The Functions of Jewellery: Ancient & Contemporary

The Functions of Jewellery: Ancient & Contemporary

Written by Chayle Cook For NSCAD University seminar "Jewellery of Ancient Cultures" 2010.

... It is difficult to define and quantify the functions of pre-historic jewellery because there is no written record from the people of that time. It is difficult to know for sure what the intent and functions of jewellery in pre-historic times were. Objects found that date back to Paleolithic and Neolithic eras can be difficult to define as jewellery or not. For example, objects with holes carved through them are often categorized as beads and thought of as jewellery, but we don't know for sure how they were intended to be used, worn, and what their purpose was. We find lots of beads made from many kinds of materials, commonly shell, stone, bone, and teeth, but we can only guess why they were making them. We find beads, pendants, pins, and many types of tools (like needles, fish hooks, and axes) dating to pre-historic times. We also find carved sculptures and cave paintings. The imagery in these give us more insight into the values and practices of these Paleolithic and Neolithic people. For example, the stone carving “Venus of Willendorf” depicts a voluptuous female figure. Her features are exaggeratedly over weight, emphasizing her fertility and ample access to food. From this, we can guess that obesity was sought after as a sign of health and prosperity because this meant she had enough food and resources to take care of herself and to raise offspring. Carvings like this appear throughout pre-historic times, and we can guess that they must have been an important figure, possibly symbolizing fertility and bringing good fortune to their owners. We can only assume that beads and pendants found from this era, may have been worn for similar symbolic reasons. The use of shell beads, for example, have been compared to a vaginal shape, and some feminist historian believe that the shell beads we find may have been worn as a fertility symbol. We can make assumptions about the uses and purposes of jewellery in pre-historic cultures by making reference and comparing similarities to the functions of jewellery that we do understand from historic and contemporary times.


Why was it worn in life, for ritual or everyday use or only in burial? And Why was is made and worn at all? 


... When viewing jewellery from ancient cultures, we are getting only a small glimpse into the values and ways of life of people and places that preceded our own experience. The objects that have been found are generally excavated from burial sites. This source is initially a biased insight into the life of a culture as we can only assume that there must be similarities to the jewellery of burials and those of everyday adornment. From this we can make comparisons and educated guesses on the uses of jewellery through other sources left by the culture, like literature, sculptures, and illustrated murals. We can also compare burial objects to those found outside of burials, which are few in ratio to those found in burials. We are then still left with the questions of jewellery's function in ancient cultures. Why was it worn in life, for ritual or everyday use or only in burial? And Why was is made and worn at all? 


The desire for personal adornment is natural place for the concept of jewellery to evolve from.


... It would seem that, even before historic times, people have been trying to look better than each other and assert themselves through their appearance. The function of jewellery seems to foremost follow from this initial aspiration. We can see that jewellery begins with this desire for aesthetic beauty, which then relates to its use as a distinction of power or class. They are also initially seen as objects of worship and superstition, being used for protection and later in ritual of these conventions. Jewellery is also given as a celebratory gift or for honorary purposes. We see jewellery used for functional purposes like clothing fasteners or even traded as currency. In addition, contemporary jewellery is also made for the sake of art. Evidence of these functions of jewellery mingle throughout the eras, increasing and decreasing in popularity, but we can see them maintained even into our own present day functions of jewellery.

... The desire for personal adornment is natural place for the concept of jewellery to evolve from. Aesthetics, as we now call it, is a set of principles of how we appreciate and declare things beautiful. It is our guideline for style and good looks. We use jewellery as a way to bring beauty onto ourselves through beautiful things. We are attracted to things that are special, for example, shiny, eye catching, sparkly, or colourful. This instinct originates in our primitive scavenger/gatherer skills, where we are attracted to objects like berries that are good to eat and judge them by their brightness or plump roundest. Objects of jewellery like colourful stone beads are attractive to people in that same way. We can see the use of beads made from natural materials, like shell, stone, teeth, and bone, dating back to pre-historic times. It can be assumed that these objects were initially collected to be worn as a means to look beautiful. By taking the beautiful things in our surroundings and adding them to our own appearance we gather beauty onto ourselves. Jewellery adornment has not only been for aesthetics, but it is an elemental piece of our attraction and desire to obtain and wear it.


