and chief executive Cynthia Morrow. “It’s a unique way to give the jewellery lover in your life a new way to enjoy diamond and gemstone jewellery. It’s also a savvy way to experience the brilliance of the Covett smart ownership model before becoming a co-owner. We think it’s a win all around.”

Suzanne Kalan’s jewels, with their signature stacks of tiny baguette-cut diamonds, have whipped fine jewellery lovers into a frenzy over the past few years. Building on the hype, the Los Angeles-based jewellery brand has opened a brand-new boutique within iconic London department store Harrods.

 

“Not only is this our first ever boutique, but we have the privilege that it will be launched in Harrods; the most recognised luxury department store in the world,” says Suzanne Kalandjian, the designer behind the brand, who runs the company with her daughter Patile Kalandjian. “As a family business, we are extremely proud to have reached a place to be in a position for global expansion.”

 

To celebrate this new boutique in Harrods, which opened its doors on Friday, Suzanne Kalan has created some limited-edition 18ct gold jewels that will be sold only at this location. In a nod to the famous green that Harrods splashes across its bags, awnings and doormen, the exclusive collection of diamond jewels has been set with emeralds.

 

Pieces within the Harrods range include a gold statement cocktail ring with a baguette-cut emerald atop a bombé of diamond baguettes. Baguette-cut emeralds of smaller sizes are also interspersed with diamond baguettes to bring colour to yellow gold necklaces and bracelets.

 

“Suzanne Kalan’s collections have proven to be incredibly popular with our clients ever since launching at Harrods, not least the instantly recognisable exclusive emerald pieces, celebrating Harrods’ iconic green colour,” said Beth Hannaway, head of fine jewellery at Harrods.

 

“We are so excited to now be launching the brand’s very first standalone boutique at Harrods, with the new space offering our luxury jewellery customers an unrivalled selection, whether they are in search of a truly unique gift or something to add to their everyday collection.”

Work, life, motherhood: the juggle is real, people. Join The Jewellery Cut and Cult of Youth for a frank discussion on what it’s like to run your own business and bring up children at the same time.

Held during The Jewellery Cut Live – a boutique jewellery show at The Hoxton Holborn on the 18th & 19th of February, 2019 – this event will explore the stresses of modern-day working motherhood, but will also be an inspiring morning for budding entrepreneurs with tips and tricks from our panellists on everything from keeping toddlers at bay while on important phone calls, to assuaging the mum guilt and work-life management skills.

Journalist and founder of The Rock Mum blog, Siobhan Lismore-Scott, will chair a panel of inspirational working mothers including Kelly Seymour, founder of jewellery brand Cult of Youth, jewellery designer Alice van Cal, Roxanne Rajcoomar-Hadden, founder of the Goldie Rox brand and bespoke London jeweller RRH Jewellery, and The Jewellery Cut founder Rachael Taylor. As well as hearing their tales of setting up business with babes in arm, this intimate session will allow for interative discussion in the room and you will have the chance to ask the panellists questions and share your own experienes, problems and quandries.

Tickets for How to juggle work, life and motherhood, with The Jewellery Cut and Cult of Youth include access to the main The Jewellery Cut Live show and a glass prosecco – or other drink of your choice – from the bar. There will also be complementary nibbles, tea and coffee, and a manicurist from celebrity favourite Nails & Brows will be on hand to give free express polishes to anyone who has purchesed a jewel at the show.

 

This talk will take place at 11.30am on the 18th of February at The Jewellery Cut Live, held at The Hoxton Holborn in London. Tickets to this intimate session are limited, with only 20 places available. Book your ticket here.

Good jewels can and should stop you in your tracks. It is an occupational hazard that often afflicts me – and, unfortunately, any visitors walking directly behind me – at Goldsmiths’ Fair.

 

I was glad to find that even though we must traverse the show digitally this year that some of the brilliantly curated selection of designers still hold the ability to make my stomach flip falteringly in delight through the screen.

 

Being Scottish myself, it is easy fall in love with Ellis Mhairi Cameron’s tales of Medieval hoards unearthed in the Highlands. The way she has textured the gold, and her choice of rugged, rusty-hued diamonds transports me to another time with dreams of buried treasure as vividly as any historical adventure novel might.

