Jewellery design is undoubtedly one of the most dynamic and innovative fields of our time as jewels are no longer mere accessories, created and picked to match an outfit, but as with all art objects, have a life of their own.
 

In fact, you can hardly visit the hobby/leisure section of any bookstore without coming across home guides offering to teach ‘dummies’ the secrets of jewelry-making with the help of kitchen accessories, office supplies, tree ornaments or sewing kits. This 'do-it-yourself' concept dates back to a subculture born with the punk movement in the 1970s, which promoted improvisation and individualism, and believed that all materials at hand, mass-produced items or junk, were creatively resourceful.

The safety pin, for instance was subverted from its original meaning to become a decorative element before being turned into a favorite fashion and jewelry symbol. Mixed media techniques were  also used in contemporary visual arts in the same spirit. 

Today’s ambient desire for authenticity has been duly captured by jewelry/fashion designers who make the most of the ‘precious vs non-precious’ codes. 

To begin with, Prada’s Spring 2012 catwalk jewels seem to mock a little girl’s idea of ladylike accessories. Earrings with big coral roses attached to blue ‘fake glass’ pendants, all excessively artificial and candy-like, remind us of the princess in our childhood dreams. 

Similarly, Chanel’s Fall 2011 necklace has a spectacular ‘opera’ shape, which is toned down by the cold and moody mineral colors of its enamel ‘pebbles’ or ‘raindrops’.

On the other hand, Givenchy’s Fall 2011 outré retro-futuristic black metal and resin necklace plays with the too-massive-to-be-precious aspect of cartoon toys…Catwoman’s latest frenzy. 

Falsely non-precious are also technology and mechanic-inspired jewels. Balmain’s Spring 2012 cuffs, which seem to be made of battery pieces and rivets, reflect the perfection mania of standardized production, while London-based Mawi’s provocatively luminous techno jewel collection flickers like digital machinery and gives us a taste of our mini robot future.

Furthermore, jewellery designers felt the current urge for self-fulfillment and wellbeing as well as the return of mysticism. For example, folk art and ‘ethnic’

jewelry values old crafts like hand beading or weaving, in an attempt to reunite us with nature and bring us wisdom.  New York City-based Lizzie Fortunato’s ‘mixed media’ ‘Danger Island’ necklace evokes rich tribal traditions that protect us against occult powers. 

Italian designer Delfina Delettrez’s ‘Addolorata’ or ‘Our Lady of Sorrows’ collar also resembles a talisman or personal memento, mixing precious rubies, plated gold and silver, with organic, ‘common’ leather. Suspended from the collar is a heart-shaped pendant, pricked by many Cupid’s arrows and dripping blood. Within is a more anatomical version of the heart organ cut with scissors… a surrealistic black humor reference to the crudeness of crime series or ‘meat-as-material’ art.

In this case the jewel acts as a diary, telling the intensely personal story of the wearer’s broken heart, while trying to ward off ill fortune. Indeed, jewellery is effective in conveying messages about one’s inner self – fragments of everyday life  that would otherwise be difficult to display.

Louise Kissa 

lkissa@neurope.eu