Studio Visit - Da Capo

The 'Studio Visits' are a monthly blog instalment. We're opening our doors to introduce you to the artists and designers in The Design Tower! Each interview will give you an insight into the individual designer or business.
This month we're chatting to Se O'Donoghue and lee Harding from Da Capo.

Who or what is Da Capo?

Da Capo is the name of our goldsmithing studio and is italian for "from the beginning".

We felt it neatly encapsulated our idea for our workshop when we were first starting out, in that we wanted to specialize in bespoke work and commissions.

So each customer is a fresh start on their particular piece.

 Embrace 1

And Who then is 'we' in Da Capo and how did you become Goldsmiths?

Myself Sé O'Donoghue and my colleague Lee Harding. We met on a Crafts Council jewellery skills course in the mid 90's run by the legendary and formidable Jane Huston.

It really gave us a solid grounding in hand skills and the craft of fine metalwork. The course at that stage was in its infancy but has over the last 15 to 20 years managed to forge a very strong reputation both at home and internationally, and places there are very sought after. It is quite intensive, but gives you everything you need from the start to go on and work at the very highest levels of the trade.

After this we both went on to work in Germany and Holland respectively, and then in Dublin before opening our own studio.

Embrace:3

How long are you in the Design Tower?

We opened our studio in October 2000, originally in studio 67 at first before later moving to 61 at the front of the building overlooking the canal basin.

The building is a very interesting design in itself, partly born out of innovative thinking for its day, and designed within the material limitations of it's day. It is so unusual to have vaulted brickwork on the upper floors of a building. We have to say that we love our studio for its aspect and nearly every visitor remarks on the view. It makes a nice added bonus and surprise for people visiting us.

 

Embrace 7

Why did you set up your own studio?

While we were both working for other businesses our jobs were focused purely on the making side and we missed the interaction with the customers.

For us the nuances that make a piece really stand out are the subtle details that come from making it "for" someone, so it is tailored to fit them, and detailed according to their particular taste.

What materials do you use?

We work mainly in Platinum, 18kt Yellow Gold and 18kt White Gold, with gemstones.
We also work quite a bit with Sterling Silver, and more recently Palladium and Titanium.

The gemstones we work with can be anything that the customer requests or has an interest in. Most people are looking for Diamonds, and in colours most people are looking for Sapphires and Rubies.

Recently there has been an increase in people looking at coloured diamonds. We try to work with interesting suppliers and gem-cutters, usually people who are small individual workshops on a similar scale to ourselves. This means you have a closer relationship to the raw material, where it has come from and how it has been fashioned from a rough crystal into a unique gem. These relationships also mean that we can work with some of our more unusual requests when we need something specifically cut to work to a bespoke design.

Yellow Gold Solitaire with Orange Diamond

Do people come to you already knowing what they want?

Sometimes yes and sometimes no. Some customers come in looking for a specific gem, maybe because it is their birthstone or a colour that they like. Then we are talking to them about the shape and style of cut that can work best along with a possible design and their budget.

Others start with an idea of a colour and we can suggest types of gems that will give them that range of colour. A lot of the time it isn't until we have shown a person through our portfolio and had the initial first conversation that an idea of colour, or materials and style starts to come together.

It is always a journey of discovery, each person is just starting from different points along the beginning of that line.

So what gems have you used recently that would be more unique or unusual?

In December we made a pair of wedding bands that had Orange Diamonds set into them. They were absolutely stunning stones and gorgeous rings to work on. Previous to that, we once had a 14ct Marquise-cut Aquamarine which was a particularly stunning stone, it had been really well cut and polished. When you have good ingredients then the design work to surround, hold and show off the gem can become a labour of love.

Other than those, at the moment we have a set of 3 baguette-cut Green Tourmalines in the studio which are particularly fine. Someday they'll go towards something special when they find their owner.

Apart from gemstones, what other pieces have you done recently or stand out in your memory?

 Little Black Ring LBR2

That is actually a difficult question, it's hard to choose. And no doubt we'd both have different highlights.

I love our Little Black Ring series for the simplicity of the idea of a wardrobe staple to accompany a Little Black Dress, and the Black&White works so well.

