Welcome to the November 2006 issue of J-Dex online monthly magazine.
If you're new to J-dex then please take the opportunity to add your name to our subscribe list of internet magazine readers and we'll update you each month.
J-dex Magazine continues to be published in print and to the left of your screen, you'll see a list of the major articles featured. If you would like to receive a print copy of the magazine through the post, please select the subscribe link at the top of the page.
The J-dex newsletter and J-dex online allows us many more opportunities to allow advertisers to promote their services directly to our readers or indeed inform them of special events or promotions as soon as they happen. If this is of interest please give Sheena a ring on 02380 273100.
Editorial
Origin & The Goldsmiths’ Hall Exhibition.
The craft industry is estimated to be worth nearly a billion pounds a year in Britain. Two of its most important exhibitions run simultaneously in London in October. We visited both exhibitions and spoke to the exhibitors.
The Crafts Council launched a major new selling event for contemporary craft, Origin The London Craft Fair. The fair ran from 3 to 15 October taking place in a pavilion on the Somerset House courtyard. Ben Kelly Design was commissioned by the Crafts Council to create the unique structure.
Origin brings together over 300 of the most innovative and influential international designer-makers. Objects on show ranged from fashion accessories to functional and decorative objects, with the opportunity to commission one-off works of contemporary craft. Glass, ceramics, jewellery, metal, furniture, paper, basketry, wood and textiles were represented.
Coinciding with the Origin Fair was The Goldsmiths’ Hall exhibition in the City of London. The exhibition has established itself as a premier jewellery and silversmithing fair with 80 selected craftsmen and women of the highest rank. Next year it will extend to two weeks and double the number of exhibitors. Paul Dyson, the exhibition director, enthused that the fair had enjoyed a record attendance this year.
We spoke to exhibitors who had attended one or both fairs.
Brett Payne
Brett Payne, international silversmith, jeweller and bon viveur, was one exhibitor who had exhibited at both. ‘These were two very different exhibitions. The selling environment of Goldsmiths’ Hall, in the City, has a feeling of business and commerce whereas Origin had a softer quieter feel about it with buying as only a part of its function. Neither exhibition was better, worse, or less successful than the other. Origin has a broader spread of crafts and so attracted a different crowd whereas Goldsmiths’ attracted people particularly interested in silversmithing and fine jewellery.’
‘My XY candlesticks are storming ahead with a delivery time now of March.’
For Brett the Goldsmiths’ exhibition was 25% up on the previous year with the special evenings being particularly useful.
Brett feels that the more the High Street becomes standardised and reliant on the big brands the greater will be the niche for designer craftsmen. He detected a rise in the number of people who are looking for something different.
Brett considers that Origin will take a couple of years to establish itself but that the general direction and targeting is excellent. ‘It will become a prestigious event, but the main focus needs to remain as a commercial not an exhibition event.’
Marianne Anderson
Glasgow-based jeweller Marianne Anderson was delighted to be selected to exhibit at Origin seeing it as a unique showcase to raise her profile. Marianne says: “I used Origin as a platform for new work and saw it as a great chance to cement relationships with galleries and customers which for me is one of the most important aspects of attending such an event. Origin was great for me in terms of making contacts with new stockists and buyers from the UK, Europe and the United States.”
As a first time exhibitor Marianne received funding from the Scottish Arts Council which helped significantly towards her participation. “I am motivated by the unknown opportunities that Origin has created for me to promote and sell my work both nationally and internationally - I have a huge amount of leads to pursue.”
Following Origin Marianne is busy completing a new collection for SOFA in Chicago (represented by Aaron Faber Gallery, NY) and getting work ready for Christmas shows including Dazzle at the National Theatre, ‘Gifted’ at The National Museum in Edinburgh, ‘Goldmark’ at Thomas Good in Mayfair (curated by the Scottish Gallery).
