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OPPOSITES ATTRACT: Designer Norman Weber walks the line between the classic and the modern, using traditional high-end materials like precious stones in combination with synthetic components made from plastic or nylon as shown in this brooch. 46 THE JAGUAR
DESIGN “Even in the era of 3D modelling, the ability of the jewellery designer will remain a thing of beauty and fascination” PHOTOGRAPHY: JULIA SKUPNY, PR Daniel Kruger utilises a range of interesting materials and processes to create his pieces. Though Kruger works with traditional methods his pieces are representative of direction in jewellery design; structures, colours and patterns are central to his approach, allowing his work to convey what he describes as “ideas expressed in a small format.” The work of Chinese artist and one of my own former Royal College students, Dorry Hsu, is characterised by an intelligent embedding of digital technologies inside traditional craftsmanship. Her work has an exuberant, baroque design language, features extensive experimentations with colours and not least, shows how intricate workmanship still has a place once the additive manufacturing phase has been completed — much of her finishing is still done by hand. Norman Weber is another artist who has embraced the digital revolution, but is prepared to imitate jewellery design clichés while doing away with traditional hierarchies, even going so far as to incorporate non-precious stones and synthetic materials into expensive high-end products. Weber’s work incidentally helps underline another important point; while we are indeed faced with a brave new world in terms of production and design it would be wrong to assume that jewellery is leaving craft behind and heading towards mass production, even if some individual components can now be produced faster. We still have some way to go before we can produce precious metal components using additive manufacturing. Moreover behind the scenes, aspects of production have in fact become more complicated thanks to increasing complexity in component shape and a growing diversity of materials in use. We are at the beginning of a new and exciting journey in the creation of modern jewellery, a journey in which the focus will lie on the interaction between the creative artist and the computer. But there is no magic ‘print’ button; the finished product is always the result of painstaking experimentation across the whole spectrum of jewellery manufacturing. Even in an era of 3D modelling, the vision of the jewellery designer remains a thing of beauty and fascination. ABOUT THE AUTHOR German jewellery designer SILVIA WEIDENBACH holds an MA in Goldsmithing, Silversmithing, Metalwork & Jewellery from the Royal College of Art in London and a Diploma in Fine Art from the University of Art and Design, Burg Giebichen stein, Halle, Germany. Silvia Weidenbach produces innovative award winning luxury jewellery. Fusing digital technologies with traditional goldsmithing techniques and combining precious metal and stones with more unusual material, results in unique and visually stunning jewellery. Weidenbach is based in her studio at the Goldsmith’s Centre, which is the heart of Hatton Garden, London’s jewellery street and is visiting lecturer at the Royal College of Art. THE JAGUAR 47
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