We made a pair of rings for a couple in London based on the theme of the sculpture of Barbara Hepworth which were a definite highlight of the last few years. Another would be a Sapphire and Diamond ring we made, for the contemporary nature of the shape. (See the Embrace 7 images above.)

Often what constitutes 'modern' or 'contemporary' design could have been originated as far back as Germany in the 1930's which if you think about it is getting to be a long time ago now. This shape really struck me as being current in terms of a jewelry shape at the start of a new century.

Embrace 3

And of course the Embrace:3 never fails to get attention and "wow's". It's a true Diva ring.

So what inspires you?

Personally we are both quite interested in design in general. We follow what is happening in fashion design, graphic design, jewelry and product design, and boutique companies making small scale production of interesting ideas. It is easy to get carried away with a current style or trend, or work to a personal taste and this can be great when you are making a line that then gets to it's audience through a process of wholesale and retailer distribution. With regard to our studio we feel that it is incumbent upon us to create the best piece for our customer.

So for us, working directly with the customer, we are interested in tailoring what is a fit for them. This requires that we put our own taste and ego to one side and listen more to the persons own story. While they are looking through our portfolio with us and talking about the work, they are constantly expressing tiny hints about what catches their eye, and most importantly what doesn't.

This gives you a sense of what will suit them, and lets you know a kind of envelope of where their comfort zone is. Some people are naturally more conservative, others more modern or contemporary in their taste. Some like more ornament and detail, while others like sparse cleanliness and crisp definition of a shape. Some people wear their jewelry quite demurely and privately, while others carry off quite bold statements and can really push the boundaries. It is our place to help articulate these elements and to guide the person through what we think would be of interest to them. Invariably once you get to the sketching and design stage, you are already well down a path towards discovering their piece, and that direction may be completely different with the next person.

Over the last 11 years I think that this approach has forced us to become better designers and improve our flexibility in creating objects. This is what we really love about how we work, and I think it is something that our customers enjoy. When they get their finished piece, it already has more importance and emotional value to them as they can feel that they have been an integral part of the creation of the object, and it quickly transcends the material value of the ingredients. And it is nice knowing that these future heirlooms are out there, gathering stories as they are worn.

How long does it take from the start of a commission to a finished piece?

We usually say that we have a 3 to 4 week lead time, and beyond that each job has it's own characteristics.

The design process prior to building can take usually 2 to 3 weeks, but we have had customers decide and make decisions on the first day while others have taken a couple of months to work out nuances and arrive at a final design. Once we get to the building stage it is usually fairly straightforward and gets completed within a month.
We have had customers where we have pulled out all the stops to get something done for a short deadline, but most people are quite happy to take the time to get something special right and would rather wait to find the right, suitable gem for instance and know that the finished piece is just what they wanted, rather than rush and regret it afterwards.

Where is your work available?

We work from our studio, primarily by appointment so we can be sure to have the time set aside to spend with people. We also have pieces for sale in DesignYard on Dublin's Nassau St. such as the Little Black Ring pieces and Ready-To-Wear engagement rings.

Can you tell us about the pieces you designed for the Wunderkammer Exhibition?

We were inspired by the collection of Tankas which are portable spiritual objects, and the visual stylistic of the Tibetan illustrations such as their mythical animals and landscapes.
We have always been interested in the Chinese representation of the Flaming Pearl of Wisdom, commonly shown falling through the sky being chased by a dragon.

On further research we discovered a tradition amongst Tibetans of carrying a "G'au" with them on their travels. This would be a very ornately carved and decorated box, or portable shrine, which would be carried on the hip with a very brightly coloured sash slung across the body and over the shoulder. This box would contain a spiritual relic to keep the traveller safe and assist in their devotions.

There was a nice synergy between these elements for us and a curious cross-over between the Chinese and Tibetan elements.

 

Image top and bottom left shows Lee carving and making the finished box or G'au. Images on the right show a Tibetan monk carrying a G'au.

