BA (HONS) JEWELLERY DESIGN - Central Saint Martins

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B A ( H O N S ) J E W E L L E R Y D E S I G N

Central Saint Martins

University of the Arts London

Granary Building

1 Granary Square

London

N1C 4AA

WWW.ARTS.AC.UK/COLLEGES/CENTRAL-SAINT-MARTINS

INSTAGRAM @CSMBAJEWELLERYDESIGN

http://www.arts.ac.uk/colleges/central-saint-martins

https://www.instagram.com/csmbajewellerydesign/?hl=en

C O N T E N T S

INTRODUCTION 7

AMAL ADAN 9VALNERINA AMATI 11ALEYNA BADAT 13KATHY CHAN 15MARY CHAN 17TABITHA CHARLTON 19YUQI CUI 21DOMINIK CUNNINGHAM 23TONI EVANS 25YASMIN EVERLEY 27MARISA HU 29CHAN HUO 31SEONGMIN KIM 33MARTINA KOCIANOVA 35AKSARAPAK KULVEERAAREE 37BELLA SI HYUN LEE 39JIABEI LI 41YUHAO LI 43WEIXIN LIU 45ANDIE MACARTHUR 47GRACE MIELL 49OPHELIA ROBERTA LI MILES 51

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ELAHEH NAGHI GANJI 53CHRISTINA JING XING NG 55CHARLOTTE OOI 57SHIWANGI PERIWAL 59CHRISTINE SAFADI 61KIRSTEN SCHULTZE-HAAKH 63KAVYA SHARMA 65MAGGIE HEYA WANG 67RUIYI WANG 69XINYI WANG 71YUWEN WANG 73BARBARA YIXUAN WEI 75YIXUAN WU 77JIAWEI XU 79RUOLI YAN 81WEN YIN 83HWAJUNG YOO 85LIYUN YU 87DIXIN ZHENG 89

SWAROVSKI FOUNDATION SCHOLARS 90POP-UP SHOP 94ACKNOWLEDGEMENTS 96WITH THANKS TO 97

Also a big thank you to:

J&JMargarita Wood

The Worshipful Company of Tin Plate Workers alias Wire Workers of the City of London

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Welcome to the world of BA Jewellery Design at Central Saint Martins. We are delighted to introduce you to the work of our graduates of 2022.

The course believes in a broad and experimental approach to our subject and an emphasis on the students being free to explore their creative language through research and development. This approach delivers a wide interpretation of what jewellery can be and a strong creative foundation for their future careers. The themes of the 2022 collections explore broad and varied starting points such as communicating personal stories, exploring identity, and the analysis of material through making. The breadth of materials used and techniques applied is inspiring. The students have been expertly guided through this year by the Final Year Leader and Reader in Jewellery, Lin Cheung, and visiting tutors, Scott Wilson and Frances Wadsworth Jones.

The course starts in year one and two with taught technical skills, theory, material understanding and a series of projects that facilitate an understanding of different areas and approaches to the subject. At the end of year two some students opt to take a placement year in industry whilst others continue straight into the final year. The 2022 graduates have shown wonderful strength and resilience in navigating through the last two years of worldwide pandemic, arriving in the final year together from a range of different year groups and experiences, and building a strong and industrious workshop/studio atmosphere.

Throughout the duration of the course the students have taken part in a wide range of projects, some with industry and cultural institutions. The projects this

group were involved in include: a medal project with the British Art Medal Society; a collaboration with the Foundling Museum; a live project with Miranda Konstantinidou from Konplott; a Swarovski sponsored design project in celebration of the work of Christian Dior at the V&A; a leather project with Louis Vuitton; a conscious design project with Swarovski; the Cartier portfolio project; material investigation projects sponsored by the Worshipful Company of Tin Plate Workers alias Wire Workers of the City of London; a live event in collaboration with Vitsœ; and in their final year, projects set by Solange Azagury-Partridge and Winterson.

The students have enjoyed lectures by visiting speakers this year which were given by practitioners Melanie Bilenker USA, Castro Smith UK, Rebekah Frank USA, Simone Brewster UK, Gisbert Stach DE, Maisie Broadhead UK, David Clarke UK and Helen Kirkum UK.

BA Jewellery Design would like to extend a warm thank you to all of our donors, partners, friends, and collaborators for the generous support given to the course which has a significant impact on the student experience. On behalf of the BA Jewellery Design staff team and everyone who has worked with this group, I would like to congratulate all the graduates and wish them every success in the future. We are very proud of what this group has achieved and we look forward to seeing how their work and careers develop.

