Oye Modern - Unique, short-run jewellery with impact

You can’t get much more colourful than this. Australian designer, Emily Green, tells us about what influences her vibrant designs and shares some photos from her fabulous wedding.

Tell us about you, where are you from, where you are based, what you love?

Hello! My name is Emily Green and I am a Melbourne-based designer and maker. I live in Melbourne’s north, in a suburb called Thornbury, with my husband Louis. I work at Craft Victoria one day a week and the rest of my time is spent in my studio designing and making. In my free time I love having coffee in Melbourne’s gorgeous cafes, cooking dinner for friends, going to the movies and shopping on Etsy.

What is your background and how did you get into making jewellery?

I’m originally from Perth and moved to Melbourne in 2005. After high school I studied a Bachelor of Fine Arts at The University of Western Australia and then did a year of Fashion and Textiles at TAFE. I loved the textiles course but felt like I needed to move out of home and live a little, after 4 years of full time study. So, I decided to move to Melbourne for a year. I fell in love with Melbourne (the relationship is still going strong!) and decided to stay. I then studied a Graduate Diploma in Education and on completion taught high school art for a few years. Full-time teaching is HARD work and I found that all of my creative energies were being used up in the classroom. So, in 2010 I made the decision to give textiles another shot and enrolled in Textile Design at RMIT Brunswick. The course was awesome and gave me the time, confidence and the desire to start making again. After a few months of study I started to make some geometric brooches and sell them at markets and I guess my label has really just grown and evolved from there. A year or so on, I am now lucky enough to be a full-time maker and spend most days producing and designing in my studio.

Tell us about your studio space and your fellow tenants.

As of about three weeks ago I have had a studio in the Nicholas Building in Melbourne’s CBD. I share my space with fellow jeweller Dani M and her husband Steven Phillips who is a shoemaker. The Nicholas building itself is filled with studios and it is nice to know that behind closed doors there are hundreds of other makers working away in their little spaces.

What are your plans for your jewellery in 2012?

At the moment I am working on expanding my range into some new drop earring styles as well as hand-painted pendants. As soon as classes are up and running I also hope to do some silver smithing workshops at the recently launched North City 4 to expand my skill base and hopefully start making some silver pieces. I have also spoken to Melbourne artist Kirsten Perry about learning from her how to cast in silver. Exciting times ahead!

Thanks, Emily, for taking us into your studio and for sharing your bright and beautiful wedding day with us. Find Emily Green’s polymer clay necklaces in the shop.

Today we are happy to be launching new jewellery from Sydney designer, Pip Keane. In this interview Pip talks to us about her background, her influences and what she loves about designing jewellery. Enjoy!

Tell us about your background and how it led you to make jewellery.

I started making jewellery at high school, i was very fortunate to have an Arts Center attached to my school.  I made a major work for my Higher School Certificate, from there I went on to study visual arts, majoring in Silversmithing at Canberra School of Art. The course was very practical and I learned Silversmithing techniques that I still apply to when making jewellery today. When I finished studying I moved back to Sydney and starting making jewellery for galleries to sell. My first big order was from Museum of Contemporary Art Shop to complement a show they were having. This order gave me the enthusiasm and the confidence to really work hard at my own ranges and sell them in shops and galleries around Australia.

What do you love about designing jewellery?

I love making and designing jewellery for people knowing that it will give someone pleasure when they wear it. It is a privilege to make a piece that will be worn for a special event or given as a gift.

How would you describe your style and what influences you?

My style is very geometric with classic elements that will not date. I try and make jewellery that will suite every age group.

I get a lot of inspiration from clients that come and see me and want something specific in their jewellery. Another huge influence is going to painting, furniture design or jewellery exhibitions and seeing other art around me.

Can you tell us about your signature split cable design, and how the design came about?

I wanted a design that was unique, easy to wear and with the catch incorporated into the design. I tried variations of the design for about a year until it came together beautifully, now it is my signature for all my jewellery ranges.

I hope that when people see my neck pieces with the catch at the front, they recognise them as made by Pip Keane.

A lot of your work has elements of bubbles and circular forms, what attracts you to these shapes and how has this style evolved?

The bubble pieces came about from making series of tea strainers; I loved making patterns with the holes drilled into the strainer.  From there, I made a jewellery range with patterns drilled into the metal, then made the design lighter and more flowing (the flower ranges).  I’m still developing this concept with my latest designs.

What’s next for you?

