Into the fold

A mixed-me­dia ap­proach leads to new think­ing in fine jew­ellery de­sign

Wallpaper - - September - See Fold at Lon­don Fash­ion Week’s De­signer Show­rooms, 15-19 Septem­ber, lon­don­fash­ion­week. co.uk; completedworks.com; yekate.com

Fine jew­ellery and liq­uid mar­ble ceram­ics go with the flow

In the four short years since she cre­ated her Lon­don jew­ellery la­bel, Completedworks, artis­tic di­rec­tor Anna Jews­bury has dis­played a knack for con­vert­ing ab­stract ideas into ready-to-wear re­al­ity. Her early Pil­lar col­lec­tion, for in­stance, ref­er­enced an­cient cul­tures as fine frag­ments of Doric mar­ble col­umns set into gold rings and chains. Since 2013, Jews­bury, a for­mer maths stu­dent, and her busi­ness-part­ner brother, Mark, have con­tin­ued to lever­age aca­demic lean­ings in stylish col­lec­tions that res­onate across both the de­sign and jew­ellery worlds. Hence, Dover Street Mar­ket was an early adopter.

This Septem­ber, when the brand ex­hibits at Lon­don and Paris Fash­ion Weeks, marks a change of di­rec­tion for Jews­bury. Tak­ing a more vis­ceral ap­proach to her craft, she will present Completedworks’ Fold col­lec­tion,

BRASS BANGLE, DE­SIGNED FOR WALL­PA­PER* BY COMPLETEDWORKS, IN­SPIRED BY THE FOLD COL­LEC­TION, WHICH ALSO IN­CLUDES SCULP­TURES BY EKA­TE­RINA BAZHENOVAYAMASAKI. SCARF, BY PRINGLE OF SCOT­LAND

a joint project with Lon­don-based artist Eka­te­rina Bazhen­ova-ya­masaki, who has cre­ated a re­lated se­ries of Fold ceram­ics.

‘This col­lec­tion is a big move for me,’ Jews­bury ad­mits. ‘Fold uses gold to im­i­tate an­other ma­te­rial – the liq­uid mar­ble that Eka­te­rina has used for her ceram­ics. That de­cep­tion of­fers some­thing you don’t ex­pect in the de­sign.’

To cel­e­brate the launch of their artis­tic com­ing to­gether, the pair have de­signed a unique Fold piece es­pe­cially for Wall­pa­per*,»

a brass bangle that cir­cles the wrist like a just-crum­pled piece of shiny pa­per.

The Fold project emerged af­ter jew­eller and artist were in­tro­duced by a mu­tual friend, fash­ion de­signer Yu­lia Kon­dran­ina. ‘I was the art di­rec­tor for Yu­lia’s S/S16 show and I wanted to in­clude some jew­ellery, so I asked her if she knew any de­sign­ers,’ re­calls Bazhen­ova-ya­masaki. ‘Yu­lia im­me­di­ately said, “Yes, Anna”. I had a look at what she was do­ing and thought it was per­fect. We met when I went to pick up some of her jew­ellery.’

The Kon­dran­ina show pre­sented Jews­bury with a plat­form to ex­plore new forms be­yond the in­ti­mate scale that fine jew­ellery de­sign de­mands. It led Bazhen­ova-ya­masaki to think dif­fer­ently, too. Hav­ing worked across video, pho­tog­ra­phy and per­for­mance, she had a nag­ging im­pulse to ‘stop be­ing so con­cep­tual’ and cre­ate a prod­uct. That steered her to­wards the tac­tile pos­si­bil­i­ties of ceram­ics.

The pair con­cocted the idea of a re­lated body of work around a sin­gle theme: each would pro­duce a col­lec­tion di­rectly in­spired by the other’s medium. The re­sult is Fold, which com­prises an 11-piece jew­ellery col­lec­tion by Completedworks and 15 re­lated ce­ramic works by Bazhen­ova-ya­masaki.

The project made for a happy fit: ‘We be­gan by ex­chang­ing ideas and check­ing in with each other ev­ery few weeks to see what the other had pro­duced,’ Bazhen­ova-ya­masaki says. ‘The dy­namic was re­ally nat­u­ral.’ Jews­bury was work­ing in brass, while, af­ter a pe­riod of trial and er­ror with stoneware and porce­lain, Bazhen­ova-ya­masaki set­tled on liq­uid mar­ble, be­cause ‘the re­sults are so tac­tile’. But she ad­mits that the ma­te­rial – a mix of porce­lain and mar­ble of­ten used in sculp­ture – was dif­fi­cult to work with: ‘You have be quick be­cause it dries re­ally fast.’

That chal­lenge was a turning point. ‘As Eka­te­rina’s ceram­ics pro­gressed in a more ab­stract way, with the liq­uid mar­ble gen­er­ally dic­tat­ing its own forms, we started tun­ing into the ma­nip­u­la­tive qual­ity of ma­te­ri­als and how they can act in ways that you can’t fore­see,’ says Jews­bury. Work­ing ini­tially in brass al­lowed the jew­ellery de­signer to cre­ate con­cep­tual pieces on a big­ger scale. ‘It re­ally started to work when we stopped think­ing of it as “here’s a fold, there’s a fold” and be­gan giv­ing in to nat­u­ral move­ment,’ she says of the fin­ished jew­ellery pieces, which are cre­ated in gold, with castell-set di­a­monds top­pling among the folds.

‘It’s all come to­gether like an ac­ci­dent – only a re­ally pleas­ant one,’ con­cludes Bazhen­ova-ya­masaki.

‘We started tun­ing into the ma­nip­u­la­tive qual­ity of ma­te­ri­als and how they can act in un­ex­pected ways’

ARTIST EKA­TE­RINA BAZHEN­OVA-YA­MASAKI AND JEW­ELLER ANNA JEWS­BURY IN COMPLETEDWORKS’ STU­DIO WITH BAZHEN­OVA-YA­MASAKI’S FOLD SCULP­TURES BE­LOW, JEWS­BURY’S EAR­RINGS FROM THE SAME COL­LEC­TION

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