My instalment of Something Beautiful in Jewellery comes from a wonderfully unexpected direction– the world of creative hairdressing!
Multi-award winning hairstylist Lisa Farrall has recently released a series of incredible images for the British Hair Awards from her new Armour Collection. The entire series is her fashion-forward tributes to African culture. Each image is more incredible than the last.
If there ever was a series of body adornment images to inspire you to work harder on both your design development as well as your presentation, this is it!
More after the break:
For the latest instalment of Something Beautiful in Jewellery, I’m presenting two pioneers of 3D printed contemporary art jewellery design.
Most people in jewellery now seem to accept CAD/CAM as a fact of life, especially with all the new design possibilities it provides. But even 10 years ago this was not the case. Back then, while there were a few mass production jewellers quietly working to incorporate CAD/CAM into high street jewellery making (myself included), but most creative designer makers considered CAD a dirty word.
There were only a handful of intrepid designer-makers who not only insisted on using CAD and 3D printing for their jewellery and objets d’arts, but embraced the early forms of the technology for all its production quirks. I’m showcasing two such designer-makers today, one British (Jo Hayes-Ward) and one American (Bathsheba Grossman).
Ring by Jo Hayes-Ward
Pendant by Bathsheba Grossman
A couple of decades ago, one resourceful contemporary art jeweller named Caroline Broadhead explored the idea of using projected light as a tool for body decoration. Of course, as with many experimental art pieces, its connections to the practical weren’t immediately obvious at the time. However, with recent advances in body projection and motion tracking, it seems several designers and developers are revisiting this idea of projecting jewellery and accessories as light onto the body. Only this time, they’ve added a whole new level of functionality.
Not too long ago I wrote a series of research articles for Jewellery Focus on the changing face of the jewellery industry. The first of the series has now just appeared in digital form:
Since I started this blog and began following rapid advances in 3D printing over the years, I’ve noticed the technology has affected different areas of product design in different ways. In some fields (such as ceramics), we are still awaiting the refinements 3D printing will require to really revolutionise their industry. But in other cases, the technology has quickly become indispensable, to the point where it has completely changed the face of the industry in the space of a few years.
Jewellery manufacturing is one of these. I’ve recently written a research piece (the first of many for Jewellery Focus Magazine) summarising all the recent changes to the jewellery industry. To add to this, a recent statistic I heard at this year’s IJL said that 95% of all bespoke work undertaken by the UK jewellery industry involves CAD/CAM and 3D printing.
But there is one other area of product design which has arguably been changed even more by 3D printing—prosthetics.
Guy and Max Jewellery
It seems the trend in jewellers using 3D printed materials as the product for sale itself continues to grow. With each new wave of 3D printed jewellers who appear on the market, the work also seems to grow more sophisticated. Here are three exciting new names who have appeared over the past few months. The third is a fine jeweller who uses CAD/CAM as a main selling point: Continue reading
Last week I visited the Design Museum‘s special exhibition on Contemporary Art Jewellery, entitled Unexpected Pleasures.