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PB - 1 CENTRAL SAINT MARTINS SAINT CENTRAL BA (HONS) 2020 DESIGN JEWELLERY BA (HONS)

2 - 3 @csmbajewellerydesign BA (HONS) JEWELLERY BA (HONS) Central Saint Martins University of the Arts Building 1 Granary London N1C 4AA www.arts.ac.uk/colleges/central-saint-martins csmbajewellery.wordpress.com instagram CONTENTS

INTRODUCTION 7

CECILIA AHLIN 9 MARIA FRANCISCA ARAÚJO AMANTE 11 MELODY AZIZI TORKANPOUR 13 HANNAH BOURN 15 KEWPIE CHI IENG CHAN 17 SERENA COWELL 19 CAMILLA DE FEO 21 COURTNEY DURKA 23 SHUHAN GAO 25 KATIE GIBBON 27 JING HAN 29 JO HARRISON-HALL 31 LÉA HIRALAL 33 YEN-CHAO HSIAO 35 SHANGWEI HUANG 37 MIHO ISHIZUKA 39 SUSAN JIANG 41 KIGEN KAMIJIMA 43 SIMRAN KOTHARI 45 VERONICA KWOK 47 LOIS LO 49 KAR YAN LUK 51 TAHIRA MAHMOOD 53 MILLIE MARKS 55 NATASHYA MUMTAZ 57 HANAN MUSTAFA SULTAN 59 EMILIA NAYLOR-BROWN 61 SIRUI NING 63 4 - 5 85 67 79 91 65 73 83 93 71 89 81 87 69 99 97 77 95 75 103 105 107 101 108 110 112 114 116

SCHOLARSHIPS AND AWARDS ACKNOWLEDGEMENTS WITH THANKS TO MILLET ZHOU ZOHDINATEGH PANIZ POP-UP SHOP STUDIO VISITS OLIVIA WOODHOUSE WU MOLLY FIONA XIAO BO NA YOON YU SILENT XIAOYAN ZIHAN ZHANG MIZUKI TOCHIGI MARIANE TRAN PHOEBE VICTORY SMARANDA MARIA VOICAN SIOBHAN WALLACE ROANNE SANCHEZ-WATTS SRISHTI SHAH ZAK SHEINMAN CAROLA SOLCIA MIRI TAMENAGA MARINA TELEVANTIDES ZHIWEN PENG HUW RIDDALL SAMANTHA RODWAY-SMITH The Worshipful Company of Tin Plate Workers alias Workers of the City of London

Also a big thank you to:

