BESPOKE JEWELLERY Archives

Last month I shared my interview with award-winning jewellery designer Shaun Leane. The Londoner’s collaborations with fashion designer Alexander McQueen set the tone for his evocative work that blurs the boundaries between jewellery, fashion and art.

The opportunity for that interview came about through a mutual friend, André Marais (pictured, below). Their relationship started out as a professional one and over the last 20 years has evolved into a deep friendship.

André probably has one of the biggest private men’s collections of Shaun Leane jewellery. Below, in his own words, he shares some of his favourite pieces and why they have such special meaning for him.

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I met Shaun Leane in 2001 when I was a member of the De Beers rough diamond sales team in South Africa and the De Beers Shining Light Awards and its empowerment initiative fell under my wing.

Alexander McQueen and Shaun’s fashion / jewellery collaboration was well under way when I asked a London colleague to introduce me to an edgy designer who could inspire aspirant jewellery designers in Southern Africa. To me, it seemed we had to look further afield to break the logjam of thinking local and to rather have the world as one’s horizon. With Shaun’s contribution to our design competition secured, the seeds were sown for an extraordinary 20-year friendship.

YOUR TREAT: Shaun and André at The Beaumont hotel in Mayfair, London.

It must be the greatest gift when one meets a kindred spirit with whom one shares a rhythm in one’s heart, soul and life aesthetic. In my case, to take it further, to a love of Shaun’s fine jewellery and everything it stands for: fierce, tribal, sometimes dangerous, yet pure, uncompromising, with an underlying thread of love, protection and beauty.

“It must be the greatest gift when one meets a kindred spirit with whom one shares a rhythm in one’s heart, soul and life aesthetic.”

It has been inspirational to see Shaun grow as a creator of exceptionally beautiful adornments and to see his growing success on the world stage.

Just think of the Sotheby’s auction of the McQueen collaboration pieces in New York in December 2017. And closer to home, in London, where Shaun has had designs displayed simultaneously in three different divisions of the V&A Museum: jewellery, design and architecture – the rarest feat.

A big connect is our shared space of Shaun always distilling the emotion and meaning of every piece that he designs. It’s amazing that he continues to achieve this within a broad commercial range which, on many levels, has been a diffusion of the McQueen catwalk pieces famously launched in London and Paris.

The appeal for me is that we can go to the dark and vulnerable places in our heart and draw out the symbols of adornment which resonate so strongly within ourselves. In this regard Shaun has created a bespoke 1.5 carat heart-shaped diamond piece for me called “Embrace My Shadow”, but that’s a discussion for another day.

With exquisite black diamond pavé work in white gold, this skull diffused from one of the McQueen catwalk pieces just draws me in. Featured here on the griffin statue, named Rose, at my front door. The toenails were painted by my sister Renée on one of her visits from London. My love of rituals – another story there.

There are days when you just must stack – love the lustre of silver.

Going through a heart stage – connects with my favourite word in the English language: LOVE. A ring in yellow gold with red enamel on the surface done the Shaun Leane way, with thorns around the heart for protection.

Iconic Shaun Leane jewellery: interlocking white and black diamond and gold rings, shown here on a page from the magazine for the fifth De Beers Shining Light Awards 2002 / 2003, which I had asked him to judge. Even in those early days Shaun’s visionary and passionate design aesthetic blew the students away as we travelled around South Africa inspiring aspirant designers.

My De Beers 25-year service award, a gold and diamonds earring, was converted by Shaun into a lapel pin. Diamonds, created before dinosaurs roamed this earth, have dominated my grown-up life.

Shaun understands me so well and captures the essence of who I am with this bespoke Forevermark (De Beers Trust Mark) stud in platinum. The Forevermark (FM) was originally designed to represent the romance and brilliance of a star in the South African night sky, while also mirroring the outline of a diamond. It is one of two diamonds that were cut and polished in the FM shape and only two where the shape is called “Forevermark”. Here, the stud rests on one of my favourite sculptures with the inscription: “Holding one’s other self”.

This trio in gold and diamonds symbolises who I aspire to be: the most beautifully executed cross for spirituality, the horn for edginess and amo ut invenio (Latin for “I love you for who you are” – how can it be otherwise) pendant. “Amo ut invenio” carved on a bench in my kitchen on one of Shaun’s first visits to South Africa – a powerful statement and core to my vision for my home, a haven for me and those close to me.

My all-time favourite concept of Shaun’s done for Valentine’s Day many years ago – Hook My Heart pendant, here in silver and red topaz . Whose heart wouldn’t melt with such a gift?! “HMH” and “SL” carved by Shaun on one of my kitchen benches.

For those edgy Joburg parties, a leather cuff with a sabre in gold and diamonds to fiercely grip the leather in place.

For more information on Shaun Leane jewellery, visit his company website.

Image: Edwin S Freyer.

I normally focus on fragrance in this blog, but when I got the opportunity to interview jewellery designer Shaun Leane via a mutual friend, how could I say no.

The Londoner first made his mark in the 1990s in spectacular style with his unforgettable pieces for Alexander McQueen’s visionary fashion collections, including Highland Rape, The Hunger, Untitled and The Overlook.

