CENTRAL SAINT MARTINS

BA (HONS) JEWELLERY DESIGN 2017

CENTRAL SAINT MARTINS

BA (HONS) JEWELLERY DESIGN 2017
BA (HONS) JEWELLERY
DESIGN DEGREE SHOW
20TH - 25TH JUNE 2017

Central Saint Martins, University of the Arts London

Granary Building, 1 Granary Square, London, N1C 4AA

csm.arts.ac.uk
csmbajewellery.wordpress.com
instagram @csmbajewellerydesign
A big thank you to those who have supported this cohort:

• Annoushka
• ASIC
• Cartier
• Chaumet
• J&J
• Margarita Wood
• Solange Azagury-Partridge
• Swarovski
• The Foundling Museum
• The Leathersellers’ Company
• The Worshipful Company of Tin Plate Workers alias Wire
Workers of the City of London
• Theo Fennell
• Winterson
INTRODUCTION
This year 44 graduating students present their collections
of jewellery. The course is proud of supporting the students’
experience of a wide range of approaches and offering
opportunities to become acquainted with many aspects of
professional practice. We believe it is good practice for final
year students to investigate their own view of the subject of
jewellery freely and without immediate commercial inhibition
and that this can form a vital foundation for future creativity.
Subsequently, they present a broad range of exploration of
what jewellery may be.

Several of this cohort exhibited at Off the Shelf, the second

staff and student exhibition held at the Vitsœ showroom
during Munich Jewellery Week, where the work was seen
by a prestigious and international audience. The year group
have also had opportunity to visit the studios of Shaun Leane,
Annoushka, Gallery S O, V&A Gilbert Collection Resident Silvia
Weidenbach, Lucie Gledhill, Esna Su and Coline Assade at
Sarabande Studios, Vicky Lew and Caren Hartley, jeweller
turned bicycle frame maker, as well as having a range of talks
by practitioners Mah Rana, Frances Wadsworth Jones, Sophie
Hanagarth, Alice Ciccolini, Fernando Jorge, Susan Collis,
Oluwaseyi Sosanya, Bernhard Schobinger and Wallace Chan.

As a group, last year they undertook a special project with

Chaumet and were fortunate to be able to visit the archive
and workshops in Place Vendôme, Paris and in the previous
year, they took part in an exhibition at The Foundling Museum,
London.

The course team sincerely thanks our patrons for their

continued and generous support which both enriches the
student experience and provides a vital connection between
education and industry.

On behalf of the BA Jewellery Design team, I would like to wish

the graduates every success for the future.

Caroline Broadhead
Course Leader
SCOTT ARMSTRONG

Scott’s collection explores an accelerating collision of structures,

in which the pressure of metal forcibly constricts his stone ‘blobs’.
Rows of diamonds guide the eye around the complex linearity
of the pieces, generating a sense that the blobs’ increasing
engorgement exerts ever greater stress on the containing wire.
Eventually the blobs begin to overwhelm the structure of the
metal, limiting its use as conventionally functional jewellery.

Interpretative text by Sarah Board

BA (Hons) Culture, Criticism and Curation

Ring
Jesmonite, red ocre pigment, gold plated precious white metal

www.cygnetstudio.co.uk/scott
Scott@cygnetstudio.co.uk
ROSANNA BATT

After taking an internship at a fashion house, Rosanna felt inspired

by the dynamic correlation between jewellery and the garments
we wear. Through her designs, she explores this relationship by
discreetly yet provocatively tracing the outline of the body, sewing
together light-capturing beads in order to create different forms
and shapes. Transferring this concept to clothing, including jeans,
shirt and underwear, Rosanna mounts a strong challenge to
traditional notions of the function of both garment and jewellery.

Interpretative text by Elizabeth Aisher Crespi

BA (Hons) Culture, Criticism and Curation

SOCK
Beads, cotton

www.rosannabatt.com
rosanna_41@msn.com
ELENA lara BONANOMI

Elena’s work is closely connected to ideas of movement and optical

illusion. She creates lively jewellery that draws on everyday images
and symbols, from smiling emoji pins to Instagram heart rings. Rather
than having a fixed form, her finely crafted jewellery changes with the
wearer’s movements. Part of her collection is made with precious stones,
such as rose quartz and aquamarine. Fragmented shapes of various
classic cuts of gemstones are recognisable only if seen as a whole.

