The Biography of a Shawl Pin: The Making of the Runa Penannular Brooch, Part 1

For those of you who have purchased a JUL Designs shawl pin (and have read the information on the packaging), you know that most of them are “Handmade Fair Trade in Indonesia” in White Brass (the rest are made in the USA).  But what does this really mean?  In this first installment of a biography of a shawl pin I start to tell you, and more importantly, to show you by sharing with you videos and images I took during a month-long trip to Bali, which is the location in Indonesia where I have JUL knitwear and body jewelry designs made.

The objectives of this month-long trip in July were three-fold.  First, I had product-development goals to launch with Agus, my Balinese collaborator and a critical partner in the creation and production of JUL knitwear and body jewelry designs.

Agus
Agus Astradhi – co-designer and creative partner at JUL Designs
IMG_20180711_143428
Agus with metal flasks used for lost-wax casting

Second, I wanted to meet our new artisans, whom I had not yet met given that the last time I was in Indonesia was five years ago!  And third, I wanted to document the product development and production processes for you as I worked with my son and my creative partner and artisans.

IMG_20180711_141052
Julian (left) and Agus (center) recording the creation of waxes that will be made into metal shawl pins using the lost-wax casting process.

I want you to be able to see how many hands touch each piece you purchase.  And I want you to be able to see the relationships I have with my creative partners and artisans.  I speak the language(s).  I understand the culture. I have deep connections to the place going back over 20 years. I have dear friends and family there. I don’t just broker through a third party.

For JUL, Fair Trade is not a vague notion of doing business directly with producers.  For us, Fair Trade is specific. It means we are committed to people we care about. We have collaborative relationships with artisans we have been working with for years.  Having such long term working relationships means they understand our designs, which are mostly not conventional jewelry, and can work with us to develop creative solutions to the production and design challenges we encounter. Fair Trade means we know exactly how our products are produced, under what conditions and by whom. It means our artisans determine what we pay them for the products we ask them to make, based on how complex the designs are, how much time and effort each one takes, and what they need to support their families. Fair Trade for us is truly fair.

So how do I show you these relationships, these production processes?  We tracked production of one product – the Runa Penannular Brooch – from start to finish using photographs and videos.

This mosaic of images above gives you a sneak peek at what I will be describing to you in some depth over the next few posts.  In the upper left is the wax for the ring part of the Runa.  Upper right shows flasks of plaster molds for the Runa being vacuumed to remove air bubbles that can damage the casting. Lower left shows metal being heated to pour into one of those molds. Center shows raw Runa components after they have been cast. Lower right shows a Runa ring component being cleaned up and smoothed during the finishing process before the stick has been added and soldered in place.

This production process takes the Runa Penannular Brooch through twelve pairs of hands just to come into being, and ultimately to adorn your knitwear.

IMG_20170227_160326_796.jpg
The Runa Penannular Brooch after the two separate ring and stick components have been soldered together and the piece has been given its beautiful satin surface finish.

Next installment: From Wax to Raw Metal.

 

The Second Scarf

In my last post I told you about my knitting experiment.  I wanted to re-create my first scarf.  So I did.  It had its challenges like any new project and required me to develop new skills.  Being random, or at least appearing random, intentionally requires effort and control.  I developed a technique.  I got better at it.

In this image you can see the uneven quality of the knitting:img_20180609_102741_904

Not only did I vary my stitch length and tension.  I varied the number of stitches in the rows, adding and subtracting to create a varied profile. It was simple knitting. No purling.  No rib. This sort of knitting-every-row knitting can boring.  Instead, it was interesting and I started to to control the inconsistency. I know this goes against the stated project but I did want to achieve the look of the child-knitting I sought to re-create.

Then I styled it.  The first styling I did (and which I show you here) I have used before with a long rectangle.  I think I love this one in particular because it transforms the long rectangle so completely that it is often a revelation to the knitters I talk to.  There is a kind of knitting epiphany  that can happen on multiple levels.  First, that a plain old long rectangular scarf could take on such a dramatic shape.  And second, that my screw-in pedestal buttons and closures can take you out of the button box, so to speak. This one unique styling of a simple shape can lead to the realization that these styling tools can take any simple shape to a different level.  Simple shapes can become dramatic, sculptural shapes that show-off the knitting (why would you hide it after working so long) and show off you! 

