New in the shop this week is a faceted citrine necklace with long braided cord. Although orange is usually associated with autumn, in lighter shades it’s a colour that makes me look forward to sunny spring days. Hopefully we’ll be seeing more of those soon!

pink opal and brass necklace | orange calcite necklace | faceted citrine bracelet

 faceted citrine and braided cord necklace

I’m looking forward to sharing some of the new things I’ve been working on, but before then, here is a selection of favourites gathered from the past year. Amethyst and marble, with rope, brass and a few other pale-hued stones…

opal, jasper and brass necklaces | amethyst, marble and rope necklaces

twisted rope and marble necklace

natural marble nuggets | sketchbook inspiration (image credits 1,2)

braided rope and natural marble necklace

marble, brass and green opal earrings

twisted rope and amethyst necklace

amethyst and brass bracelets | rope and amethyst necklace

jasper and brass necklace | pink opal and brass necklace

For anyone who has been waiting for the fabric necklaces to be restocked, a new batch is finally ready! The fabric and mesh necklace, pictured centre, is a new style inspired by this sample. After coming across the image on my flickr, I couldn’t resist recreating it as a smaller version.

The necklaces will be available from tomorrow in limited quantities, with prices starting from 23 GBP.

Marie Hochhaus is a photographer living and working in Hamburg, Germany. I came across her work over a year ago on flickr and have been following ever since. Marie has a wonderful talent for capturing light and emotion within her photographs, creating images with both a serious and playful appeal. Such a pleasure to see a selection of my jewellery featured in one of her shoots!

photography by Marie Hochhaus
styling, hair and make up by Christiane Schwambach
jewellery by The Vamoose
model: Juliane@modelteam

credit: all images courtesy of Marie Hochhaus
links: Marie’s flickr | website | facebook

leather, cotton cord, silk and amethyst necklace with vintage brass components

While making the final preparations for a new collection of rope and gemstone pieces, I took an impromptu side step and introduced some leather to the mix. Extra thick leather cord provided a simple and sturdy base for the collar style necklace, with an amethyst stone secured using wrapped silk, and cotton cord wedged in between. This one was just for fun, but I may have to explore it further!

rough amethyst, silk, cotton cord and leather

And as a small preview, below are a few of the pieces I was supposed to be working on. Combinations of soft acrylic rope, golden tubes, natural marble and one of my favourites, a bright glass stone clamped into place with strips of brass. I’ll be back soon to share the rest!

Braided rope necklace with brass and amethyst

Braided rope necklace with golden tubes and marble

Twisted rope necklace with brass and glass

credit: photographs and jewellery by The Vamoose

Etching, Lake Superior, Wisconsin, 2009 by Lisa M. Robinson

“On the surface, these images are quite beautiful. They appear elegantly simple and accessible, evoking, perhaps, the silent tranquility that one might feel after a fresh snowfall. Beneath the surface, however, there is a subtle tension. Like fine haiku, each image quietly references another season, a time of life or activity that has already passed, and may come again. ” Lisa M. Robinson on her Snowbound series

Jil Sander Spring / Summer 2010

Sea foam by Picture Post-its (detail)

Welle, 2008 by Flora Hitzing

top image: Pandore (detail) by Jean-Pierre Cortot, 1819 | lower image: White Blackbird by Ming Jeong Seo

Johan Sandberg for Purple Magazine

(lower left) White Blackbird, Ming Jeong Seo

“I coat an animal’s corpse in porcelain until it’s completely covered. Then it is carefully placed inside the kiln to be fired. All organic material is burned up leaving behind a fine skin of porcelain. The dead animal’s body vanishes in the fire, being reborn in a lasting image. The whole process resembles a burial ceremony.” source

Untitled 2011 by Flora Hitzing

Julia Hetta for Rodeo Spring 2011

Chalk 2 by Bianca Brunner

Waterfall in Ice by Alistair Knock

“Why is this ice so blue? Glacier ice, especially when it is thick, becomes compressed and all the air bubbles in it are expelled. Air bubbles is what makes ordinary ice white by reflecting all the colours in daylight. When there are no air bubbles, the red and the yellows of the spectrum are absorbed and the blues and greens are reflected making those the colours that we see.” source