‘This fair is a fantastic opportunity for me to present my work in public. Because the Crafts Council has done an amazing amount of promotion for this event and the location is a prestigious historical location Origin does attract lots of people to come to see contemporary crafts. As an exhibitor this fair not only raises my profile but also offers me to increase income by selling.
If next year I’m also lucky to be chosen to exhibit again, I will definitely go for it!’
www.chienweichang.co.uk
Tamara Gomez
‘I sold work from all areas of my collection and sold as much silver as I did gold pieces. Pieces from my Orb collection seemed quite popular, which I expected as they are fairly commercial and accessible price wise.
I was surprised to have sold some of my more avant-garde pieces such as the cocktail rings I make for the little finger.
There was a great deal of interest in my Acorn pendants too.
I think the marketing of Origin should have included the fact that it was the old ‘Chelsea Crafts Fair’ and that they should have had more late night shopping evenings as the Thursday night was very busy and good sales-wise.
An Alleweireldt developed a new collection for a solo exhibition this summer with a theme based on the exploration of opposites.
Everyday materials and objects are combined with precious metals and diamonds in such a way where only the most discerning eye will see the origin of the material.
She explains that because “precious” is traditionally equated to “rare”, we tend to underestimate the beauty of outwardly humble or common objects like lollipop sticks and old records.
‘Origin has been very successful’ she says, and an amazing opportunity for a maker like herself, to convince the public there is more to jewellery than meets the eye.
More pieces and stories can be seen on www.oxx.me.uk
Cathy Miles
‘Origin was great for me this year. The beautiful natural light and space surrounding the pieces provided by the new venue allowed the work to look it’s best. I felt that my stand was like a small reading corner, I loved to watch people engage with the work and note their reactions...laughter, empathy sometimes bemusement!
This year I took an experiment, a collection of wall pieces called ‘the rookery’. I wrote small narratives based on a band of rooks and their nests.
Although my mother expressed doubt over whom would buy a crow, they
ended up being the most popular collection of pieces throughout the show. Mr.Legg and his forced eviction for an over-compulsive collection of twigs was a hit with the viewers!
I also took a new series of small sculptures called the ‘kitchenalia
Collection’, based on birds and old decorative kitchen items, this also went well. The best seller was a small cream-ware eggcup and teaspoon with a baby goldfinch perched on top.’
enquiries@cathymiles.com Back to top
Fragrance couture by Amanda Mansell
People, places, experiences, they all influence who we are and what we want to be. Amazing people inspire us, staggering architecture astounds us and experiences mould us. But there are times when something is so perfect that you want to capture exactly what it is that takes your breath away.
Whilst we can acquire visual souvenirs or tangible mementoes to remind us of those times, it is actually the associated fragrance that leaves the longest lasting impression. Smell is a powerful sense that evokes strong memories and feelings, which other senses cannot recreate. Whilst images can capture the look of an amazing place, it is the fragrance you associate with it that can bring the picture to life.
Inspired by Tate Modern and the work of its architects, Herzog and de Meuron, British bespoke jewellery designer Amanda Mansell has created a truly individual collection of contemporary jewellery to reflect the Tate’s architecture and the emotions it stirs in her. Her new 90° Collection is designed to reflect the sensory and emotional connection to people and places through both vision and smell.
Handmade to the highest standard from clear acrylic and silver, which in some cases has been oxidised, each item in Amanda’s 90° Collection follows precise architectural lines to produce designs that are sophisticated, yet stunning in their simplicity. In the same way Herzog and de Meuron looked at the effect of environmental smells, Amanda has incorporated the power of fragrance into her collection without losing any of the integrity of the design.
Every piece has been cleverly devised to include an integral space in which the wearer, or giver, can place their own choice of scent to evoke personal memories. Your chosen scent is applied to a strip of felt that slots into each piece of jewellery, allowing your favourite memories to stay with you whenever you wear it.
What better way to capture those most treasured of special moments for a truly personal, and intimate, gift.
