Fashion Costume Jewellery

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.

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