Spot the Designer - Alexandra Vlad/ Romania
What did you want to be when you were a child?
I wanted to be everything: teacher, doctor, explorer, queen. All. I think I am on my way.
When have you started creating jewelry? How did this passion come about?
In 2021 I went to the first class – a Basic 1 with Assamblage. It’s strange how it didn’t feel like something new. It just felt right so I continued. I guess I was always a jewelry designer, I just never went to a class before.
What was your first project or significant piece for you and from what point of view?
On my own, a very simple yet very significant project ever was a ring I made for my mom for her 60th birthday. It’s a ring with 3 red garnets representing her, myself and my sister.
How do you charge your batteries? What other passions and creative interests do you have?
I write, breathe, move and reconnect with myself whenever I’ve dealt too much with the outside world. And nature, always.
What does the connection between manufacturing tradition and contemporary design mean to you?
It’s indeed interesting that what used to be done in a certain way for reasons related to limitations at a certain time in history, now is an option, along with other, more modern ways of producing something. I think the availability of modern and traditional options frees the designer to be able to choose and experiment, to get closer and closer to the idea that he wishes to bring forward with his craft. If by manufacturing tradition we refer to the artisanal or handcrafted aspect, I think this gives contemporary designs the uniqueness, the exclusivity meaning the intimacy between the product, the designer and the viewer, or, in our case, the wearer of the jewelry piece. No matter how much technology we have and use, we still need the human touch, literally, to feel there is life beyond an idea, and that the purpose is not perfect material production but imperfect, one-of-a-kind items that are perfectly reflecting the idea of us, humans being a part of the design.
Is there a self-portrait piece that speaks most about you?
There will be soon, in ROJW, it is still work in progress. It is one of the main pieces, I call it jokingly the Medusa Head. It’s a ring that stretches and reaches out and above and is shaped from ground-up but also from outside in. It has a strong base and deep roots. Still, what stands out is what is most outwards, the endings that shine. But this outward reaching extremities come from somewhere and I think we’re all like that. But I am be curious on what the visitors will make out of this piece.
Which material have you not yet used is a temptation and a challenge for you?
Wood, definitely. I love it’s texture and the POT collection in ROJW comes from a forest context. This is why, along the acorn symbol you will see also woody/bark texture. I think in the future I will like to integrate wood in my pieces if only for the texture and the warmth of it.
How was the pandemic period for you as a jewelry designer?
The Pandemic was the right context for me to start jewelry classes. So I would say it was the best of times from this point of view, it gave me a push and now, here I am.
How do you see the future of contemporary jewelry?
I am one of the people who is really happy that we will be using technology more for day to day activities. I hope that this will free our time and we will be able to start creating more just for the joy of creating, first of all. In this context I think jewelry will flourish and as we get more interconnected culturally, I hope to see more and more perspectives globally, from stories to inspiration and materials. The challenges that we will face will be a creative force for designers in all aspects of the process and I think that art will always play the role of inspiring and moving people forward. So, jewelry will probably contribute to this purpose also, even more than previously in history.
Find more about the designer Alexandra Vlad