Lot 433 - An ancient Greek gold hair spiral ring, circa 7th Century BC
"An ancient Greek gold hair spiral ring, circa 7th Century BC"


... In cultures where we see jewellery being worn for other reasons than just aesthetics alone, we can loose sight of the initial importance of aesthetics because of other symbolic or mythological implications that the object also brings. Even as the emergence of jewellery for purposes other than aesthetics appear in ancient cultures, we can still find jewellery that functions mainly for aesthetics. To find aesthetic jewellery, we can look to jewellery that is non-representational and non-narrative. For example, Hair spirals are found from eras of ancient cultures, like in the Near East of Mesopatamia and in the Greek cultures of Aegean. Although these cultures both have rich narrative and mythology, these simple hair ring shapes are a reoccurring form that has been found. From the earliest eras it has been found in, it is seen as a simple round wire spiral with blunt or rounded ends. This spring like shape would be twisted into the hair to add a decorative element. Multitudes of these forms have been found, suggesting that they must have been popular to have, although we do no see many of them in our own culture today. The hair spiral remained mainly a simple form with few extras added for symbolism, but representational objects were later added. During Egyptian times animal heads and bodies were added to the ends of the spirals as additional decoration. Some of these figures may have also been representations of mythical creatures, and subsequently may have also been referential to a narrative rather than being solely for aesthetics.


Gold boat-shaped earrings, Classical, 4th-3rd century BC, Etruscan
"Gold boat-shaped earrings, Classical, 4th-3rd century BC, Etruscan"


... In Etruscan jewellery we can see them develop their love for extravagances in aesthetics. The main components of much their jewellery were highly decorated with granulation and filigree. The focus of this jewellery was on the aesthetics of being overwhelmed with shiny, textures and patterns. They found beauty in the repetition of fine line patterns of filigree and minutely small grains of granulation. For example, they were fond of making extravagant earrings, one style which was particularly suitable for this type of decoration was the “globule” style of earring. This type of earring was mainly made up of round gold spheres that would appear to dangle down from the ear in a upside down pyramid shape, with one ball at the bottom and subsequent rows above increasing in number. The overall look of these earrings was rich with gold and patterning. It's main feature was to look luscious and shiny and few additional elements were needed to create this effect. In our own culture today, we can see that aesthetics is a major part of the appeal for jewellery. For example, in the fashion magazines we often see ads for clothes and shoes accompanied by matching jewellery, suggesting that jewellery is needed to complete an outfit. 


We are attracted to things that are special... This instinct originates in our primitive scavenger/gatherer skills, where we are attracted to objects like berries that are good to eat and judge them by their brightness or plump roundest.


The tomb group represents one of the richest and most impressive sets of Etruscan jewelry ever found. It comprises a splendid gold and glass pendant necklace, a pair of gold and rock-crystal...
"One of the richest and most impressive sets of Etruscan jewelry ever found. It comprises a splendid gold and glass pendant necklace, a pair of gold and rock-crystal."


... Jewellery can also reflect and signify other parts of the person who is wearing it. As jewellery is worn to show a person's status, there are other kinds of jewellery that are worn to show a person's beliefs. In Egyptian burials and in their living life mythological symbols were worn to ward off evil. The symbol of the Wadjet Eye was thought to be extremely protective against evil. This symbol would be carved from stone to make amulets, or could be a decorative element inlayed with enamel, or could also be made into a small bead for the everyday wearer. The Egyptians valued and believed in these symbols and the traditions of wearing them. Jewellery is worn in this way for superstitious reasons. It might be related to spiritual or religious reasons, or also to mythological or for luck based reasons. This symbolism is passed down from one generation to the next, and as it is passed down it becomes more important and cherished as tradition. This is also seen in Assyrian culture, with the use of the rosette. It is a rose shape with many layers of petals, and is seen on many of their arm bands, earrings, and in their hair. The rosette was a popular motif and is thought to have been a symbol of good luck. In today's culture, people also wear symbols of good luck for non-spiritual reasons, like a lucky rabbits foot, or a four-leaf clover. People also were copper medical bracelets in belief that they will cure illness, similar to Romans who believed wearing Amethyst stones would prevent drunkenness and thus allowed them self to drink more. The wearing of these kinds of jewellery is influenced by superstitious beliefs but is compounded by the tradition of there use. 


