Amazing creatives from Marangoni Institute of Milan are the minds behind the last lookbook.
TheseTeam really surprised me in understanding the brand and communicating all the values it stands for.
c r e a t i v e d i r e c t i o n & s t y l i n g b y francesca martorelli & rafaela rusca
p h o t o g r a p h y b y arianna airoldi
m a k e - u p a n d h a i r b y chiara nuzzo
m o d e l : nasta @mp management
What is design intelligence? Brain Waves, the exhibition held at the Lethaby Gallery from 17th September to 29th October 2016, highlights it.
A number of 10000 visitors in one month, the coverage on magazines during the London Design Week and the proximity with Designs Junction are evidences of a concrete success.
In response to traditional Cameos production, Giada’s project explores the potential of wasted materials, offering an uncommon possibilty to innovate jewellery techniques.
Counting on the support and the collaboration of the University of Maine and Cameo Italiano, Giada integrates byproducts with new flexible approach.
You can have a look at the catalogue HERE.
Challenging the traditional art and design production with exploration and innovation: this is the basic idea all the projects presented in Degree Show Two originate from.
Promoted by the Central Saint Martin and held from 22nd to 26th June 2016, the event introduces seven inter-disciplinary programmes, each one showing off some leading projects: clearly, the Jewellery and Textiles section could not deny Per Inciso its importance in the sector.
CSM News presents the long material journey, insisting on the need of the Cameo industry to find a solution to the lack of contemporary cameo design and the danger, unique Italian-based techniques are going through.
The creation of a process you can colour wasted mussel shells with, and the following discovery of a flexible resin you can incorporate it within, has been the breakthrough Giachino has landed to.
Per Inciso provokes you to meditate that whatever the idea or the material is, you can display your project to the world: the value is not the final outcome, but the process itself.
The story behind PER INCISO is related to the ambitious project of incorporating innovation and sustainability with an aesthetics drawing its inspiration from the Italian coral jewellery of Torre del Greco.
In the field of jewellery production that sees coral as an endangered species you can no more rely on, giving an afterlife to wasted lobster and mussel shells represents a way to blend artisanal methods with sustainable materials.
The designer Giada has come up with a material that shares the same features as coral and can be potentially extended to wider applications.
To know more about the off-stage and the future steps and goals of PER INCISO career journey, visit YourStoree website.
Spring is coming and you are asked to disclose all your personality!
Wondering how to do it? You have no better chances than mixing together exuberant garments and colours with jewellery pieces by Giachino's Per Inciso.
A simple and minimal skirt or t-shirt automatically gets stylish if you wear it with unique pieces!
Per Inciso necklaces and bracelets that appear sculpted, at first sight, can actually be worn easily, if matched in the right way, to create an unusual and- at the same time – polished style: flattering every type of figure, these outfits have lots of possibilities to become this season must-have!
To give the impression of a lively and strong woman there's nothing easier than incorporating the pieces you already have in your wardrobe with the items of Per Inciso online shop.
Word by Lorenza Milanesi
The outstanding innovation Per Inciso proposes wasn’t meant to be merely stuck into the design market!
Giachino wants to broaden her horizons and that’s why her collection has been featured in Rion Magazine new issue,
despite typically being a male fashion editorial.
Thanks to the support of internationally esteemed professionals, such as the fashion stylist Sybille Speck and the commercial photographer JC Candaneo, Per Inciso unique items will gain worldwide resonance.
Sculpted and elegant at the same time, the pieces are worn by Kojo Hammond and masterfully highlighted by a minimalist outfit.
Per Inciso is getting international: who knows which editorial will be the next one to report it.
Words by Lorena Milanesi
Totally dedicated to Made in Italy, Luxxdesign exalts the Italian savoir faire in talented designers’ collections.
Per inciso shouts out that “innovative materials can reframe […] the contemporary jewellery market”: the collection plays with the ambiguity behind the understanding of precious and value. Can discarded material be considered valuable when re-shaped with artisanal skills?
Applying a design method to sustainable issues leads to one-of- kind outcomes.
In a context where design struggles to deal with tradition, lobsters, mussels and shells by-products
are upcycled and put under the lens of cameo jewellery techniques.
Even the most unconventional project becomes possible if it gets the right aid: the student-run organisation MadeInArtsLondon supports and promotes emerging talents, promoting their
marketing in the art environment.
Per Inciso has been proudly selected for this project that will run for and the whole collection can be bought at Made in Arts
Such innovative project could not pass unnoticed: the jewellery blog Jewelleryscape features Per Inciso, insisting on the essential and initial questions the jewellery collection takes its first steps from.
