Salara Jewelry by Salvatore Rutigliano of New York City

Apologies for not having posted over the last few months, it has been a busy start to the year.

However, I have a post that was certainly worth waiting for. This post is about a man who truly is an artisan, using old techniques passed down to him from his Father and his Father’s employees, which he observed as a child and perfected as an adult.

I first came across Salvatore’s jewellery quite by accident via instagram, where he updates us with work in progress. At the time, he was working on a piece of jewellery to surprise his girlfriend with.

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BEGINNINGS

Have you had any formal jewellery making training or are you self-taught? If you trained, where did you train and in what? If you taught yourself, how did you go about it?

A mixture of all of the above. My father had a retail jewelry store and I was practically raised there. He had 2 full time jewellers on and even before I was old enough to comprehend what they actually did I was hooked. Constantly watching these two men, Sergio was from Argentina and Ezra from Yemen, and there was always a language barrier. I learned, at first, by watching. I became quite the observer and by age 11, I was sizing and soldering rings with ease.

The lessons became more advanced, and I would mimic what they demonstrated. That was 23 years ago. My training was concluded with several comprehensive courses on jewellery production and design. Including a 750 hour course at New York’s City’s Studio Jewelers. This was the final touch and with 9 hours a day, 5 days a week for the better part of a year virtually every facet of this industry was taught by the best instructors in the field.

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Did you always intend on starting your own jewellery making business?

It always seemed inevitable that I would take up the family trade. I spent a few years in banking for a while, I became a licensed financial advisor. It simply wasn’t for me. I let my licenses expire and came back to jewellery. But I found buying, selling, trading and repairing various articles was no long enough. I wanted to create it as well. The rest is history

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Do you have any words of wisdom to pass on to fellow designers hoping start their own label?

My advice to anyone aspiring to launch their line or label would be this: find that design you feel compelled to create and do it. It is your responsibility to bring the work to life, something you will not accomplish unless you truly have passion and love for the project you are launching.

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CREATIVE PROCESS

When you are creating new pieces, how do you find inspiration?

The only thing that I have a passion to study as much as my craft is history. I would be equally happy being paid to poke around some ancient battlefield for a living as much as I do with my current occupation. My love of history, elements, and a study of natural and manmade beauty, not to mention jewellery, truly combine when I start getting in my construction phases.

Being from New York is wonderful in that sense…I can see turn of the century architecture, bridges of the industrial revolution, the deco styling of steel and shine surrounding the Empire State Building, then travel a few blocks and the art nouveau style facades of local buildings greet you.

New York is beautiful, yet fierce. It is a shining example of innovation and modern society with all its achievement coupled with a global mixture of endless traditions of the people who make this city great…..for me the inspiration I draw from my city is endless.

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What is the process for creating a new piece? Do you simply draw it and then create it or do you start playing with the metals etc. to get ideas?

I hardly ever draw or sketch anything, and for no other reason than that I am horrible at it. Aside from my metal-smithing and carving ability for creating jewellery and metal sculpture, I have no artistic talent. I am unable to achieve symmetry, proportion, scale, depth or detail any other way than forging raw metal, but the process of the true design is exactly as we discussed. Sometimes, it is the stone that inspires me, other times it is when I find a suitable piece of silver or gold to work with….then I try to feel every surface of that stone and learn every grain of metal, after enough time I just seem to know exactly what I want to do….then I just do it

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Are you influenced by current fashion trends during the creative process?

Fashion trends frighten and confuse me. Hard as this is to believe, I just found out what stacked rings are! It’s not that I don’t appreciate the world of fashion; I simply cannot keep up with it as it would pertain to making jewelry for a specific genre or trend that is going to be gone as soon as it arrived.

The thought of trying to figure out what the world wants gives me a nosebleed. I truly am lucky in a sense that I am able to do something I love, and thankfully enough of the public seems to really like it as well.

If a client hands me a detailed blue print to custom make, then my job is simple, If someone knows exactly what they want, I can make exactly what they want. Otherwise it will have to be exactly what I want, haha!

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Do you work to a season when creating your pieces?

Working to a season really throws my rhythm off… I’m addicted to my job, I work constantly…every day something new catches my eye and I’ll incorporate a new texture or shape, a slight variance. I have no quotas to fill, and new pieces which can sometimes appear to be a mini-line in their own right, such as my Tudor roses, never get boring for me to make, as before that happens I’m inspired and compelled to switch.