This symbolism is passed down from one generation to the next, and as it is passed down it becomes more important and cherished as tradition.


... Traditions of jewellery are also related to the functions of celebration and ritual. This jewellery might be for a celebration of success, achievement, and honour of a person, or for a ceremony that celebrates a ritual event or anniversary. Objects from rituals, may include pieces that were not found in burial, or were found in temples. These items would appear to be too extravagant for everyday use, and may also portray a mythological symbol. For example, a hairnet found in the Hellenistic period in Egypt (200-150BCE) is made from large amounts of gold, with a medallion of the figure Maenad. This object is too cumbersome to be worn on an everyday basis, and because of the chased illustration on top, it is thought that this piece may have been worn for rituals only. Jewellery is also created in celebration of someone's success. To mark an honourable event or heroic actions made by someone, they are often bestowed with a metal. We can see this with the Roman's military metals and coins. Jewellery can also mark the coming of age. In Roman tradition, a child's jewellery was a pendant called a Bulla. When they came of age they no longer wore it. So in this case the act of not wearing a type a jewellery, marked the passing of childhood into manhood.


We can see that jewellery was given as a gift to say, “You are mine” or “I love you”...


... Jewellery is used as a memento, to mark an occasion, a vow, or a moment in time. Jewellery is given as gifts to friends and loved ones as a way of embodying a precious moment and treasuring a shared connection. For contemporary jewellers, wedding bands and engagement rings comprise at least 50% of their annual profits. It is the main piece of quality jewellery that a person of our era will purchase in their life, but with the divorce rate ever increasing it may not be their only one for long. Few wedding bands have been found in ancient cultures, but some have been found in the ancient Roman Empire dating back to the 2nd and 4th century BCE. On these types of rings the portrait of the bride and groom would be illustrated. It is difficult to distinguish all jewellery that was given as a gift in ancient times, as there may be no record of it being given rather than bought by the wearer. One way we can tell if it was a gift, is through inscriptions. For example, on a gold pin from Hellenistic Greece (2nd century BCE) we can see an inscription written on it, which reads “To the Paphian Aphrodite Eubola vowed this, the wife of Aratas, the kinsman and Tamisa”. We can also assume that most jewellery worn by women, was most likely not acquired by women, as men have typically been the leaders and the women the followers. For example, Walgrave writes that even in nature, “Animals use these natural decorative attributes as signals when it comes to power struggles or the instinct to mate... this is reason enough to state that wearing jewellery was originally a male affair,” and “In harems it is usual for a hierarchy [of women] to manifest itself through the jewellery the ruler bestows on the women.”(p23) With this we can see that jewellery was given as a gift to say, “you are mine” or “i love you”, and it displays this connection for other too see.


For contemporary jewellers, wedding bands and engagement rings comprise at least 50% of their annual profits.