To follow is a series of images of the first styling from different angles.  What can you do with your simple rectangles and a little JUL?  I would love to see your images on Instagram.

Tag @jul_designs / #juldesigns so I will see your images.

Use the coupon code FIRSTSCARF for 15% off pedestal buttons and the Cordoba Series closures.

Front:

front

Front right:

right front

Back:

 

back

Side back:

right side back

Don’t forget: I want to know what you can do with your simple rectangles and a little JUL?  I would love to see your images on Instagram.

Tag @jul_designs / #juldesigns so I will see what you are up to.

Use the coupon code FIRSTSCARF for 15% off pedestal buttons and the Cordoba Series closures.

More stylings coming soon . . .

 

 

 

First Knitting

I was seven when my mother taught me how to knit.  She learned from her aunt Elma. I don’t know exactly what the kinship arc was that connected my mother to Elma and made Elma my mother’s aunt and for this story it doesn’t matter.

I don’t remember the learning-to-knit part.  I remember the first project once it was done.  It was white wool, a short scarf, and very uneven and badly shaped in the way first knitting projects can be – wide at the start and loose, narrowing to the center and way too tight, then widening again as I tried to rectify the tightness in the center.  Some stitches were too big, others too small.  It didn’t look like my mother’s even knitting.

I gave it to my father as a gift.  It was soft and I guess I must have been proud enough to have made it that I could give it to my dad even though, when compared to fine knitting, it was clearly no good.

My father wore it.  That amazed me.  That he wore that no-good first-knitting little white neck warmer totally amazed me.  He would fold one side over the other to cover his neck.  The narrow part fit at the back of his neck.  The two wide ends came down to the top of his chest.  Then he’d put on his coat.  As I remember it, he wore it alot.  And even if that is a bit of hyperbole my amazement wrought, I’ll take it.

I decided to re-create that first scarf.  My motivation was simple enough.  I thought about how, if it is sufficiently inept, a first project can alienate one from trying again.  When we face real difficulty in achieving a goal of mastery, we may decide we are no good at it, are lacking in some fundamental talent that other people clearly have but which to us is inaccessible or elusive.  We hold our first-starting-out selves up against those with years of experience and find ourselves so lacking that we lose hope and lost interest.  The thing is no good.  It’s no use.  It’s unwearable.

The fact that my father wore that badly-knit scarf his little daughter made gave me the confidence to execute the next project, which was better.  Even if the scarf was unwearable to me, it was not unwearable to my father.

But I contend that an unwearable scarf -from the perspective of even tension and a consistent number of stitches – can become wearable if it is styled well.  The unintentional can be wrestled into submission to intention with the right approach and good tools. The first scarf can take us from ambivalent about the issue of our first efforts to more than proud: stylish.

This transformation is what I work for.  It’s my job.  I design and produce accessories. The justification for my work, my company, is my need, your need, for tools to turn handmade fabrics (knitted, crocheted, handwoven) and purchased garments into beautiful wearables that show the fabric off and make the wearer feel beautiful in addition to looking stylish.

My closures should make your life in fiber-wear easier.  I want the same things you want.  I want to look good without thinking about it too much.  I want to go about my days undistracted by difficulties with my clothes.  I don’t want my scarves falling off and catching in drawers when I bend over.  I don’t want my shawl to slide off one shoulder and require re-arranging many times a day.