Image: Edwin S Freyer.

At the time, I was captivated by the visceral drama of these pieces in brass, silver and stainless steel, although I didn’t know about the person behind the creative and technical brilliance.

HIGH IMPACT: Shaun Leane’s works for Alexander McQueen pushed him beyond the realms of his training in goldsmithery. Images: Ann Ray.

Since then, the 51-year-old’s gone on to produce an oeuvre that’s unmistakably Shaun Leane, blurring the boundaries between jewellery, fashion and art. Founded in 1999, his eponymous company offers fine jewellery, engagement rings and bespoke services, among others. His clients have included Boucheron, De Beers, Asprey, Swarovski, Kate Moss and Sarah Jessica Parker.

PRICKLY PERFECTION: A bespoke Shaun Leane thistle brooch from 2006. Alexander McQueen commissioned a pair, one for him and the other for Sarah Jessica Parker, who accompanied him to the Met Gala.

The beauty of his work is best said by one of his clients, Daphne Guinness, on shaunleane.com: “Genius lies in his work’s paradox: at once tenacious and bold and technically intricate. There is beauty in the balance: that struck between alpha and omega, tribalism and sleek modernity. It seems born of and outside of time, simultaneously conjuring fairy tales and science fiction.”

Not bad for a boy who dropped out of school to learn jewellery design in a youth training scheme and then pursued a seven-year apprenticeship to become a classically trained goldsmith (with a focus on restoring Victorian jewellery).

LABOUR OF GLOVE: Shaun Leane took four years to create the white gold evening glove, Contra Mundum, for Daphne Guinness. It features 4 290 diamonds. Image: Nick Knight.

Congrats on your business anniversary last year. That’s a remarkable achievement. To commemorate this, a book was published, which is a huge undertaking in itself. How did that come about?

The book was a celebration of 21 years of the House of Shaun Leane, it was my 50th birthday last year and also the 10th anniversary of the death of my dear friend, the late Alexander McQueen. These pivotal moments made me want to reflect on the beauty of the different facets of my career that shaped and helped me evolve to be the designer, craftsman and house we are today.

The book is a real demonstration of what can be achieved if the fear of the impossible is removed. It’s a visual journey of how I embraced my goldsmith training and skills and used that as a tool to push boundaries in the concept of jewellery design, whether that be in classical jewellery, fashion or architecture. I created a style and identity which I am proud to say I have carried through to this day and have adapted to the times we are in.

Over the years it has been incredibly flattering to speak with students who now reference my work. It fills me with pride to think that this book could become part of a blossoming new jeweller’s collection and inspire and provoke them, as much as I am by the beautiful books in my own library.

SCULPTURAL STATEMENTS: New works, all available on shaunleane.com.

How has the coronavirus situation affected business?

The advantage is that we are a multi-faceted company and have various channels ranging from retail and wholesale to online and bespoke. With the pandemic, retail and wholesale have been challenged, but online and bespoke are thriving, as in a time of uncertainty, people want to invest, financially and emotionally, in meaningful and sentimental jewellery.

BEAUTIFUL BUG: A bespoke Shaun Leane beetle brooch.

You’ve won the UK Jewellery Designer of the Year award four times. Does that come with its own pressure and expectations?

It is extremely rewarding and reflective. It shows me how grateful I am that I stayed true to my vision and aesthetic, and that I have a great team who also share the same vision. I have always had a passion, believed in the work I do and persisted with integrity. Receiving these awards make me proud of what my team and I have created over the last 20 years.

“These current times are allowing me to have space without noise – to focus on projects I have wanted to tap into for a while.”

What can we expect creatively from you this year?

These current times are allowing me to have space without noise – to focus on projects and collections I have wanted to tap into for a while, which will be revealed soon.

You’ve created many high-profile pieces over the years, which are great for publicity. But a boy still needs to pay his bills. How do you balance the more commercial side of the business with the more creative side?

When I first approached creating collections in 1997, I wanted to fuse the traditional goldsmithing skills I had learned in the previous 10 years with the energy and aesthetic of modern jewellery I was creating for Alexander McQueen. The works I created for McQueen on the runway portrayed a new woman, a new energy in jewellery which reflected the persona and confidence of an individual. I wanted to translate that same design and energy into pieces that were more accessible to be worn away from the runway.

ANIMAL INSTINCT: Shaun Leane’s Tusk Earring for Alexander McQueen’s spring/summer 1996 show The Hunger.

The theme of protection and contrasts between fragility and strength are common themes in your work. Do you still feel the need for armour of some sort?

My work demonstrates femininity and delicacy, and the energy of armour is to portray strength and protection. As we humans have many facets, I like my work to portray all our emotions.

Tell us more about your South African connection and how the country has influenced your work.

I have always celebrated the light, space and energy of Africa. I’m fascinated by different cultures and societies around the world and take great pleasure in having been able to highlight and celebrate so many techniques and aesthetics in my work.

SOUTH AFRICAN INSPIRATION: Shaun Leane used the porcupine quills that he found on a trip to the country in 1996 to create these earrings for Alexander McQueen’s spring/summer 2003 show. Image: Ann Ray.