Interpretative text by Carlotta de Volpi

BA (Hons) Culture, Criticism and Curation

necklace
18ct gold, silver

www.elenalarabonanomi.com
info@elenalarabonanomi.com

Recipient of The Swarovski

Foundation Scholarship
allegra campolmi

The simple but dynamic forms of Allegra’s collection are more than
adornment; drawing on the minimalist aesthetics of such modern
architects as Santiago Calatrava, they are a profound exploration of the
wearer’s body. Allegra uses silver to delineate clean simplicity, while gold
adds volume and richness. Wearing Allegra’s jewellery creates a strong
visual impact: surely this is a collection that makes women feel powerful.

Interpretative text by Giulio Bianchi

BA (Hons) Culture, Criticism and Curation

Tiara
Gold plated precious white metal, cubic zirconia

campolmi.allegra@gmail.com
Ely yili cao

With ingenuity and sophisticated taste, Ely’s jewellery offers a

perspective on the way in which humanity is brutally damaging
the living world. By introducing a new way of looking at animal and
plant species, she wants to make us aware of those that are at risk
of extinction. Appropriately, she represents them ornamentally by
means of an equally endangered craft, that of Xiang embroidery, an
ancient Chinese technique that is threatened by modern technology.

Interpretative text by Bianca Cedrone

BA (Hons) Culture, Criticism and Curation

Ring
Xiang silk embroidery, precious white metal, garnet

ely.cao@hotmail.com
ruhong chen

Contemplating decadence in the presence of impermanence, Ruhong’s

collection embellishes everyday household objects that she has
uncovered in second-hand markets. Each piece exhibits a playful
mindfulness. She combines electro-formed ornaments with elements
of traditional jewellery so as to embody a subtle relationship between
neutrality and history. The synergy between her choice of material
and the bold silhouettes of each design conveys a unique narrative.

Interpretative text by Hugo Lucien

BA (Hons) Culture, Criticism and Curation

necklace
Silver, freshwater pearls

chenruhong1@gmail.com
hau-wen chien

Hau-Wen’s collection is a three-dimensional study of the relationship

between real and virtual, which he executes through the notion
of optical illusion. The illusive sense of dislocation found within
these aesthetic pieces evokes a surrealistic response. He explores
the modern phenomenon of experience in both the physicality
and poetry of jewellery, alluding to optical arts from the 1960s.
Rhythmical and geometric, his designs focus on the wearer’s
and the viewer’s experience, heightened through visual paradox.

Interpretative text by Grace Ahn

BA (Hons) Culture, Criticism and Curation

headpiece
Gold plated brass, mirror acrylic, plastic pearls

Chienhauwen@gmail.com
polly Louisa
coventry-brooker

Drawing on the inspiration she finds in the shape, structure and

colours of lizard scales, Polly’s collection offers bold and vibrant
types of body adornment. Moulded to the body, the pieces become
armour-like, enfolding the wearer in a form of protection that is
displayed physically through the structure of the pieces. Each
piece consists of individual scales laser-cut from leather and then
hand-sewn together. By exploring the organic, natural composition
of the scales, Polly translates them into elegant jewellery.

Interpretative text by Regan Dockery

BA (Hons) Culture, Criticism and Curation

Neckpiece
Leather, cotton, brass, nickel

pollybrooker@hotmail.com
colombe d’humieres

In response to images she fantasises in her studio, Colombe’s

work recalls the impulsiveness of children, creating escapist
worlds as they play. Using melted metal as a primary material,
her work blurs boundaries between sensorial and disembodied,
mechanical realms. As she bustles about at her workbench, the
repetitive whirr of the machinery resonates in her head. It is as
if she is possessed; her eyes jump from her hands to the soldering
torches, back and forth, until she can’t quite tell one from the other.

Interpretative text by Taddeo Reinhardt

BA (Hons) Culture, Criticism and Curation

jewellery and objects

Mixed metals

www.colombedhumieres.com
colombedh@gmail.com
francesca davey

Influenced by a research trip to Sarawak (Malaysian Borneo),

Francesca’s collection explores ways of implementing time-honoured
Sarawak basketry weaving crafts in contemporary jewellery. Using
traditional weaving materials such as reed fibre rush and raffia,
Francesca presents her pieces in a relatively raw state. The whole
process of weaving relies on her repetitive handwork but the
curves of the pieces are formed naturally due to the tension of
the weave, which creates an unusually subtle sense of balance.

