A former designer at Cartier, jewelry designer Hannah Martin, trained at saint martin's school, founded her own brand in 2005. Since then, her innovative designs have offered a new take on luxury jewelry, far from a conservative haute joaillerie, and quickly garnered media attention. Hannah opens up about her inspiration, creativity, state of the industry, and what's next for her. An interview guest edited on lux-fix, the new luxury e-tailer..jpg)
WHAT WOULD BE YOUR DEFINITION
OF LUXURY JEWELRY? IS IT DIFFERENT FROM HAUTE JEWELRY, WHICH MAKING PROCESS IS
SLOWLY BECOMING MORE AND MORE STANDARDIZED?
I guess everybody has their own definition of luxury – it is a word that is bandied around far too regularly (in my opinion) in marketing speak these days. I believe luxury jewellery is made up of a number of ingredients: the quality of craftsmanship is vital. For us this means making every piece by hand in our workshop and using the finest British craftsmen in London’s Hatton Garden. The design is as much a part of this craftsmanship and should be unique and forward-thinking. For a jewel to be classed as luxury I also believe it should not be mass produced – luxury is not something that you should see being worn by half your friends! I also believe luxury needs to have a timeless quality – once a piece is bought and worn, it begins it’s own history. We don’t launch things to a season – all our pieces are designed to be passed down through the generations and live a life of their own.
YOU HAVE A BRAND IN YOUR OWN NAME. UNLIKE FASHION HOUSES LIKE DIOR OR VUITTON THAT PROMOTE THEIR JEWELRY DESIGNER, MOST OF THE CREATIVE FORCES BEHIND CARTIER, BOUCHERON, VAN CLEEF ETC... REMAIN UNKNOWN. IS SIGNING JEWELRY WITH A NAME A SEAL OF CREATIVITY?
That’s what I hope! I am very passionate and very specific about what I design, and with my name over the door it means I can’t let up on this! This has it’s positive and negative implications, but we feel it adds an extra stamp of integrity. As a brand we pride ourselves on being open and honest about everything we do – and this is a part of that.
YOUR INSPIRATION SEEM TO COME FROM MANY, MANY THINGS. DO YOU EVER LOOK AT PAST JEWELRY ARTISTS, SUCH AS DEPRÈS, RENÉ BOIVIN OR MORE RECENTLY JEAN DIN VANH, AS A SOURCE OF INSPIRATION?
It is difficult when it comes to looking into the past for inspiration, there is a fine line between being inspired and repeating what has already been done. I do look at past jewellery artists however – as much for business inspiration as for style. My favourite era has to be the Art Deco period – the creativity and craftsmanship during this time is unmatched to me! What I find most inspirational is that jewellery artists at this time were not afraid to push boundaries – with design and with materials. Top of my list of favourites are Suzanne Belperron, Boivin for sure, Jean Fouquet and Maison Fouquet.
DO YOU THINK IT IS STILL POSSIBLE TO CREATE?
Absolutely! Or I wouldn’t be doing what I do! I suppose it becomes harder and harder to create something new, but that is what makes designing so fun. I think there is always room to develop, improve and push things forward either through design, craftsmanship, technology or all of the above!
THERE ARE MANY TRIANGLES IN YOUR CREATION: ANY REASONS?
Hard to explain this one! I am attracted to the shape for it’s strength and power, and also for it’s historical significance across many cultures. The triangle talks to me for some reason – and I can’t always escape that!
I guess everybody has their own definition of luxury – it is a word that is bandied around far too regularly (in my opinion) in marketing speak these days. I believe luxury jewellery is made up of a number of ingredients: the quality of craftsmanship is vital. For us this means making every piece by hand in our workshop and using the finest British craftsmen in London’s Hatton Garden. The design is as much a part of this craftsmanship and should be unique and forward-thinking. For a jewel to be classed as luxury I also believe it should not be mass produced – luxury is not something that you should see being worn by half your friends! I also believe luxury needs to have a timeless quality – once a piece is bought and worn, it begins it’s own history. We don’t launch things to a season – all our pieces are designed to be passed down through the generations and live a life of their own.
YOU HAVE A BRAND IN YOUR OWN NAME. UNLIKE FASHION HOUSES LIKE DIOR OR VUITTON THAT PROMOTE THEIR JEWELRY DESIGNER, MOST OF THE CREATIVE FORCES BEHIND CARTIER, BOUCHERON, VAN CLEEF ETC... REMAIN UNKNOWN. IS SIGNING JEWELRY WITH A NAME A SEAL OF CREATIVITY?
YOUR INSPIRATION SEEM TO COME FROM MANY, MANY THINGS. DO YOU EVER LOOK AT PAST JEWELRY ARTISTS, SUCH AS DEPRÈS, RENÉ BOIVIN OR MORE RECENTLY JEAN DIN VANH, AS A SOURCE OF INSPIRATION?
It is difficult when it comes to looking into the past for inspiration, there is a fine line between being inspired and repeating what has already been done. I do look at past jewellery artists however – as much for business inspiration as for style. My favourite era has to be the Art Deco period – the creativity and craftsmanship during this time is unmatched to me! What I find most inspirational is that jewellery artists at this time were not afraid to push boundaries – with design and with materials. Top of my list of favourites are Suzanne Belperron, Boivin for sure, Jean Fouquet and Maison Fouquet.
DO YOU THINK IT IS STILL POSSIBLE TO CREATE?
Absolutely! Or I wouldn’t be doing what I do! I suppose it becomes harder and harder to create something new, but that is what makes designing so fun. I think there is always room to develop, improve and push things forward either through design, craftsmanship, technology or all of the above!
Hard to explain this one! I am attracted to the shape for it’s strength and power, and also for it’s historical significance across many cultures. The triangle talks to me for some reason – and I can’t always escape that!
HOW DID THE TRANSITION GO BETWEEN BEING A SMALL, CREATIVE DESIGNER TO THE
HEAD OF AN ORGANIZED (OR IN THE PROCESS OF BEING ORGANIZED) COMPANY?
It has been a long and organic process (that still goes on). I never wanted to be a ‘designer-maker’ or somebody sitting alone in a studio making my own work and hoping somebody would find me! I have a long standing relationship with my business partner Nathan Morse – we met very early on in the business and he has been an integral part of making it grow into what it is today.
Our visions for the brand are limitless! And for us, there is always more to be done, and more ways in which we can grow. Developing a business is a creative process in itself with many highs and lows but it is something that both Nathan and myself are incredibly passionate about and find exciting
.
To answer the question more specifically, the transition has been good – and will continue to get better!