J&J Margarita 6 - 7 Live projects with contacts and cultural with and contacts Live projects element of the an important institutions are thiscourse and have participated cohort in some excellent in: a They have taken part examples. the students collaborationwith theV&A where to the exhibition; Balençiaga a responded collaboration with the Foundling Museum; a with Miranda Konstantinidou from live project with the BritishArt project Konplott; a Medal with several of the graduating in theirstudents winning prizes first year; a with Indianjewellery company, project design Lau; a with Percy eyewear project an AZVA; a conscious with Louis Vuitton; leather project the with ; design project material investigation projects portfolio project; Company of Tin by the Worshipful sponsored of the City alias Wire Workers Plate Workers of London and The Leathersellers’ Company; a live event in collaboration with Vitsœ in Munich in the second year and a live design project set by with Cartier thisas year as projects Solange Azagury-Partridge, Theo Fennell and the students have Winterson. During the year, a gallery visit to Gallery also benefited from SO and studio and visits to Akiko Shinzato by visiting Smith at Sarabande. Lectures Castro given by Lisa Walker, speakers this year were Melanie Georgacopoulos, Demure, Valery Lucie Gledhill, Julia Maria Rottingdean Bazaar, Lydia Fabian, Martin,Veronika Hannah Künnap, Hartshorn and Liz Olver. our gratitude to would like to express We all the friends of the course who support and their time encourage our students throughout on the course and beyond. On behalf of the BA Jewellery Design course team and everyone who has worked with this would like I to wish all of the graduates group, very excited are We every success for the future. followtheirand future steps theirnext see to careers. will be able to view the CSM online Graduate You July 29th 2020. showcase from GILES LAST COURSE LEADER We are thoroughly delighted to present to you you to present delightedto thoroughly are We thework of the Jewellery BA graduates Design of 2020. been truly unique for This academic year has BA Jewellery Design and the graduating year of into back welcomed we 2019 September In 2020. who had taken part in 25 students the final year, Studies, a new the in Professional first Diploma optionalof work placement experience year joined were They three. and two stages between stage from directly by 26 students progressing cohort with a new a very large two. This created combined withrange of experience, terrific and motivation. energy with pace the final year The year started at great of the one most successful BA students creating This was Jewellery Design Pop Up shops ever. with design project followed by a live sponsored to visit CartierParis included a trip to which the studios, ateliers,workshops and boutiques. Then in thecame the early spring of 2020 worldwide pandemic which, of course, changed many things.presenting The students task of in collectionspieces was altered of finished teaching, to the challenges of remote response a collection to presenting learning and creativity jewellery proposals of fully considered has within a portfolio. The response presented and inspiring. been remarkable challengingtimevery for a been has This so for many and unbearably almost everyone, yet the students have risen to this and created unique, insightful and accomplished work. The themes of these collections have a very issues exciting and scope ranging from broad of identity to manipulating and material, form challenging to theclimate emergency from exploring the intrinsic value surveillance, from and thingsquestioningof to stereotypes idealisation. this The students have been guided through skill and journey with incredible extraordinary Leader and Reader dedication by the stage three Lin Cheung, and visiting tutors, in Jewellery, Jones. Scott Wilson and Frances Wadsworth INTRODUCTION CECILIA AHLIN 8 - 9 [email protected] Instagram @cillaahlin INTERPRETATIVE TEXT BY LAM PUI LEE TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) , By using an extremely rare material – antlers that reindeer – antlers material that reindeer rare By using an extremely Ceciliashed once a year – has built a collection that is antlers are both primitiveTraditionally, and stunning. the own who people theSami by make to used Cecilia innovates within this tradition, However, reindeer. Through fashioning the antlers into wearable jewellery. respect her profound this collection, Cecilia expresses about the for antlers, people to know more encouraging and their of Sami people reindeer. culture Nordic AHLIN CECILIA MARIA FRANCISCA ARAÚJO AMANTE 10 - 11 [email protected] is untranslatable; the closest English κεφι is untranslatable; the closest English INTERPRETATIVE TEXT BY DANNI CHENG TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, The Greek word word The Greek equivalent, “the spirit of joy”, falls short of encapsulating collection, titled appositely after “Kefi” Maria’s essence. its a similarly overwhelming on producing this centres term, an that – of theintangible moment of joy, ineffability to the tangible sensory experience response affective auditoryand visual, as Serving pieces. her wearing of in a work swathes the wearer olfactory stimuli, Maria’s vibrant symphony of energies. MARIA FRANCISCA FRANCISCA MARIA AMANTE ARAÚJO MELODY AZIZI TORKANPOUR 12 - 13 [email protected] INTERPRETATIVE TEXT BY NATALIA ROKOSZ NATALIA TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Melody’s collection is a modern encapsulation of antique collection is a modern encapsulation of antique Melody’s a sublime balanced layering and Through cosmography. ancient orreries, explores and swivels, she of spheres bringing the grand migrationcelestial of bodies onto the hands. Her jewellery is an ode to the interactivity wearer’s of the on the synergy of those instruments, relying Her pieces movement. and the piece to create wearer fine materials, in employ modest components coated in the age-old need for the a composition reflecting alchemy with sleek modern archaic Merging precious. for interactivecosmos miniature, a creates she geometry, the wearer. AZIZI AZIZI MELODY TORKANPOUR HANNAH BOURN 14 - 15 Instagram @han.bourn [email protected] www.hannahbourn.com INTERPRETATIVE TEXT BY NATALIA ANNA SEWERYN NATALIA TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Hannah’s collection explores the close connection the close connection collection explores Hannah’s She focusses on between the human body and nature. whilst transforming forms and shapes organic preserving of pieces into theseashore collectedfrom objects natural biophilic which design, inspiration from jewellery. Hannah uses shells, , to nature, reconnects and seaweed, adapting them for of the human With minimal intervention in the raw material, she body. the fluiditytheof shapes, highlighting their explores life to breathe delicate beauty by using precious back into their inanimate forms. BOURN HANNAH KEWPIE CHI IENG CHAN 16 - 17 Instagram @q_pe_studio [email protected] www.qpejewellery.myportfolio.com INTERPRETATIVE TEXT BY HANNA KISS TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Inspired by the notion of unifying what was once by the notion what was once of unifying Inspired collection, she calls which “United”, Kewpie’s broken, translates human connection thelanguage into intricate ceramic, recycled Crafted from of her jewellery. traditional motifs of her collection features and , long-established ceramic peace and union. Referencing methods, each piece carries a unique history repair by hand, using up-cycled materials: and is produced for the key factors artist. sustainability and longevity are KEWPIE CHI IENG CHI IENG KEWPIE CHAN SERENA COWELL 18 - 19 [email protected] INTERPRETATIVE TEXT BY POORNIMA GURU TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Serena’s collection “Kaleidoscope” gives life and collectionlife “Kaleidoscope” gives and Serena’s wearability to the inspiration for her work, the butterfly element – thewing. Using a single – and a jump distinct technique of linking, she mimics and magnifies of the lepidopteran creature. the scale-like structure and anodised nichrome, Rings in heat-treated aluminium lend subtle contrast and iridescence to her In true celebration of the butterfly, chainmail jewellery. morphing to the her pieces boast lightness and flexibility, body when worn. COWELL SERENA CAMILLA DE FEO 20 - 21 RECIPIENT OF THE SWAROVSKI RECIPIENT OF THE SWAROVSKI SCHOLARSHIP FOUNDATION WINNER OF CARTIER UK WINNER OF CARTIER UK LONDON CELEBRATION SPECIAL PROJECT 2020 [email protected] Instagram @camidefeo INTERPRETATIVE TEXT BY MATILDA LIU MATILDA TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Inspired by her father’s passion for making things, passion for making things, by her father’s Inspired his to capture a desire collection from stems Camilla’s inventiveness. By and self-directed spirit of craftsmanship manipulatinglike materials the in her