Interpretative text by Yuxiao Luo

BA (Hons) Culture, Criticism and Curation

Neckpiece
Reed fibre rush, hand dyed twine, suede

francescadavey@yahoo.com
Sabina Drăguşanu

Sabina’s craftsmanship turns away from conventional jewellery

materials. Instead she highlights the natural beauty of driftwood, on
which she skilfully embroiders symbols traditionally represented on
textiles in Romania, her birthplace. Modulating them subtly, Sabina
narrates the shifting system of moral and environmental values of
contemporary society. Embroidery and twisted rope, emblems of
Romanian culture, are the basis of simple designs that rediscover
forgotten roots through the driftwood’s many transformations.

Interpretative text by Rebecca Derine

BA (Hons) Culture, Criticism and Curation

necklaces
Driftwood, rope

sabina.dragusanu@yahoo.com
kRIsty shing yan fan

Car crashes embody the literal collision between natural forces and
the manufactured products of consumerist society. Kristy’s collection
focusses on that relationship. Drawing on childhood memories,
she embeds broken toy cars in pewter and glass, constructing a
physical metaphor of the way that consumption and greed are
in conflict with our social values. Dreams are a major source of
Kristy’s inspiration, and the juxtaposition of matte, fluid metals with
shiny, rigid plastic and crystal adds an dreamlike quality to her work.

Interpretative text by Katherine Davies

BA (Hons) Culture, Criticism and Curation

neckpiece
Pewter, steel, plastic, Swarovski crystals

www.cargocollective.com/kristyfanfan
kristyshingyanfan@gmail.com
kristina ferenchuk

Kristina’s work draws inspiration from the interlocked trajectories

of stars and the mapping of constellations. Her aesthetic approach
combines appreciation of the laws of nature with awe at the mysteries
of the cosmos. The result is work that allows the wearer to discover
beauty and adaptability in the repetitive and rhythmic. The pieces
shift in size and pattern to allow the wearer to create their own
adaptation in order to rediscover a fascination with the unknown.

Interpretative text by Disha Deshpande

BA (Hons) Culture, Criticism and Curation

ring
18ct gold, garnet, citrine, green tourmaline

www.kristinaferenchuk.com
Kristina.ferenchuk@gmail.com
alix ferracci

Alix’s collection explores identity and the idea that the self is constituted
of different facets, possessing multiple malleable identities. Using playful
and primary colours, she takes her inspiration mainly from board-game
aesthetics. Some elements of the dolls are rough, made of screws and
bicycle chains, with contrasting parts of embroidery. The pieces have a
unique “DIY” feel, allowing the wearer to play with detachable components
so as to reconstruct the jewellery in harmony with their changing identity.

Interpretative text by Zora Feraji

BA (Hons) Culture, Criticism and Curation

neckpiece
Satin fabric, silver plated brass, bicycle chains, wool, embroidery
threads

alixferracci@gmail.com
lucy ganley

Lucy’s collection takes its inspiration from prisoners’ diaries she read
after visiting Philadelphia’s Eastern State Penitentiary. Addressing the
issue of mistreatment of prisoners, she has hand-stitched inmates’
words and drawings onto brooches made from brown paper bags. The
resulting pieces pass comment on Behaviour Modification, a treatment –
in part a punishment – widely used in US prisons. The material’s fragility
embodies the unequal struggle of a prisoner against the prison system,
while images of words stamped on flesh represent the way in which that
system strips prisoners of their identity. Wear a brooch in solidarity.

Interpretative text by Zora Feraji

BA (Hons) Culture, Criticism and Curation

brooches
Hand embroidered paper

www.lucyganley.com
Lucyganley@gmail.com
arturo gimeno corbalan

Arturo’s work narrates his personal choice to construct a second

skin that is both a protection and an expression of the self. Inspired
by a gorgeous brocade from his hometown Valencia, he constructs
a figurative representation of this emotion, using a rainbow of
materials, including silk, latex and leather. Every choice that he has
made is a conscious decision to create not only visual contrast, but
also a sense of rich layering. The elaborately constructed second
skin enables the wearer to reclaim a powerful sense of identity.

