When it comes to your design, has it changed over the last 30 years? It’s obvious that you have your own style, but it would still be interesting to hear from your own point of view.
Many of the pieces that I make today, I’ve made since the beginning. I introduced a lot of new things when I started out. At the time, when I did my first exhibition in Denmark, people only worked with white pearls, rubies, emeralds and a lot of white gold. No one would use colored tourmalines; they didn’t use beads; stones made like pearls with a whole in them so you could string them. No one used blue pearls. Then, I make this exhibition, with large pearls crosses, attached stones, granulations and S-locks. I’ve never purchased a pre-made lock. People here had never seen an S-lock. Everything was very different from what people were used to. And it sold out within two hours, and I had a lot of orders. I hired two assistants to help me. It was unconventional materials; antique cut diamonds bought at auctions. For many people, it was a new world.
Where does this innovative streak come from?
It was from the merge of techniques. I modernized it, so it wouldn’t look like something from a museum store.
Taking old techniques and modernizing. It’s about craftsmanship and design. How has the industry changed over the last 30 years?
When I opened my store, people were used to these very classic goldsmith stores. I wanted to build a universe that spoke to my pieces. It was meant to feel more like a gallery. Pretty much everything in here was custom-made for the store. I didn’t put price tags on my things. I had a lock and bell on the door. The wrapping was new. My jewellery didn’t come in these plastic boxes that people were used to. I wanted everything to be an experience. Today, everyone is doing it, it’s not a new thing anymore, but it was back then. I had a ribbon made out of cotton with my name on it, and people would keep it. They would put my postcards on their fridge. It was a universe.
That has been one of your major accomplishments, creating a universe.
Yes, and now it’s considered mainstream. But it wasn’t back then, not at all.
What’s the most essential to you in creating jewellery?
It’s always been very intuitive, and I’ve had a very organic way of working. With the more commercial collections, which I did a trilogy of, it was more specific. They were all inspired by different journeys. When I returned from my travels, I had to use it somehow. They are very specific and distinct and came at a different price point. Which was great and all. But then it became too specific. I have always dreamed about making the ideal chain. I decided that the time was now. That’s how the Flow-collection was born, with the chain as a starting point.