... Jewellery can function in a utilitarian way, by being used as a clothing fastener, clasp, pin, or buckle. We see the use of the fibula style pin throughout ancient cultures. This type of pin, works similarly to the mechanism in a safety pin, with a spiral spring pin being held in by a closer. Fibulas could be very elaborately decorated for special dress, or could be simple for everyday use. We can see elaborate examples of fibulas from the Romans, where they become almost sculptural pieces with figures and patterning. Some of these fibulas are hardly recognizable because of the vast abouts of heavy decoration, and the pin mechanism is almost concealed. We can also look at the fibulas from the Celtic people in England, who cast fibula shapes from bronze. They also added decoration to their pins, but many of them retain the silhouette of a bow shaped fibula. Much of the jewellery for men that has been found is for a utilitarian function. We can see other types of jewellery for men like arm band, head pieces, etc. but is seems that a larger ratio of jewellery for men was for utility, like buckles, buttons, cloak pins, etc. For example when we compare Roman sculptures of men and women, the woman may wear earrings and necklaces, but the men will wear a cloak brooch. In contemporary jewellery we can see a similar trend in the function of male jewellery. Men are more likely to wear a decorative neck tie, cufflinks, or a over coat brooch. These things may all be decorative, but they still attach in a way that is useful.


Pin (fibula) Greek, South Italian Early Hellenistic Period 320–280 B.C.
"Pin (fibula) Greek, South Italian Early Hellenistic Period 320–280 B.C."


... Jewellery can also be useful as a piece of trade or currency. We can see jewellery being used like money is the case of dowries, where the bride's family will give the groom large sums of wealth, typically money and jewellery, as payment for taking the daughter off of their hands. In today's culture, we see a similar tradition with wedding gifts, where the couple's friends and family give them money and goods to start them off in their life together. Jewellery has been found from the Hallstatt era in Europe in large buried collections. It seems that these were non-religious and non-funerary, but were likely a hoard of wealth. Jewellery would have also been a bargaining piece used for trade and barter. When the appearance of money had not been developed yet, it is likely that jewellery would have been used as payment for goods and services. Seal rings were also worn by the Romans, and used as a signature of payment. They would have been used on a system of credit, like today's credit cards. 


Carnelian scarab Period: Late Classical. Date: early 4th century B.C. Culture: Etruscan
"Carnelian scarab Period: Late Classical. Date: early 4th century B.C. Culture: Etruscan"


The functions of jewellery throughout the eras have dealt with the common human desires for beauty, power, personal connection, superstitious protection, tradition, trade of wealth, utilitarian function, and for Art.


... Lastly, jewellery can also be made for the function of Art. This may relate more to contemporary jewellery than to the ancients, but it is important to note this development. Much jewellery in ancient cultures was highly decorated, and seems to focus more on the glamourous decoration than on the jewellery itself. This can be similar to the art jewellery of today, but it can also be argued that Art is not the same as the decorative arts. In this sense we can see that the art jewellery of today is not about the decoration of the piece of jewellery or about decorating the person, but it is about the object itself which may or may not be be worn. In the article “The Body and Jewellery”, the authors Helen W. Drutt English and Peter Dormer write about the connection of the function of the body in contemporary art jewellery. They write: “The body can be seen as a soft machine for displaying the art... or it can be ignored entirely if the goal is a gallery wall or showcase.”(p120) This emphasizes that jewellery does not have to mean or be anything more than art. In this article “The Body and Jewellery” the artist and goldsmith, David Watkins, relates jewellery to sculpture when he writes about his own art saing, “I drew directly on the forms of my earlier sculpture, but gradually moved towards objects... The miniaturized sculpture approach– rings where the shank or finger essentially formed a platform for a sculptural even, and brooches which were more or less framed relief constructions.”(p111) If the body and wearability is less important with this kind of jewellery, what does it say about the people that wear it? Those who pursue, purchase, and wear art jewellery are those that are looking for something unique, witty, and intellectual. By wearing one of a kind art jewellery the wearer is saying something about their taste. It goes back to the origins of the function of jewellery, aesthetics and class.


David Watkins Art Jewellery  
"David Watkins, Artist in Jewellery"


... The functions of jewellery throughout the eras have dealt with the common human desires for beauty, power, personal connection, superstitious protection, tradition, trade of wealth, utilitarian function, and for Art. We can evaluate and compare these functions through the findings of archeological excavations in burials, hoards, temples, and villages, but it is also useful to compare these findings to the other information we know about these cultures through literature, sculpture, and murals. Through this we have seen these functions increase and decrease in popularity, but they will remain as a common threads throughout the ages of jewellery. 