I felt sure that I could take a first scarf, of the kind I made when I was 7 years old, from wonky to wonderful with a few screw-in closures.  So I cast on.

img_20180608_103939

It’s hard to return to a pre-control moment when you can’t achieve an even tension, have trouble discerning where a stitch begins and ends, and haven’t yet learned to purl. I got better at inconsistency and wonky as time went on.  Well, that’s not quite true.  Because I was working toward inconsistency, in a sense I became more consistent in my achievement of inconsistency.  Even naive execution contains the possibility of mastery.

img_20180618_153544_403

So I finished it. The end with the cast-on yarn trailing, is where I started.  The increase of stitches to make the scarf slightly wider was fairly subtle.  I wanted it to be more extreme.  My inconsistency in tension was not enough.  I pushed it harder.  By the time I finished, I felt I had begun to master the first scarf.  If I make another, I’ll do even better at bad knitting.

Now comes the interesting experiment – adorning the first scarf so it becomes an enviable style piece, a fabulous example of hand-knit art you might expect in a high-end chic boutique. This is my goal.

What is your first-knitting story? I would love to hear it.  You are welcome to tell me about it in a comment.

If you want to start growing your style toolkit, go to juldesigns.com

Check out my instagram @jul_designs to see how I have styled this Simulation and get 15% Off the Pedestal Buttons and screw-in closures in the Cordoba Series when you use coupon code FIRSTSCARF.

 

The Shinshoji Collection – First in the Silk Road Series – Part 1

The first time we visited the Shinshoji temple we only got a little taste of the rich ornament that has now become the inspiration for the Shinshoji Collection – JUL’s first collection of sterling silver jewelry.

My son and I first visited the Shinshoji temple in Narita, Japan almost 16 years ago when he was just five.  We were on our way back to the United States from Australia so I could defend my PhD dissertation and had a long layover in Japan.  The airline put us up in a hotel near the airport, close to which there just happens to be a very beautiful and old temple complex.  Rather than take what we were warned was an arduous and long train ride into Tokyo, we opted for the short trip into Narita and followed the route on the photocopied map. We walked from the little station down the old main street of the town to the entrance of the temple where a huge lantern hung over the gate.

It was raining that day but my intrepid son had (at 5!!) researched where the shuttle stopped in front of the hotel and learned we could borrow umbrellas for the day from the concierge.  If it had not been for his persistent game-for-anything personality we might have stayed in and had a very boring day.  But instead we went out and had a wonderful multi-course adventure.  Thankfully it was only our first encounter with the Shinshoji. The next time we went the weather was fine and we spent many hours investigating the temple’s old and new buildings and their magnificent metalwork, some of which you see on the roof-line of this amazing building below.

117_1723.JPG

When we visited the temple again some four years later, I focused my attention on this metalwork and took many photographs of the pierced and chased metal panels on railings, eves, lintels, and columns. I’ll tell you much more about that second visit in my next post as I have many more images and some videos from that visit which I would like to share with you.  Because of the rain on our first visit to the temple, and limited time to explore, I don’t have many photographs of our initial foray.  We didn’t get very far past the main gate and didn’t have any idea until later how extensive the complex is.  But our curiosities were aroused and so when we next had the opportunity on another day-long layover, we went straight to the temple, determined to spend as long as we liked there.

Building the Shinshoji Collection Out of Three Elements

My aesthetic meditation on the Shinshoji metalwork and its ornate botanical motifs, juxtaposed with simple profiles, became the three foundational components from which the Shinshoji Collection is compiled: the roughly 50 pieces of handmade, satin-finished sterling silver necklaces, earrings, bracelets, and pendants were created by combining these three architecture-derived shapes – Pierced Acanthus Lantern, Lotus Window, and Peony Door – in different combinations using silver chain and links of different sizes.

ornament earrings without beads.jpg

Above: Acanthus Earrings No. 2 – show the Pierced Acanthus Lantern component

necklace with flowers above.jpg

Above: Peony Necklace No. 2, in which the Peony Door is the weight at the bottom of the drop and the Lotus Windows form ornaments that fall at the collarbone and create the transition from the necklace to the drop.

The Shinshoji Collection is an Opportunity to Create a Personalized Ensemble

What we have sought to achieve by combining three components to create an expansive collection of silver and blackened silver pieces is a range of jewelry items that can be assembled into hundreds of individualized ensembles for a range of aesthetics.