father’s ones found not traditionally objects workshop, she reinterprets associated with jewellery lures – such as karabiners, fish and climbing – into decorative harnesses Her objects. juxtaposition of these miscellaneous materials echoes the of the workshop, and celebrates a buzzing atmosphere life filled with experimentation and curiosity. DE FEO CAMILLA COURTNEY DURKA 22 - 23 [email protected] Instagram @courtneydurka [email protected] INTERPRETATIVE TEXT BY MARTHA LETHABY MARTHA TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Courtney’s collection, which she calls “Hidden Value”, collection,calls which she Value”, “Hidden Courtney’s ideas of worth associated with the 2p . explores the of original she exposes the irony In the process, than to produce expensive coin becoming more value. This influenced Courtney’s its intended monetary using exploration of ways to subtly add value through expensive materials such as the , hidden more thegemstones and accompanying bronze challengesjewelleryingeniously the Courtney’s . worth of an undervalued coin and highlights the arbitrary determining of value. COURTNEY DURKA SHUHAN GAO 24 - 25 [email protected] INTERPRETATIVE TEXT BY ZAINA DERAZ TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Just how far can we equate human emotion with we equate human emotionJust how far can with collection “The Absurdity materialistic value? Shuhan’s consumerism within represents of Expensive ” emphasising the necessity but relationships, romantic is the use irony The also the folly of expensive romance. of economical materials that either resemble such as made of similar chemical compounds, or are on rely often we rapidlysociety, evolving a In charcoal. our emotions, assuming materialisticvalue to express diamonds In reality, will follow. successful relationships at all. make no difference GAO SHUHAN KATIE GIBBON 26 - 27 Instagram @ktl__g [email protected] ktl-g.com INTERPRETATIVE TEXT BY MADDALENA BONATO TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Focussing on the concept of “fragility”, Katie bases her Focussing on the concept of “fragility”, Katie bases her crisis collection on her feelings about the environmental impact on theplanet. She cultivates a and humankind’s jewellery by creating approach, “conscious wearing” touch. The by thewhich is passively impacted wearer’s aesthetics of her pieces and their materials (porcelain, withconnected the idea strongly are leaf) gold wire, silver which thetransmit through of impermanence, objects the alludesto This shapes. refined lightelegant, and important changes that we constantly inflict on our planet; of our movements. on the effects Katie asks us to reflect GIBBON KATIE JING HAN 28 - 29 RECIPIENT OF THE SWAROVSKI RECIPIENT OF THE SWAROVSKI SCHOLARSHIP FOUNDATION Instagram @hanjinghj__ [email protected] www.jinghan15.com INTERPRETATIVE TEXT BY LIANYI WANG TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Jing’s works focus particularly on the link, an element theelement particularlylink, on focus an works Jing’s of jewellery thatoverlooked. By disassembling is often Jing a series of “”, the of regular idea From copper. and made of brass intertwined neckpieces, rings, for forms theseproduces she in the intertwining experiment, and . Furthermore, vulnerable tensile its extremely reveals the metal wire still follows but its fracture Eventually it breaks, property. has been In the end, an order the path of the rope. out of chaos. created JING HAN JO HARRISON-HALL 30 - 31 [email protected] Instagram @joharrisonhall INTERPRETATIVE TEXT BY LILY NDIAYE LILY TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Jo’s collection tackles our relationship to hygiene and its to hygiene and its collection tackles our relationship Jo’s complex fears our cultural connotations. She addresses provoked of contamination by exploring the reactions the by this natural human emotion. Her pieces explore the invisible ourselves from practices we use to protect enemy we call germs. Using materials we associate with pieces that she creates cleanliness and bathrooms, imply that our cyclical pursuit of hygiene can teeter into obsessive habits. Her amuletic link handwashing suggesting the faith we to symbolic rituals of protection, us. place in scientific theories to protect JO HARRISON-HALL LÉA HIRALAL 32 - 33 Instagram @lea.hiralal [email protected] www.leahiralal.com INTERPRETATIVE TEXT BY MILLICENT BRAGG TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Léa’s collection explores the beauty of nature’s the nature’s beauty of collectionexplores Léa’s SCOBY her own grown She uses unpredictability. a completely of Bacteria and Yeast), (Symbiotic Culture of thatbiodegradable substance mimics the textures each differently leather grows raw material and latex. This uncontrollability. nature’s the last, representing time from she allows us to Experimenting with fast- imagery, and production rapid an industry that thrives off rethink for what it can teach us nature Looking towards repetition. the behind, leave thewe actionsfootprints and our about is a set of sustainable jewellery which comments on result our consumerist world. LÉA HIRALAL YEN-CHAO HSIAO 34 - 35 [email protected] Instagram @yennnnn_h INTERPRETATIVE TEXT BY JOSHUA LAU TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Emphasising the intimacy of jewellery, Yen-Chao’s Yen-Chao’s Emphasising the intimacy jewellery, of clean, behind collectionprecious hides by toy Inspired unassuming lines of gold and silver. highlights intricate details through automata, Yen-Chao As the wearer the interplay of action joyous reaction. and fiddles withthe concealed mechanics, adjusting the form and visibility of thesedelivers unseen jewels, playfulness leaves the of his character Yen-Chao aesthetic agency. pieces to be defined by the inner child of the they person adorn. HSIAO YEN-CHAO SHANGWEI HUANG 36 - 37 [email protected] Instagram @weeshangwei @shangweijewellery INTERPRETATIVE TEXT BY MADELEINE TABARY TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Shangwei’s collection brings together the human and the collection the togetherand brings the human Shangwei’s attentiondraw theirsimilarities. to to innate as so cosmic embodied Essential notions cyclicality of balance and are in some of in perfectly polished spheres, silver or brass addition, In can see themselves reflected. which the wearer to allow motion, following each piece is mounted in order the pull of movement, but also, ultimately, the wearer’s between the jewellery this relationship Through gravity. Shangwei conveys his vision of the human and the wearer, body as an individual universe. HUANG SHANGWEI MIHO ISHIZUKA 38 - 39 [email protected] Instagram @miho0ishizuka INTERPRETATIVE TEXT BY LAM PUI LEE TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Miho’s collection, which is called “The Body is Temporarily collection, which is called “The Body is Temporarily Miho’s of jewellery Removed”, questions the fundamental role believes Miho with the human body. and its relationship hidden when it’s that physical body is often forgotten our the by collection,This inspired dazzlingjewellery. under used commonly stands and archaeological props, our attention, guiding people in museums, redirects form as a living to observe and celebrate our human that is artistic and appreciative. MIHO ISHIZUKA SUSAN JIANG 40 - 41 [email protected] INTERPRETATIVE TEXT BY POORNIMA GURU TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, As a remedy for her chronic sweet tooth, Susan curbs her her curbs tooth,Susan sweet chronic her for remedy a As obsession with desserts by fossilising them so that they She uses both items for thebecome decadent body. traditional and experimental enamellingtechniques on and . The brooches copper and silver earrings, pieces, with their gloss, polished and matte resultant surfaces, mimic the textural variety and vivid colours of the employed are finest desserts. Intricate hinge mechanisms withcandiedjams, surprise, of elements added reveal to hidden within. chocolates and creams JIANG SUSAN KIGEN KAMIJIMA 42 - 43 [email protected] Instagram @kigen_kamijima INTERPRETATIVE TEXT BY RAPHAEL TIFFOU TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Every piece in Kigen’s collection is designed to highlight collection to highlight is designed Every piece in Kigen’s particular utilities of the for example, the body: as hand a notepad, the ear plugs. lap as a table and fingers as functionalThe objects only become worn on the when suggesting the use the way we body as body as jewellery, us that our smallest, most pieces remind Kigen’s a prop. possess functionalities, and unconscious daily gestures not It is forgotten. that the possibilities of the body are simply what we wear that defines us, but how we wear it. KIGEN KAMIJIMA SIMRAN KOTHARI 44 - 45 [email protected] Instagram @simrankothari INTERPRETATIVE TEXT BY YONGXIN QIU TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, – Indian that have tiny bells – by pāyal – Indian anklets that have tiny bells – Inspired playful jewellery a set of that makes Simran has created soothing elements and pleasant sounds. She integrates withinconcave of bells and other sounds that resonate within each of her reverberations forms so as to generate theya convey silver, and brass of Principallymade pieces. sense of Indian tradition, techniques and aesthetics. Their versatility unique sound-making concept consistently and thus of the jewellery, awareness invoke the wearer’s an interactive effect. producing KOTHARI KOTHARI SIMRAN VERONICA KWOK 46 - 47 [email protected] Instagram @__vkwok__ [email protected] INTERPRETATIVE TEXT BY MARIA REVAZOV TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Inspired by symbols of protection from different , cultures, different from by symbols of protection Inspired a sense of security to the wearer. jewellery offers Veronica’s armour and chainmail, the pieces Although referencing thin metal come in light, cloth-like material, woven from a delicate shield. Protection-providing that creates wires, or the sign of such as the Christian cross hand gestures, also are various Indian religions, the Abhayamudra from the trans-cultural echoed in the collection, representing wish for safety in our age of anxieties. KWOK VERONICA LOIS LO 48 - 49 [email protected] Instagram @lo_x_lo_gallery INTERPRETATIVE TEXT BY NORA CRIADO DIAZ TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Lois‘s practice takes up the challenge set by an ingenious Lois‘s practice takes up the challenge set by an ingenious design, an egg box fashioned from example of packaging is a compilation The result a single sheet of cardboard. ideas about the setting of her jewellery. of rebellious as a maker than a herselfShe decides to define more notions of around ; thus, her pieces revolve technique rather than design, adapting the former to the limitation, benefit from can Showing that creativity latter. single sheets of brass become the setting which encloses the stone. LOIS LO KAR YAN LUK 50 - 51 [email protected] INTERPRETATIVE TEXT BY ZAINA DERAZ TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Kar Yan’s collection “A Ring is a Ring is a Ring” uses collection is a Ring is a Ring” uses “A Ring Kar Yan’s which may have an unpleasant personal, intimate jewellery, Kar Yan and integrates it into new pieces. history, describes this as “Renovating your love”: it encapsulates a part of your life withinversion of you, by giving a new had you not about the relationship it a new purpose. It’s the withthewho gave you weddingbut the person ring, you have with what has become your ring, relationship giving it a new chapter but within the same book. LUK KAR YAN TAHIRA MAHMOOD 52 - 53 [email protected] Instagram @t_m.jewellery INTERPRETATIVE TEXT BY CHLOE MASSIE TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, By using her body as a canvas, Tahira pushes the boundaries pushes the boundaries a canvas, Tahira By using her body as collectionelegant yet playful an that creating of jewellery, challenge Many pieces flirts with contours of the body. jewellery for unexpected parts of tradition by offering example. for nails, and theelbows, anatomy: shoulders to othersEach piece can be worn alone or added in order but equally statement. She striking a different to create allowing the to experiment playfully, opportunity offers her collection to be versatile according and customisable desires. to the wearer’s MAHMOOD TAHIRA MILLIE MARKS 54 - 55 SOLANGE AZAGURY-PARTRIDGE SOLANGE AZAGURY-PARTRIDGE WINNER AWARD THE ’ CRAFT THE GOLDSMITHS’ CRAFT & – 2020 CRAFTSMANSHIP & DESIGN 2D DESIGN IN FASHION AWARDS. AND AWARD – SILVER JEWELLERY THE QVC UK AWARD [email protected] Instagram @milliemarksjewellery INTERPRETATIVE TEXT BY ORIANA VIAUD TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, In her collection, which she calls “Jocale” (“plaything”), In her collection, which she calls “Jocale” (“plaything”), themselves as a to rethink Millie challenges the wearer by children’s Inspired jewellery. through person creative Millie has created building blocks and the of joinery, art a collection constituted of toggles, wooden blocks and They link together and can be customised to be . worn as diverse designs of rings and necklaces: through is invited to the wearer exploration and problem-solving, behind the pieces. participate in the process MARKS MILLIE NATASHYA MUMTAZ 56 - 57 [email protected] Instagram @natashya.mumtaz INTERPRETATIVE TEXT BY HANNA KISS TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Most of us see plastic waste and precious embroidery Most of us see plastic waste and precious Natashya, realms. different entirely as belonging to two her collection bringing theby two has created however, Fascinated by the contrast between expensive together. she aims to start a discussion and unwanted materials, pieces her crafted has Natashya is. truly value what on high-density plastic bags and recycled using discarded polyethylene, but solid an unusual base for exquisite hand As she shows, this special type of plastic can embroidery. also be transformed into delicate pearls. MUMTAZ NATASHYA HANAN 58 - 59 (a headpiece originally kumma (a headpiece originally [email protected] Instagram @hananmustafas INTERPRETATIVE TEXT BY ORIANA VIAUD TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Drawing on the significance of frankincense in Omani Omani in frankincense theof on significance Drawing for its aromatic it is particularly appreciated where culture, traditions within that qualities, Hanan explores as if it was frankincense resin She manipulates culture. a family heirloom that was resemble gold, shaping it to given to her mother for her marriage. Another of Hanan’s the pieces reinvents a wedding for women. men) as for accessory reserved collection is a challenge to the meaning of the Hanan’s its material worth to its symbolism. from , HANAN HANAN SULTAN MUSTAFA EMILIA NAYLOR-BROWN 60 - 61 [email protected] Instagram @byemilianb INTERPRETATIVE TEXT BY BIANCA MARIE TIRABOSCO TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, inspiration in biomorphism, Emilia looks closely Finding inspiration Emilia in biomorphism, looks closely shapes ergonomic at how multifunctional ’s transform and physically to an environment, adapt dependingand how objects change shifting on a light. Emphasising this dynamism and visual transformations in lines and colours, her collection consists of pieces that are simultaneously and comfortable. This allows metamorphic theto play withfits thewhich forms jewel, thewearer almost embracing it. Each piece therefore of the body, becomes both unique and deeply personal. EMILIA EMILIA NAYLOR-BROWN SIRUI NING 62 - 63 [email protected] Instagram @s_r_ning INTERPRETATIVE TEXT BY MELISSA KILICKAYA TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Sirui Ning’s collection “Thumbnails” explores the the collection explores “Thumbnails” Ning’s Sirui constantly changing imagery of the sky that on we witness which Sirui continuallyan everyday basis, and photographs ratio the defines format of with phone. Her pictures’ her Although by this imagery. inspired which are her creations, Sirui uses no digital to make her pieces, the somewhat in the manner of delicately, merge on the to be worn directly a piece meant pixels, creating parts of fit different Playing with how her products body. a new kind of jewellery that can be Sirui creates the body, both 2D and 3D. SIRUI NING ZHIWEN PENG 64 - 65 [email protected] Instagram @wendyzwpeng INTERPRETATIVE TEXT BY JERRY GUO JERRY TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, The inspiration for Zhiwen’s project, which she calls calls she which project, Zhiwen’s inspiration The for in interest her from ”, came “Wearing with Primarily concerned and their ephemeral nature. and theiroverlooked emotionalscents value, she a modified design highlights the connection by creating these for perfume blotters and labels. As she reconstructs and permanent objects, Zhiwen fashions a wearable aspect for otherwise expendable articles. By combining a dialogue jewellery design with scent, she creates between formalist design and our senses, extending the boundary of how fragrances function in daily life. PENG ZHIWEN HUW RIDDALL 66 - 67 [email protected] Instagram @huwriddall [email protected] INTERPRETATIVE TEXT BY GRACE BORCHERS TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Huw’s collection is designed to bring the viewer to a collection the is designed to bring viewer to a Huw’s visual through silence and reflection moment of bemused by mixing mediums and styles with dissonance, created industrial and organic He combines no correspondence. gems or classical forms to create with refined textures a sense of tension, which in turn jolts the viewer into a work is designed Huw’s moment of ambivalent recognition. to have an immediateimpact and evoke an instinctive available to us all, not just the connoisseur. response HUW RIDDALL SAMANTHA RODWAY-SMITH 68 - 69