October 31, 2017 by Chayle Cook
BRANCHWORKS Exhibition at Gallery 200

BRANCHWORKS Exhibition at Gallery 200

Gallery 200
The School of Dance
200 Crichton Street, Ottawa

Exhibition Dates:
April 30th - June 6th, 2017

Please join me for the opening reception of
"BRANCHWORKS" on Sunday, April 30th from 2-4pm!

“Branchworks” features new pieces from a family trio of artists. The works presented here explore the aesthetics of fractal growth patterns and negative spaces seen within tree branches. The use of overlapping lines, contours, and shadow become a recurring motif in each of the artists' work as they draw inspiration from the complexity, beauty, and illusionistic qualities of humble branches. Each artist delves into their preferred medium, ranging from metalworking, embroidery, and pyrography. This range of approaches highlights the diversity in contemporary craft today.

Lawrence Cook
Lawrence has been actively involved in Ottawa's photographic community for more than 30 years. He graduated from the Algonquin College's Advertising & Graphic Design program. His enduring involvement in photography is due to the positive challenges it brings to his life, keeping him intellectually active and creative. Lawrence has exhibited his photography and artwork locally in Ottawa's solo and group exhibitions. Lawrence is currently a full-time staff photographer with the National Gallery of Canada.

Maureen Ballagh
Maureen is a visual artist from Ottawa, Ontario and graduated from Algonquin College’s Fine Arts & Craft program. In her artwork, she combines textile techniques such as felting, dyeing, embroidery and knitting to create intricate and cohesive works of sculpture. Her works have been exhibited by public and commercial galleries throughout Canada. For over 15 years, Maureen has been an active mentor and instructor in Ottawa's fibre arts community.

Chayle Cook
Chayle is an artist goldsmith from Ottawa, Ontario. She completed her BFA at NSCAD University specializing in jewellery, printmaking, and book arts. Her interdisciplinary approach to her studies has led to an art practice that balances her interest in the fine arts with her love of craft and design. Her art jewellery has been exhibited nationally and internationally in solo exhibitions and juried shows. As an entrepreneur in the jewellery industry, her own brand “Chayle Jewellery” focuses on producing fine jewellery that uses only sustainable and ethical sources of metals and gemstones.

April 21, 2017 by Chayle Cook
Interview with the Ottawa Jewellery Collective

Interview with the Ottawa Jewellery Collective

Artist Goldsmith, Chayle Cook, shares her inspirations and passion for metalsmithing and jewellery making in her interview with the Ottawa Jewellery Collective.

Why did you choose jewellery?

I initially went to art school at NSCAD University in Halifax with the idea to take design, but in my first year I also took a blacksmithing class. I fell in love with the material and the process of forging metal with a hammer. I knew I wanted to continue with metal, so I entered in to the jewellery department and found that I filled all of my sketchbooks with design ideas for jeweller, rather than for my design classes. I think I am so drawn in by jewellery making because I can be an artist while still being a designer and craftsperson. Jewellery allows me to pursue all of these passions.

Where did you learn your craft?
I first learnt metal working at the Nova Scotia College of Art & Design in Halifax. After graduation, I worked in Ottawa for different jewellery stores as a goldsmith and sales associate. After a few years, I longed for the art world of jewellery again and was accepted to an artist residency in the Jewellery Department at the Estonian Academy of Art in Europe, where I studied stone cutting, stone setting, and produced a body of work with kiln-fired enamel.
If you could invite a few people (living or dead) to your studio for a day, who would you ask and why?
I would love to invite my aunt Merrill and my mom's best friend Christie, both of which have been very influential as women role models. They both passed away before I had my own studio, but I feel that they would be cheering for me now. My aunt was a very beautiful and elegant woman with a big heart for caring for children and ran her own daycare business. Christie was a artist and curator for several museums here in Ottawa, and was a fantastic business woman. I think I would have them over to model jewellery and dance to disco-funk. :)
List three words that describe you as an artist.
Daydreamer, Driven, Exploring