GILES LAST COURSE LEADER

Do visit the course’s Online Graduate Showcase: https://graduateshowcase.arts.ac.uk/c/central-saint-martins-ba-hons-jewellery-design it provides rich context for the work in this catalogue.

I N T R O D U C T I O N6

https://graduateshowcase.arts.ac.uk/c/central-saint-martins-ba-hons-jewellery-design



A M A L A D A N

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Each piece Amal produces is crafted through an intricate

and culturally nuanced process. She purchased date fruits,

sharing these with family and friends and assembling each

individual date stone within a web of brass links. This

feast of shared dates directly speaks to Amal’s experience

of living in the diaspora, her mother’s Djibouti heritage

and the Somali emphasis on community. The occasional

stones cast in brass and plated in gold catch the light,

echoing a traditional bridal practice and further enriching

these texturally abundant pieces.

INTERPRETATIVE TEXT BY JASMINE RAWLINSON

BA (HONS) CULTURE, CRITICISM AND CURATION

[email protected]

A M A L A D A N

V A L N E R I N A A M A T I

- 1110

Reflecting on the concept of Original Sin, Valnerina’s

collection explores the relationship between womanhood

and religion. Influenced by her native Italian culture,

she reflects on the power held by Eve, not as a traitress,

but as the emancipator of humankind. Her metal pieces

represent the harshness of judgements passed on women

since Genesis. The swirling structures symbolise the snake,

whereas the hand-carved stones act as the forbidden fruit.

Together, they personify Eve as both the seducer and the

object of desire. For the wearer, they become an amulet.

INTERPRETATIVE TEXT BY HÉLO PAILLARD


[email protected] | INSTAGRAM @VALNERINA.JEWELLERY

V A L N E R I N A A M A T I

https://www.instagram.com/mikobanksjewellery/?hl=en

A L E Y N A B A D A T

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Aleyna’s collection finds inventive ways to strip the corset

of its function, to restrict and reshape the female form.

Her rings mimic the cinching of the waist and create a

fabric-like ruffle in cast silver. She finishes them off with a

delicate ribbon which appears to hold the piece together,

adding a playful note to her work. Aleyna has also created

an effective lace look for her brooches, which are to be

worn at the hip with beads dripping down, connecting to

an invisible garter at the thigh.

INTERPRETATIVE TEXT BY LUCY DEARDEN


A L E Y N A B A D A T

[email protected] | INSTAGRAM @BADAT.ALEYNA

K A T H Y C H A N

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Kathy’s collection is inspired by the versatility she sees

in rice. An important point of reference is the Great Wall

of China, which uses rice as mortar between the bricks.

She recreates traditional Chinese jewellery directly linked

with power and prestige, using a humble yet sustainable

material: grains of rice, nourishment of rich and poor

alike. Jade Bi discs, pearled necklaces and earrings are

given new life thanks to an ample study of materials and

Kathy’s meticulous craftsmanship. Reshaping the concept

of precious, Kathy explores both self and heritage. In the

process, rice becomes a building block of her own identity.

INTERPRETATIVE TEXT BY GIACOMO DAMASSA


K A T H Y C H A N

[email protected] | INSTAGRAM @KATHY_JEWELLERY_ART

M A R Y C H A N

- 1716

By exploring the relationship between human expression

and one’s true emotions, Mary’s work makes a clever and

humorous commentary on our society in which we must

conform with order yet be brave enough to engage in

subtle rebellion. The jewellery is kinetic, it can express

different emotions through movement. Mary has created

a collection that relishes the two-facedness of the nature

of play: her pieces positively invite the wearer to fiddle

with them.

INTERPRETATIVE TEXT BY HAL WARREN


M A R Y C H A N

[email protected] | INSTAGRAM @MCC.CHAN

T A B I T H A C H A R L T O N

- 1918

From an initial focus on seafaring tradition, Tabitha’s

work has evolved to be evocative of her own life as she

transfers her collection of memories and thoughts onto

oyster shells. She draws inspiration from “scrimshaw”, a

traditional whalers’ technique of passing time on long-

haul voyages by decorating whalebone so as to create

aides-mémoires. A key idea across the collection is to

make something beautiful from something that has been

tossed aside: the discarded shells become an adornment,

the body a vessel on which to tell a story of her artistic

growth.