So our piece was a dark grey Pearl surrounded by a flame of white Diamonds in 18kt White Gold, and a second ring of Rubies set in 18kt Yellow Gold in stylized Tibetan Clouds which sits over and surrounding the Pearl ring. So it is a Chinese symbol of pursuit of wisdom falling through a Tibetan sky. We also built a G'au out of hardwood with Silver fittings, with a bright yellow sash. Rather than the saturation of the traditional heavy and crowded ornamentation we liked the idea of the G'au having the traditional shape, but with a more contemporary interpretation of the decoration. So we took a singe element from the original Tankas and engraved a tree and leaves crossing the whole face of the box and overlapping onto the sides.

The box is hung on the wall and can be used to store the rings when they are not being worn, so even when they aren't in use they can still be enjoyed as an artwork.

Thanks for chatting to us, Se, and telling us about how yourself and Lee design and make your jewellery. For more information visit the Da Capo Website and blog.

This interview is part of a series called The Studio Visits. Next month we'll be meeting ceramic sculptor Ayelet Lalor.

Studio Visits - Aisling Nelson from Rangoli

How did you come to design jewellery and hair accessories?

I began my career studying graphic design, specialising in illustration. A six month trip to India and Nepal in 1994 inspired a career change. I was completely fascinated by the ornamentation and use of colour in even the most everyday objects. I've always loved pattern and colour so India blew all of my senses.

When I got back to Ireland, I enrolled in college for a two year craft design and business studies course. I specialised in jewellery and my graduation collection featured silver box frame pendants and brooches, with  Perspex, Japanese silks and beading.

Photo by White Tea

Photo by Stephanie Fay

While at college, I also did some work experience with a textile artist where I learned the techniques of crochet and weaving. I began combining these traditional techniques with modern jewellery skills to produce a range of fine textile jewellery. On leaving college, I set up my business Rangoli in 1998.

 Headpiece made from fine crochet, incorporating citrine and pearl beading

What materials do you work with?

I work with two different methods of construction. My crochet designs are made by combining up to five strands of metallic threads and incredibly fine enamelled wires. This mix allows for subtle colour variations. For example rose gold can be created by adding a magenta coloured wire to the selection of gold and silver threads. My other collections are made from intricate beaded wire-work where I can replicate some of the delicacy and pattern formations of crochet but with a stronger structure. I incorporate a wide range of semi-precious stones, pearls and crystals into the designs.

Photo, (right) by Nicola Webster

Who do you design for and what process is involved in designing bespoke pieces?

I specialise in designing bridal jewellery and hair accessories. All of my designs are made to order so I get to meet my clients in person. This is one of my favourite aspects of my job, discussing ideas, styles and occasions!

 Photographs by Bernard Carolan at Mark Griffin Photo

The first meeting usually involves an informal chat - I get to find out about the person's style as well as the dress they have chosen. I look at many elements such as the lines and structure of the dress, the embellishment or surface decoration as well as the overall style. Hairstyles also come into the equation! Some clients come in with a clear idea of what they want while others want me to design a special piece for them. I offer advice on styling the bride's look. Listening is an important skill in what I do.

Photo by Brendan Lyon

Where is your work available?

I make bespoke pieces to order and do not supply any other retail outlets. Having previously supplied a number of outlets around the country, I found that I missed out on the connection and valuable feedback that I get from my own customers. Not everyone is able to visit my showroom, so pieces can also be ordered online and designs discussed by phone and email.

Have you worked on any unusual commissions recently?

The headpiece below was for someone who had a very definite idea on the shape, materials and overall feel of the piece that she wanted. The dress was lace, with a vintage feel. The client also sent me a picture of a comb whose shape she really liked. For this design, I printed the image of this comb and cut it out so we could place the shape on her head. This probably sounds odd but it gave us both an excellent idea of the scale and outline shape of the proposed design! Below left, you can see how I have pinned on some small beaded shapes on top of the paper.

Once we were both happy with the scale and shape of the piece, I began working on detailed sketches of the intricate lace form. I then created many individual beaded elements which were finely woven together as the piece was being constructed. This design took many hours to make and was a fascinating new direction for me in terms of assembling a piece from a number of smaller forms.

What inspires you to design?

Pattern and colour are key things. I love delicacy and transparency and yet I am equally drawn to structure and linear forms. Fashion is a constant inspiration too from eighteenth Century to modern innovative couture. Travel to weird and wonderful places is another passion. This year we're off to Uzbekistan for an adventure along the old silk route!

What do you enjoy most about your job?

