Tessa Packard jewellery embraces vintage plastic and whimsy

‘Over the previous few of decades I’ve seen myself concentrating much more and far more on two jewelry principles: the to start with being animal earrings manufactured from identified objects, in “Lost & Found”, and the second remaining upcycling classic plastic to build timeless, contemporary jewels, in “Plastic Fantastic”,’ says Tessa Packard, who has developed on this playful history with vibrant additions to these strains.

‘Both these collections explore the subject of sustainable jewellery in various methods, which as a theme is anything I have been offering a large amount of imagined to just lately. I really like what I do, but I also appreciate that I work in a luxury field, which by its very own definition is not seriously a necessity, so how can I go about reconciling the two? I consider this question has strongly affected my general innovative approach and has observed me shift in the direction of manufacturing jewellery with a much more upcycled heart.’

Tessa Packard jewelry: embracing upcycling

Whimsical touches and daring strokes of colour characterise the new items, which rethink common motifs in 18ct gold, cherished gemstones, upcycled lucite and porcelain. ‘I’m much much more involved with style integrity (utilizing materials that accurately mirror the story and inspiration at the rear of a topic) than carat bodyweight or product value in get to justify my location at the jewellery table,’ Packard suggests. ‘Plus, I like the prospect that jewelry-generating gives as a medium. Extremely handful of other disciplines enable for these experimentation in materials and I truly like to choose advantage of this.’

Generating the pieces in a juxtaposition of textures was not without the need of its challenges, with Packard conducting plenty of experiments to discover the restrictions of the far more unknown resources. ‘One of the much more out-there concepts we had was to use liquid resin to established gemstones in vintage plastic, as a result negating the have to have for common metal collets in the body of the “Boca Bonita” and “Key West” earrings. It took pretty a couple iterations to operate out which gemstones could be effectively blended with resin and how ideal to do this so that the stones appeared to “float” in the resin, as opposed to settle only at the bottom of the mould.’ 

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