INTERPRETATIVE TEXT BY HAL WARREN


T A B I T H A C H A R L T O N

[email protected] | INSTAGRAM @_.T.A.B.S._

Y U Q I C U I

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Wearable in different combinations, the pieces in Yuqi’s

collection are made of copper, silver and glass and are

assembled piece by piece. Different sculptural fragments

are rearranged and redefined to form a collection of rings

and necklaces. Yuqi’s inspiration comes from her memory

of an ancient Egyptian vessel that she saw in the British

Museum. Life is shaped by such memories. Memories are

something we think we cannot change, but in reality, life

shapes our memories. Yuqi wants us to relive the process

of remembering when wearing and playing with her

jewellery.

INTERPRETATIVE TEXT BY ANTONIA RICHTER


Y U Q I C U I

[email protected] | INSTAGRAM @KIKICUI_JEWELLERY

D O M I N I K C U N N I N G H A M

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Dominik’s work seeks to define the meaning behind what

we – but most importantly, he himself – understand as

blackness. By using a wide array of materials, practices

and references, some of them historically established,

some deeply personal, he tries to make sense of his own

past, present and future. Inspired by the complexities

of his heritage, his collection searches for answers amid

decades of clues, which hopefully can lead the way for

others seeking the same clarification of identity.

INTERPRETATIVE TEXT BY LORE ISABEL ALENDER


D O M I N I K C U N N I N G H A M

[email protected] | INSTAGRAM @BLACKPROLETARIAT

Recipient of the Swarovski Foundation Scholarshop

T O N I E V A N S

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Inspired by the performance of aerialists, Toni’s collection

“Spectacle of the Body” explores the abstract and

poetic nature of self and how the body and mind have

no definitive form. The collection connects the themes

of the body with materiality in the same way as an

aerialist connects with their safety net. Toni sees bodies

as ever-changing, always performative beings, which she

represents through a variety of processes: transforming

non-precious metals, fabricating metal on recycled plastic

net, fashioning dynamic objects from copper sheet, and

hand-painting enamel.

INTERPRETATIVE TEXT BY NICOLE KEE


T O N I E V A N S

[email protected] | INSTAGRAM @TONIEVANS_JEWELLERY

Y A S M I N E V E R L E Y

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Yasmin’s collection is presented in three chapters:

Absorb, Reject and Reconcile. Drawing on childhood

memories of growing up in her parents’ jewellery shop,

her work questions traditional adornment as well as the

relationship between diamonds and the performance of

femininity. Each individually selected baroque pearl is

carved to merge with “ready-made” jewellery from her

mother’s collection. The bulbous formation of the pearls

mimics the silhouette of keloid scars and their appearance

on the human body. Each piece becomes an extension of

the wearer’s physicality, reflecting Yasmin’s exploration of

emotional healing through her practice.

INTERPRETATIVE TEXT BY JASMINE RAWLINSON


Y A S M I N E V E R L E Y

[email protected] | YASMINEVERLEY.COM

INSTAGRAM @YASMINEVERLEY

https://www.yasmineverley.com/

M A R I S A H U

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Multiple studies have confirmed a strong link between

social media and mobile phones and an increased risk

of anxiety and depression. Marisa’s jewellery is inspired

by the way in which mobiles used to be styled as objects

or decorations with a clearly defined purpose. She looks

closely at the phone itself in order to turn it into a piece

of jewellery. Rather than something we use all the time,

it becomes an ornament that helps us live outside the

digital world and to remain calm.

INTERPRETATIVE TEXT BY ANASTASIA ANDRIYEVSKY


M A R I S A H U

[email protected] | INSTAGRAM @MARISAJEWELRYART

C H A N H U O

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Beyond being mere decoration for the body, jewellery is

also intertwined with memory and identity: it is not just

the medium that Chan works with, it is the way she thinks.

Chan explores this in relation to her own motherhood

through three materials: galalith (also known as milk

stone), mother of pearl beads cut from a shell, and sewing

needles intertwined with thread. These materials reflect

the intimate yet demanding process of motherhood and

child-rearing. Through her collection, Chan celebrates

every aspect of what happens to the mother’s body after

childbirth.

INTERPRETATIVE TEXT BY SARAH CHEW


C H A N H U O

[email protected] | INSTAGRAM @CHAN_HUO_

S E O N G M I N K I M

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The creation of pearls illustrates the contradictory

concept of parasitic harmony. When an irritant enters an

oyster’s shell, the organism covers it with nacre, known

as mother-of-pearl, to protect itself from the intruder.

Through her collection, Seongmin explores this symbiosis

and draws a connection with the relationship of a mother

and child. The carefully handcrafted pieces illustrate the

notion of a protective and never-ending embrace through

the interlocking and overlapping arrangement of pearl

and shell.

