ZELDA MUR­RAY ZELDA MUR­RAY

@zel­damur­ray

Fashion Quarterly - - Pro­file -

I“never make any­thing I wouldn’t wear my­self,” says Zelda Mur­ray from her stu­dio in Wood Bay, west Auck­land, 15 min­utes’ drive from the suburb of Ora­tia where she grew up. From her pot­ter par­ents, Zelda says she in­her­ited a love of art and a crit­i­cal eye, and at a young age she honed both via her cre­ative out­let of choice — jew­ellery mak­ing. Ini­tially spe­cial­is­ing in card­board ear­rings jazzed up with high­lighters and stick­ers, Zelda’s aes­thetic has long since evolved, and now speaks heav­ily to her ob­ses­sion with the jew­ellery and sym­bol­ogy of dif­fer­ent an­cient civil­i­sa­tions. Her brand, too, con­tin­ues to grow, stocked at Auck­land bou­tiques in­clud­ing Miss Crabb and Penny Sage. A long­time col­lab­o­ra­tor of Penny Sage de­signer Kate Me­gaw, Zelda fre­quently makes pieces with her col­lec­tions in mind, in ad­di­tion to craft­ing but­tons and belt buckles that fea­ture di­rectly on the clothes. Mean­while, an ap­pre­ci­a­tion for all types of ma­te­ri­als — es­pe­cially “un­likely pair­ings” — gives Zelda’s work an ar­chi­tec­tural qual­ity. The re­sult­ing pieces are tech­ni­cal yet in­trigu­ing, be­ly­ing her sur­pris­ingly tra­di­tional jew­ellery ed­u­ca­tion at New Zealand’s Peter Min­turn Gold­smith School. “It was very for­mal train­ing mak­ing in­tri­cate, en­gage­ment-style rings,” she ex­plains, “which is not what I do now, but the skills I gained were in­valu­able. Two of my tu­tors had worked at some of the great­est jew­ellery houses in Europe in the ’50s and ’60s, so learn­ing from them was an honour.” Of these learn­ings, per­haps the most pro­found was to do with the im­por­tance of tak­ing time to cre­ate each piece. “I make each piece my­self,” she says. “From the ideas, to the crafts­man­ship to the pack­ag­ing, ev­ery­thing is care­fully con­sid­ered.”

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