When building a line, you must prepare endlessly meet production quotas and there’s constant pressure to produce a Better line than last time, while worrying about how you will improve the next one. That sounds an awful lot like work to me. My way has left a trail of one of a kind items, handmade and they are as much a pleasure for me to make as they are for others to own

How long does it take to make one piece?

The time it takes to make a piece varies on how much prep work I do. Sometimes the image I see as to my goal is so clear in my mind the entire process is mechanical, other times I simply find a gorgeous stone to set. Those pieces are usually the ones that have additions in the later stages that not even I saw coming. So in those cases a very complicated, unplanned “let’s wing it” piece can take up to two days. But if the projects at hand are solid in design before I ever started cutting then I work quite fast.

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PRODUCTION

One of the things that really appeals to me about your designs, apart from their beauty, is that you are a part of the anti-mass-produced fashion movement and are unique.  Do you have any others in your team that assist with the production process?

I don’t think I ever even thought about mass production in a pro or con sense.  I truly am blessed to do what I do, it’s working out for me.

I would never design, produce or endorsed a piece of jewelry I simply didn’t like. And in that sense I would appalled at the idea of mass producing that jewelry.

I was fortunate to find success through my own designs. And to any jewellers out there reading this, if you landed a good position at a well-known retailer, who mass-produces the flavour of the week I say keep your head up, do your job well, and be proud of work well done….and the best part about most mass produced commercial jewelry is when held side by side against my designs, my pieces look that much better!

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CHALLENGES

What are the challenges in keeping production on-shore in the USA when most fashion brands are opting to have their products made in China?

I stay competitive by doing as much as possible with as little as possible. I’m trained in traditional silver-smithing. To make a product like my signature roses for instance, you can order high quality refined and sanded metal sheet from one of the various online or walk in distributors. This milled polished silver in thicker gauge can be priced three times what it melts for. Most jewellers don’t have a choice in the matter. Yet, a Silversmith does.

For just about $1.00 above its melt value most pawn shops will sell you broken pieces of jewelry and bullion. If one is able to melt and rework that into a refined sheet then the cost basis is substantially lower, Rio Grande will sell you 100 pre-made stone settings for $50.00 plus shipping. And they will arrive next week. I can make those settings in under a few hours for about $12.00 of raw sterling reforged.

Then there’s the quality comparison, or rather, lack thereof. I actually wonder how those companies plan to compete with me haha. I exist without all the high-tech gadgets with as little expense and overheads as possible without compromising design or quality. Many of my pieces on instagram I refer to as “the Frankenstein collection”. I have become quite proficient using the table scraps of the jeweller’s world.

Competing with cheaper labour or going up against the likes of nations such as China or a major retailers is not even a concern in my thinking, I have no plans to go head to head with anyone.

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So a lot of your pieces are made from broken pieces or quite recently and old spoon and an old fork. This gives your pieces a timeless quality and knowing that they have a story before they were crafted into something else just adds to this. Is it purely for economic and time reasons that you use old pieces and solder them or are you also attracted to the element of them having a past history and you are breathing new life into them?

I call them my Frankenstein pieces, LOL! It is true that there is a huge economic advantage in using pieces such as that. However, using basic bench scrapings, such as those does give me a sense of satisfaction. Knowing that I made something I consider gorgeous, using things others see as scrap metal, always makes me smile. ☺ Also, material can be quite expensive, and sometimes ideal metal is difficult to come by. There is much waste when it comes to workable metal in the design aspect. Working in broken or discarded silver, or even silverware such as my spoon items forces me to think creatively and will always give me a competitive advantage over my peers. And as you say, giving an old piece of silver a new life and a new appearance has an almost meditative effect on me, my glimpse into the sublime so to speak

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How do your customers find you? Is it word of mouth and Instagram?

Mostly instagram, which has had a tremendous effect on my ability to reach a wider audience. I simply shoot my work as I see it, and hope those who view it see what I intended to show.

LATEST COLLECTION

Your latest pieces are using the amazing Alexandrite stone, which changes from a purple to green depending on the light. Do you search out particular stones or are you guided by the stones when making your pieces?