INTERPRETATIVE TEXT BY VIOLA KOC


S E O N G M I N K I M

[email protected] | INSTAGRAM @HUE_.S

M A R T I N A K O C I A N O V A

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Mushrooms can be poisonous or healing or mind-altering.

Drawing inspiration from her childhood, when her mother

often took her mushroom-foraging, Martina’s collection

“The Trip” takes us on a journey inspired by the fungal

domain. Through portals made out of jewellery, she invites

us into an alternative reality in which we encounter pieces

that allude to different stages of life from childhood to

death. Playful, imaginative and colourful, they combine

traditional techniques, such as engraving and lapidary,

with the ingenuity of mushroom mycelium. Her pieces

occupy a liminal space between myth and reality, between

beauty and danger.

INTERPRETATIVE TEXT BY PAULINE HERRMANN


M A R T I N A K O C I A N O V A

[email protected] | MARTINAKOCIANOVA.COM

INSTAGRAM @MARTIKOCIANOVA


A K S A R A P A K K U L V E E R A A R E E

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Aksarapak’s collection is both an ode to her own culture

and an assessment of contemporary approaches to design.

She interprets the motifs of traditional Thai textiles – Lai

Thai – by refracting their meticulous aspects through her

own experimentation with hand-weaving techniques. Her

sense of individuality and identity is further conveyed

by the contrasting combination of precious metal and

viscose. Focussing delicately on detail, her pieces use

movement, dynamism and subtle gradations of colour to

create an enticing effect.

INTERPRETATIVE TEXT BY VALENTINA MARTINEZ


A K S A R A P A K K U L V E E R A A R E E

[email protected] | INSTAGRAM @KEENKULW

B E L L A S I H Y U N L E E

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How can a recycled material evoke memory? Bella’s

collection explores this question by using fibre gathered

from the sweaters of family, friends, even her own garments.

In carefully grooming these items, she allows the lint to

carry memories of its former wearer. The fluff, which is

now reminiscent of gemstones, is then set in metal and

given a new life. Bella’s work is a tender repurposing of

materials into slow fashion that not only pairs an intimate

perspective with sustainable action but potently reminds

us to embrace our belongings.

INTERPRETATIVE TEXT BY BOJENA SABIN


B E L L A S I H Y U N L E E

[email protected] | INSTAGRAM @BLEU.ISH_

J I A B E I L I

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Jiabei’s work is inspired by objects and emotions she

has come across in her daily life. The common thread

running through her collection is love, for oneself, for a

loved one or for a higher spiritual identity. The choice of

her raw material makes a powerful contrast to the gentle

message that the jewellery embodies. By transforming

sound into binary coding, she elaborates the design of

her handcrafted creations, each of which expresses a

deep inner journey. From the aesthetics of her pieces to

their materials, everything is strongly linked to the idea

of simplicity.

INTERPRETATIVE TEXT BY GIULIA TAFURO


J I A B E I L I

[email protected] | INSTAGRAM @JIA_BEI_LI

Solange Azagury-Partridge Award Winner

Y U H A O L I

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In China, Yuhao’s home country, chopsticks are used for

eating yet they also have a metaphorical significance:

they act as a symbol of union. That is how they function in

Yuhao’s collection. She relates her work to the pandemic

that has affected so many families these past couple of

years, breaking the links between individuals: eating has

become a solitary activity rather than a shared experience.

Using traditional chopsticks as her medium, Yuhao creates

pieces that remind us of the bonds that bring us together

as we eat, whether alone or in groups.

INTERPRETATIVE TEXT BY ALEXANDER GOSTICK


Y U H A O L I

[email protected] | INSTAGRAM @SUZY.PDF

W E I X I N L I U

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Weixin forms her collection around the colour white,

which for her evokes a sense of peace and gentleness: she

intends her jewellery to heal and soothe. She discovered a

satin-like sheen on the back of goose feathers and chose

this as the fabric for her earrings, bracelets and necklaces.

She sews them together with various cross patterns to

structure each piece on the body. The fragility of the white

feathers allows her to question the emotions connected

to her delicate jewellery, which can evoke either a calming

or a nervous reaction in the wearer.

INTERPRETATIVE TEXT BY EMILIA DYNES


W E I X I N L I U

[email protected] | INSTAGRAM @GRACELWX

A N D I E M A C A R T H U R

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Curiosity and care begin anew in Andie’s collection of

material-led jewellery. Imagining a fantasy world where

nature and humans will become equal collaborators, Andie

adopts a transcendentalist perspective when working with

natural materials such as wood, rocks, clay and seaweed

in a non-hierarchical process. She explores form, colour,

texture, the seen, the unspoken, the felt and the found

elements of nature to create careful assemblages for the

body.

