Fashion Costume Jewellery

Archive for the ‘Design’ Category

If I was to ask a person on the street what fashion jewellery is made from – I think the first reply would include gold and silver. This fascination with the traditional jewellery metals is understandable. Through the years society has considered gold and silver to be sought after and expensive jewellery components. With the huge increase in the costs of gold and jewellery production and the subsequent increase in the price, gold and silver are becoming less viable for average people. A 24K gold ring, for example is almost out of the question as a “nice to have”; it has become a special occasion purchase – such as engagements, marriages and eternity rings. Gold is often also considered to be “inert” metals and are less likely to react with the wearer’s skin. Silver runs a close second behind in the reaction stakes but because of its lesser cost is becoming more popular than gold.

Fashion costume jewellery is typically jewellery that is in vogue at a particular season and that will enhance your outfit and of course your self esteem and mood. With the growing costs, gold and silver are becoming less viable for the High Street Designer to work with. Cost of course is not the only variable at play here – an item may be highly priced, made from lesser cost materials, but have a designer label which may make it more attractive to a buyer. The design too plays a huge role in the attractiveness of a jewellery item – design of course cannot be costed.

So, where then is the market leading the jewellery designer? As far as metals are concerned, many of the base metals, in particular copper is often fabricated into the jewellery and then coated with rhodium to give it the silver look AND to ward off the evil tarnish or gold plated for the same reasons. Obviously plating can wear through after prolonged wear, but the cost saving in downsizing to a base metal even with the plate can make a piece more transitory and hence more affordable for the fashion market. Rolled or filled gold is also more popular, this is gold where the thickness of the gold is usually not more than 10% of the diameter is gold. This looks and acts like gold and will eventually wear away in constant use (like in 30 years!).

Many of today’s designers are now working in acrylic – witness the cat walks in 2010 where the big names of fashion have brought out mass market acrylic bangles. Although designer, these items certainly do not qualify as fine jewellery, but their price tags of $400+ put them out of the range of the high street fashionista. Naturally other jewellery manufacturers follow suit with the replica and look-alike jewellery groupies all jumping on the band wagon.

Glass too has had a huge following over the last five to ten years. Dichroic glass in particular has been feted and explored by jewellery designers all over the world. Who would have believed that this space race invented material could be quite so decorative?

It is becoming commonplace for a wide variety of components to be used in the making of jewellery. Gemstones still have their lure, the mystic properties draw some to them, diamonds hold the glitter and glamour of a life unlived, but with rising costs and growing scarcities, who can be surprised when simulated gems and cubic zirconia are becoming more popular? The design is probably the single most important aspect of the jewellery – cost and manufacturing materials can possibly be not an objection and lets face it – it is not so much about the cost of the components, but how it makes you feel that truly counts.

Texture is a feature of jewellery that we rarely think about but that plays a huge role in how we think about our jewellery pieces particularly those that fall into the fashion costume jewellery category.

Texture is obvious when we look at a ring (for example), usually the ring shank is smooth and comfortable when we slip it over our finger – imagine what it would be like if it was rough. The top or design of the ring can also vary – glass rings for example are often smooth whereas a stone with a set stone can be rough. The glass ring will not catch on anything and the ring may or may not depending on the surfaces with which it comes in contact.

If a stone is inset it will likely as not feel smoother than one with a prong set, but the setting in which it is inlaid will determine this. Whether the stone is facetted, like this magnificent tiger eye for example, or smooth like the carnelian cabochon makes a difference too. This faceting can affect the way we perceive the stone too – the facetted tiger eye will catch the light, each facet playing on the next, whereas the smooth carnelian will show a depth of colour within the stone.

Pendants too will differ considerably depending on their texture. Consider this hand beaded pendant. The centre is a smooth, well rounded black onyx cabochon. The back is a soft acrylic material, that sits comfortably against your skin. The fringe is made from semi precious stone chips – blue goldstone and white quartz  interspersed with red and blue glass seed beads. The centre radiates a calm presence and is fixed and firm whereas the fringe offers fun and frivolity as well as movement making the piece very eclectic. This textural dichotomy is most interesting. Of course, the constant movement of the fringe also makes for a constantly changing view of the jewellery and unexpected juxtapositions. While the texture of the pendant is part of its visual impact, the pendant will also make soft rustling sounds that are almost inaudible but will become familiar to the wearer.

Also sound making, this shawl pin or brooch will move when you walk, the glass beads softly clinking against each other. The soft rounded smooth shapes of the beads contrasts with the stark pin point and slightly edgy chain. Again this piece reinforces the connection between the wearer and the pin – imagine how it will look on your friends – how different or how comforting would they find this movement? I very often wear pins of this nature in winter on my cardigans, shawls and on my jeans pockets. I have very often heard my friends say they can hear me coming. I love the sound and the movement and the soft rounded shape of the beads.

Our final example of textural dichotomy is this pearl lariat – a huge 2m in length the softly rounded freshwater pearls contrasts to the shell chips and the two textures and shapes are held together with the interspersed glass beads.

As designers become more eclectic in their use of fibres, alternative components and colour in their designs, we will be drawn into the textural debate. As more and more options become available fashion experiences, I believe we will explore jewellery more as a holistic approach than one that splits fashion and fine jewellery.

Is the texture of a jewellery piece interesting only when it is completely one sided or when it has contrasts? What we do know is that two of our five senses (that of touch and hearing) can influence the third sense of sight to create an emotional effect and isn’t that what jewellery is about? I believe that every jewellery designer is subconsciously influenced by these factors and has a passion towards particular textural properties.