Lucie Gledhill is always top of my list when I visit Goldsmiths’ Fair, as I really enjoy seeing how she moves her work with curb-link chain forward from year to year. It is such a classic motif, yet she somehow always manages to make it feel fresh and exciting, and the satisfying crumpling of the links as you push them over your skin is irresistible.

It is so rare to have a British gemstone or metal to celebrate, which makes Jacqueline Cullen’s work with Whitby Jet all the more noteworthy. I have found her Dark Matter collection particularly engaging, with its cracked edges and black holes that project that feeling of crushing awe I always get when contemplating the vastness of the cosmos.

Isla Gilham’s jewellery is fun, and that is something we need in heftier doses at the moment. Her Bitten collection, with the ridges of greedy teeth hand carved into gemstones, amuses me every time I see it. These humorous carvings serve a dual purpose, as they also allow us a glimpse beneath the surface of the gemstone, revealing its natural striations.

I find that form can so often be evocative in jewellery, and the offbeat shape of this Mirri Damer signet ring both calms and delights my subconscious. The graduation of the diamonds, in both colour and size, and their submergence beneath shimmering matte gold was inspired by sandy sunsets in Cornwall, of which I’ve enjoyed many on family holidays.

There is something utterly energising, and actually quite hypnotic, about the vibrant green-blue colour of the indicolite tourmalines in these Sorrel Bay earrings. Matched with warm yellow gold, they make me yearn for summer nights, and their discovery story – responsibly liberated from volcanic bedrock in Afghanistan – calls for a bottle of wine to tell it over.

Delving through the one-of-a-kind collections of Baroque Rocks feels like going on an adventure. Specialising in unconventional, radiant vintage pieces with bags of personality, the collections are carefully curated under the expert eye of Emma de Sybel. Ranging from solid gold cigar aerators to orb-come-compass pendants, no jewel is left unturned in Baroque Rocks’ search.

Having navigated life in lockdown, Baroque Rocks have been inspired by the celebration of reconnection. The Golden Compass: #Outout Collection will be exhibited at The Jewellery Cut Live in association with Fuli Gemstones, and will be bursting with sparkling, colourful and unique vintage jewels.

We caught up with Baroque Rocks founder Emma de Sybel ahead of the event to hear all about her “own it” mantra, and how the last 18 months have inspired her latest curation of vintage gold jewellery.

We’re so excited you’re back with us for The Jewellery Cut Live in association with Fuli Gemstones 2021. What was your best moment from the last show?

“Baroque Rocks is thrilled to have been invited back to add to the sparkle and high-octane glamour for October’s The Jewellery Cut Live. Looking back, February 2020’s glittering event was the last hurrah before the pandemic took hold. The highlights were numerous, from being with fantastic jewellers to meeting the press and buyers. We were extra delighted when contributing Vogue jewellery editor,Carol Woolton bought a pair of our earrings. Having her stylish seal of approval gave us great strength of belief to carry on curating our vintage sustainable jewels. “

What have you been up to since we last saw you and how was lockdown for you?

“Lockdown was effectively all about prestidigitation, juggling between working and steering through home-schooling. We chose to take back control with our ‘own it’ mantra and plied ourselves with sparkling spirit lifters by putting our jewels to music. We created playlists designed to give everyone a much-needed endorphin boost, layered over a rock-solid gold beat. ”

What would you say is your hero jewel?

“We have recently sourced an articulated gold orb necklace that swivels open to reveal a compass. This chic centennial curio is both practical and symbolic, bringing inspiration and independence whilst acting as an amulet for safe passage through life’s journey. We advocate embarking on a voyage of discovery straight to the bejewelled emporium that is Baroque Rocks. “

 

 

Tell us about your latest collection and what can visitors expect to see at your stand at The Jewellery Cut Live in association with Fuli Gemstones?

“Our latest curation is called The Golden Compass: The #Outout Collection. To harness the elated #Outout mood we have created something celebratory, imbued with courage and connection. As creative cultivators, we’ll bring sustainable, sparkling treasures spanning from the 1960s to the early 2000s. Baroque Rocks’ collections are fresh with colour, bursting with seductive subversion, rare and seriously hip to trip. Expect glittering pieces with connective direction, courageous totems and celebratory carats.“

Why should people visit the show?