Reinventing the contemporary cameo jewellery throughout a new language and material is the appropriate answer for the sceptics who wonders if traditional production can be reframed.
Giada Giachino sees beyond the traditional use of lobsters and mussels: if once they were merely exploited for the fishing industry, now they offer an unusual possibility to think about byproducts as an icon for a sustainable jewellery industry, opening a path nobody had ever walked upon before.
by Lorenza Milanesi @lorenzamilanesi email@example.com
The innovative use of materials Per Inciso is the leader of could not remain confined at the jewellery field: Giachino is
proud to announce her collaboration with the emerging fashion designer Krasimira Stoyneva.
Associated with Stoyneva’s synthetic hair and bold print based items of clothing, Giachino’s collection of unique pieces
will have its time in the spotlight during the presentation of new collections in a runway, featured by Ones to watch.
Playing a major role in raising the profile of emerging talents throughout the participation at fashion and design-related events such as London Fashion Week, Ones to watch is going to be the launch pad for Giachino’s and Stoyneva’s collaboration: once joined together, their pieces won’t be missing on the catwalk!
When two talented minds are connected, there’s no doubt the outcome is something unique, challenging and rewriting traditional limitations and possibilities of clothing with style.
Here's the amazing TEAM who shoot the lookbook:
UK Modelling Agency:: @nevsmodels
Finland Modelling Agency:: @paparazzimodelmanagement
words by Lorenza MIlanesi
THE LUXURY OF BARE ESSENTIALS: GIADA GIACHINO’S UNIQUE JEWELLERY METHOD
MA Jewellery graduate Giada Giachino discovered a way to create jewellery out of discarded lobster shells.
April 10, 2017
Jewellery is too large a word. It can refer to commercial trinkets and gold-plated name tags as much as three-dimensional body sculptures and ground-breaking material research. Central Saint Martins graduate Giada Giachino briefly flirted with the first but went resolutely for the latter. As an MA student, she started experimenting with shellfish material and has developed a technique to re-use lobster shell in jewellery. Sustainable and highly innovative, Giada’s research might never be sold in souvenir shops, but it is bound to change the way we perceive the discipline.
What kind of projects have you been working on since you graduated from the MA in Jewellery Design at Central Saint Martins?
I had my final collection, and then I started to destroy it to make something new. In the beginning, my collection consisted of three separate sections: one part was made with shell lips, another part with lobster powder and resin, and the other with mussel shells. In the beginning, I analysed everything. The collection was called PER INCISO, which means “to be engraved”, referring to the skills that artisans apply to cut the shell material. I took the shell parts and made a whole new collection.
I’ve also been working in partnership with the University of Maine. It’s more of a research project, about how we can take lobster shell – a byproduct of the food industry – and recontextualize it in design; starting with jewellery but expanding into the product and furniture design. There are currently no patents on this material, I am the only person who can generate 10 colours from the same lobster shell. It’s interesting because there is 10 million tonnes of shell waste each year, and besides agricultural and pharmaceutical purposes, no one really knows what to do with this material.
Why do you choose to use raw materials found in nature and how does that affect your work process?
When I start a collection I usually already have something in mind. I met an 180-year old coral company in the south of Italy and saw that something interesting was going on. I went to the company and asked them who the designer of the collection was, and they told me that there is no designer. Instead, each of the artisans proposes designs and they are collectively selected. I felt like that was a gap that could benefit from having a designer in place. I started doing a lot of research on the material, the history and the techniques that go into working with these shells and their uses in cameo carvings. The shells that I use are the same shells used in cameo carving, but only 60 – 70 percent of the material can be used for that, the rest is too hard and cannot be carved so they are discarded. I thought the discarded material was very beautiful and I wanted to work with it for my collection. I worked with the artisans and their skills to harvest and cut these shells so they could be used in my collection.
After I decide on the material and the technique, I go through an iteration process where I do hundred of drawings of different variations and then I narrow down the pieces I want to create.
I had the shells cut and the bezel settings were done, but then I realised that it doesn’t really work. The cameo carving has a tradition, it’s more descriptive than conceptual. So I refocused on the essence of this piece which was about taking an up-cycled material and treat it like a gem. From there I eliminated all the gratuitous elements so that what is left is the bare essentials. The result is a kind of raw looking bezel with two large pieces of shell connected with a silver thread. When you wear it you cannot even see the thread, the shell becomes a stand-alone object.
That’s the thing that people don’t understand, that this shell is the origin of the cameo work. There are often so many steps between the raw material and the final result, sometimes we don’t understand the value of the things we see. My process is really analysis, iteration, then refining the design to its essence, then making them.