[email protected] INTERPRETATIVE TEXT BY ESEOGHENE OTUBU TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, As a retaliation against increased camera surveillance, surveillance, camera against increased As a retaliation a collection of hoods and face Samantha has created pieces. Their decorative and functional qualities allow the of view privacy by disturbing the camera’s to retain wearer them.The mesh hoods, which may be worn tight or loose, thepublic matterin of choice of theelement back bring much how to determine theyas allowthe wearer visibility, of their face may be seen. SAMANTHA RODWAY-SMITH ROANNE SANCHEZ-WATTS 70 - 71

[email protected] Instagram @roanne_sw [email protected] INTERPRETATIVE TEXT BY HANNA KISS TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, SANCHEZ-WATTS of collection the seeks to connect wearers Roanne’s or lovers friends, whether strangers, theyrings, be her fascination family members. Her withthe idea of human connection and the act of gifting jewellery led her to observe the use of our hands when we interact with people. Each piece of her collection consists of meticulously taken or assembled, be worn can crafted parts, which The minimalistic lines,heavy feel and given away. apart and brass rings can be silver and matte finish of Roanne’s of age and gender. irrespective worn by anybody, ROANNE SRISHTI SHAH 72 - 73 RECIPIENT OF THE SWAROVSKI RECIPIENT OF THE SWAROVSKI SCHOLARSHIP FOUNDATION [email protected] Instagram @opulence.jewellery INTERPRETATIVE TEXT BY ZAINA DERAZ TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Srishti’s collection “Opulence” observes the glamour collection“Opulence” observes the glamour Srishti’s their and prosperous of early 20th-century theatres the metal – silver – as audiences. Using a precious setting, Srishti cultivates the idea of a masked, double- Aligning on of semi-precious quartzes faced society. gemstones, the pieces appear to take on a transformative view, of thepoint dependingspectators’ aspect, on seen without being truly transformational. The stones are individually within the piece as a whole, like individuals within society. SHAH SRISHTI ZAK SHEINMAN 74 - 75 [email protected] Instagram @zaksheinman INTERPRETATIVE TEXT BY POORNIMA GURU TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Looking beyond the precious value of jewellery, Zak is Zak is value of jewellery, Looking beyond the precious exactly theeveryday damage opposite: keen to explore the as enduring scars of inflicted upon jewellery, emulating Carefully by thewearer. experiences undergone animations and that moment of impact through transient distortion an exaggerated state of 3D prints, he captures in traditional brass and silver jewellery such as signet These damages rings, curb chains and engagement rings. just might be the perfect storytellers of his adventures. ZAK SHEINMAN CAROLA SOLCIA 76 - 77 [email protected] Instagram @carolasolcia [email protected] INTERPRETATIVE TEXT BY ARMIN ABRAHAM TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, In “Jewellery Portraits”, Carola experiments with with experiments Carola “JewelleryPortraits”, In Her bothtechniques and materials, . metal and timesilhouettes act as a machine: metal old designs in of of a flat sheet from cut are jewels and chains and broken that, so when light and then turned into new creations them,the negative of theprojects shadow through shines the image of the original piece onto the skin. In this way, she challenges the linearity of time: the new and the old forms. in different worn on the same body, are SOLCIA CAROLA MIRI TAMENAGA 78 - 79