Interpretative text by Carla Schöffel

BA (Hons) Culture, Criticism and Curation

Sleeves
Leather, silk, PVC, Valencian Brocade, trimmings, latex rubber

www.argcstudio.com
arturogimeno95@gmail.com
emily grimble

Emily’s pieces open themselves up to you with a touching candour.

Her predominantly steel creations each come with a hand-embroidered
note, revealing details of the workmanship that created them. This
process-focussed methodology permeates her whole collection, with
each element of every piece individually fashioned. Bringing traditional
women’s craft skills to metalwork, Emily has translated her ideas into
repetitive, kinetic forms, each hinting at the energy that went into them.

Interpretative text by Elizabeth Peart

BA (Hons) Culture, Criticism and Curation

necklace
Steel

www.cygnetstudio.co.uk/emily
emily@cygnetstudio.co.uk
xiaoyu guan

Paying particular attention to seeds and beans, which are frequently

used as good luck charm, Xiaoyu embraces nature’s beauty and
transfers it into her designs, giving a playful, organic and fresh feel to
her jewellery. From earthy greens to marine blues, the bright colours
set the mood: Xiaoyu wants the wearer to feel fortunate and comforted.

Interpretative text by Laudomia Liberali

BA (Hons) Culture, Criticism and Curation

pendants
Enamelled copper, yarn

xiaoyuguan@163.com
lily harte

Lily’s collection comments satirically on political issues, so as to give

us a clearer understanding of what our current choices really mean. Lily
uses tongue-in-cheek humour as a medium to portray a serious issue
that cannot be avoided. She questions the validity and integrity of leaders
of the US and the UK, their “Special Relationship”, and how it will affect
both countries’ populations. By drawing parallels with authoritarian
regimes in history, her work asks, “Will our countries survive?”

Interpretative text by Christopher Watts

BA (Hons) Culture, Criticism and Curation

crown, necklace and collar

Wood, brass, rubber

www.lilyharte.com
lilyharte@outlook.com
erica heng

Erica’s collection is a series of contemporary menswear adornments

that address the declining use of traditional suit accessories. Inspired
by the world of fictional espionage, she designs her pieces to look
like the repurposed gadgets and paraphernalia of a decommissioned
spy. She has a high regard for functionality and versatility, which
is aided by the mechanical qualities of her pieces. The collection
is mainly crafted in black rhodium-plated brass, contrasting light
scuffs with a polished finish that creates a worn-in yet refined vibe.

Interpretative text by Shangyue Li

BA (Hons) Culture, Criticism and Curation

tie pin and cuff links

Black rhodium plated brass

www.Ericaheng.com
erica.heng@hotmail.com
georgina hopkin

Georgina’s collection creates a balance between the planned and

the chaotic. By drawing inspiration from images of dissection and
swollen objects, she creates bulging, anatomical pieces that she
playfully decorates with an abundance of pearls, crystals, beads and
velvet trim. Her humorous pink creations mimic precious jewellery
and combine soft and hard materials. They provoke confusion:
do they look like delicious treats or unappealing body parts?

Interpretative text by Layla Salhab

BA (Hons) Culture, Criticism and Curation

brooches
Expanding foam, brass, gold plated brass, Swarovski crystals and
beads, freshwater pearls, glass pearls, velvet, steel pins, cotton
thread, resin

www.georginahopkin.com
georgina.hopkin@hotmail.com
ellan huang

Chains can be used to secure objects, to limit a person’s freedom,

to fabricate industrial products or to design elegant ornaments.
Intrigued by their multiple purposes, Ellan has designed a collection
based on chains. Her pieces resemble a series of metal rings
passing through one another; when worn, they reveal their true
nature, changing into different types of jewellery. Ellan manipulates
the viewer’s perception: her ornaments’ physical contact with
the wearer defines what each mysterious object really is.

Interpretative text by Carlotta de Volpi

BA (Hons) Culture, Criticism and Curation

earrings
Silver, gemstones

hp.ellan@hotmail.com
maria ivanescu cotuna

Maria’s collection explores the ambiguous symbolism of power-

play in relationships. In some of the pieces, stereotypically “girly”
colours soften the theme so as to make the work more immediately
approachable. The snake is also a recurring symbol, used to
suggest how even taboo themes can generate new beginnings,
new explorations. Society uses sensuality, sexuality and eroticism
as power plays. Maria places them at the centre of her collection.