What else inspires your work?
I am inspired by the process of working with metal. Forming metal through hammering, and watching it go from nothing to something intricate and beautiful. My forms are influenced by the shape of the body. I am looking to design pieces that accentuate the curves and proportions of the face, neck, wrist, hands. I am influenced by nature patterns and negative shapes that they produce. Overlapping tree branches or fields of chaotic flower patterns.
Why is the Ottawa Jewellery Collective important to you?
The Ottawa Jewellery Collective is important to me because when I first moved back to Ottawa after graduation I found it really hard to get started here. I feel that together we can be stronger and happier than when we are isolated. It doesn't take much to help each other out, even in the smallest ways like chatting over a drink about jewellery making, that we find eureka moments! It is also beneficial for our clients to have one place to go when they are looking for high quality jewellery made in Ottawa. I think that it is exciting to see a group of talented people working together. Only more good things can come from that!

What part of Ottawa and surrounding areas do you call home?
I live in Orleans and grew up exploring the bike paths and forests by the river. I have lived in other parts of Ottawa (Hintonburg, Lowertown, Glebe), so I often feel at home visiting my favourite restaurants and cafes in other parts of the city.
As a Canadian Designer, has Canadian culture or environment influenced your work?
Yes, I think it has. Being a Canadian woman, I feel encourage and supported to pursue my own business in Canada as a goldsmith. I have to thank the businesswoman and goldsmiths that have proceeded me for their efforts to make way for women to enter this field in Canada. I also give thanks to the entrepreneurial spirit that has built communities and programs for young business people to build their success.

Describe a technique you use in your work.
I use a metal forming techniques with hammers and anvils. The process of hammering on metal will stretch or compress the metal and create its new form. I use my favourite slim hammer to form most of my pieces. Its waterfall-like texture has become the signature element on my pieces. As I hammer with this slim hammer, it stretches the edge; I then flip the piece over and continue along the next part of the edge. This creates an wave like effect that is reminiscent to natural growth patterns of leaves or lichen.
What do jewellery and a good party have in common?
In the making of them, they are both loud, tiring, and fun. Afterwards, in the days and years to come, they hold your best memories with the people we love.
Read more about the talented jewellery designers in Ottawa on the collective's blog:

December 01, 2015 by Chayle Cook
Design: "Courage" Collection

Design: "Courage" Collection


The bold & elegant forms of the "Courage"
Collection are inspired by the vibrant and
courageous women in my life.




Vibrant, Loving, and Brave
I remember these things when I think of the beautiful women who are and have been part of my life. The "Courage" Collection is unique and dynamic, just like the inspiring women, mothers, sisters, daughters, and closest friends who have been there for all of us in of our lives.





April 24, 2015 by Chayle Cook
Custom Design: Sandstone

Custom Design: Sandstone

Custom Design

This flowing wedding band is custom designed to curve around the finger and be paired with the client's beautiful pearl engagement ring. To accent the beauty of the pearl, I designed a specialty tool to create a soft "sandstone" texture on the 14K yellow gold. The luster of this effect is heightened by the natural curves and half-round dome of the ring.

Comfortable, beautiful, and unique.


For more information on custom designs or to schedule an appointment, please email Chayle at info[at]




Available in SHOP
"Sandstone" Textured Band:



October 01, 2014 by Chayle Cook
Custom Design: Meteorite Rings

Custom Design: Meteorite Rings

I have a love for the geometry in nature – it's growth patterns and chaotic structure. It is a challenge to capture this, but in searching I have begun to purify and distill the beauty of each angle and line.

This year I was honoured to create the engagement ring of artist and peer, Anne MacMillian. ( Her artwork has always been an inspiration to me. It is chillingly beautiful how she explores the truth of objects. In particular, a series of renderings which depict the contours of near-earth-asteroids. ( 

Anne's partner requested something unique – instead of a diamond, he choose to give her a meteorite. In the design I created, each ring is a contour of the meteorite stone. It is a suggestion towards the geometry of the stone, but without knowing the reference it can remain a hidden gem. Stacked together the rings are contemporary, but also remain as a timeless classic.