washi [email protected] (rice glue), Miri creates pearls, allowing allowing pearls, creates Miri glue), (rice nori INTERPRETATIVE TEXT BY KHUSHI BANSAL TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, and papers resources natural on focusses jewellerywhich make to her production. and responsible Traditionally jewellery is nostalgic, it triggers memories. memories. triggers it nostalgic, jewelleryis Traditionally Miri wanted it leaves a colossal carbon footprint. However, sustainable jewellery by using biodegradable to create her. to important is thetheof material materials: story by the ancient Japanese aesthetic of Miri was inspired wabi-sabi, which considers every object in the world as By using transient, imperfect and incomplete. MIRI TAMENAGA MARINA TELEVANTIDES 80 - 81

[email protected] INTERPRETATIVE TEXT BY BA (HONS) CULTURE, CRITICISM & CURATION BA (HONS) CULTURE, TEXT BY INTERPRETATIVE - relation a deeply personal collection explores Marina’s the in particular, ship between the body and jewellery, way her mother wears and interacts with her jewellery, so well.which Marina knows and Using cast elements to blend memories of diamonds, flesh-toned Jesmonite in to notice pearls and folds of skin, Marina invites us Content to see her mother these moments of intimacy. and her jewellery as one being, she meditates on the become the which of jewellery and the body, proximity carriers and soul of belonging. MARINA TELEVANTIDES MIZUKI TOCHIGI 82 - 83

LVMH SCHOLARSHIP LVMH DESIGN 2020 BA (HONS) JEWELLERY RECIPIENT OF GRAND PRIX TOCHIGI Instagram @mizukitochigi_jewellery [email protected] mizukitochigi.com INTERPRETATIVE TEXT BY HYEONJO KIM TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Mizuki’s collection challenges the way we perceive plastic, plastic, collectionperceive challengeswe the way Mizuki’s thatan everyday material all too easily becomes waste. sustainability but only environmental Her concern is not of plastic in its own as a material also an appreciation by the which movement of water in oceans right. Inspired by plastic waste, her pieces make use of threatened are light malleable and characteristics, demonstrating plastic’s that it has as much decorative potential as gold and silver. the value of plastic us to reconsider Her collection urges the environment. in a way that protects MIZUKI MIZUKI MARIANE TRAN 84 - 85 [email protected] Instagram @uyen_tnx INTERPRETATIVE TEXT BY SAGA HINDMARSH TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, In accordance with her Vietnamese heritage, rice becomes withVietnameseher becomes rice heritage, accordance In collection. It represents Mariane’s an extensive part of not only the historic value of being a commodity often also becomes a symbol for to gold, but it compared moments when she would dine with her thoseprecious She transforms simple rice parents. otherwise hardworking sometimes distorting them bowls into adorning jewellery, highlighting the of fragmentation sense and therefore than one place. often by people with homes in more be carried with made to Nevertheless, thefragments are like – much Tran’s apart and reunite – to break the wearer own cultural identities. TRAN MARIANE PHOEBE VICTORY 86 - 87 [email protected] Instagram @phoebevictory INTERPRETATIVE TEXT BY SOPHIA REINISCH TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Phoebe’s collection integrates the idea of stamps and collection integrates the idea of stamps and Phoebe’s physical of elements preserve to means a as imprints fossilisation, modelling form. Visually resembling actively swallows the with, matterinto contact it comes demonstrating a physical manifestationthe of tension This interaction between two tangible materials. establishes between the a symbiosis more clay and conventionally ostentatious such as gold chains material, unique reveals stones. The compact process and precious the as the clay not only compresses hybrid structures part becomes also but subject, its negativearound of it. VICTORY PHOEBE SMARANDA MARIA VOICAN 88 - 89