INTERPRETATIVE TEXT BY POORNIMA GURU


A N D I E M A C A R T H U R

[email protected] | INSTAGRAM @ANDROMEDA__LEE

G R A C E M I E L L

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Subversive in its nature, Grace’s collection, which she calls

“Mockarchy”, overturns the idea of who gets to wear a

crown. By appropriating the regal image of crown jewels,

but making them out of found laughing gas canisters, her

pieces humorously re-distribute power, giving authority

to the streets. In this reimagined context, the crown

takes on a new symbolic meaning rooted in punk and

anti-establishment sentiment. Grace’s labour-intensive

processes challenge ideas about what is valuable, what is

discarded and what is recyclable.

INTERPRETATIVE TEXT BY MATILDA FINKMAN,


G R A C E M I E L L

[email protected] | INSTAGRAM @DISGRACEFUL_JEWELLERY

O P H E L I A R O B E R T A L I M I L E S

- 5150

Touching and adorning the self, jewellery is meant to

attract the other. Subverting this traditional purpose,

Ophelia’s project raises awareness of the fear of intimacy.

Inspired by personal experience, her spiky pieces signal an

initial sense of intimidation. Their delicate craft, however,

manifests a secret longing for interaction and attention.

This interplay of attraction and repulsion is further

reflected in the production process, which uses the polar

properties of magnets to shape the ornaments. Placed

on ears, cheeks and hands – representing a whisper, a

kiss and a handshake – Ophelia’s collection explores the

ambivalence of being stuck between fear and desire.

INTERPRETATIVE TEXT BY MAJA RENFER


[email protected] | INSTAGRAM @FIFMILES_

O P H E L I A R O B E R T A L I M I L E S

E L A H E H N A G H I G A N J I

- 5352

The beauty of art is in the beauty of the process. Elaheh’s

collection “The Colours of Home” represents aspects of

Persian carpet-making, which is an essential element of

her native culture. Serving as reminders of home, her work

uses beads and threads to recreate the magnificent colour

and texture of a Persian carpet as jewellery, worn on the

body rather than placed on the floor. The fringes are the

foundation of the carpets’ traditional patterns, but they

are often hidden away. Elaheh celebrates their presence,

making them into elegant pieces to sit alongside the floral

patterns of her embroidered creations.

INTERPRETATIVE TEXT BY AIGERIM BAITASSOVA


[email protected]

E L A H E H N A G H I G A N J I

C H R I S T I N AJ I N G X I N G N G

- 5554

Christina’s collection “In the Rough” was inspired by

her personal reflection on the natural formation of

gemstones. By narrating the evolution of the geode

from rough to fine, she creates a metaphor of a student’s

journey towards maturity. The emergence of natural

amethyst symbolises the long history, beauty and romance

of these unprocessed minerals within the earth’s crust,

which evokes resilience, breakthrough and strength. Her

fascinating pieces indicate Christina’s view of jewellery,

which for her is about narrative and standing the test of

time.

INTERPRETATIVE TEXT BY CAMILLE YIFEI WU


C H R I S T I N AJ I N G X I N G N G

[email protected] | INSTAGRAM @XTINIAH

C H A R L O T T E O O I

- 5756

The inspiration for Charlotte’s jewellery comes from her

family history and cultural heritage. She explores a rich

and dynamic history, from conservative culture to the

modern world of choices and possibilities. Her project

brings together nine headpieces, symbolising a transition

– a bride’s, perhaps – from one life to another. The pieces

are made of bamboo strips, a reference to Asian women’s

traditional basketry practices. The bamboo structures

work as an extension of the female body, symbolising

both burden and relief. The collection presents elements

of aesthetic research, history and personal experience,

capturing a strong sense of Asian women’s empowerment.

INTERPRETATIVE TEXT BY STANISLAVA BASKOVA


C H A R L O T T E O O I

[email protected] | INSTAGRAM @CHARLOTTEOOIJEWELLERY

S H I W A N G I P E R I W A L

- 5958

The striking cobalt blue motifs of Shiwangi’s pieces are

evocative of Jaipur blue pottery. Looking into her roots,

she addresses this long-established art in a contemporary

manner. While employing a combination of traditional and

modern jewellery-making techniques, her pieces share a

distinctive common thread: the digital technology used

to create the motifs. It is both a reminder of the fading

tradition and the tool bringing it back to life. Whether

digitalised, distorted or pixelated, the collection’s cultural

mélange succeeds in incorporating ancient craft into a

current narrative.