The Amanda Mansell 90° Collection is available from Autumn 2006
Photography by Tim Meara, jmeara@hotmail.com
G.F.WILLIAMS
Passionate about Gems
Relative pricing
Meeting a fellow Hatton Garden dealer in Bangkok is not rare. On my recent trip to this important international market it happened twice. Always keen to hear feedback on my J-dex column and Gemmological association talks, I discussed with one dealer, recent columns and told him about the next intended one of ‘relative pricing’.
Are you going to be the next Rappaport?’ he quipped…….
That is not the intention, but an understanding of the differences between gem materials and supply can help explain why seemingly anomalous pricing exists. In this series of articles I will try to highlight some of the factors to take into consideration when a dealer prices a coloured stone.
The market.
Pink Sapphire entered the market a few years ago now, at a commercially attractive price. Demand clearly affected supply and the price doubled within 12 months and by almost the same again within a second year. This can cause finished jewellery in certain markets to exceed price points and demand to fall. In recent months the 2 carat and under pink sapphire has dropped in price due to lower demand, but 3 carat and above fine quality stones have held their price due to relative rarity.
Other markets
If a product is particularly popular in one market and demand is high it can cause anomalies. Not long ago the Japanese had very big demand for particular goods at
$100, this meant that everything that was previously priced between 75 and 110 disappeared into supplying this demand and goods within that range became poor value – avoid buying if possible if this happens, or stock up on goods at 115 to 125 as they will be good value.
Jason
Aspiring to a state-of-the-art jewellery and diamond sales environment, Abrahams & Ballard of Hatton Garden called in the experts Idea Systems (U.K.)Ltd.
Having being briefed to design a contemporary yet welcoming ambiance, Idea got to work and from an empty shell created a spectacular modern sales floor with seating areas. A large curved counter unit, with frosted glass top set the atmosphere and with the addition of pedestal display stands, in-set display boxes, mirrors and the warmth of polished walnut the sales area oozed opulence and comfort. Behind the scenes an office area was created with plasma screen t.v..
Once the design had been agreed, Idea’s craftsmen carefully manufactured each section and installation from start to finished took just 2 weeks.
Our Client was delighted with the result........
NEWS IN BRIEF
BCC calls for Small Business Service to be axed
The British Chamber of Commerce (BCC) has called on the government to close the Small Business Service which it says has proved ‘virtually ineffective’. According to research conducted by the business group, the Small Business Service has failed to deliver on six of the seven themes set out in the Government’s action plan for small business:
1. building an enterprise culture - 83% of business reported no improvement in this area, and 24% reported a decline in the enterprise environment;
2. encouraging a more dynamic start-up market - 86% did not feel that a more dynamic market has been encouraged, and of these 27% believe that the market has worsened;
3. building the capability for small business growth - 53% of businesses felt that the capability for small business growth has remained the same, while 34% think it has worsened;
4. improving access to finance for small business growth - 83% of businesses did not believe that it has become easier to access finance, while 32% believe it has become more difficult;
5. improving small businesses’ experience of Government services - 90% of businesses saw no improvement in their use of Government services, with 42% reporting that the experience had worsened;
6. developing better regulation and policy - 93% of businesses reported no improvement in regulation and policy, with 52% believing that it has deteriorated.
The one area which did see improvements, according to the survey, related to encouraging enterprise in disadvantaged communities, with 30% of businesses reporting that there had been tangible improvements.
David Frost, BCC Director-General, said, ‘The conclusion to be drawn from these findings is that businesses’ experience of efforts to help them is not what it should be and radical reform is required. Looking to the long-term, we need to develop regional and local solutions that are business-driven and business-led’.
MAJOR SILVER EXHIBITION TO OPEN AT DESIGNYARD IN NOVEMBER
DESIGNyard will host one of its most prestigious Exhibitions ever to mark the 25th anniversary of Silversmithing by award winning Irish artist, Séamus Gill from 3rd November to 24th November 2006.