Interpretative text by Christopher Watts

BA (Hons) Culture, Criticism and Curation

brooch and ring

leather, iron, Swarovski pearls

www.ivastudio.co.uk
maria_cotuna@yahoo.com
annie bokyung kim

Crafted through the intricate pairing of form and colour, Annie’s lyrical
work is deeply rooted in the culture of her native Korea. A simple colour
palette, derived from Korean Buddhist temples, binds this diverse
collection together. She constructs a visual narrative that translates
traditional into contemporary design through the delicacy and subtlety
of detail found in the earrings. This lineage in Annie’s work stems from a
process of reimagining history so that it can be understood universally.

Interpretative text by Grace Ahn

BA (Hons) Culture, Criticism and Curation

earrings
Silver plated copper and brass, synthetic blue sapphires,
freshwater pearls

kbk810@hanmail.net
jieun kim

As if she is unwrapping a gift, Jieun creates playful pieces bursting

with colour. Conscious of the immense range of possibilities in
contemporary jewellery, she has decided to strip it back to basic forms,
focusing on its fundamental decorative nature. By sharing her intimate
relationship with the materials, the artist defies the quality of the
metals; by exposing them to fire, she delicately forms them into shapes
that mimic the soft pliability of the ribbons that inspired her collection.

Interpretative text by Maria Ponce de Leao Mesquita Jane

BA (Hons) Culture, Criticism and Curation

RING
Annodised aluminium

www.jieunkim.co.uk
jieunkimjewellery@hotmail.com
lucija krizman

Lucija’s work looks inward, figuratively expressing a journey through her

own psyche. The tripartite collection consists of a series of metamorphic
pieces that reflect on aspects of her own body. Like a reptile casting off
its skin, she then deposits them in an other-worldly landscape, which
gives the work an ethereal character. A chain of momentums imbues
the work with Lucija’s essential being, allowing the collection to blossom
into the metaphorical ‘body’ of thought that progressively fuels her craft.

Interpretative text by Maria Ponce de Leao Mesquita Jane

BA (Hons) Culture, Criticism and Curation

necklace
Ceramic

www.lucijakrizman.com
lucija.krizman@gmail.com
charlotte le masurier

The slang word “minted” means “looking wealthy”. Charlotte’s collection

plays with this idea, mocking the trend of wearing excessive jewellery as
a means to show off one’s wealth. She does this creatively through the
paradoxes of an extravagant set of jewellery made out of inexpensive
materials such as copper, sugar, cold enamel and, of course, mints.

Interpretative text by Bianca Cedrone

BA (Hons) Culture, Criticism and Curation

earrings
Enamelled copper

clemasurier@hotmail.co.uk
wei li

Wei’s curvaceous paper structures are fascinating objects. Her

almost scientific approach to making jewellery draws inspiration
from animals’ movements. The central figure for her collection is
the elephant, and each piece exaggerates different parts of that
creature, such as the trunk, ears and tusks, to arrive at forms that
are almost abstract. The way these pieces delicately wrap around
the arm, like an elephant’s graceful trunk, creates an intricate
and elegant relationship between the wearer and the jewellery.

Interpretative text by Layla Salhab

BA (Hons) Culture, Criticism and Curation

cuffs
Tyvek Paper

Milo139@126.com
yanmi lui

Inspired by biomimicry and her interest in martial arts, Yanmi conceived her
collection as a set of self-defence weapons. Her pieces are to be worn for
empowerment rather than embellishment: a strong concept, underpinned
by creative design and detailed handiwork. The natural defence systems
of animals and plants inspired the organic qualities of her work, while
the functional forms, colours and textures, and the secret functions
and hidden details, provide elements of surprise and a touch of wit.

Interpretative text by Rebecca Derine

BA (Hons) Culture, Criticism and Curation

necklace
Gold plated silver, glass enamel, freshwater pearls

y.anmi.designs@gmail.com
ami masamitsu

Just as it is difficult to make a movie without supporting actors, so

it is with jewellery. Ami’s collection aims to enhance the beauty of
elements, such as sequins, collets and prongs, that usually remain
in the shadows rather than in the foreground. By playing with the
sizes and materials of these overlooked objects, she places them in
the spotlight so that their function is no longer peripheral. Instead
they have become the protagonists: they are the actual jewels.

