3 minute read
Member Profile
The Precious Lacemaker
We spoke to Ruth Mary Chipperfield about her unconventional and inspiring jewellery journey.
Advertisement
What prompted you to become a jewellery designer? And what came first, lace or jewellery?
I started out in chemistry, but when I was diagnosed with narcolepsy, life took a turn. I was collapsing 30+ times a day, and my husband became my fulltime carer. I used the little time I had to teach myself to create jewellery, while also trying out other things, like lacemaking and macramé. I view jewellery as tiny sculptures, so I realised I could create tiny sculptures in whatever medium I liked and then cast them. So, my signature style of lace handstitched in precious metal was born. Gold is my favourite metal, but I also work in silver and platinum. Where did you train?
I'm completely self-taught. For me, the design always comes first. Then to create the design, I've either learned new skills or outsourced the work to goldsmiths, setters, casters, etc. It means I'm always thinking outside the box, and a lot of my bespoke clients come to me for something they've never seen before. In fact, I commonly get clients who don't even know what they want, so we have a conversation and figure it out together. I've recently done Kerry Gregory's Gemstones for Designers course, which has given me a really good working knowledge of gemstones, the law and how best to advise clients.
When were you an IJL Kickstarter and what did you gain from the experience?
It was 2018. At the time, I exhibited a collection of contemporary silver jewellery, but much of the feedback suggested buyers liked the story of handstitched lace and the style of my designs but wanted to see it in fine jewellery. So, having spent the last three years focusing on bespoke design, I'm now designing my first fine-jewellery collection, which I’ll release to the trade in June 2022. But I thought I’d showcase a sneak peek for you here.
Coming from a completely unconventional background, I've found it important to connect with the jewellery trade, so joining the NAJ was one of the first things I did. Do you now sell your jewellery mainly to the trade or do you also work on consumer commissions?
I've been selling to the trade for about five years, but as my focus has shifted to fine jewellery, this is something I’ll be focusing more on in the year ahead, once my new ready-to-wear collection launches. I also do a lot of bespoke pieces, some of which come about through trade customers.
Has your design inspiration remained consistent since the beginning – a signature look? Within the parameters of lace, how has your style developed over the years?
The theme of handstitched lace in precious metal still runs strong, but while I used to create bigger statement pieces, I've now shifted to smaller more versatile pieces of fine jewellery with ethically mined gemstones. I don't think I’ll abandon the bigger sculptural pieces altogether, though. If there's a market for tiaras, tableware and chandeliers with a lace aesthetic, I’ll be delighted to create something. I mean, imagine a chandelier hanging in the entrance hall of a grand house, where each component started out with needle and thread, handstitched to create its form, before being cast in solid silver and adorned with sparkling gems!
Can you define your typical customer, either by demographics or attitude/style?
Most of my customers are women between 40 and 60 who buy jewellery for themselves. Many of them have decided to leave corporate jobs and want completely different jewellery to align with their newfound confidence as an individual, not as someone who is part of a giant corporate structure. I also get mature brides come to me for wedding, engagement or hybrid rings. They tend to prioritise the rings they will wear daily over the wedding day itself, which is fleeting.
Where do you work from?
I work in the front room of my house in Birmingham. The walls are blush pink, and it's full of quirky objects I've collected over the years that inspire me. It's never tidy.