Entitled, 25 Years On, the exhibition is based on the true art of Silversmithing by the artist who in 2004 won the prestigious award for Excellence in Metals at the Philadelphia Museum of Art Craft Show. It will feature 25 new pieces of work.
The latest work is part of a lineage of craftsmanship that goes back to the Bronze Age.
The functionality of many of the pieces, such as candle holders and a waterpitcher, will be in keeping with the traditional use of silver in the home.
Ruth Liddle, General Manager of DESIGNyard said:
“The work is based on a love of the medium of silver and a love of what the material can do. The sheer beauty of silver has been respected by mankind for thousands of years. And no one works the metal better than Séamus.”
The work of Séamus Gill has been purchased for the permanent collection of the National Museum of Ireland, The Irish Assay office and the Department of Foreign Affairs.
The official opening of 25 Years On will take place on Thursday 2nd of November in DESIGNyard’s Cow’s Lane Gallery Temple Bar Dublin 8.
Business women smash the glass ceiling.
Woman of the Year Award finalists embody diversity and talent
Seven exceptional women have been chosen as finalists for the prestigious Midlands Woman of the Year Awards 2006, supported by national disability charity Vitalise.
The 24th annual ceremony and lunch took place at the Hilton Metropole Hotel, near the NEC Birmingham, on Friday 13 October. Each finalist was chosen on the basis of outstanding career achievement, making a significant contribution to her company's financial success.
This year's finalists exemplify both the breadth of women's achievements and the diversity of their backgrounds. The finalists' areas of expertise range from restaurants to airports, jewellery to fostering. As well as the top award of Business Woman of the Year, there will also be a special Woman of Achievement award, honouring sustained excellence in any field of enterprise.
The awards are supported by Vitalise, a national charity providing essential respite breaks for disabled people and carers in five accessible UK Centres. All proceeds from the event are donated directly to Skylarks, Vitalise's Midlands Holiday Centre in Nottingham. In 23 years, the event has raised over £420,000 for Skylarks.
“Each of these women is an inspiration,” said awards chair, Judy Groves of SCC, an IT services provider headquartered in the Midlands, and sponsor of the awards. “The Woman of the Year Awards proudly acknowledges and rewards the exceptional ambition and triumph over adversity that successful business women must possess.”
Stella Christine Dorsett, European President and Managing Director of Cookson Precious Metals
Over the last five years, Stella has revamped the business, ensuring it survived in the increasingly pressured manufacturing jewellery industry. In order to achieve this, Stella made sure the company had the right people and skills, spearheading a solid recruitment drive.
After an acquisition, she led two large-scale downsizing activities in France, cutting costs by 6 million Euros year on year. Stella has helped turn around the business from a 2 million euro loss to a 2 million euro profit. She has worked her way up the company, progressing from M.I.S. Manager, through to Operations Director and Managing Director.
In her spare time, she enjoys spending time with her family and friends and keeping fit. She is also a keen traveller and on the committee for a series of jewellery groups, including the British Jewellery Association and the British Jewellery, Giftware and Finishing Federation Board.
New (kid?) on the block!
B&N are delighted to welcome Tony Specterman who has now joined the team to look after our customers in the south of England. Besides being a really nice guy, Tony is an experienced goldsmith and diamond grader as well as an NAG registered valuer and lecturer and we are positive that he will help drive B&N’s award winning customer support, to new levels. Back to top
FEATURES
Flawless Jewellery Ltd
Bespoke Jewellery
Gordon Hamme met with the directors of Flawless the Hatton Garden based manufacturing jewellery company.
The ‘Flawless’ Jewellery Ltd partnership was founded in June 2005 by two freelance craftsmen, Andrew Pollack and Robert Bicknell. The two craftsmen see this as a mutually beneficial partnership as each craftsman have their own individual skill; Robert Bicknell is a diamond mounter and Andrew Pollack is a diamond setter.