June 06, 2014 by Chayle Cook
Internship: Tanel Veenre

Internship: Tanel Veenre

This spring I returned to Estonia for a 6 week internship with jewellery artist and professor Tanel Veenre. I helped him prepare the final pieces for his international exhibition in Schmuck 2014, Munich. (SOLOƧ: never odd or even Tanel's exhibition was a duo with a jewellery artist, Märta Mattsson, from Sweden.)

The studio that I worked in is located in the 5 storey "jewellery house" on Hobusepea in Tallinn's old town. Purpose built as a jewellery studio, the building originally housed the jewellery store, studio, and living area for the family of the jeweller. Now, it houses multiple jewellery collectives and studios of goldsmiths and jewellery artist.





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April 04, 2014 by Chayle Cook
Tags: Exhibitions
Custom Design:  "Branches" Rings

Custom Design: "Branches" Rings


These platinum and Canadian diamond rings were once another ring. This renewed design is a set of rings which stack together, like overlapping branches, to created a dynamic range of ways to wear them and beautiful negative spaces. Using the client's recycled platinum and diamonds, I remodelled her original ring into these 3 new rings. A new look everyday– sometimes small and simple, sometimes large and complex.

(The sizing balls at the base of the ring help to stop the ring from rolling back and forth on a petite finger.)




February 12, 2014 by Chayle Cook
Interview: Mejuri

Interview: Mejuri

Interview with Chayle Cook: Designer of the Perfect Complement Earring Disks 

Photo by Dante A. Penman
As the designer of Mejuri’s current top-selling piece, The Perfect Complement, we had the pleasure of interviewing Chayle Cook to learn more about her interests and hobbies, the inspiration behind her pieces, and how she got her start in the jewelry world.


What inspired your start in the jewelry world, and what types of jewelry have you worked on previously?

I really fell into the jewellery world after my first year of university where I had taken some blacksmithing and welding classes. I really loved the way that metal moved and worked, and just knew that I had to keep going. So I went into the jewellery department, where I found that I really loved the fine and delicate work of jewellery making. Its precision and seemingly endless potential for making beautiful and iconic things really captured my imagination. I started out in an artistic based environment, but since graduation I have found myself really interested in designing jewellery for people. Making everyday kinds of jewellery, but that still has some kind of artistic essence and soul.


Do you have a favourite piece of your own? 

I really don’t wear a lot of jewellery myself, but I have a few favourite pieces that I wear daily and then a few pieces that I save for special occasions. I think that, in being such a young designer, the best is still yet to come.

How would you describe your personal style?

I truly love simple elegance, but I also love luscious colours. I find myself drawn to classic forms, but then I like to give them my own contemporary twist. You’ll find me in something like a dark blue cotton cardigan or cashmere sweater, natural white linen t-shirt, and slim dark jeans, but with something else colourful, like a patterned silk scarf, coral leather flats, or a red stone band ring.

Are there any jewelry design icons that you admire?

I am always thrilled by the magic within the Van Cleef and Arpels poetic time pieces. I admire how the fresh and whimsical are captured within these rich and beautiful pieces.


What are some of your other hobbies or interests?

I love to draw. I love the directness of drawing and it’s ability to look heavy or light― to slowly build up an image or to capture something immediately with a gesture. I think that I find jewellery ideas in my drawings.


As a Canadian designer, has the culture in Canada had any influence on the design of some of your pieces? Are there any other cultures that you have drawn inspiration from?

It’s hard for me to pin point what Canadian culture is, as I feel that there are so many different cultures and traditions living in the same country. I think though, that Canada has influenced me with it’s landscape. I love the sound of snow under my feet in the winter, snowy branches, and long trails or highways with just nature on either side of me. I love the freedom and entrepreneurship in Canada, and I think this openness is truly a great inspirator and motivator for my work. Maybe it is just the feeling of freedom, openness, and independent motivation that has shaped me and my work.