There have been many pieces where I go hunting for a particular gem, but more times than not, it is a gem which found me and I, in turn, was inspired. The alexandrite is the golden standard of that rule.
A jeweller could spend a lifetime attempting to secure a single stone of the type currently in my safe. They are the most stunning gems I’ve ever laid eyes on, and it is an absolute privilege to be able to create pieces using this rarest of gemstones.

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You have made quite a few pieces featuring flowers. Do flowers hold a special place for you?

Flowers represent all that is beautiful in nature. They are delicate, fragrant, bold in colour and both intricate and simplistic in design. They also can be representative symbols of the most powerful things on Earth…clovers are the symbol of luck, roses represent love. The Tudors of England chose a Tudor Rose as the symbol of their royal bloodline. Anne Boleyn was insistent on having one prominently displayed in her State portrait.

Beauty, love, power, majesty….I was hooked. The only true flaw to natural flora is their fleeting existence. My flowers are eternal…

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REFLECTIONS

Do you have a favourite piece of all time? How about from this collection?

My favourite piece is my earliest flower, the first of its kind and I think one of my better pieces. I gave it to the most wonderful woman I have ever met, my girlfriend Courtney. They truly belong to each other. And both are beautiful on their own, but together, nothing will ever be as beautiful

How does it feel when you see people wearing your pieces?

It’s a really awesome feeling. No lavish explanations needed. Awesome.

Have you had any particularly notable moments when someone has worn one of your pieces?

Once in a theatre in Manhattan, there was a couple who I was certain I had never met. I overheard a few words and not even the voices were familiar. But one detail was unmistakable, the beautiful pendant she was wearing that caught the light was one that I made a year earlier. I don’t remember to whom or where that piece was sold. And I’m not sure how she came to be wearing it. But I know she looked beautiful, and happy, and knowing that at least a part of that was because of her pendant was a wonderful feeling.

How do you feel that your designs have evolved since you started out?

I keep surprising myself in the regard that I was never creative in the earlier parts of my life and the evolution of my creations is the most surprising aspect of all. Some people talk of creative blocks, yet I have been fortunate that as soon as I am finishing one design, several more are usually spinning in my thoughts.

FUTURE

What are your plans for the future?

I have quite a few plans, several collaboration projects. New designs, new stones, new ideas, the future is sure to see plenty of what I plan to display. In a word, the plan is to conquer!

You can find Salvatore’s beautiful unique pieces at his Etsy store at: https://www.etsy.com/shop/SalvatorePaulCustoms

I also recommend that you follow him on Instagram so that you can follow the journey from metal and stone to a piece of wearable art: https://instagram.com/salarajewelry

You can also follow him on facebook at: https://www.facebook.com/salvatore.rutigliano1?fref=ts

If you want to contact Salvatore about making a piece, he can be contacted by email at: srutigliano26@gmail.com

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Lakota Bijoux

Lakota Bijoux

This week’s feature is beaded cuff maker, Lakota Bijoux. A relative newcomer to the jewellery scene, this is certainly one to watch. Follow her on instagram and facebook.

Who is the person behind Lakota Bijoux?

29 year old Lakota Taylor, a crazy melange of Indian, Irish, Spanish, and English heritage

Where are you based?

The South of France

Where does the name Lakota Bijoux come from?

Lakota is my name and ‘bijoux’ means jewellery in French.

Do you have any formal jewellery training?

None at all. Everything I know, I have learnt along the way.

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Do you have a background in fashion?

No.

How did you start your brand?

I have always loved making things by hand and LOVE accessories.   As a hobby, I started off making headbands and hairpieces with feathers, and then used the same concept for earrings and necklaces. These were very popular at music festivals, and a few shops ended up buying all my stock.

Then in 2009, I was in Israel and chanced upon an area full of craft shops, basically Lakota heaven. In one of these shops, I found a beautiful book full of the most amazing bead embroidery jewellery. I had never seen anything like it and became completely obsessed. I ended up visiting that area every day and bought so many beads, big beads, small beads, gemstones, crystals, but I had no real idea of what to do with any of them.

I started putting beads to fabric anyway, learning as I went along. If there was a technique that I wanted to learn, I would go to Youtube or buy a tutorial online and do it over and over until I mastered it. The first few pieces I made were just for me and I had no intention of selling at all. But every time I would wear one of my cuffs, friends, and complete strangers would ask me where they could buy it, often offering me money to take it on the spot.  It was only this year that I started making pieces to sell.