Because the collection is so big, we have decided to release it in stages while the first production run is underway.  We know you will want to put together individualized ensembles.  That has been the whole point behind offering you such a range of different and related pieces.  But you will also not be able to select your whole ensemble right away.  You will have the delicious pleasure and deferred gratification of pulling together your total look slowly during our special pre-order period.

white metal collection on the brass tray no 1.jpg

Pre-Ordering Your Personal Ensemble

While we are the pre-order phase, during this first production run, we are offering two special opportunities to our retail customers.

  1. We will have free shipping on all the jewelry during the pre-order period so you will have no penalty buying your ensemble in stages.  It will ship as a single wonderful look when the jewelry arrives from Bali in about a month.
  2. Every time you make a jewelry purchase, you will be entered in a drawing for a free pair of earrings of your choice to be given away at the end of the pre-order period when all pre-orders ship.

With these opportunities in mind, we have two different proposals for how you can take advantage of the pre-order period to build your individualized look.

  1. Purchase the pieces you love as they appear.  Each purchase, remember, will enter you to win a free pair of earrings of your choice.
  2. Start a wishlist to keep your favorites together as you build your look. We will give you the heads-up a week before our inventory is ready to ship from Indonesia so you can purchase your ensemble(s) all at once and still qualify for the pre-order free-shipping offer and be entered in the drawing for a free pair of earrings.
  3. Start picking out what you love from our Stage I release right now at juldesigns.com.

117_1717.JPG

If you look closely at the metal work on this building, you can see the pierced designs of the Acanthus Lantern. In my next post, I will delve deeper into this metal work and how it inspired a series of metal pieces that I pictured in my Instagram quite some time ago now, and which have now become part of a broadly accessible jewelry collection, no longer consigned only to my private collection of handmade-for-myself pieces.

It is thrilling to be able to share, with you, shapes, that have so long rolled around in my mind’s eye.

Coming Soon . . .

Images and videos of my son’s and my second visit to the Shinshoji temple will accompany the release of Stage II of the Shinshoji Collection later this week.

The Silver Plate – My Favorite Product Photography Background

This plate, which you have seen over and over in my product photography, was a wedding present for my paternal grandparents and the initials are their last names joined: B&H – Bellows (grandfather Rowland) & Hammond (grandmother Emily). It is silver plate with the silver plating on the center of the dish obviously now gone.

I love the contrast in textures between the center and the edges, and I love the art nouveau design of the botanical elements and how they meander over the surface of the border.

It’s oval. I love that too. It is a treasure for me. I don’t know that it is valuable.  Probably it’s not as it’s not solid silver but plate with part of its plating gone.  But it is one of the things I have that I really love for its combination of refined elegance and rusticity from use.

It was well-loved before it ever came to me, obviously used many times. I really enjoy the evidence of the social lives of objects, their wear, their damage, their patinas and how these vestiges evoke particular pasts and unknowable moments of human interaction.

I find that really beautiful.

I don’t remember when this came to me.  I moved many times over the years and had things packed away in storage for a long time while I was living overseas in Indonesia, then in Australia.  Things stayed in storage while I lived in a small apartment before I bought my house.  It’s one of those things that I feel I discovered, uncovered, like some amazing artifact from an excavation of things lost and finally found.  This plate is one of those things that made me gasp when I unwrapped it and say – involuntarily in a whisper – I love this!  I want to feel that way about everything I have.  I want to feel that, even say it, every time I pick up the objects in my house, put the jewelry pieces on.

Objects can carry quiet, gorgeous, recollections that flit across the mind daily and almost unnoticed every time we touch them, see them, like the shadows of birds flying over us.

I have a colleague who started doing research on attics.  I can’t remember whether he extended his research to include (household) storage in general but I have always thought of the attic in his research to be a conceptual one as much as a (flexible) physical location. Don’t we all have our attics, even if they are only in our minds? This treasure-plate came out of some space-time-mind attic and is now part of an inspiration center in my creative life where the things I make each rest for awhile so I can show them to yo