Creativity is one thing. Running a business is another. Has the latter come easily to you?

When you are a young designer full of passion and drive, you want to create and create! Your business knowledge develops and is driven by the passion to execute your vision. So, for me, learning the business was a necessity and, fortunately, felt natural to me. There is creativity in all skills and running a business is one of them.

“There is creativity in all skills and running a business is one of them. “

What do you miss most about working and your friendship with Alexander McQueen?

Not only do I miss the adventure with my closest friend and all the fun that comes with that, but I also miss the passion, excitement and pure drive. I miss the camaraderie of two London boys who had a voice together to inspire and provoke. The platform McQueen had was one of creative freedom and a stage to have a strong free voice. It is an energy I still carry with me and feed into every piece of jewellery I make today.

CREATIVE ENERGY: Shaun Leane with Alexander McQueen. Image: Ann Ray.

In 2017, a Sotheby’s auction featured 46 of your bespoke works created for, among others, Isabella Blow, McQueen and Sarah Jessica Parker. Was it easy to “let go” of these pieces?

Yes, it was time for the pieces to be seen and shared, and to inspire and provoke new rising jewellery and fashion designers. My vision was for these pieces to be shown in museums all over the world to continue the energy Lee [Alexander McQueen] and I created, not to collect dust in an archive storage room. The pieces are celebrated in some of the world’s most prestigious museums such as the Metropolitan Museum of Art and the Fashion Institute of Technology in New York and the V&A in London.

FASHION MEETS JEWELLERY: The Coiled Corset for Alexander McQueen’s The Overlook show sold for $807 000 at the auction. Image: Ann Ray.

You designed Princess Beatrice’s engagement and wedding rings. That must have come with all sorts of protocols working with the british royal family…

I have worked with royalty and celebrities for many years, so privacy and protocols come to me naturally. Bespoke projects should always be experienced under a blanket of privacy and mystery and then a beautiful unveil. Working with Beatrice and Edo [her husband] was like working with any other couple who are in love and excited for what’s to come. It was a complete joy to be able to be part of their memorable occasion.

As a perfume blogger, I was fascinated to read in the book that fragrance has also played a role in your life, from emptying your mother’s favourites as a child. Is that still the case?

What I love about jewellery is these fine precious sculptures hold memories and emotions throughout our lives – they touch one of our deepest senses. Fragrance also holds this beautiful connection for us. In a second, a scent can fill your mind with memories and associations of a place, person or time.

For more info on the book Shaun Leane (ACC Art Books), visit his company’s website.

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Shaun Leane Jewellery: A Collector Gets Personal

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Shaun Leane Interview: “I Like My Work To Portray All Our Emotions”

Congrats on your business anniversary last year. That’s a remarkable achievement. To commemorate this, a book was published, which is a huge undertaking in itself. How did that come about?

How has the coronavirus situation affected business?

You’ve won the UK Jewellery Designer of the Year award four times. Does that come with its own pressure and expectations?

What can we expect creatively from you this year?

You’ve created many high-profile pieces over the years, which are great for publicity. But a boy still needs to pay his bills. How do you balance the more commercial side of the business with the more creative side?

The theme of protection and contrasts between fragility and strength are common themes in your work. Do you still feel the need for armour of some sort?

Tell us more about your South African connection and how the country has influenced your work.

Creativity is one thing. Running a business is another. Has the latter come easily to you?

What do you miss most about working and your friendship with Alexander McQueen?

In 2017, a Sotheby’s auction featured 46 of your bespoke works created for, among others, Isabella Blow, McQueen and Sarah Jessica Parker. Was it easy to “let go” of these pieces?

You designed Princess Beatrice’s engagement and wedding rings. That must have come with all sorts of protocols working with the british royal family…

As a perfume blogger, I was fascinated to read in the book that fragrance has also played a role in your life, from emptying your mother’s favourites as a child. Is that still the case?

Like this:

MORE THAN A COLLECTION

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Congrats on your business anniversary last year. That’s a remarkable achievement. To commemorate this, a book was published, which is a huge undertaking in itself. How did that come about?

How has the coronavirus situation affected business?

You’ve won the UK Jewellery Designer of the Year award four times. Does that come with its own pressure and expectations?

What can we expect creatively from you this year?

You’ve created many high-profile pieces over the years, which are great for publicity. But a boy still needs to pay his bills. How do you balance the more commercial side of the business with the more creative side?

The theme of protection and contrasts between fragility and strength are common themes in your work. Do you still feel the need for armour of some sort?

Tell us more about your South African connection and how the country has influenced your work.

Creativity is one thing. Running a business is another. Has the latter come easily to you?

What do you miss most about working and your friendship with Alexander McQueen?

In 2017, a Sotheby’s auction featured 46 of your bespoke works created for, among others, Isabella Blow, McQueen and Sarah Jessica Parker. Was it easy to “let go” of these pieces?

You designed Princess Beatrice’s engagement and wedding rings. That must have come with all sorts of protocols working with the british royal family…

As a perfume blogger, I was fascinated to read in the book that fragrance has also played a role in your life, from emptying your mother’s favourites as a child. Is that still the case?

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