“If you love jewellery, then you seriously need to come to October’s show. The indomitable duo behind The Jewellery Cut Live, Rachael Taylor and Andrew Martyniuk, have once again created a multi-faceted event with fascinating talks together with 24-karat talent being showcased. This is your chance to mooch with rockstars and cutting-edge glitterati. Add a dash of indisputable glamour to your diary – go on, pencil it in! We can’t wait to meet you.“

 

Baroque Rocks will be exhibiting at The Jewellery Cut Live in association with Fuli Gemstones. The show will take place on the 15th & 16th of October, 2021, at The Royal Institution in London’s Mayfair. 

As a jeweller frequently commissioned to create ‘future heirlooms’, I have long been fascinated by the traditional and cultural importance placed on the precious pieces that we wear. Throughout history, jewellery has been respected as more than simple adornment and, in today’s world, perhaps no piece is thought more symbolic than the wedding ring.

 

For the couples who come to make their own wedding rings in my studio, the pieces that they complete on the day are certainly more than just a band. Why is it that this often simple shape is imbued with so much significance?

 

Rings have been worn as symbols of power, respect, and as personal talismans for millennia. Whilst there is no definitive record of the ring being used to represent any kind of union, many believe it began with the ancient Egyptians some 4,000 years ago. During these times, rushes, reeds and papyrus were braided together into rings for the fingers of Egyptian women as a sign of devotion. Some are believed to have marked a bond between families, whilst others were given purely in the name of true love.

 

Similar traditions also began to emerge in ancient Greece, but it was the Romans who are believed to have first linked the exchanging of rings with a more formal marriage and associated it with a marital dowry and vow of fidelity.

 

Regardless of the formality of union, the symbolism of the rings’ circular shape – with no beginning or end – was considered representative of commitment and immortal love.

 

Whilst this representation of eternity is still maintained today, there was also, in ancient times, an equal importance placed on the space within the ring itself. Regarded as somewhat more than a convenient place to put your finger, it was also believed to act as a portal to all that is known and unknown both in this world and the next.

 

The tradition of the wedding or union ring soon began to spread across Europe and the Middle East with the Byzantines, Christians, Jews, Celts and Moors each adopting their own version.

 

The cultural specifics of each union may have varied slightly, and the amount and style of ornamentation applied to the rings themselves varied a lot.

 

History provides us with a wealth of beautifully engraved and exquisitely embellished examples – too vast to be done justice here – so let’s just take a look at a few of my favourites.

 

Jewish ceremonial marriage ring

Being a jeweller with both a love of detailed ornamentation and recycling, the Jewish ceremonial marriage ring struck a chord with me for both its beauty and the sense of community sharing that it inspired. Dating back to at least the 10th century, these rings depicted miniature – but, oh so, elaborate – representations of homes and temples that could be opened like lockets to reveal a Hebrew inscription. Of course, with such extravagance comes a hefty price tag and so it was common for one single ring to be owned by an entire community and then simply borrowed for ceremonial purposes before being returned.

 

Ottoman Puzzle ring

A ring with perhaps not quite such a sense of community spirit was the Puzzle ring of the Ottoman empire, which consisted of several delicate rings all joined together. When worn correctly, these rings formed an intricate interlocking pattern, which, although very beautiful in its complete state, was extremely difficult to put back on again if it were to be removed. Therefore, should a wife choose to temporarily remove her ring for one reason or another, her husband would most certainly be made aware of it.

 

Gimmel ring

A somewhat more romantic interpretation of the Puzzle ring is the European Gimmel ring, which consisted of just two intricate, or sometimes three, interlocking bands. These bands were separated upon the engagement of the happy couple, who then wore one each until the time of their marriage. The bands would then be reunited during the ceremony and subsequently worn combined by the new bride.