Interpretative text by Carlotta Clerici

BA (Hons) Culture, Criticism and Curation

object
Silver, black diamonds, freshwater pearl

info@amimasamitsu.com
Marisa Nicole Morena

The personal bond that connects Marisa to women close to her motivated
her to create pieces that encourage the women to embrace their
womanhood. Her pieces replicate the female nipple in the form of latex
moulds, which she then decorates with jewels. The book that accompanies
her highly personal body of work highlights and explores the sensitivity
of the subject matter, while creating a record of her creative process.

Interpretative text by Carla Schöffel

BA (Hons) Culture, Criticism and Curation

bra
Latex, Swarovski crystals, cotton

marisa.morena@aol.com
Frankie Moughton-Small

Frankie’s collection is so vibrant that it seems almost impossible to

believe that all these pieces are made from ocean waste, specifically
ropes, fishing net and marine debris. By exploring the potential of non-
traditional materials, Frankie shows us some of the ways in which waste
can be transformed beyond all recognition. The pieces set up a conflict: we
find them eye-catching, yet are shocked when we learn what the materials
are and where they come from. This is jewellery that generates a debate.

Interpretative text by Alexia Seroussi

BA (Hons) Culture, Criticism and Curation

swimming caps
Reclaimed fishing nets and rope, discarded woven plastic bag

fmoughtonsmall@gmail.com
Maria Mungsommai

Interrogating our perception of desire, Maria’s work incorporates

the structures in which jewellery is often displayed. In the process,
her pieces embody the undetected features that make these
objects, plain in nature, more luxurious and covetable. Subversive
yet dreamlike, her rose-hued collection re-imagines the spectacle
of seduction: jewels are made enticing by our tendency to
romanticise them. Translating this into her designs, Maria teases our
yearning for the precious and beautiful through the looking glass.

Interpretative text by Wan Hui Keoy

BA (Hons) Culture, Criticism and Curation

spectacles
precious white metal, glass, Akoya pearl

mariamungsommai@gmail.com
xindi nie

What happens to objects once we decide they have lost their

usefulness? Items that we abandon, such as forks and glasses, have
fired Xindi’s imagination. Adding value to them while removing their
functionality, she has created intriguing pieces that interfere with the
ordinary by exploiting the tension between what we desire and what
we need. Yet these pieces can still be worn as classical jewellery:
Xindi creates poetic beauty and elegance by celebrating uselessness.

Interpretative text by Jade Prelac

BA (Hons) Culture, Criticism and Curation

object
Silver, freshwater pearl, glass

x.nie1209@gmail.com
holly o’hanlon

Holly’s finely detailed brooches of slate and precious metals reflect

her observations of decay and of layers of decomposing posters and
signs on walls. Her aim is to give priority to the overlooked, utilitarian
or mundane and, in particular, to elements that remain from a
practical task. Deceptive, playful and engaging, the jewellery aims to
still a moment between a purposeful action and its lasting remains.

Interpretative text in collaboration with BA (Hons)

Culture, Criticism & Curation

brooches
Slate, treated mild steel, precious white metal, precious yellow
metal, glass enamel

h.ohanlon6@gmail.com
ruby parker

Ruby’s collection uses deconstructed household waste materials,

transforming them into items of luxury. Recognising the aesthetic
appeal of discarded packaging such as egg cartons, aluminium
pie tins and washing detergent pouches, her pieces purposefully
disguise the original form, creating unique new textures, patterns
and uses. Through craftsmanship, these mundane objects
become not only beautiful, but valuable objects of desire, aiming
to challenge the viewer’s perception of what we deem as ‘waste’.

Interpretative text by Yeline Mehaji

BA (Hons) Culture, Criticism and Curation

knickers
Lycra, ‘Surf’ washing detergent packaging

www.rubyparkerdesign.co.uk
rubyparker0411@gmail.com
joanna perera

Joanna’s elegant yet provocative jewellery challenges our

preconceptions of glamour. Taking inspiration from Victorian
mourning jewellery, as well as ancient Greek and Egyptian symbols,
her collection embraces the beauty to be found in death. She makes
use of naturally occurring organic materials, including bone and
beetle shell, removing them from their original context so as to
give them an afterlife that will preserve them from decomposition.