The Perfect Complement is a truly unique concept, what was the inspiration behind your best-selling piece?

I wanted to make something that I would be happy to wear everyday. I admire diamond studs for their classic beauty, and I wanted to find a way to make them look bigger and give them more styles. Sometimes, I can get caught up in designing and toss away some good options for a piece. In this piece I wanted to keep the options open and create something that would keep this freshness. I liked the idea of the piece being free and able to renew itself everyday.


The Perfect Complement is a very versatile earring and can be paired with a range of attire from casual to formal wear; do you often design jewelry that can be paired with a variety of different looks?

I have started to explore this idea of versatility mostly in my commercial pieces. It is an interesting challenge to work into a design. I like to keep the options open for certain pieces of jewellery because sometimes there is not only one perfect solution, but an array of combinations to be had. I also liked the idea of having a “favourite” piece of jewellery that you find yourself going back to again and again because it just works with everything.


How did you hear about Mejuri? What enticed you to participate in our design challenge?

Mejuri found me! I received an email through my website from them introducing me to their new concept for crowd sourced jewellery, and I was really interested. I thought it was a great opportunity, and I’m really glad that I took the chance to submit my ideas. It has been really nice to be part of a new circle of jewellers who share their opinions and give feedback. It’s also a great challenge to submit your ideas out to the public and watch how they do. It is such a different venue than one on one consultations or selling your work in person.


What advice would you give to designers submitting designs in the future?

I’d say that designers need to not only think about the creativity in their pieces, but also in some of the basic matters like cost and assemblage. Like with my earring set, there are no moving parts or custom stones to be cut, no places that are hard to polish or clean, the piece does not use lots of material, and there is really nothing to break or get worn out on it. It is also nice looking, which seems obvious, but how it looks on the body is really important. Is it the right size and proportions for the body and the face? Does it flow nicely with the body, or does it highlight something beautiful about where it is worn? I think of jewellery sometimes as becoming like a total work of art, like a sculpture, and the body is the architecture that holds it.



Read More from Mejuri's blog...



The Perfect Complement Earrings (Set of 3 Pairs)


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April 05, 2013 by Chayle Cook
Tags: Interviews

Interview: Jewelum

Interview with Jewelum: Modern Jewelry


Jewelum: What is your most favourite tool?

I have this favourite hammer that I modified for my silversmithing pieces and I love the look of it’s marks and how well I know it’s effect on the metal. But if I could call my hands a tool, I would definitely say that they are my favourite. They are the most direct and reliable tools. 


Jewelum: Who were the people that mostly influenced your working process or that have given you some unexpected and enlightening guidance?

I think that it must be my professor, Kye Yeon Son. In university, I did an independent study with her. I think this is where I first really got to know myself and my own work. She was very insightful and really showed me how to see my work and grasp the forms that I wanted to make. Her approach really left an impression on me.


Jewelum: I saw many beautiful enamelled silver brooches on your table. What attracts you to the enamelling? What the advantages or disadvantages of working in this technique?

I think I love enamel because I love to draw and it is a lovely way to add colour to my work. Unlike precious stones, the enamel can be an image, like a painting or drawing captured in a glossy gem. I like that it is so authentic feeling, unlike plastics, it has this feeling of being real— in it’s heavier weight, crisp sound, and glossy flowing texture. There is just something really magical and luscious about enamel and the potential it holds. The down side to working with enamel is that is it very fussy and particular. It will crack, or get bubbles, or be a different colour than you had hoped for. A very gentle, precise, and patient attitude is needed.


Jewelum: Some jewelry artists don’t care about wearability and do not even wear jewelry themselves. What about you?

I really care about wearability. I think it is a fascinating challenge that jewellers have to make something wild and beautiful, but also comfortable and conscientious for the person who wears it. Admittedly, I wear only a few pieces regularly. I have my favourites, which are mostly classic looking shapes from afar, but close up they have my own artistic flare.




March 30, 2013 by Chayle Cook
Tags: Interviews