Matilde: Jewelery made of precious and sustainable materials

Matilde, a London-based jewelry designer, finds inspiration in the transformative and emotional properties of jewelry. With an emphasis on durability and an artistic flair, Matilde seeks to make jewelry more than just a fashionable accessory. Instead, she aims to create pieces that reflect the values and identities of the wearer.

In this interview, we explore the journey of a jewelry designer who discovered her passion for jewelry at a young age. We learn about her educational background and how it shaped her approach to jewelry design. We delve into her creative process and how she approaches each new project with a focus on sustainable packaging. We also discuss her fascination with precious materials and her commitment to sustainability.

1. What sparked your interest in becoming a jewellery designer and how did you get started in the industry?

Jewellery design, understood as that one field which allows one to combine various different meanings in a relatively small space or scale, but that also allows one to be the carrier of that one meaning, by personifying it – has been one of my major interests and passions since a very early age. I very soon developed an instinctual approach to making, transforming and collecting several objects throughout the years: as guided by a primordial instinct, I have always made adornments for the body. My career as jewellery designer started with some Fashion collaborations in Milan I did several years ago, which introduced me to the world of accessories. I then decided that jewellery was going to be my career and began my studies at Central Saint Martins.

2. How did your education at Central Saint Martins and Alchimia School of Jewellery shape your approach to designing jewelry?

Both CMS and Alchimia taught to think of Jewellery as a fluid field which sees no boundaries nor limits. Thanks to collaborations with other fields, professionals and creatives – I had the chance to explore several different ways in which one can make Jewellery. There is no right or wrong way, ultimately. It is a matter of understanding what truly inspires you and guides you. Everything else falls into place through direct experimentation of materials and making itself.

3. What inspires you when designing jewelry and what kind of message or feeling do you hope to convey through your work?

I strongly believe that contemporary Jewellery has the power to help us think, look and question beyond Jewellery, ornamentation, beauty and preciousness. I am intrigued by the cultural, historical, emotional and material value of jewellery: how do visual qualities encapsulate such rich and abundant concepts? That is the power of Jewellery.

And beyond Jewellery, is the area my work sits within.

4. Can you walk us through your creative process and how you approach each new project?

Every project I approach has been inspired by the tension between content and container: what happens to the packaging when the content has been taken out? Generally, that is the first thing which instantly loses its value. I have always been fascinated by the idea of making the packaging the protagonist, or at least the starting point for my research. This has been the case for my new series chromo-dope as well, with central focus on the packaging as a perfectly incorporated storytelling tool for the entire collection.

5. Can you tell us about your fascination with non-precious materials and how you incorporate them into your work?

My work sits within the context of Jewellery and Sustainability. I am fascinated by the properties of non-precious materials, how to transform and repurpose them. By juxtaposing materials with common societal value against ones that are considered to be non-precious – my aim is to push the limits of what Jewellery can be, and to constantly question our contemporary ideas of value, materiality and consumerism. I believe that all materials can be made equal: the accent is on the quality of what one does, how the idea is expressed and the reason behind it. It is all about craftsmanship and clarity of an idea.

6. As a Production & Quality Control Specialist at Vashi, how do you balance your own creative projects with working for a big brand?

I have always produced my own work in parallel with other main jobs. Developing my own work and language, keeps me inspired, excited about Jewellery and new, future possibilities. The most difficult aspect is to be able to consistently & daily, dedicating time to my own work, no matter what. Each day there is going to be a million reasons why I should not. Despite that, doing it anyway is ultimately what makes the difference in the long run. One has to really make time for it: if you really want it, you will make time for it.

7. What are some of the challenges you face in creating sustainable jewelry and how do you tackle them?

It is common knowledge how sustainability has in the past year become a trend, and this bares both positive and negative aspects. The most important goal is to keep progressing towards more sustainable manufacturing methods, better materials – if possible, upcycled – as opposed to using ‘sustainability’ as a mere marketing strategy. I don’t see sustainability as an option, it has to be a new mindset because we care about the world we live in. Creating sustainable jewellery is of course more expensive, because all the required steps are costly. However, by taking each step at the time and focusing on the importance of transparency, the audience will also grow accustomed to this kind of dialogue – and will also be more inclined to invest more on it. By connecting with the customer, one can truly tell their story – having a strong root to follow, whilst always evolving.

8. What do you see as the future of ART Jewelry and where do you see yourself in that future?

It really is impossible to predict the way things are heading. It is however essential to connect to the modern changing needs of consumers: I believe that ART Jewellery will tend to collaborate with other fields more, in order to avoid being too niche or exclusive. The most exciting things come to life when different approaches and ideas come together.