[email protected] Instagram @smaranda.voican INTERPRETATIVE TEXT BY BA (HONS) CULTURE, CRITICISM & CURATION BA (HONS) CULTURE, TEXT BY INTERPRETATIVE Smaranda’s collection highlights her passion and collection highlights her passion and Smaranda’s It considers the of the need for sustainability. awareness a mixed physical implications through of global warming installation, allowing a speculative and experiential reality to jewellery rather than solely a material one. approach material, her biodegradable Using a water-soluble the 3D-printed pieces depict a narrative that explores Utilising an augmented reality of glacier-melt. progression digital she further designs, speculates headset to project the on the possibilitywhere of a post-consumerist era, physical migrates into the digital. SMARANDA MARIA SMARANDA VOICAN SIOBHAN WALLACE 90 - 91 RECIPIENT OF THE SWAROVSKI RECIPIENT OF THE SWAROVSKI SCHOLARSHIP FOUNDATION [email protected] Instagram @Shhhvon_ INTERPRETATIVE TEXT BY GEORGE TOWNSEND-TEAGUE TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Drawing on themes of identity and personhood, Siobhan’s Drawing on themes of identity and personhood, Siobhan’s and the subjective collection examines societal hierarchies collection, personal by her Nan’s assertion of self. Inspired nameplate she utilises to create her own biological data how the invisible which playfully explores jewellery, information that makes her who she is can be externalised not only this, she interrogates and articulated. Through she is, but how we all of who perceive the perception the implications when the data that What are each other. we choose to defines us is made visible, and what might omit? WALLACE SIOBHAN OLIVIA WOODHOUSE 92 - 93

[email protected] Instagram @oliviafwoodhouse INTERPRETATIVE TEXT BY LAURA BATTISTI TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Olivia’s collection explores the female body and the female body and collection explores Olivia’s simultaneouslyidealisation.critiquesits using By suggestivepeaches and “womanly” fruits, such as manipulatingpomegranates, and them into chains, she conveys thependants and rings, ways that women Olivia’s using their bodies freely. constrained from are jewellery adopts as a symbol of both fragility and alternative an perspective to society’s offering strength, . view of the female body as solely a reproductive OLIVIA WOODHOUSE MOLLY WU 94 - 95 Instagram @hahaha0w0_j [email protected] www.yuchen-wu.squarespace.com INTERPRETATIVE TEXT BY KAROLINA VARVAROVSKA TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, From sweet infatuation, through disputes, and on to the disputes, and on to the sweet infatuation, through From beginning of another:end of one love and with wit and collection demonstrates the intimate Molly’s humour, While a happy ending for romance. and vulnerable quest the collection is a high hope rather than a probability, simultaneously that demonstrates to fall it takes courage in love. Rather than being cynical, it signifies that each and holds the possibility of affection, new relationship that is worth striving for. WU MOLLY FIONA XIAO 96 - 97 [email protected] INTERPRETATIVE TEXT BY MARTHA LETHABY MARTHA TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Fiona’s collection, which she calls “Image of Belief”, collection,callsBelief”, of she which “Image Fiona’s belief withthetheas site of began an explorationhand of by the significance of in prayer and symbolism. Inspired Fiona studied hands and their positions religions, in many They in in thesegestures. the spaces created abstract so thatpieces the wearer’s shaped theturn collection’s for its brass She uses gestures. religious replicate hands oxidise to allowsher which heaviness, and colour golden in frequently the wear present to replicate particular areas artefacts. touched religious XIAO FIONA BO NA YOON 98 - 99 Instagram @bo.naana [email protected] bonayoon.com INTERPRETATIVE TEXT BY CHENGJIUJIU ZHANG TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Bo Na’s collection re-examines ancient culture, from from ancient culture, collection re-examines Bo Na’s Etruscan to Egyptian, particularly focussing on one ancient jewellery technique: granulation. She mimics traditional Scotland, patterns, includingsome from three- combining them with granulation and creating In dimensional units, which then form pieces of jewellery. this way she turns common objects into artefacts imbued to aim is therefore with a hint of the immortal. Bo Na’s of a rejuvenation contemporary jewellery from create ancient design and technique. YOON BO NA SILENT XIAOYAN YU 100 - 101 [email protected] Instagram @sssilenty INTERPRETATIVE TEXT BY ELVIRA GARCIA GARCIA ELVIRA TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Silent reflects on details of the female body which are the on details of are female body which Silent reflects a publica as such as good: items regarded often too can breasts of the shape or bows underwear strap, of particularvalues have They everyone. by judged be light- attachedshame and decorum to them, but Silent’s the heavy handed jewellery ingeniously aims to remove layers of cloth, fear that abuse and bodies. cover many but precisely She achieves this, not by taking things away, and wearing the contour of these details as a by creating jewel, even as a trophy. SILENT XIAOYAN XIAOYAN SILENT YU ZIHAN ZHANG 102 - 103 [email protected] INTERPRETATIVE TEXT BY JOHANNA WIKLUND TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Chiselled and enamelled into a light green, Zihan’s leaves leaves Zihan’s Chiselled and enamelleda light into green, a lively and elegance. After carving, spring from thealone as wellleaves fit as togetherand, pressing, they or a accessory, whether as a ring, a in with wishes. Growing easily adapt to the wearer’s they interact with the person nature, the surrounding connectedness, wearing them. The leaves represent Zihan of her homeland . and the bamboo reminds frail autumn from but completely different by, Inspired “Fallen Leaves”. these are residues, ZIHAN ZHANG MILLET ZHOU 104 - 105 [email protected] INTERPRETATIVE TEXT BY QIFANG XIAO QIFANG TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Millet’s collection “From Self-communication to…” Self-communication to…” collection “From Millet’s by the ability or “sad” of “dark” music to is inspired designs have free-flowing comfort us. Her confessional in a complex and fluent the wearer metal snaking around while also suggesting the pain that we all face manner, on a daily basis. With yet subtle colour choices, strong that is a new form of self-expression Millet has presented not afraid to show the world the mental pain that is part of all of us. ZHOU MILLET PANIZ ZOHDINATEGH 106 - 107 [email protected] Instagram @panizzohdi INTERPRETATIVE TEXT BY JULE KÖPKE TEXT BY INTERPRETATIVE CRITICISM AND CURATION BA (HONS) CULTURE, Inspired by her Iranian heritage, Paniz’s collection collection heritage, Paniz’s by her Iranian Inspired thefamiliar view of jewellerysymbol as a reimagines identity as well attention. as a tool to gain The of one’s and silver pieces seem to resemble simple, stone-set brass mechanisms hidden sound traditional jewellery; however, new the allow old and unpredictable through break in size while the volume characteristics. Each piece differs is adaptable to the person’s of sound that it creates Paniz video, performance a In character. and confidence this concept of recognition. further explores PANIZ PANIZ ZOHDINATEGH POP-UP SHOP