 

Hindu toe rings

Of course, rings are not all made to fit the finger. During Hindu wedding ceremonies the groom places a single ring on the second toe of both of his bride’s feet, which she then wears constantly to represent her marital status. Not just merely symbolic, the placement of these rings also have associated health benefits according to Indian traditional medicine. In Ayurveda, the action of applying a slight pressure to the second toe of each foot is said to ensure a healthy uterus, and therefore a fertile union.

 

Healthy uterus aside, the majority of marriage ceremonies that involve the exchange of rings do place those rings on fingers – with one finger in particular being more popular than the others. While there are some very practical, but decidedly unromantic explanations as to why we most commonly wear our rings on the third finger of the left hand, I’d like to go right back again to ancient Rome and the vena amoris or ‘vein of love’.

 

The Romans believed that particular finger had a vein or nerve that connected directly to the heart. While this has since been proved to not be the case, I still like to hold on to it out of pure sentiment for one of the jewellery world’s most symbolic and enduring pieces.

 

Anna Loucah is an award-winning ethical jewellery designer based in London, and founder of Anna Loucah Fine Jewellery

Pia Tonna has worked in PR and marketing for some of the most exciting brands in the world of fashion – Harvey Nichols, Paul Smith, Chanel, Heidi Klein. However, it was a move to the world of gems and jewellery in 2012 that cemented her reputation as a magpie of distinction.

 

Tonna took a role at gemstone miner Gemfields, where she was charged with “bringing coloured gemstones back into fashion”. With some notable red-carpet moments, designer collaborations and high-profile initiatives, we can rule that a success.

 

After more than five years with the company, which included a stint working for legendary jewellery house Fabergé (now part of the same group), Tonna moved on to Atelier Swarovski. Here, she worked with designers – including actress Penelopé Cruz – to create collaborative collections that centred around lab-grown gemstones; though she admits her heart lies with responsibly mined natural gems, which, she says, “have something magical about them, each being unique with their individual, natural inclusions”.

 

Her latest move within the jewellery world is to Fuli Gemstones, a fully integrated mining company (meaning it can cut and polish its gems as well as mining them), as chief marketing officer. The company, which has offices in Beijing, Jilin, Hong Kong and London (with New York to follow soon), owns the largest-known peridot mine in the world, located in Dunhua, Jilin Province, near the Changbai Mountains in China.

 

Peridot, a green gem loved by the Egyptians, the Victorians and royalty throughout history, has long been revered as a symbol of wealth, as it is said to bring prosperity to its wearer. The gem is found deep within the earth’s mantle, or locked in lava or meteorites (meaning that some peridot comes from outer space). Tonna’s new mission is to get us to fall in love with peridot again, but for now she’s taken a break to answer our questions and give us an insight into her sparkling world in Five Minutes with Pia Tonna.

 

 

What was the first piece of jewellery you ever received?

“I think my gold sleepers when I had my ears pierced.”

 

And the first jewel you bought for yourself?

“A very heavy silver signet-style pinky ring. I still have it.”

 

If money was no object, what piece of jewellery would you buy?

“A ring by Suzanne Belperron. I love the way she never signed her pieces; her designs were distinct in their own right, and I loved her use of fine gemstones like peridot that she used in a big way and combined with 18ct gold.”

 

You’ve overseen the marketing for some incredible brands. What is the one bit of PR advice you would give someone?

“Be true, be transparent, be genuine.”

 

In your new role at gem mining company Fuli Gemstones, you have been charged with getting the world excited about peridot. What is it that makes this gemstone special?

“Firstly, the exciting thing is that the Fuli Gemstones mine is a fairly new deposit. The industry didn’t realise it existed and that such exceptional gemstones could come from this area. Secondly, it is the largest known deposit in the world, set in a captivating landscape that we’ll protect. Peridot has been loved for years, just forgotten about a little. We are excited to be able to work with brands and designers to bring the gemstone back to its preeminent position. Peridot doesn’t need any treatments and is highly refractive, so when cut exceptionally, the peridot gemstones give off immense brilliance.”

 

Do you have a favourite jewellery design that uses peridot?

“There are so many pieces that I am in awe of, but stand-out creations are the ‘symbols of wealth’ peridot pieces in the V&A and the stunning Cartier necklace set with peridot and diamonds from 1936, which belonged to the Duchess of Windsor.”