Interpretative text by Regan Dockery

BA (Hons) Culture, Criticism and Curation

necklace
Precious white metal, jewel beetles

www.joannaperera.com
info@joannaperera.com
yingping shen

Inspired by the cityscape, Yingping’s designs aspire to create

the breathing space that we yearn for in London. His collection
reflects the city’s density through intricate lattices of silver. While
contemplating the urban grey, these discreet trellises mirror the
endlessly stacked windows ever-present in the metropolis. By
constructing distinct grids containing coloured gemstones, ebony
and pearls, Yingping expresses a fervent desire to escape from the
city’s asphyxiating environment. Freedom is further animated in the
movements, however modest, that he allows his pieces to make.

Interpretative text by Wan Hui Keoy

BA (Hons) Culture, Criticism and Curation

pendant
Precious white metal, gemstones, FRESHWATER PEARL

ypshin@outlook.com
yos sodagar

Yos has enmeshed, sometimes quite literally, the domesticity of

household fabrics with more classic jewellery elements. Ornately
embroidered J-cloths and rubber gloves are mischievously slung
across her model. Taking her cue from the often sexualised images of
women, represented by the figure of the housewife, Yos has subverted
traditional modes of ornamentation to convey her critique. Her
collection plays at the edge of acceptability, with a thoroughly tongue-
in-cheek injection of humour and whimsicality into its workmanship.

Interpretative text by Elizabeth Peart

BA (Hons) Culture, Criticism and Curation

collage
J-Cloth, paper

Yos.sodagar@gmail.com
eliza stone

Inspired by the rich history of Victorian glamour and flamboyant attire,

Eliza’s collection explores outdated ideas of womanhood through a
modern interpretation of accessories that have become obsolete. Her
elegant pieces, hyperbolic in their extravagance and scale, revive the
symbolic act of dressing up, which in these more insouciant times has
become rather casual. Using herself as a mannequin, Eliza creates
custom-tailored designs that, like theatrical props, play with ideas
of self-portraiture and fairy-tale characters. She envisions herself
as a debutante making her first appearance in fashionable society.

Interpretative text by Merit Zimmermann

BA (Hons) Culture, Criticism and Curation

Headband
Calico

www.elizastone.co.uk
eliza.stone20@gmail.com
anna tuhus

In this age of political turmoil and civil unrest, countries move

towards isolationist policies and the world seems to be fracturing.
By working with rocks that have traversed borders all over
the world, Anna subverts current political trends and ideas of
nationhood by drawing attention to the superficial nature of notions
surrounding “border” and “division”. Smashing the rocks apart and
then re-assembling them, Anna turns them into jewellery that
serves as a poignant emblem of friendship and togetherness.

Interpretative text by Joel Thompson

BA (Hons) Culture, Criticism and Curation

pendant
Marble, precious white metal, silk

www.cargocollective.com/annatuhus
annatuhus@gmail.com
Jennifer Tsz Ying Wong

Jennifer’s collection takes inspiration from true stories of stolen

and lost objects, such as The missing Crown Jewels – both Russian
and Irish – and the seven lost Fabergé eggs. Playing on the fact
that the fine jewels have disappeared and no one knows where they
are, she has imagined and recreated her own versions of the lost
objects. She uses precious materials to evoke their value while
etched descriptions and images make specific reference to the tales.

Interpretative text by Carlotta Clerici

BA (Hons) Culture, Criticism and Curation

scarf
Hand embroidered silk organza

www.jnfr-w.com
jnfr.jewellery@gmail.com
leanne yau

British-born Leanne has created a collection loosely based on her

maternal grandfather’s migration from Hong Kong to Britain. Reflecting
on the Western perception of Chinese take-aways as “fast and cheap”, her
pieces playfully comment on the true cost of cheap food. Using pewter,
silver, bronze and crystals, she has refashioned iconic British biscuits,
such as bourbon and rich tea, juxtaposing them with her own versions
of the boxes used for fortune cookies and take-aways. In the process,
she adds value, as well as weight, to these everyday low-cost foods.