STUDENTS ORGANISED AND HOSTED A POP-UP SHOP TO RAISE FUNDS FOR THEIR DEGREE SHOW 108 - 109 THE FINAL SET UP AT THE STREET, CENTRAL SAINT MARTINS CENTRAL SAINT MARTINS THE STREET, THE FINAL SET UP AT THE POSTER FOR THE POP-UP SHOP POP-UP FOR THE THE POSTER STUDIO VISITS

STUDENTS VISIT CARTIER IN PARIS 110 - 111 STUDENTS VISIT THE STUDIO OF CASTRO SMITH AT SARABANDE FOUNDATION AT STUDENTS VISIT THE STUDIO OF CASTRO SMITH STUDENTS VISIT THE STUDIO OF AKIKO SHINZATO AT THE SARABANDE FOUNDATION THE SARABANDE AT AKIKO SHINZATO STUDIO OF VISIT THE STUDENTS SCHOLARSHIPS AND AWARDS

THE GRAND PRIX LVMH SCHOLARSHIP BA (HONS) JEWELLERY DESIGN 2020 WINNER: MIZUKI TOCHIGI 112 - 113 SOLANGE AZAGURY-PARTRIDGE AWARD JUDGING, WINNER: MILLIE MARKS WINNER: JUDGING, AWARD AZAGURY-PARTRIDGE SOLANGE SWAROVSKI FOUNDATION SCHOLARS: SRISHTI SHAH, JING HAN, SIOBHAN WALLACE & CAMILLA DE FEO JING HAN, SIOBHAN WALLACE SCHOLARS: SRISHTI SHAH, FOUNDATION SWAROVSKI ACKNOWLEDGEMENTS

Camilla De Feo would like to thank Cartier for the Cartier UK London Celebration Special Project 2020

Camilla De Feo, Jing Han, Srishti Shah and Siobhan Wallace would like to thank The Swarovski Foundation for their scholarships

Millie Marks would like to thank The Goldsmiths’ Craft & Design Council, QVC UK and Solange Azagury-Partridge

Mizuki Tochigi would like to thank LVMH for the Grand Prix LVMH Scholarship BA (Hons) Jewellery Design 2020 114 - 115 Melina Melina

Cover image by Roanne Sanchez-Watts This Catalogue is designed by Holly Browning Photography Credits: Scholars © of Swarovski Page 113: Photo Lautenschlaeger show captions by BA texts and degree Interpretative CurationCentral Criticism and at students (Hons) Culture, Saint Martins, with thanks Leader Michaela to Course Thank you to Giebelhausen Nick Kimberley. and tutor Criticism and all BA (Hons) Culture, Damilola Ayo-Vaughan and Curation collaborating. students for WITH THANKS TO

With thanks to staff who have supported this cohort of students throughout their studies

Kangan Arora Jane McAdam Freud Martin Baker Nicola McCartney Caroline Broadhead Marlene McKibbin Maisie Broadhead Maria Militsi Lin Cheung Michael Milloy Carole Collet Campbell Muir Billy Dickinson Frieda Munro Naomi Filmer Lina Peterson Melanie Georgacopoulos Pervez Sethna Lucie Gledhill Jane Short MBE Andi Gut Jessica Turrell Katy Hackney Jane Tynan Tony Hayward Frances Wadsworth-Jones Colin Henderson Margaret Wagstaff Martin Hopton Max Warren Chris Howes William Warren Jet Nathaniel Weiner Volker Koch Paul Giles Last Scott Wilson Royce Mahawatte Anastasia Young Hannah Martin 116 - 117 Programme Administration Hannah Cheesbrough Manager Programme Administrator Jenny Gallagher Programme But Sinead External Liason Coordinator External Examiner Anna Gordon Hartshorn & Graduate Assistants Coline Assade, Lydia Ellan Huang

118 - 119