INTERPRETATIVE TEXT BY CAROLINA GRANCHO


S H I W A N G I P E R I W A L

[email protected]


C H R I S T I N E S A F A D I

- 6160

Christine’s designs nod to the robust yet volatile history of

the “Urban Phoenix”, as Beirut is known. The city is located

within the territory of the historic civilisation of Phoenicia,

which in Ancient Greek meant “land of the purple”, an

idea Christine refers to by using amethyst throughout the

collection. Forming an intersection between history and

design, her pieces explore traditional Phoenician jewellery

granulation techniques. Her work resonates with the

central concept of the Phoenix, demonstrating a new form

of raw beauty derived from a labour-intensive restoration

process. In this way, Christine questions notions of value

in contemporary society.

INTERPRETATIVE TEXT BY ABI MCCULLOCH


C H R I S T I N E S A F A D I

[email protected] | INSTAGRAM @CHRISTINESAFADI

K I R S T E N S C H U L T Z E - H A A K H

- 6362

The pandemic allowed Kirsten time to revisit her passion

for Greek myths of the labyrinth. Her maze-like structures,

made of gold metal, illustrate the journey of life. In some

of the pieces, the stones can be manipulated so as to help

guide the wearer through the labyrinth, enabling them to

revisit precious memories. Set with fine stones and crystals,

carefully selected to symbolise obstacles overcome, they

celebrate memories created along the way. Using CAD to

achieve precision, she has transformed moments of self-

reflection into gorgeous pieces of jewellery.

INTERPRETATIVE TEXT BY MELODY TZU CHIEN


K I R S T E N S C H U L T Z E - H A A K H

[email protected] | KIRSTENSCHULTZEHAAKH.COM

INSTAGRAM @KIRSTENHAAKH

https://www.kirstenschultzehaakh.com/

K A V Y A S H A R M A

- 6564

Kavya’s collection aims to reclaim the narratives of stones

that have fallen loose from their jewellery setting. The

inspiration for her pieces comes from the representation

of jewellery seen in Indian terracotta sculptures. Reusing

loose stones that have been passed down in her family,

she shows that jewels that seem redundant or fragmented

can have a new life through which to recount the stories

of generations gone by. Using the “lost wax” casting

process, Kavya creates unique pieces that each has its

own tale to tell.

INTERPRETATIVE TEXT BY BENEDETTA FUSCO


K A V Y A S H A R M A

[email protected]

M A G G I E H E Y A W A N G

- 6766

Maggie’s collection integrates two of the most natural

materials, wood and stone. Both absorb the essence of

the earth from which they come and they are not easy to

deform. Rather than engraving and polishing her materials,

Maggie has applied them almost in their original forms to

create a physical relationship between them. The movable

elements of the designs interact subtly with the wearers’

motion, so that the hidden stones seem to merge with the

wood, thus generating a novel tension.

INTERPRETATIVE TEXT BY KIRA WEI


[email protected] | INSTAGRAM @MAGGIEWJEWELLERY

M A G G I E H E Y A W A N G

R U I Y I W A N G

- 6968

Ruiyi’s collection “Stasis” is based on observations of

waiting, greeting and reunion due to the inactivity of

being in lock-down. She first “cooks” polythene bags to

create her material. After heating, dissolving, cooling,

cutting and interweaving, her pieces require a long

waiting process to reach their final state. That then

becomes a motif for the collection, which Ruiyi divides

into three: “waiting”, “together” and “together again”.

Each of these is suggested by wearing the pieces, which

creates actions related to meeting someone we haven’t

seen for a long time.

INTERPRETATIVE TEXT BY YOUXI LI


R U I Y I W A N G

[email protected] | INSTAGRAM @SHEZZA_RWANG

X I N Y I W A N G

- 7170

Xinyi has been interested in hand-crafting materials since

she was young. Over time, she has developed an interest

in art, bodies, emotions and how they interact. Moving

from China to London, Xinyi began to shape an aesthetic

inspired by Asian designers, creating work that becomes a

lens through which to see the traditional and the modern.

Her collection reflects on the synergy between the plastic

and the human. By creating jewellery that will connect

to the skin, she shares her thoughts on this enduring

relationship.

INTERPRETATIVE TEXT BY LÉA NAUDON


X I N Y I W A N G

[email protected]

Y U W E N W A N G

- 7372

Held against the palm, Yuwen’s creations resemble

sculpted pebbles. Inspired by shells she found at the

beach, a place of calming memories for many, her work

uses smooth and satiny moulds of different materials to

create objects that are designed to relieve anxiety. Some

are made for specific parts of the hand, while others allow

for more free play. All in all, Yuwen’s collection is like a

portable hug: quiet, yet serene and reassuring.