I have a few ideas in my head, but have been flat out all year and haven’t had time to develop them into finished pieces. I’m having a holiday following Christmas, and hope to come back recharged and spend time on my next range.

Thanks Pip, for sharing your story with us. Shop Pip Keane at Oye Modern.

Wow, what an amazing market Finders Keepers is, and it did not disappoint this year! Great venue (Carriageworks), great music, great stalls and great atmosphere. We thoroughly enjoyed meeting many of our existing customers and many more new people that expressed how much they love Oye Modern. Thank you for dropping by to see us, and hopefully we’ll see you again next year!

Here are some photos for those who couldn’t make it.
Thanks Brooke, Sarah and Frankie for putting on a wonderful event.
x Jeni & Petina

 

Today we are so pleased to bring you an interview with Doris Jurzak, who is launching her Sweets collection on Oye Modern today. Doris talks to us about her jewellery designs, background, inspirations and her creative process.

Can you tell us about your practice and what we can expect to discover?

My work is usually inspired by human behaviour, together with patterns and forms found in nature. Line and repetition tend to feature in my designs.

I like to work as much as possible with materials directly in my hands, with a sparing use of tools and machinery. Most recently, I’ve been experimenting with the textile-like qualities of PVC sheet. I love that it allows me to create curved forms with intricate patterns and colour, despite its transparency and flatness.

What is your background and how did you get into making jewellery?

I definitely took the long way around to arrive at my bench!

I’m originally from Newcastle and my parents arrived in Australia from Germany and Austria. They always worked with their hands in some way, whether it was furniture making or dress making, so I guess it was a little inevitable that I would end up doing the same.

Despite my interest in drawing and handcrafts, and fueled by a desire to afford overseas travel, I became a chartered accountant after leaving school. Eventually I became restless working in finance and, after a quick tango with floristry and interior design, I studied Jewellery and Object Design at the Design Centre Enmore.

I’m very attracted to the breadth of the word ‘object’ and my desire to design and make things doesn’t always relate specifically to jewellery. However, I do like that jewellery can sit anywhere between art, design and fashion and that flexibility really appeals to me.

What is your creative process, and how do your surroundings affect the creative outcome?

Usually I’ll start by researching something which interests me and by collecting a bunch of words and images. After carrying them around in my head for a few days, they usually result in a really clear idea. Until that clarity arrives, I’m annoyingly distracted and drink a lot of tea.

Other times, I’m inspired by a particular material and its possibilities and limitations. Experimentation is a big part of this.

I find I don’t have to look too far for inspiration. It’s exciting but it’s also overwhelming sometimes. There are so many things I’d like to make but narrowing it down to one starting point can be tricky.

I think my surroundings will always impact my work in some way and I’m usually very conscious of what’s going on around me. You never know what you might absorb which will ultimately filter into your work.

Tell us a little about new collection we now have in store.

The Revisited Series/Sweets Collection pieces actually had a very practical starting point and a simple evolution.

I’d been accumulating a large pile of PVC off-cuts from my exhibition work and I wanted to make something which would put these off-cuts to good use. So I started working with them on a day when I was also revisiting some music I hadn’t listened to in a while. With the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (1967) playing in the background, somehow psychedelic floral garlands seemed like an inevitable outcome.

(I really like flowers too…that may have also had something to do with it.)

What do you love to do on your days off to get inspired?

Nothing extraordinary really. I like to draw, read, exercise, watch films, take photos and make clothes. Or I’ll just spend some time being idle and day-dreaming. Or even better, being idle with the people who are important to me.

What are your plans for the coming year?

I’m currently producing a body of work, also in PVC, in connection with a Design Centre Enmore scholarship award. This work will be exhibited in my first solo exhibition in early 2012.

After that, I’d love to spend a little time overseas again to see some new things. Exploring some new materials in my work is also very likely, probably something natural like wood or wool.

Thanks Doris for sharing so much with us, we love your colourful designs and can’t wait to see what’s next.

Shop Doris Jurzak at Oye Modern

Today we are excited to be launching Megan Perkins’ new collection Poppy and Blossom. In this interview Megan gives us a peek into her studio, talks to us about living in Tasmania (the southernmost island of Australia), and where she gets the inspiration for her designs.

What is your background and what lead you to jewellery?

My wood craftsman father mentored me in enamel over 8 years ago and I have been making and selling on and off since then. I studied design and photography at University in Hobart, but after working as a commercial graphic designer for a few years I realized jewellery was what I wanted to do. I really enjoy the hands on process of making. I did some more training and now I spend most my time making jewellery and it almost doesn’t feel like work.

