How do you get on with your collections and daily studio life?
During the BA, I was doing non-wearable pieces, which was more artistic, contemporary, or ‘crazy’ jewellery. At the end, my graduate collection was exhibited in Marzee, a contemporary jewellery gallery near Amsterdam. Then I started to do some collections of rings and got myself a press agent in London, who forces me to produce a collection every few months. He helps me with press, as well as the commercial and marketing side of the business. At the beginning, I felt like I was doing three jobs at the same time, and realised that it was very much a ‘learning by doing’ process. You cannot really approach a magazine by yourself, for example. At first, I thought I could do it, but then realised that I needed people whose specific job it was to deal with these things.
I usually work the following way when it comes to creating pieces: I gather inspiration and make as many drawings as possible, and then choose a few of them at the end. Afterwards, I see the different possibilities (technically speaking) and I make some prototypes. I am sensitive to how my friends react when I create a collection; they are the type of person I sell my pieces to. I spend my day between the studio, the post office and dealing with the on-going production.
How do you manage the production of your pieces?
I work with an old craftsman in Paris. We make my prototype and then I send them to production. I am now working with a company in Jaipur, thanks to a girl who I met during the BA. I was looking to outsource some of my production, and got in touch with her — she built her own production company for international jewellery brands in Rajasthan.