INTERPRETATIVE TEXT BY ESTER FREIDER


Y U W E N W A N G

[email protected]

- 7574

Barbara’s collection shows a journey of emotional

expression through touch. In her introspective process,

she became one with her pieces and wants the wearer to

share her experience. Barbara creates something unique

out of objects we are familiar with such as pieces of fabric.

While pulling at threads from these objects, a fissure

appears in the weave, thus creating an intricate design

that is entirely new. The pieces become an entity of traces

left by touch. They are in themselves an experience, where

touch is vital to their creation and understanding.

INTERPRETATIVE TEXT BY MADELEINE MARTIN


B A R B A R A Y I X U A N W E I

[email protected] | INSTAGRAM @_B_RB_R_

Y I X U A N W U

- 7776

Yixuan’s reflection on mental illness has served as the seed

from which her intimate collection has grown, bringing

light to the act of self-harm with radical acceptance. The

pieces arch and curve organically beneath the weight of

their sensitive histories, as they recall the ache behind

every wound, each scar etched in physical remembrance.

Drawing inspiration from the remnants of suffering or

stress in the natural world, be it the feather-plucking of

parrots or lizards dropping their tails, Yixuan’s rigorous

research culminates in the creation of a protective, blood-

filled vessel for unwelcome feelings. Along the way, she

redefines the act of self-injury.

INTERPRETATIVE TEXT BY DOMINIKA JAREČNÁ


Y I X U A N W U

[email protected] | INSTAGRAM @EVAWUYANG

J I A W E I X U

- 7978

At its heart, all jewellery is interactive. Yet the pieces in

Jiawei’s collection “Serenity” are more of a collaboration

than most. Moulded to orbit the wearer, these souvenirs

from a galaxy not so far away are a meeting place

for the intergalactic and the human terrain. Through her

collection Jiawei conveys the peacefulness and grandeur

that the universe evokes in her. The reflections of stars are

embedded in the powdered glass that glazes over a thin

sheet of metal. Fused in order to burn brighter, the stars

invite you for one last waltz through space.

INTERPRETATIVE TEXT BY STEFANIA ILIEVA


J I A W E I X U

[email protected] | INSTAGRAM @JIAWEI_XU99

R U O L I Y A N

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Ruoli captures the multi-layered experience of love from

a naturalistic perspective. Her inspiration comes from the

novel Dream of the Red Chamber by the 18th-century

novelist Cao Xueqin, which represents the lovers as stone

and grass, with the grass seeking out and growing within

the stone. Using filigree wire technique, her pieces depict

the two lovers intertwined. They show how love envelops

and infiltrates the body in a way that Ruoli describes as an

almost suffocating joy.

INTERPRETATIVE TEXT BY LUCY DEARDEN


R U O L I Y A N

[email protected] | INSTAGRAM @DOVVIX

W E N Y I N

- 8382

In ancient rituals, accessories made of bone wielded

the power of our animalistic nature. For humans living

in modern society, increasingly distanced from their

instincts, Wen’s collection offers a violent confrontation

between the body and its intrinsic nature. There is a

haptic dimension to her jewellery: the pieces are sharp,

dangerous and threatening, but disguised by the beauty

that Wen bestows on then. The intricate and entangled

chains contain the power of the bone and enable its

movement, once again acknowledging our true animal

powers within.

INTERPRETATIVE TEXT BY MOA JEGNELL


W E N Y I N

[email protected]

H W A J U N G Y O O

- 8584

Rebirth, vitality and coexistence are concepts that are

central to Hwajung’s collection. Drawing inspiration from

the intricacy of watch movements, she brings her subtle

pieces to life, in the process demonstrating the vitality of

ego. She visualises varying identities as different kinds of

object, vulnerable, delicate but bold. A journey begins: to

recognise one’s true self by acknowledging the existence

of multiple personas. Faith in oneself encourages progress

towards an independence that allows everyone to lead

their life on their own terms.

INTERPRETATIVE TEXT BY HYEJIN IM


H W A J U N G Y O O

[email protected] | THE-DOTS.COM/USERS/HWAJUNG-YOO-542586

INSTAGRAM @UNCONQUERABLE_SOUL

https://the-dots.com/USERS/HWAJUNG-YOO-542586

L I Y U N Y U

- 8786

For Liyun, jewellery embodies internal discussions with her

feelings and her soul. Her pieces, made from copper, silver

and pearls, were inspired by Carsten Nicolai’s installation

unicolor, which used mirrors and optical illusions. For

her, the mirrors recalled a Chinese legend that describes

the mirror as a portal to a different world, allowing us to

see another possible life. This construction allows her to

imagine a fantastic parallel universe, a utopia where she

can seek refuge, escaping the reality of her current place

and time and her recent experience of homesickness and

grief.