Andrew says: “ We are based in a state of the art workshop facility fitted with all the most modern jewellery equipment. Through our investment in the workshop and our people, ‘Flawless’ are able to increase the speed of manufacture and convenience for our customer.”
The alliance has encouraged trade custom and private clients as both partners were already established and respected as talented craftsmen with their 20 years experience within the industry. They have developed an excellent reputation for high quality standard of products.
The direction of work naturally came from the retail traders requesting the production of jewellery; whether it is assembly work, producing masters or handmade items. This was due to the partners having a strong alliance with these companies forged over many years whilst working as freelance craftsmen. The company is consistently being commissioned to create handmade, unique jewellery for trade and private clients.
Flawless offer a reliable, fully comprehensive service designing, manufacturing, engraving, setting and polishing. Andrew says: “We can produce an item of jewellery from concept to completion. We have a designer on site that can advise and illustrate the client’s concept; our skilled craftsmen can then produce samples and prototypes to enable complete customer satisfaction before and after the jewellery is created.”
Our workshop is based in the vicinity of Hatton Garden, London’s jewellery quarter, renowned for its excellence in jewellery manufacturers and retail outlets. Therefore we are situated in an excellent position to use all of the local facilities and resources.
Our company consists of a small team of highly skilled and qualified jewellers; two senior mounters, a junior Mounter, an apprentice setter, a designer, a marketing consultant and an office manager.
One of our senior mounters studied a four year High National Diploma in craftsmanship and design at Guild Hall University, London (1996-2000). He has been awarded for his excellence in diamond mounting with the David Morris and at the Goldsmiths’ and Crafts Council Awards (2000). He has also exhibited at IJL Exhibition at Earls Court and also at the prestigious Goldsmiths’ Hall.
Our second senior mounter studied Jewellery and Gemmology at the Jewellery Council in South Africa (1994).
Our apprentice setter studied a pre-apprentice course at the Guild Hall University, London (2004-05).
Our junior mounter graduated from Sheffield Hallam University achieving a BA Hons in Metalwork and Jewellery (2002-05). She has exhibited at ‘New Designers’, Islington and ‘Name’ Crafts Exhibition, Coventry (2005). She has also been awarded a Goldsmiths’ Precious Metal Bursary for design and Third prize in the annual Sheffield Hallam University Business Entrepreneur Award Scheme ‘Enterprise Challenge 2005’.
Flawless Jewellery Ltd
28 Greville Street
London
EC1N 8SU
Tel: 020 7430 2723 Back to top
Trends:
An eye on the future By Claire Adler
Jewellery and watch brands are becoming increasingly involved in the business of predicting the future. In this month’s trend column, Claire Adler asks why and how.
In the last five years, jewellery and watch brands have been showing a growing interest in the services of trend forecasters. Future gazing is a relatively new phenomenon amongst luxury brands, who have traditionally focussed on communicating their illustrious pasts.
A constant craving for newness means we are seeing shortening cycles of consumption. “Women no longer buy a Louis Vuitton bag and expect it to last many years – they buy this season’s bag,” says Mark Tungate, author of Fashion Brands, Branding Style from Armani to Zara. “Many jewellers now compete in this same fashion space. So they should be aware of the latest trends in colour, texture and form.”
Jeweller Stephen Webster agrees. “Until relatively recently, most fine jewellery purchases were about commitment, sentiment and occasion rather than fashion,” he says. “But the last five years has seen an explosion in women making purchases outside of sentiment and all about trend and fashion (costume) jewellery.”
In fact the jewellery and watch industries are moving in much the same direction as the rest of luxury and fashion. The likes of LVMH, Givenchy and H&M have long worked with Paris based Nelly Rodi, one of Europe’s trend counselling pioneers.
Trends are generally created by word of mouth, or buzz, says author and marketing and advertising specialist Mark Tungate. “Consumers have become cynical about marketing and bored of traditional media channels, particularly TV, brands are interested in the concept of buzz and how trends evolve and how to influence them.”