You work with vitreous enamel to create your jewels. Why have you chosen this material to make your designs?

I love the alchemy-like process of the enamel, the craftsmanship required and the risk involved. The rich colour and finishes you can achieve give it an unusual allure. I also really enjoy experimenting with an ancient technique to create work that has a contemporary appeal.

How does living in Hobart inspire your creations and what’s your favourite thing about living there?

You can’t beat the Tassie landscape. I grew up in the bush and my studio is nestled amongst the trees, overlooking a winding river. My inspiration always stems from my environment, I am particularly fascinated by the repetition and geometry that forms the basis of our natural world.

I am really excited about the energy in Tasmania at the moment. We have always had a strong creative community and punched above our weight in producing some inspiring artists and craftspeople, but with the addition of MONA there is a stronger focus on what we have to offer in the way of arts.

Tell us about the ‘Poppy and Blossom’ pieces we now have in store. How did the idea for this design come about?

I first developed the poppy design as white brooches for a group exhibition, originally inspired by the Tasmanian Leatherwood flower. After some experimentation I realized how nicely the forms worked with stronger colours. It had a bold simplicity that really appealed to people. The blossom range was inspired by strawberry blossoms growing in my veggie garden, and my recent trip to Japan.

What is your workspace like and how does this influence your practice?

My studio is about 40 minutes south of Hobart in the middle of nowhere. It is nice to isolate myself and get absorbed by the process of making.

What’s next for you?

I am aiming to head to Florence or Rajasthan to further develop my skills after Summer here. I am also preparing a new body of work for a solo exhibition in Tasmania next year in October, so lots happening.

Please welcome Megan and head over and shop Megan Perkins jewellery at Oye Modern.

As we are launching Luna Seo’s 925 Clasp Necklace today, we thought it was a good opportunity to explain what 925 means.

The 925 stamp you find on silver jewellery is simply a hallmark that indicates the purity of the silver used. It’s often combined with the maker’s stamp as you can see here in Pip Keane’s ring.

Fine Silver is 99.9% pure silver and is generally too soft for producing jewellery and functional objects, so it is usually combined with copper to give it strength while preserving the beauty of the precious metal.

Sterling Silver is an alloy of silver containing 92.5% of silver and 7.5% of other metals, usually copper. It’s the copper in sterling silver that oxidises and creates a black tarnish that can be removed with a polishing cloth or liquid solution. Oxidisation can also be used as a feature in jewellery design, and many contemporary jewellers are making the most of this inherent trait of sterling silver. Here are some great examples of contemporary jewellery that use silver tarnishing and oxidisation as an integral part of the design.

 

In jewellery where the oxidization isn’t a desirable feature, other precious metals such as gold and platinum are often used. We are also seeing jewellery being created in non-precious metals such as stainless steel, titanium and alloys, because the price of silver has increased 900% in the last 10 years. Here are some examples where alternative metals have been used to complement or enhance a design.

 

More and more contemporary jewellers are looking to use alternative materials in jewellery and we can’t wait to bring the best of it directly to you at Oye Modern.
Shop Oye Modern now!

Cheers,
Jeni

Today we are proud to be launching Victoria Mason’s new collection, City Lights. You may know Vic by her Pencil Shaving necklace or her Clothes Peg earrings, but you’ll find this collection to be a little different from her other cute, household inspired designs. We took a visit to Vic’s studio and learnt a little about her background. Read on for more…

Earrings and necklace from the City Lights Collection

What/why/how did you get into jewellery design?
I started making jewellery in my first year out of high school but my obsession started way before then. I’ve always loved making things with my hands and spent my teenage years remodeling and reworking anything I could get my hands on; clothes, jewellery, furnishings (much to my parents’ horror) and haven’t ever stopped. I studied Silver Smithing and Jewellery Design at Sydney Uni then worked for a master jeweller while completing a jewellery apprenticeship at Enmore Tafe. I’ve worked ‘at the bench’ for a few different jewellers while selling my own designs through other retailers then started in my own business full time about 6 years ago. It’s actually all I’ve ever wanted to do so I feel pretty lucky that I get to design and make things that I love every day.

Tell us about your studio space and your fellow tenants
About a year ago some friends & I were looking for a space to share & we found a great studio in Gertrude St, Fitzroy. The area has an amazing mix of people & also lots of small, creative businesses, so it was the perfect location for us. The move allowed me open a small, street-level shop, which I open on Fridays & Saturdays. The new studio has given me the chance to meet lots of people & to show new design ideas.