INTERPRETATIVE TEXT BY ANTONIA SCHARR


L I Y U N Y U

[email protected] | INSTAGRAM @_LIYUNYU_

D I X I N Z H E N G

- 8988

Dixin’s work interrogates the relationship between time

and matter, body and environment, past and present.

In her defiance of the lines separating jewellery and

conceptual art, Dixin’s interactive pieces reimagine

the notion of jewellery and have the potential to adorn

the body in a multitude of ways. Inspired by naturally

occurring textures, these works are meant to emulate

the effects of time on matter. The interactive synthesis of

metal and eggshells reflects the sturdiness which delicate

things often possess.

INTERPRETATIVE TEXT BY ABDULRAHMAN AL IBRAHIM


D I X I N Z H E N G

[email protected]

INSTAGRAM @DIXIN.ZHENG | @DIXINJEWELLERY

Congratulations to Dominik Cunningham, Martina Kocianova and Shiwangi Periwal receiving a

Swarovski Foundation Scholarship to support their studies.

S W A R O V S K I F O U N D AT I O N S C H O L A R S

- 9190

- 9392

Students organised and hosted a jewellery pop-up shop sale to raise funds for their degree show.

The Street, Central Saint Martins 30 November - 3 December 2022

P O P - U P S H O P

- 9594

Jiabei Li would like to thank Solange Azagury-Partridge

Dominik Cunningham, Martina Kocianova and Shiwangi

Periwal would like to thank The Swarovski Foundation for

their Scholarships

Photo & Image Credits:

Page 26: Photography by Ester Keate

Page 30: Photography by Yimeng Li and model Natalie

Gayle from BAME Agency

Page 34 and 92: Photography by Johana Kasalicka and

model Jem Sullys

Page 46: Photography by Dougal MacArthur

Page 58 and 93: Renders by Shiwangi Periwal

Page 62: Photography by Daniela Marthi

Page 90: Photography by ©Sun Star

Page 91: Image by Dominik Cunningham

Page 94: Poster by Yuqi Cui and Ruiyi Wang

Page 95: Photography by Chan Huo

Interpretative texts and Graduate Showcase captions by

BA (Hons) Culture, Criticism and Curation students at

Central Saint Martins. With thanks to all BA CCC students

for this year’s collaboration and special thanks to tutor

Nick Kimberley, Joint Course Leaders Janine Francois and

Nathalie Khan, and tutor E-J Scott

Kirsten Schultze-Haakh would like to thank Andrew and

Aaron from Design Build Cast

and Victoria, Mark, and Alan from 42 Abbeville

Cover image by Hwajung Yoo

Back cover image by Xinyi Wang

This catalogue is designed by Holly Browning and printed

by Ex Why Zed

A C K N O W L E D G E M E N T S

- 97

Programme Administration Manager Hannah Cheesbrough

Programme Administrators Jenny Gallagher, Frankie Coppola

External Liaison Coordinator Sinead But

External Examiner Anna Gordon

Graduate Assistants Lydia Hartshorn, Ellan Huang, Piran

Caseley, Layla Lin

Thank you to all staff who have supported this cohort of

students throughout their studies.

W I T H T H A N K S T O

Kangan Arora

Martin Baker

Caroline Broadhead

Maisie Broadhead

Holly Browning

Lin Cheung

Jack Cole

Carole Collet

Katharina Dettar

Billy Dickinson

Naomi Filmer

Melanie Georgacopoulos

Lucie Gledhill

Andi Gut

Katy Hackney

Tony Hayward

Colin Henderson

Martin Hopton

Chris Howes

Jet Jet

Daniel Keys

Volker Koch

Giles Last

Royce Mahawatte

Hannah Martin

Jane McAdam Freud

Nicola McCartney

Marlene McKibbin

Maria Militsi

Michael Milloy

Campbell Muir

Frieda Munro

Lina Peterson

Scott Ramsey Kyle

Pervez Sethna

Jane Short MBE

Roxanne Simone

Jessica Turrell

Jane Tynan

Frances Wadsworth Jones

Margaret Wagstaff

Max Warren

William Warren

Silvia Weidenbach

Nathaniel Weiner

Paul Wells

Scott Wilson

Anastasia Young

96

- 9998

Documents

BA (HONS) JEWELLERY DESIGN - Central Saint Martins