 

Which contemporary jewellery designers are catching your eye right now?

“Again, there are many. A young designer called Liv Luttrell, here in the UK, because she designs around the gemstones. Zeemou Zeng, already having won many accolades as an emerging new talent. I like the way he has developed his own distinctive style with moving gemstones. Finally, Hemmerle for its high jewellery; characteristic creations that showcase peridot extraordinarily well.”

Emma de Sybel, the mind behind the madness of ethical vintage jewellery company Baroque Rocks, describes her career and journey into the jewellery industry as “absolutely bonkers”.

 

After 16 years in banking at J.P Morgan, the mother and wife was desperate for some balance and symmetry between her career and personal life. The constant in both was her self-professed biggest vice: buying jewellery.

 

This business-savvy Wall Street woman took her passion for statement pearl necklaces adorned with solid gold charms and created Baroque Rocks. Under this mantle, she offers fellow magpies vintage gold jewellery from the 1960s to early 2000s, bringing new life to her finds. She describes her growing treasure trove as affordable and sustainable jewels that “aren’t going to cost the earth”.

Sustainable blasts from the past

Not only does every Baroque Rocks client receive a truly one-of-a-kind design, they can rest assured that their purchase is as ethical and environmentally friendly as they come. Sourced exclusively in the UK to maintain a low carbon footprint, Emma finds her treasures at auctions, private vintage jewellers and, on occasion, at estate sales, when a mother-in-law’s taste doesn’t quite match that of the new bride’s.

 

From there, every single piece is brought to her right-hand man in Birmingham’s Jewellery Quarter, by whom they are polished and cleaned. With a Midas touch, the craftsman takes the dust from each polished piece to local bullion dealers, where they smelt the remnants into 100% recycled gold to be sold to the jewellery industry or used to fix up other Baroque Rocks jewels.

 

The beauty of a Baroque Rocks piece is that there is no new mining or manufacturing involved in the process, even when a vintage jewel needs a little bit of extra TLC before it is ready to be sold. In cases of lost stones or gems that need replacing, Emma uses her cooperative of setters and artisans in the Birmingham Jewellery Quarter to find loose gemstones that fit the aesthetic of the design, proving that one jeweller’s cast offs can truly be another’s treasure.

Heritage vibes for modern times

Provenance remains important, of course. With a recent find – a vintage 1970s textured gold ring that mimics a stack of two rings (pictured above)– Emma felt that the gems needed to be changed. She swapped out two red garnets for a rectangular-cut pink garnet and aquamarine. However, should you buy this vintage treasure, you will not only get the ring with its shining new pink-blue gemstone combo, you will also receive the two loose red garnets she removed – gratis – so that the provenance of the ring remains intact should you ever wish to revert to the original design.

 

Once satisfied with the spiffed-up look of a piece of vintage jewellery, it is time for a spiritual retuning. Emma sound-cleanses each piece herself with tuning forks in order to bring the stones and metal back to their natural soundwaves. This process provides clients with jewellery that has been cleared of all past-life energies, so that – from a metaphysical perspective, at least – they are truly the first to wear it.

 

Each item is then gift wrapped in beautifully branded packaging, sourced in the UK, which Emma encourages her customers to upcycle into change purses or other keepsake holders. There is a full circle of life in a Baroque Rocks piece of jewellery; nothing gets wasted.

The crazier the better

While ethics is the driving force behind Baroque Rocks, there is something else that unites the collection of vintage jewels – each piece always has a clever angle or use. From gold penknife pendants and articulated gold cat charms to tourmaline signet rings, there is a statement piece for every mood, with a style that can and has endured through decades of fast fashion. As Emma says: “It’s better to invest in a piece of jewellery that will last generations, rather than a dress that might not even last the season.”

 

With that in mind, why purchase something that has been recreated time and time again when you could stand out with an original piece? Much like its namesake, the baroque pearl, jewellery curated by Baroque Rocks does not conform to the aesthetic of the high-street jewellery store. Inspired by her love of music – previous curations of jewels include The Ice Vice Baby Edit, The Kitchen Disco Edit and The Rocket Beats Edit – Emma chooses pieces that are different and bold. “The crazier the pieces, the better,” says the jeweller, who often creates playlists to accompany her curated collections, which she shares with her clients.