Sculpture by Anthony Cragg

Damien Blottiere for Dazed and Confused December 2010

Cube 001 by Alison Moffett and Chris Cornish

“The sculpture exists as an elegant escape from the turbulent drawn world. They have stepped out of the 2d space, resulting in deceptively simple molecular constructions of carbon, our building block of life and the graphite used to draw.” Alison Moffett

Photography by Kyle Johnson

Julia Hetta for Rodeo Spring 2011

Photography by Sasha Kurmaz

Broken Glass, 2006 by David DiMichele

“The photographs I create depict fantasy installations in grandiose exhibition spaces. The works are produced by first building scale models of exhibition spaces, and creating within the spaces original artworks in drawing, painting and sculpture mediums. These installations are then photographed with a large format camera to create the final works.” David DiMichele

David Seidner for Harper’s and Queen February 1987

Julia Hetta for Rodeo Spring 2011

Jokulsarlon, Iceland by Ana Stefanović

Inspiration courtesy of an Arctic scene, fractured patterns on a weathered surface, sea foam shapes,
clothing drapes and the cool hued palette of a frozen landscape.

credit: please hover over an image for the credit and click for the source.

As promised, here is the second part of my collaboration with Belgium photographer Eefje de Coninck, featuring a selection of jewellery inspired by cathedral interiors, ocean waves and the cool hues of a glacial landscape. Eefje and her team styled the pieces with draped fabric, subtle makeup and softly braided hair against a back drop of marble and stone. View part 1 of the collaboration here.

Photography and styling by Eefje de Coninck | Hair and makeup by Noëmi Haesen | Modelled by Stine Sampers and Elke De Mey

amazonite, vintage beads and layered metal necklace | silk cord and chalk turquoise necklace

above: silk, brass and chalk turquoise necklace |
below: crystal quartz necklace with large vintage beads and layered metal discs

above: silk and gemstone earrings in riverstone | gemstone and brass tube necklaces
below: vintage brass and navy suede necklace

below: silk and gemstone earrings in riverstone | gemstone and brass tube necklaces

above: Leather, brass and gemstone bracelets in marble, feldspar, riverstone, amazonite and clear quartz |
below: lemon chrysoprase and riverstone necklaces with layered brass discs

above: feldspar and brass tube necklace | silk cord and tourmaline necklace
below: large citrine drop necklace | vintage brass bar necklaces

Credit: all images courtesy of Eefje de Coninck | jewellery by The Vamoose
Eefje’s Links: blog | flickr | website

dried flowers | vintage postcard | porcelain jasper | pyrite bracelet | feldspar and brass necklace

Dried flowers, porcelain jasper and an old postcard helped provide the inspiration for the pyrite and feldspar pieces above. The design of the necklace was adapted from a previous feldspar version in pale grey, this time with a simplified approach and the addition of tiny brass discs. The feldspar squares have the most beautiful marbled pattern, with spots of colour in pink and mint. I took a similar approach when creating the bracelet, pairing pyrite cubes with a simple, plain chain. The old postcard features a statue of King Arthur, a mythical king of the Britons in ancient times, wearing richly detailed armour.

Statue of King Arthur, Hofkirche, Innsbruck, designed by Albrecht Dürer and cast by Peter Vischer the Elder

While researching ancient armour, I became fascinated with the etched and embossed decorations, often depicting floral and geometric patterns, religious imagery or mythological references. Since embossing had a tendency to weaken the metal, etching proved to be the more popular choice for decorating armour in the late fifteenth to early sixteenth century. I found this piece especially inspiring, believed to have been made by order of Henry VIII, with elaborately etched and gilded steel. Too late for this collection, but I’d love to experiment with etched brass and gold leaf at some point in the future.

Credit: jewellery and photographs by The Vamoose
Research: The Metropolitan Museum of Art