Heightened interest in trends can be explained by three factors, according to Tom Savigar, trends director at the Future Laboratory, founded in November 2001 and whose clients include Orange, Nike, Thomas Pink and Principles. “The mainstreaming of luxury and premium goods, the desire for competitive advantage in a climate where global trends dominate alongside a simultaneous need for differentiation and finally a climate where consumers are more marketing savvy than ever, all mean that companies have a greater desire for the intricate needs of consumers,” he says. “In a time of fast changing trends, legacy, heritage and authenticity are not enough.”
Enlisting experts to forecast what will sell from one season to the next and then running with those trends, minimises financial risk. Often, small-scale retailers are able to exploit this information more swiftly than big brands, given their faster turnaround times.
“Consumers, particularly young ones, are now highly disloyal to brands and jump from fashion to fashion, cult to cult and object of desire to object of desire extremely rapidly. Trend spotters can help brands plot this cycle and enable brands to innovate and provide the product of the future, before most of us even know we want it,” says Tungate. “The jewellery industry is moving away from marketing techniques associated with premium products, such as longevity and inaccessibility, and towards techniques associated with mass fashion marketing, such as seasonality and affordability.”
Many believe that after the slowdown following 2001, creative businesses became ripe for trend forecasting information to protect them from similar dramatic market shifts.
“The watchmaking industry is increasingly taking inspiration from trends outside its own sphere,” says Stephan Linder, Tag Heuer’s head of product development. “After the crisis three to four years ago, I think people understood we have to be more dynamic and ready for change.”
All Tag Heuer’s creative, design and marketing staff access the subscription services of WGSN.com. Founded in 1998, the Worth Global Style Network showcases international catwalk collections, shop windows from round the world and insights into colours, materials, new technologies and social trends. “We sometimes buy a specific study about colours, materials or design trends from an outside agency,” says Linder of Tag Heuer, “but WGSN.com is our source for an ongoing flow of information which influences and informs our products, catalogues and advertisement concepts daily.”
While Tag Heuer takes inspiration for details such as seasonal colours or particular diamond settings or straps, higher price points mean the brand cannot be seen to be too fashion driven. Linder aims for a watch to last three, five to 10 years. Influences from architecture and cars come into play at Tag Heuer far more than fashion, he adds. Linder routinely scans Wallpaper* and GQ magazines and attends Geneva’s motor show and Milan’s furniture fair for inspiration.
Stephen Webster is another WGSN client. He also works closely with Swarovski, who specialise in applying general trends, from areas including architecture and culture, into the world of accessories and jewellery.
LVMH-owned watch brand, Zenith, likewise “invested substantially into predicting trends,” specifically in preparation for the creation of Defy, its first ever sports watch, according to brand director Rebecca Edwards.
So do trend spotters prophesize or propagate trends? “Ironically as trend predictors dictate to an increasing amount of the industry, they become trend creators,” says Behroz Mewawalla, head of design at Links of London, who routinely complements her own design nous with the expertise of WGSN and an outside trend consultant.
“People no longer buy individual items, they buy lifestyles and you need to be as aware of the car they are driving as the food they are eating. The quickest way to get an updated picture across these diverse issues outside your immediate product area is through a trend predictor,” she says.
Links of London’s four trained in-house designers formulate concepts, incorporating their own research into the market and current trends. They then organise a focus group which may consist of a stylist, editor and or trend consultant, who provide feedback. “The group may highlight a trend we haven’t addressed but for the most part it serves to affirm and expand the directions the team has isolated as key trends for Links of London,” says Mewawalla.
Not all agree on the virtues of trend forecasters though. Franck Dubarry, Technomarine’s co-founder and president, for example, says he just relies on his instincts and creativity. Back to top
Inhorgenta Europe – A pure passion for Jewellery
Munich - 23-26 February 2007
The success and internationality of Inhorgenta 2006 has aroused much excitement in the jewellery industry across not just Europe but also worldwide. It has also consolidated the fact that this trade fair is the most international and important platform from which to showcase both current and up-and-coming trends in the jewellery world.