My lady-pals are Pip Lincolne, who is a fantastic craft writer & all-round inspiring person & Bec Smith, who is a Graphic Design/problem solving genius. The studio allows us to see how each other works & it can be good to bounce ideas around even though our industries are very different!

The Pencil Shaving Necklace is one of your signature pieces, how did the idea for this come about?
I’ve always loved drawing & I used to spend hours playing around & making things. I still have some of my first packet of Derwents & as I took them out to draw something I wondered if I could make a sharpening out of silver so that it would remind me of that dreamy kind of spare time you have as a child. I used to try & keep the wooden sharpenings but they’d break easily so the challenge for me was to design one that would last. It took months & months to make the first one but it was the piece that gave me the confidence to trust my instincts & design pieces that told a story.

I am always trying to design around a good feeling. I want each sculpture to represent a happy moment that we can carry around, like a talisman. I choose to make gentle items that help me remember to keep things in perspective; sometimes a cup of tea will work wonders.

Morning Tea Ring Set and Tiny Tea Cup Necklace

The City Lights Collection is quite different from your other work, what inspired the change and how did this design evolve?
The City Lights Collection is very different from the pieces that I’ve previously made but it’s important to get out of the car & stretch your design legs every so often. They still represent a feeling, this time, to do with seeing a new city for the first time. I thought about these designs when I was traveling, each new city would prompt a new map & fresh eyes to eke out places to eat or shop to visit. This new range represents that feeling when you arrive at night & the bright lights & shadows are unfamiliar but full of excitement & promise.

What do you love about living and working in Melbourne?
Melbourne is a very kind city to live in. There is a deep appreciation for small creative businesses & people go out of their way to support them. The jewellery industry is very compact here (compared to Sydney, where I started) so it makes the supply run very easy! I love walking through the streets, especially in the city, it’s very beautiful & I find the old buildings incredibly inspiring.

What’s next for you?
I’ve been working on a secret-squirrel, jewellery/artwork collaboration with the Melbourne street artist, Ghostpatrol that will be launched in October. It has been an amazing experience to see the creative process take shape & I’m extremely excited with how it’s unfolding!

Also, I’ve started making some animal sculptures that are (can I say it?) absolutely adorable! They have taken on their own personalities already & I’m hoping the first one (a donkey) will be ready to show soon. The project started as a commission from a romantic husband to his wife & with a few alterations, will be added to the collection soon. I’ll keep you posted!

Thanks Vic, we love the new City Lights Collection and can’t wait to see the new work.

Read more about Vic and her design process in The making of crocheted granny goodness.

Shop Victoria Mason at Oye Modern

Melbourne based jeweller Kate Higgins tells us about the story behind the name Eli and how she got into jewellery design.

Tell us about you, where are you from, where you are based, what you love?

Originally from New Zealand, I relocated to Melbourne four years ago to further my learning in the Jewellery industry. Moving on from a Degree in Design where I focused on Contemporary Jewellery and Printmaking, to the real hands on learning experience of working in traditional jewellery. This has consolidated my conceptual and technical skills to better actualise my designs.

What influenced you to get into jewellery design?

I decided I wanted to be a jeweller at 15, when a Graphics teacher encouraged me to produce a design I had handed in on paper. The tactile nature of the work, and the transformation from a plate of dull metal to a beautiful shiny 3D object really clicked with me.

Can you tell us about Eli and the story behind the name?

The Eli label is inspired by Eli Higgins, a character from my family history, circa 1840. His existence is recorded in a dark poem about his unusual case of muteness, and a fathers regret.

There lived amongst cows and sheep, upon a moor
A Herdsman and his wife and children four
Three girls, one boy, but when the last was born,
He made a vow which made his wife forlorn,
“Three girls” he said “Are quite enough for me”
“Bring me a boy – or see what you shall see!”
“What shall I see?” The timid wife enquired
“Bring me a boy, for if a girl you give,
Speak to her will I never while I live!”
“Recall your word,” the humble wife muttered
“On God will judge you for your wicked word”.
“Never!,” he cried “I swear by all I see,
A girl shall never have a word from me!”
Time passed, a boy was born, the Father proud
His purse and tavern filled and boastings load
Time passed, he loved his son and would caress,
The child turned five and a strange distress
Time passed. The little youngster found his tongue
And to his Mother prattled all day long.
But to his Father he voiced never come
And, if they met, the child was always Dumb.
Dumb, absolutely dumb – no single word
Addressed to him the father ever heard
Save to his Mother and his Sisters three
The child was Dumb as Dumb could be!
Vainly he fetted, fondled and allured -
Vainly be scolded, threatened and admired
He watched the Son he had desired to see.
Although he wished and had obtained the prize
Saw condemnation in his neighbours ‘eyes’!
His impious vow was ever on his mind
And no relief or comfort could he find,
Till the said providence he had defied
Relieved him for his judgement and he Died!