I really enjoy the interaction with clients and involving them in the design process. I love working for myself with the balance between client interaction and my design and making time. Most of my work comes from word of mouth referrals which is also very satisfying. And I am proud that I am now in my fourteenth year of business!

Can you tell us about the necklace you designed for the Wunderkammer exhibition?

The Wonderkammer Exhibition was a group show from designers in The Design Tower, inspired by the Albert Bender collection at the National Museum of Ireland.

Inspiration came in two forms! I loved the colour palette found in the Thangka paintings as well as the stylised swirly clouds. In these Buddhist paintings, the blue sky depicts the Buddha mind while the clouds convey the random, transitory thoughts that pass through the mind during meditation.

I enjoyed experimenting with a new material - fine coloured enamelled crochet ribbons. I discovered that I could distort these ribbons into undulating cloud shapes by crocheting along the upper edge of each strand. It is still the only piece that I have ever made that doesn't incorporate a single bead!

Thanks for chatting with us Aisling! You can read more 'Studio Visits' interviews from the series.

For more information on Rangoli, visit the website or the Rangoli Jewellery blog which showcases some of Aisling's recent bespoke commissions.

Studio Visit - Róisín Gartland

The 'Studio Visits' are a monthly blog instalment. We're opening our doors to introduce you to the artists and designers in The Design Tower! Each interview will give you an insight into the individual designer or business.

This month we're chatting to Róisín Gartland.

Can you tell us about your creative path up as far as your latest field of study?

My design practice opened in 1987 and has been located in The Design Tower since 1988. I am a leather specialist and my business concentrated on developing a low volume high quality range of products.

I created bespoke pieces for private clients from the outset, (which I continue to do) and when demand for my work grew, I developed a commercial range of clothing that sold throughout Ireland, the UK and Europe. I am commissioned regularly to make pieces for film & TV and also for special events and concerts.

While being an independent woman operating a small business in the late eighties to early nineties was challenging in itself, it did not feed my soul. I needed to find a way to express myself creatively outside the commercial world. In 1991 I began to explore fine art as a means to fulfill that purpose and discovered a perfect visual language ideally suited to my needs. Over the next decade I balanced studies in fine art with my design business and was rewarded with a BA in fine art in 2000.

The most difficult time came in the years following the BA. Attempts to stitch my two practices together were surprisingly unsuccessful. My business had become a demanding master allowing little space to grow. So in 2004 I took a leap of faith and closed the commercial side of the business. In breaking up the old framework new possibilities emerged and as a result the last seven years have been some of the most creative and rewarding of my career to date. I returned to study 2 years ago to concentrate on an MFA in sculpture at NCAD.

What inspires your design - are there people or things that particularly inspire you?

 Unité d'Habitation by Corbusier

I am continually drawn to pattern formations, be they in nature or in geometry.  In this regard I am inspired in equal measure by nature, the human body and by architecture. Paris is one of my favourite cities for creative stimulus and Italy for its abundance of beautiful materials. I also have moments in sleep where inspiration is awakened.

Tell us about the range of materials that you like to work with

The range of leathers available is enormous but over the years I have whittled the list down to Spanish lambskins, Japanese hides, Ethiopian lamb suede, and a small selection of special finished leathers. On the other side of my practice I really like working with clay and paper, both separately and together.

It would be great to hear about your master’s course - what your goals and aspirations were and whether you feel they were met.

Pattern formation on vellum

For the last 2 years I have been immersed in a research based MFA at NCAD. This space allowed me the freedom to explore new avenues and engage with new audiences. My goal was to develop the building blocks for my reconfigured practice and out of that I developed a method that enabled my research to weave in and out between internal and external enquiries so while I spent much time pondering issues in the studio an equal amount of time was spent developing work that required an audience to activate it. It was a very challenging and rewarding time that was equally balanced by holding on and letting go. I’m happy to say was it was successfully completed.

In relation to your studio, if you had a crystal ball what vision of the future would you like to see?

I would like to see my studio continually evolve allowing the unexpected to happen. I would like to continue to share my expertise and experience with the generations to come and I would like to move outside the studio on occasion to research abroad. Having just completed my first ‘Tower Summer School’ workshop I would also like to see these develop as regular events in the ‘Tower’ calendar.