9. Can you share your thoughts on the importance of craftsmanship in contemporary jewelry design and how it affects the final product?

Craftsmanship and manufacture are absolutely fundamental in the way the affect the final product. When appreciating a piece of Jewellery, there are so many aspects one has to take into account: the pure harmony of all the manufacturing steps with no errors nor mistakes, combined with a strong design intention, all contribute towards a great Jewellery piece. I believe all elements have to be perfectly intertwined, packaging included, to sell a product of emotion and love – and to tell your story.

10. Can you share any challenges you’ve faced in your career and how you overcame them?

Obviously, all careers have their challenges and peculiarities. Jewellery can be slightly inward-looking, and it is often hard to find generous and giving people who are willing to share and pass their knowledge onto new generations. This is also understandable, as it takes years to properly learn a craft and, as a result, most people tend to be protective over their knowledge. This has been my main struggle throughout the years. However there are also incredibly bighearted people out there… it is about spotting them in the first place: my advice is, when you find your golden nuggets, keep them close to you!

11. As a tutor at the British Academy of Jewellery, what do you hope to teach your students about jewelry design?

This role started before lockdown and carried on throughout the pandemic as full time, main tutor – teaching design, manufacture, portfolio development, various masterclasses and Illustrator. It was an incredibly challenging and enriching stage of my development, in which I had the chance to grow professionally and personally: jewellery became a tool to improve student’s mental health and problems (so heightened during the various lockdowns), and their overall perception of themselves. I got to build incredibly profound relationships, which all go beyond jewellery designing or making. In a sense, jewellery is a medium for personal growth. It teaches about being patient, because taking your time, also saves your time. It obliges one to understand the importance of putting deep love and care into each single stage of a process – in order to achieve the best possible final result. There are no shortcuts, there is only one way, and that’s the proper way. And that takes time, effort and dedication. Jewellery offers small, daily tangible jewellery-related successes which are tremendously important for one’s development and personal growth as they translate into an overall improvement in one’s life as a whole. These are the main aspects I constantly remind to my students.

My teaching experience is also where the inspiration for my new collection chromo-dope came from: Jewellery as a tool to go beyond jewellery, to inspire social change and open discussion around mental health – through creativity and intuition.

12. What advice would you give to someone who wants to become a jewelry designer?

It is crucially important to listen to your own intuition. Allow it to guide you despite your fears, past mistakes or someone else’s mistakes. If, despite everything, your instinct takes you to this field – then brace for a beautiful and bumpy journey of self-discovery, transformation and pure excitement!

       13.What inspired the creation of the Chromo-dope Jewelry Collection and what message does it aim to convey?

My new series – chromo-dope – explores the aesthetic of cosmetic packaging and pills in the form of a Jewellery blister. A playful, colourful, interactive Jewellery/drug allowing the wearer to use & re-use – not dispose! By breaking the social stigma around mental health, stress and anxiety – Chromo-dope looks to encourage openness and conversation around these crucial matters. Cherishing one’s mind as much as the body is the underlying message of the collection.

This versatile collection allows the wearer to choose & exchange the coloured stone they prefer, within a Jewellery frame (earrings and rings – silver/gold) which opens and closes: providing the daily chromatic ‘dope’. The stones are made out of unexpected upcycled materials (TPU, PA11, synthetic topaz to name a few) and some real ones. Each stone has a poetic property associated with it, carefully described in a leaflet included within the packaging.

The inspiration for this collection came from the social media movement #postyourpill and the rising mental health issues amongst people but especially young adults in the past two years. The various lockdowns we all faced created especially challenging life circumstances for many – my family included – and brought attention to what really matters. Creativity has played a massive role in supporting people’s mental health, by keeping each one of us grounded to a sense of child-like playfulness. This instinctual and necessary part of ourselves we once knew and then forgot, is who we truly are.

       14.How does the Chromo-dope Jewelry Collection encourage openness and conversation around crucial matters such as mental health and stress?

Both rings and earrings are interchangeable allowing the insertion of different stones (natural and synthetic).  The idea of having to put love into an object and having to tune in daily with your ‘chromatic needs’ is something that deeply fascinates me. Putting love into small actions is an incredibly therapeutic action which goes beyond the mere fact of wearing jewellery: I see chromo-dope as a reminder for playfulness, self-care, self -love, and healing through meditative daily gestures.