He died and now occurred a thing so strange
A wonderful experience in its range,
Scarce, since the days of miracles, casted
So great a marvel as a parallel.
No sooner, had the Father breathed his last
Than the Son’s lengthened term of dumbness passed.
The Father’s life was silence to the Son!
His death was speech! For now, to everyone
The words were spoken that had been denied,
And the tongue loosened that so long was tied!
For thirty years “Dumb Eli”  had been seen,
By friends and neighbours on the village green.
A nod or a smile was all that was all that they obtained,
But now each one a beauty greeting gained.
Unearthly seemed the sounds that left his life
After the weary, lifelong, dull eclipse!
And many wondered and a thoughtful few,
Awestruck, recalled the history they knew,
Felt that a hard divine had touched the tongue,
Which for so many years had silent been,
Exclaimed, “The ban that silent his mouth has passed
And the long judgement is removed at last”

- Central Gazette, Glastonbury, November 1873.

I have been fascinated with Eli’s story since I discovered it in a book as a teenager. Through the creative process, I feel an affinity with his efforts to communicate. I feel that through designing I am able to translate the jumble of internal thoughts, to create miniature tokens expressing the engaging facets of my environment.

What inspired you to create the Art Deco collection?

The Deco range is heavily influenced by my place of work, inside the iconic Manchester Unity Building on Collins Street in Melbourne. The stunning Art Deco detail that smothers this building is a constant source of inspiration for me. The range builds on the geometric forms of the previous Prism Range, but incorporates Black diamonds in a salute to the opulence and luxury of Art Deco.

Much of your work is dark oxidized silver, why have you chosen this finish for your designs?

I enjoy the weight and contrast oxidisation imparts on a piece, and these aspects are imperative to the geometric, architectural style of my work. A dark finish expresses a depth of thought for me. The pensiveness of Eli coming through there perhaps!

What’s your favourite thing in and about Melbourne?

I adore Melbourne for so many reasons! One of my favourite things would be discovering the myriad of treasures down the city’s laneways. From dimly lit intimate bars, to one off shops stocking locally designed objects. It’s a constant delight!

What are you working on next?

I’m still exploring the Deco theme, and working on adding a few pieces to the collection. Using more faceted gems in my work has also opened up more ideas for me so there’s plenty to explore there! A showing of some exhibition pieces could be in the pipeline after a few years away from that scene too.

View Kate’s designs available on Oye Modern.

We received a beautiful email from one of our customers, recently. Francesca recounted the story of her and Gareth’s wedding day. Along with the unplanned comedy and the broken down wedding campervan, she describes the reason for choosing Nicola Bannerman’s Enchanted ring, in 9ct white gold.

“I fell in love with the ring before I realised it was on the other side of the world, but that just added to the excitement!  My daughter was already in love with it too, so there really was no option—it was perfect.  We chose the ring because it is literally Enchanted—special and full of meaning.  It looks like something from nature—like a leafy crown, fairy-like and make-believe—happy ever after.

From the beginning, the wedding was about the three of us—Mum, Dad and daughter—and the three leaves hold this significance. How perfect for my wedding ring, blessed to symbolise our marriage and the vows which we made to each other, to be a symbol of the three of us growing together.

We had already decided to plant a tree, partly offsetting our carbon footprint, but also as a sign that our marriage will grow. While planting the tree, we read this passage:

‘Love is a temporary madness; it erupts like volcanoes and then subsides. And when it subsides you have to make a decision. You have to work out whether your roots have so entwined together that it is inconceivable that you should ever part. Because that is what love is.

Love is not breathlessness, it is not excitement…that is just being ‘in love’ which any fool can do.

Love itself is what is left over when being in love has burned away, and this is both an art and a fortunate accident. Your mother and I had it, we had roots that grew towards each other underground, and when all the pretty blossom had fallen from our branches we found that we were one tree and not two.’

For us, the leaves on my ring remind us of the tree that we planted. I wanted a ring to treasure, to remind me of the unbreakable vow we would make to each other.