Can you tell us about the piece you created for The Design Tower Bender Exhibition?

The concept was to create an image of beauty in a modern style while making reference to Benders collections of Japanese Ukiyo-e prints and antiquarian books.

The image brings together all these elements: the outfit is made entirely from Japanese materials and the collar and cuff highlight the prominent fan motif in Japanese prints. Finally the location is the Long Room Library with centuries of knowledge as the backdrop.

Thanks for telling us more about your business Róisín! For more information, visit the Róisín Gartland website.

Check out the other designer interviews in the series too!

Studio Visit - Seamus Gill, Silversmith and Jeweller

The 'Studio Visits' will be a monthly blog instalment. We're opening our doors to introduce you to the artists and designers in The Design Tower! Each interview will give you an insight into the individual designer or business.

This month we're chatting to Seamus Gill -  Silversmith and Jeweller

Can you tell us how long you have been here in the Design Tower and what you do?

I have had a studio in The Design Tower for nearly 20 years and I am a silversmith.

What does that entail?

As a silversmith, I normally buy silver from a bullion dealer that has been rolled out into flat sheets, similar to a flat sheet of paper, but with a thickness from 1 to 1.5mm. With a hand saw I can cut the shape I want out of the flat sheet , then I move the flat sheet of silver by hammering it into a three dimensional shape.

Is silver easy to shape?

Silver is extremely malleable and a great metal to work with. The sheet silver can be moved by stretching or compressing the metal.

Do you model it with your hands?

Oh no! It’s much too hard for that. All the stretching and compressing is done by using hammers to move the metal and a selection of anvils, which we call stakes, to support the metal.

Do you hammer the metal hot like a blacksmith?

No. Silver and non ferrous metals are generally worked cold. But you can only move the metal so far until it work hardens. I then heat it up with a gas torch until it is red hot to anneal the metal. That relives the stress in the metal and brings it back to a soft state so it can be worked further. In every piece I make it’s a continual process of working the metal then annealing and then further working.

What do you make?

I work at two scales, the small scale of jewellery and the larger scale of silversmithing work.

My jewellery is like a small version of my silversmithing work, it is all formed and shaped flat sheet. Most of my jewellery balances a highly polished section against a textured finish. In my latest collection “Flowing Curves” I have added 22 carat gold plating to the textured surface as you can see in the photograph of the bangle.

Do you like making bangles?

It’s a great scale to work in. It’s just that bit too big for someone trained in jewellery but it’s nice and small for someone trained in silversmithing.

What are you doing next in jewellery?

I’m working on developing a new collection of jewellery which I hope to have ready to launch in DesignYard this autumn.

And you work on a larger scale?

Yes, most of what I do would be on a larger scale. I make a lot of tabletop silversmithing work. That’s like candlesticks, vases, water pitchers and larger pieces like that.

Where would you show that work?

I normally make it for exhibition. I’ve just taken part in an exhibition in London where I showed a body of work in the exhibition “the Ten Masters” of British Silversmithing as the launch of British Silver Week. And I am represented by DesignYard on Nassau Street, just a few doors down from Grafton Street. I regularly have work exhibited there.

Is all your silversmithing work for galleries?

No, I do a lot of silversmithing work to commission. Throughout the history of silversmithing most work is made to commission.

What exactly is commissioning?

Basically it’s where I can design and make a piece that you can’t get anywhere else. I suppose it’s a bespoke service.

What kind of commissions are you working on now?

I am making the trophies for the Darley Irish Oaks races at the Curragh and the awards for the Rugby player and Club of the year which is presented by the Rugby writers of Ireland and on some private presentation piece.

Do you only work in silver?

Over the last number of years I have made sculptural pieces in sheet bronze. It has very similar working qualities to silver, but without the high cost of silver. I have also introduced colour to my work through patination on the bronze.

At the moment I have some pieces in the “Portfolio” exhibition in the Farmleigh Gallery in the Phoenix Park and I’m working on some pieces for the “Sculpture in Context” exhibition that will be on in the Botanic Gardens in September.

Séamus, thank you for sharing your work with us! Next month we will be featuring another designer from The Design Tower. You can also read the other interviews in the series.