What you can expect to see at Inhorgenta Europe 2007: The Platinum Forum will again host a great variety of designs using this precious metal; hall C2 will showcase over 300 designers’ outstanding and cutting edge designs; the Innovation Prize, which has become one of the most respected prizes within the jewellery industry, will be awarded for the eighth time to designers with trendsetting designs, and seminars on topical issues within the industry take place throughout the show.
The British Jewellery Federation will again have a stand for up-and-coming UK designers at Inhorgenta – this time within the Designer Jewellery Hall (C2). Please contact Mike Josypenko or Kate Finch for further information on 0121 237 1117.
Inhorgenta Europe is for a great meeting ground for people who are passionate about jewellery, clocks, watches, precious stones and pearls.
Goldsmiths’ Craft & Design Council Cartier prizewinner, Keith Seldon is acknowledged as one of the finest artist enamellers in the UK. His work includes commissions for objet d’art makers in London’s West End, regalia and important repair and restoration work.
Keith came straight into the jewellery industry from school attending the pre-apprenticeship course at Sir John Cass in London. Training as diamond mounter he also did engraving silversmithing design and enamelling where he discovered enamel painting, Keith won the best pre-apprentice in his year.
Keith was offered an apprenticeship at the London Cartier workshop. However he opted to become a full time enamellist joining Fred Barnes and Co in Clerkenwell. He later become a partner in the Alan Mudd partnership doing trade work for the objet and jewellery trades. Often work takes months, Keith fondly recalls a large pair of Peacocks made speculetively in silver gilt with enamelled feathers and body. Keith also enamelled a copy of the Hale trophy set up by Lord Hale was enamelled by Keith, as well as additions to the original, a trophy for the fastest passenger ship crossing the Atlantic.
More recently Keith painted the enamelled portrait of Nelson and coat of arms for the large H.M.S. Victory commission by Richard Jarvis.
Keith was also presented to the Queen at a special ceremony at Gloucester Cathedral where his work is on display. This is for his work on the miniature painting and enamelled coat of arms of the Duke of Beaufort, ‘The Queens Huntsman’.
As with many fine craftsmen Keith is booked two to three months ahead. He encourages others to consider enamelling,
but knows that it takes very particular skills and a huge amount of patience.
Keith Seldon Ltd,
Telephone: -
020 8660 7005
Fax: -
0208 666 8888
Mobile: -
070707 878787
E-mail: - keith@keithseldon.co.uk Back to top
Stephen Webster
30 year celebration
Back to top The Birmingham Assay Office and Lichfield Heritage Centre celebrate the work of Matthew Boulton
Together the Birmingham Assay Office and Lichfield Heritage Centre are offering a rare opportunity to see the unique work of Matthew Boulton, Birmingham’s celebrated silversmith and founder of The Birmingham Assay Office. These pieces from The Birmingham Assay Office Silver Collection have not been shown to the general public for many years.
The Exhibition is to be opened by Kay Alexander, the renowned, popular broadcaster and journalist who was recently elected the first woman Chairman of The Birmingham Assay Office. The exhibition opens on Friday 20th October at 10.00am and will run until Friday 3rd December 2006.
The pieces on display have been carefully chosen to represent a range of the Silver produced at Boulton’s Manufactory. They include – candlesticks - one of Boulton’s specialities – and other domestic objects such as wine labels, flatware and salts. One or two of the more grand objects held in the collection will also be on show such as the spectacular copy of the Warwick Vase.
Dr. Sally Baggott, Curator at The Birmingham Assay Office explained “We are delighted to work once again with the Lichfield Heritage Centre. The exquisite pieces on display are being temporarily housed in a particularly appropriate venue as Matthew Boulton had strong connections with the City of Lichfield. His marriage to Mary Robinson, daughter of a wealthy city mercer, took place in 1749 at St Mary’s Church – which today forms part of the Lichfield Heritage Centre.”