Interpretative text by Eleni Samra

BA (Hons) Culture, Criticism and Curation

pendants
Pewter, precious white metal, bronze, Swarovski crystals, ribbon

Instagram @_lee_yau
leanneyau@hotmail.com
Scarlett Zhang

Working with transitional silhouettes of jewellery, Scarlett’s pieces are

a delicate exploration of the implied rather than the plainly stated. Her
charmingly anarchic use of crushed gold pushes against the restrictions of
tradition and luxury in jewellery practice. The viewer is asked to look closer
to access the true nature of the work and its meditation on authenticity.
A fine example of the art of subtlety, Zhang’s work speaks in questions.

Interpretative text by Sicily Scarlet

BA (Hons) Culture, Criticism and Curation

earrings
18ct gold

www.scarlettzhang.com
info@scarlettzhang.com
acknowledgements
.

Scott Armstrong would like to thank Q Branch, Timothy Roe

Fine Jewellery, and Sanni Falkenberg for the production,
manufacture and sponsoring of his work.

Rosanna Batt, Elena Bonanomi, Kristy Shing Yang Fan, Kristina

Ferenchuk, Arturo Gimeno Corbalan, Erica Heng, Georgina
Hopkin, Maria Ivanescu Cotuna, Annie Bokyung Kim, Ruby
Parker, Joanna Perera, Eliza Stone, Anna Tuhus, Jennifer Tzs
Ying Wong and Leanne Yau would like to thank SWAROVSKI
for sponsoring their work.

Elena Bonanomi and Ami Masamitsu would like to thank

Didoni for gemstone carving and polishing.

Allegra Campolmi collaborated with Massai Orafi in Florence

in the production and manufacture of her work.

Kristy Shing Yang Fan would like to thank Wentworth Pewter

for sponsoring her work.

Kristina Ferenchuk would like to thank The Goldsmiths’

Company and The Goldsmiths’ Centre for awarding her a
Precious Metal Bursary.

Yanmi Lui would like to thank The Goldsmiths’ Company

Assay Office and The Goldsmiths’ Company for awarding her
a Make Your Mark Prize, and Richard Fox for electroforming.

Frankie Moughton-Small would like to thank Harry Owen and

MCB Seafoods Ltd. for reclaimed fishing nets and rope; Ado
Shoreland from Widemouth Task Force for ocean plastics, and
the 46 school children that collected plastics from Widemouth
Beach, Bude, Cornwall.

Holly O’Hanlon would like to thank Design and Crafts Council

Ireland Future Makers Awards for a Materials Support Award.
Photography Credits:

Sabina Drăguşanu photo by Oliver Farnden

Lucy Ganley photos by Alina Negoita
Arturo Gimeno Corbalan and Maria Ivanescu Cotuna photos
by Bradley Lloyd Barnes
Erica Heng photo by Koh Jun Wei
Lucija Krizman photo by Darko Cigic
Eliza Stone photo by Bradley Lloyd Barnes

Interpretative texts and degree show captions by BA (Hons)

Culture, Criticism and Curation students at Central Saint
Martins, with thanks to Course Leader Michaela Giebelhausen
and tutor Nick Kimberley.

Cover image by Rosanna Batt

This catalogue was designed by Holly Browning and printed
by Ex Why Zed
with thanks to
With thanks to staff who have supported this cohort of
students throughout their studies

Martin Baker
Caroline Broadhead
Lin Cheung
Naomi Filmer
Melanie Georgacopoulos
Beth Gilmour
Lucie Gledhill
Katy Hackney
Tony Hayward
Martin Hopton
Chris Howes
Jet Jet
Jasleen Kaur
Volker Koch
Giles Last
Hannah Martin
Jane McAdam Freud
Marlene McKibbin
Maria Militsi
Michael Milloy
Campbell Muir
Frieda Munro
Pervez Sethna
Jane Short MBE
Jessica Turrell
Jane Tynan
Frances Wadsworth-Jones
Max Warren
William Warren
Silvia Weidenbach
Paul Wells
Scott Wilson
Anastasia Young

Programme Administration Manager Hannah Cheesbrough

External Liason Coordinator Alexandra Yardley
External Examiner Laura Potter
Graduate Assistants Coline Assade, Yana Istomina and
Vicky Lew