 

Absentmindedly playing with her solid gold 1970s cocktail stirrer necklace pendant – which would pair perfunctorily with the Baroque Rocks gold cigar aerator pendant for a wild night out – she chants her mantra: “You don’t have to conform to society. You don’t have to conform to anything. When you purchase a Baroque Rocks piece, you will have something that is irreplaceably unique.”

 

Doing what she does best, Emma continues to be a force for good as well as good times, reminding us that old can always be made new.

Shop for more Baroque Rocks vintage gold jewellery at The Jewellery Cut Shop

A quick glance at the TV listings is all you need to confirm Britain’s obsession with craft. From the Sewing Bee to The Great Pottery Throw Down, and new BBC jewellery show All That Glitters, we are a nation that loves to create and to buy handmade goods.

 

The British Craft Trade Fair (BCTF) is an annual celebration of designer-makers that has been spotlighting independent craftspeople for more than 45 years. This year’s show, which will run from June 27^th to July 1^st, will be held virtually – Covid-19 restrictions have put a hold on the physical event, which will return to Harrogate in April next year.

 

The digital show is aimed at retail buyers seeking craft items that have been handmade in the UK – this is a prerequisite for all participating exhibitors – and features a small cohort of jewellery designer-makers offering costume jewels and fine designs. Retailers can use BCTF Online to source new products by browsing designer profiles, watching videos and engaging in live chats and video calls with makers.

 

“Whilst I prefer to meet people in the flesh, the world is changing and we must adapt to new ways of trading,” says Nadege Honey, who will use BCTF to showcase her colourful polymer clay jewels that are handmade in Northamptonshire. “Supporting local businesses has always been important to me and handmade has the appeal of being unique, because it is not mass produced. Offering carefully crafted products made in Britain means the buyers can, in turn, support our creativity and champion the vast craftsmanship available in the UK.”

 

 

 

Meet the jewellery designers taking part in BCTF Online 2021

 

Olivia Jeffries

Armed with vintage tools and a gas torch, Olivia Jeffries wields silver to her will in her workshop in Norwich. The designer finds inspiration in organic textures and this is reflected in the tactile silver jewels she creates. The designs, which include blackened silver earrings and hand-forged chains, have an industrial edge to them. This morphing of masculine details and feminine curves makes for jewels that could easily be genderless. “These pieces appeal to those who adore the beauty and duality of an object being both timeworn yet modern,” says Olivia, whose work is stocked at stores including Craftco in Suffolk and Jill Smith’s Studio in Norfolk. “Although visually raw in places, each piece is thoroughly polished to ensure it is soft, wearable and sits in harmony with the body.”

 

 

Dormouse Designs

Colourful jewellery has been a buoyant trend over the past year or two, and Dormouse Designs is all about chasing the rainbow. Through specially selected gemstones such as rutilated golden quartz, amethyst, lapis lazuli and Tahitian pearls, designer Caroline Gallup brings a blast of chromaticity to the jewellery collections. Gallup, who bases herself in the leafy village of Wooburn Green in Buckinghamshire, is inspired by the natural world. As well as shaping the motifs she works with, her love of nature has also led her to seek sustainably sourced raw materials including Fairtrade gold. “When you enter the Dormouse Jewellery world, by zoom or in person, you will find beauty, benefit and value in everything you see,” says Caroline. “My handcrafted jewellery is a true celebration of what nature has taken generations to create, so that the generations to come can enjoy it. My philosophy is to nurture a personalised experience, putting my clients at the heart of the design process.”

 

Camilla West

Ask Camilla West what her favourite gemstone is and you’ll get a long list. Ultimately, she’ll land on labradorite, but you’ll probably hear her mention tourmalines, sapphires and garnets. The Tonbridge jeweller works to showcase the best proportions of these natural gems, attaching irregular-cut stones to delicate gold-filled chains to create wearable threaded earrings, or championing single faceted gems as cocktail rings. “I design my jewellery to evoke nature and organic patterns and textures and to speak to people’s emotions,” says Camilla, who crafts her jewels in a studio in Weald of Kent overlooking a deer park filled with ancient oaks and chestnut trees. “I feel it is important to leave a trace of the maker on the finished piece – the slight irregularities are part of what gives the jewellery its character and makes it different to something mass produced. They also echo the small irregularities in natural and organic patterns.”