Lichfield Heritage Centre is open 7 days a week, Monday – Saturday 10.00am – 5.00pm and Sunday 10.30am – 4.00pm. Admission Charges Apply.
An image of the first page of the “Plate Register” which dates from 1773 and details all the “Plate and Silver Wares Assayed and Marked or broke at the Birmingham Assay Office from August 31st 1773. The first entry on that date comprises a list of the items from Matthew Boulton and John Fothergill.
Mathew Bolton - Tea Caddy
A fine example of the kind of domestic articles Boulton created at the Soho Manufactory, this tea caddy dates from 1776 - just three years after The Birmingham Assay Office opened its doors for business - and bears the marks of Matthew Boulton and John Fothergill, his partner. This piece was previously exhibited at the British Industries Fair in 1935, 1936 and 1938. Back to top
Jigs
Perceptive Sinner
Seven deadly sins provided inspiration for Luton’s own prodigy
“My passion lies in design”, explains Jig Pattni, award winning jewellery creator. “I get my ideas and inspiration from a wide range of sources: personality, charm, character, attitude, behaviour, mood, colour and even organic forms.”
And this eclectic source of ideas has formed as organically as his work; a family history stretching back nearly 500 years, firmly ingrained within the glamorous jewellery-making dynasty. From an early age, the young protégé’s designing intellect was a result borne of humble beginnings, sweeping up gold dust from his familial business to machine-cutting hollow beads.
“After investigating the retail side, learning how to value items of jewellery, I began to understand trends and styles, learning the movements and influences of the fashion industry”.
Initially working from a base in Holborn, close to London’s thriving jewellery quarter in Hatton Garden, Jig decided a more back-to-basics approach in order to concentrate on his designs. Focusing expressly on creating a series of pieces reflecting his ambient yet dramatic ideas, Jigs delivered, wowing the jewellery elite with his stunning ‘Seven Deadly Sins’ collection, and picking up two prestigious accolades as a result.
He won the acclaimed Design Innovation Award in 2005 for his piece entitled ‘Lust’, and again in 2006 for ‘Anger’.
Yet there is nothing belligerent in his approach: “I feel that working with a small selection of stores allows you greater freedom and a more specialised feel; you can apply more time for the clients unique needs”.
His business acumen and exclusivity in producing one-off pieces has resulted in very positive feedback from the industry, earning him greater commissions and more work. Using Platinum to 22ct and 18ct yellow and white gold, his client is given the unique privilege of keeping the original artwork and a packaging almost as exclusive as the design itself.
“The client can become lost in the movements of the design, and I wanted to represent that properly to give them a complete history of their piece, from inception to completion. That is why I provide the original artworks for the pieces; also, this means I cannot use old designs for future ideas and it keeps everything special”.
“Jewellery is a luxury item that people should aspire to. They should appreciate the art and thought process behind it; enjoy the experiences of wearing it, and admire the packaging of where it sits.”
Explaining his latest award-winning piece, Anger, he says: “Anger is manifested in the individual who spurns love and opts instead for fury.”
“Anger is a sin that can be represented and perceived in many ways. Here, it is exposed in a modest and organic form. The pendant is 3 inches long and a maximum width of 0.5 inches, beginning from a calm state that represents a position of peace. It then finishes towards a sharp point, like a dagger; an implement of violence that is synonymous with rage. The spirals twist around this rage taking us from one extreme to the other, personifying how such anger takes two down with it. The diamonds represent the intricate richness in this quick process and blind your vision, similar to a situation blur in anger. And almost as though the design is concluding its own story, the anger is represented in a graduation of 3 beads in either Garnet or Ruby”.
“The graduation in size of the stones acts for the spark, fuse and explosion”.
Contact: Jigs & Co Ltd
Tel: 0207 404 8998
Email: J.pattni@jigsandco.com Back to top
J-dex magazine 