This wedding was never going to be ordinary. I had planned for our wedding to be a bit different, but even I was surprised at the quirkiness of the whole event. We’d bought an old VW Camper, which we’ve been doing up for the wedding.  We went to Gretna Green, Scotland, in the van. Charlie (my daughter), my husband!, and I camped while our family stayed in a hotel and we got married wearing jeans.

We seem to attract a comical amount of bad luck and, of course, our wedding had to follow through. My mum had arranged a wedding car as a surprise, but her and Charlie were in a nervous flap, so we ended up in the wrong car and arrived at the wrong wedding!  The guests were all outside waiting for a bride in white to arrive. We ended up jumping out at traffic lights and running to our own wedding!

The service was beautiful though, and very special. Afterwards, Japanese tourists took a photo of us kissing, asked us to kiss again, then followed us down the road, with us waving while they recorded it all on video. I felt like a princess. And, just to round it all off, the Camper died six miles from home. But I still got carried over the threshold.

Everyone has commented on my beautiful wedding ring and it’s a perfect reminder of a perfect, and quirky, day!

Thank you Francesca, Gareth and Chelsea for sharing your gorgeous pictures and story. We wish you all the good luck in the world from now on.

We are so excited to be launching the coolest retro designs from TokToki today! Here we talk to the lady behind it all, Mariette Marinus, and learn about her fascinating background growing up in South Africa, and then her career in animation that took her to the USA, where she currently resides. Read about the inspiration for her designs and please join me in welcoming her to the Oye Modern team of designers.

Where did the TokToki name come from?

In South Africa, where I grew up there is an amazing little beetle called the tok-tokkie. The name comes from the knocking sound they make when they tap their bodies on the ground to attract a mate. Whenever you found one you could often get it to answer you back if you tapped with your finger on the ground. It was a wonderful thing to feel like you were talking to them.

I’ve always loved the name and the reminder of that wonder of the world you have when you’re a child. I also want my jewelry to make the wearer feel like a kid again. The fun you had dressing up in your mother’s fancy clothes and jewelry and how glamorous you felt. That’s why I was attracted to the name. I dropped a k and e to make it more international, because even though TokToki was conceived in Africa, it was born in the USA.

Tell us about growing up in South Africa, and what took you to the USA?

Because South Africa was such an isolated place at the time in many ways people had to innovate by necessity. I think a lot of South Africans have this instilled need to be creative. I made all kinds of things growing up. Puppets, toys, games, clothes, jewelry, furniture, my projects were always scattered around the house. I’m very lucky that my parents were so supportive of my endeavors.

I studied mathematics and physics after school and finished my masters in theoretical physics. People are sometimes surprised at my sciences background but it was a very fulfilling thing for me to do. I wouldn’t give that foundation up for anything. There is so much beauty in pure sciences and you learn how to discipline your approach to problems. My PhD studies involved image processing which introduced me to the whole wide world of computer graphics, and I soon left my studies to join a motion graphics/animation studio friends of mine started.

My work in animation first led me to San Francisco and then to Los Angeles.

How did you get into jewelry design, and why?

I’ve always loved wearing big earrings. If you put on a fantastic pair of earrings you just feel ready to take on the world. Because I don’t have pierced ears it was a challenge for me to find exactly what I wanted. When I finally came across clip backs at a craft store I immediately started transforming all kinds of things into earrings.

I continued fashioning jewelry only for myself until 2007 when I experimented with having pieces laser cut. It was wonderful to see abstract ideas transform into real world objects. I was so excited by the results that I felt I couldn’t keep them to myself. That’s when TokToki was born.

What inspired your earrings and necklace designs? How did they come about?

Originally the designs I played with were much more organic and free flowing, but as I experimented the shapes started getting simpler and more stripped down. I’m always looking out for interesting patterns and came across a great vintage fabric with shapes that both inspired and affirmed the direction I was heading in.

My initial designs combined two different kinds of acrylic but I felt it was lacking something. Then I decided to try wood for the dominant part of the design and it clicked. Wood adds a warmth, and I love the contrast between the smooth manufactured surface of acrylic and the earthiness of wood. Although the wood is sanded and sealed for practical purposes, I keep it as raw as possible to play up the contrast.

I designed the pieces to be very wearable, but also to be beautiful objects in their own right. I continue expanding the collection and and I’m excited about adding new materials along the way.

Again, please welcome TokToki to the Oye Modern collection, check out the wonderful retro designs by TokToki here.