 

 

Elsiem Jewellery

Before turning her attention to smaller crafts, Lorraine Hitt designed furniture and architectural interiors. The discipline she picked up during her 30-year career in the design world clearly leaves its mark on the bold, structural jewels she creates under her Cambridge-based brand Elsiem Jewellery. Statement earrings, cuffs and colliers cut a striking figure through a palate of black and gold. The golden metal is hand-finished brass, while the black elements have been 3D printed in nylon before being vibro-polished and dyed. “My jewellery is inspired by my love of simple visual and architectural forms, incorporating functionality and practicality,” says Lorraine, who started first making jewellery in 2016. “I am always learning and evolving techniques and materials to keep my work fresh and innovative.”

 

Nadege Honey Design

Looking at the bold blue-and-white stripes and flashes of orange and yellow in Nadege Honey’s Breton collection, it is impossible not to be spiritually transported to the Brittany holidays of her childhood that so inspired the designer. Working by hand in her studio in Northamptonshire, Honey uses silver and polymer clay to create her distinctive, colourful jewellery designs. Graphic shapes and bold patterns weave through all the brand’s designs, with other collections taking inspiration from the Art Deco movement, flowers and sea life. “I create pieces where colour, pattern and texture are centre stage,” says Nadege, who recently launched a line of notebooks and greetings cards inspired by her jewels. “Sketching a new design and mixing the clay to obtain the exact shade I am after, are two of my favourite steps in the process of creating jewellery.”

 

Anna Roebuck

Artist Anna Roebuck is a maker with a purpose; her jewels are designed to make you stop and think. For more than 18 years, she has been working with recycled materials and her latest collection tackles a very topical environmental issue – plastics. The colourful Nocean jewellery collection is made from recycled plastic bottles, which she collects locally in Burton-on-Trent and recycles at her own studio. The material is then dyed and paired with copper or aluminium to create bold jewels. “I trained in Fine Art Tapestry at Edinburgh College of Art in the 90s and this was where my fascination with reusing and recycling began,” says the designer, who has also launched the Out of Line collection of jewels salt-engraved with her own illustrations. “I created installation-based artwork using all sorts of mediums, from plastic bags and rusty metal to mud and blood. My work at the time explored the interaction between man and nature, and though there have been many changes along the way, the interest in how we interact with our environment has always been key to what I do.”

 

Janet Leitch

Often the question will arise of whether you are a silver person or a gold person. With Sheffield jewellery designer Janet Leitch, no choice is necessary as her pieces beautifully blend both precious metals. Janet, who spent 30 years teaching design and technology before returning to an early love of jewellery making, uses the ancient Korean gilding technique of Keum Boo to mix her metals. Some designs have been oxidised to further accentuate the contrast. “My inspirations for my textures are taken from my surroundings, both natural and manmade,” she says, who has designed a new collection of earrings tailored to those who now have longer lockdown locks. “My pieces are always developed to enhance the texture. It has often been described as ‘classy but edgy’ – a line I continue to use.”

 

ContraryMary Designs  

Etching, piercing, fold-forming, shell-forming, anticlastic raising… these are just some of the techniques that Wakefield jewellery designer Mary Duggan uses to create her ContraryMary Designs silver jewellery collections. Or as she describes it, to “forge metal with soul”. Nature is a key inspiration point for the jeweller, with leaves, pebbles and shells frequently popping up in her creations. Some of the designs, including her stackable Confetti rings and delicate Willoleaf earrings, are accented with gold. “I am inspired by organic forms and textures,” says Mary, who works with both sterling silver and tarnish-resistant Argentium silver. “The pure abstraction of fractal forms is used in some pieces – I am fascinated by the way that these algebraic expressions produce flowing organic forms that relate closely to the natural world.”