How do you feel your work fits into the culture and system of the jewellery industry?
I think you can have two different points of view. Big companies like Cartier and Bvlgari are about material and heritage. Materials like precious metals and gemstones have value as a commodity, regardless of their design. This creates a kind of resource gap that supports the value of the companies. Some of the bezel work, for example, could not be accessed by other designers because they cannot get their hands on gold.
The second point of view is more open, where an independent designer can propose new materials and play with the perception of value. To do so, you have to create a narrative and build a context to support the objects. You can look at Dior as an example, it’s not just about their ability to create silver plated earrings and sell them for 300 pounds. It’s about the beauty of the artisans that create the pieces in a workshop outside Paris, the silver plating makes the object more accessible, or creates an additional narrative of sustainability in recycled silver.
If you go down Old Bond street and you take a piece from each store, at the end you will end up with a collection of pieces that look more or less the same, but the thing that sets them apart are the story and the processes that each brand attaches to these piece. That is where value is derived from. The same goes for my work. I have artisans in Italy who cut my shell for me and I know that they are the only ones in the world who can cut this material for me. So it becomes rare, like a YSL jacket that takes 1000 hours to embroider.
Can you elaborate on your development of the lobster powder?
My work on the lobster powder with the University of Maine started a year and a half ago. I was trying to look for a material that was an alternative to coral. Coral is a highly endangered marine invertebrate that grows in selective spots on the ocean floor. It takes ten years to grow one centimeter in the Mediterranean sea. It also grows in Taiwan, but it’s a different type of coral. The most valuable coral grows around Sicily, Sardinia, Naples, Spain and Algeria. I started looking for material alternatives. Coral is made up of calcium carbonate, so I was looking at other materials made with calcium carbonate that I could engrave and use in more or less the same way. Calcium carbonate is in basically everything, teeth, bones, every kind of shells, it’s in stones. I was completely lost. Then I met Margaret Pope – a materials consultant at CSM – and she told me about these researchers in Maine who made a golf ball out of lobster shell. I sent an email to the director in the biology department in the Lobster Institute. I told them I knew about this high end biodegradable golf ball that they had created for cruise ships and I asked them how they created it. Dr Robert Bayer from the institute became my mentor after four months of back and forth. Having someone outside of my field is really beneficial for my work, especially the scientific background that he provides.
After treating the lobster shell, the first powder I got was pink, and then I started looking for a binder to suspend the powder in. But after a tutorial I realized that this colour isn’t well suited for all skin tones. I went back to Naples and did a workshop. The story behind coral is really about the nature, the beautiful blue oceans, the blackness of Vesuvius.I started from there and developed new colors of lobster powder. The material is always the same, but it’s the process that creates the different colours.
Most of the lobster in this country is actually imported from Canada and the US. I source my lobster shells from restaurants around London. Most of the time I get the tail, the claws, the legs. I go back to the studio and clean the shells. The raw material has to be perfectly cleaned, perfectly dried and they need to be really fresh before they can be processed. I have to remove all the residual meat, skin and hair from the lobster. The shell retains a lot of water, and it’s very oily, so I have to leave it out to dry. At the beginning I was using a plaster dryer to speed up the process, but the carotenoids that makes the lobster shell red is very sensitive to heat from the dryer, resulting in powder with less intense colours.
The powder can be suspended in a binder, like resin, but the thing I’m trying to work out is how to create a building material without the binder. The golf ball created by the University of Maine was completed without using binders; instead using a technique that binds the material together with a high level of compression. The idea is that you can potentially use this material on its own as a building material, and after ten years you can put it back into the sea and it will be completely biodegradable, so it will disappear. It’s about figuring out the whole cycle of the product, not just about making it in your workshop and then selling it.
Words Lydia Chan Images Vicente Mateu
Per Inciso, the collection exhibited at Pulse 2017 is a selection of my 2016 Degree Show collection at Central Saint Martins.
Focusing on the traditional cameo jewellery production, Per Inciso (that means 'to be engraved') re-invent the aesthetics of this traditional technique through sustainability.
In fact, the pieces are made from by-products of the cameo production and are cut by the skilled artisans within workshops in Torre del Greco and Marcianise, in Naples, Italy. The Shells are then sent to Giada Giachino's studio in London, where are set in resin and sterling silver
The collection proposes an updated colour palette, in nude and brown, and more commercial models, as pendants, chokers and rings.
The aim of the presence of Per Inciso at Pulse 2017 is to target high-end and independent stores, looking for innovative, hand-made and unique jewellery pieces.
Giada Giachino has been awarded by Pulse as runner up for 'Best New Product- Fashion'.