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When did you start your brand?

I have been in the planning/experimental stages for a few months and launched one month ago so it is still in its very early stages.

Where do you find your inspiration?

From the beads themselves. I just start working and ideas come to me.  My best work happens when I have no outside distractions and am able to become completely immersed in what I am doing. I am also lucky enough to have an insanely talented group of family and friends whom I can bounce ideas off and whose opinions I trust implicitly.

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I saw on facebook that you had purchased a green stone from a museum but didn’t know what to do with it and later turned it into the central detail on a beautiful cuff. Do you often purchase stones and beads without knowing what you will do with them at the time?

Yes. I don’t do it intentionally, but that is actually that is how all my pieces start. I just love using gemstones and minerals and find beautiful stones (or should I say they find me) everywhere: museums, craft stores, exhibitions, flea markets, even the Organic Store.  I am a complete beadaholic and if something catches my eye, it will absolutely come home with me for use at a later date. Swarovski crystals are my weakness and the colours, shapes and sizes of their Elements range are forever dazzling me. I buy them by the hundreds with no particular piece in mind.

Do you make all of the pieces yourself? What is the process from idea to finished product?

Yes, everything from start to finish. I start off with the focal stone, and then I think about what smaller beads will go with it. I never design or draw anything in advance, I just let the beads tell me where to go and I am constantly learning and acquiring new bits of knowledge. I often work on 4-5 pieces at one time and my workspace is forever increasing.

Beads are stitched, one by one, on to a felt or suede like base. When the embroidery part is finished, this is then attached to a soft leather or suede backing.  It can take up to 30 hours hours to complete one piece. Wearability and comfort is the most important thing to me and I want my pieces to fit the wearer as though it was made especially for them. For this reason, many pieces remain unfinished until they are bought, and then the clasps are added according to the measurements of the buyer.  I like to post pictures on my Facebook page which show my progress with each piece as I go along.

With custom pieces, I work together with the customer, using both their ideas and mine, to design their perfect piece.

Where is your main client base?

Europe and America

How do you find your customers?

I don’t avidly search for customers. A lot of contact is by word of mouth and also through Facebook and Instagram.

What are the challenges in making your creations known?

I much prefer creating to advertising or making my work ‘known’ so I have not come across any real challenges in that respect so far.

I found you via an Instagram post. Do you find social media important?

Definitely. It really makes my day when I stumble across an amazing designer, outfit or piece of jewellery that I may never have discovered without social media.  Pintrest is my favourite out of them all.  For my own brand, I think it is just great that people in all parts of the world, who I have never met, can see my work and connect with me through Facebook or Instagram.

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Do you create pieces other than your beautiful cuffs. For example, have you considered taking those skills and applying them to beautiful beaded handbags?

Oh absolutely. Actually, I have made bespoke pieces, including a bag, which I haven’t published pictures of. But yes, I would bead everything if I could. The amount of time each piece takes is the only thing that limits me. Cuffs are definitely my passion though, and I think you can completely change the look of an entire outfit with a perhaps “not so simple” piece on your wrist.

Where do you see the future of Lakota Bijoux?

Doing bigger, more daring pieces. My to do list includes large collar pieces and jackets.

Do you have any words of wisdom to pass on to other designers who want to launch their own business?

Focus on the product – it helps to be completely in love, possibly boarding on obsession, with what you do. Everything else will come naturally.

BUBA LONDON

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Buba London started out between two people who kept bumping into each other in acts of serendipity. They produce bags that are works of art and luckily for us have also expanded into sandals, jewellery and homewares with more to come.

I interviewed Lesley Silwood, one half of Buba London recently. Please read the interview below and find out more about the Buba story. Allow your eyes to be dazzled with their beautiful creations at http://www.bubalondon.com

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BACKGROUND & BEGINNINGS

You both met wearing near identical outfits at London fashion week then bumped into each other at the India embassy and then arranged to meet on a beach in Goa.

Yes, we found each other as agreed, neither thinking that the other would show up.

Do you have a photo of yourselves in these matching outfits?!

No I wish we did. We didn’t know each other very well; we had met at a party once and my friend Elliot was taking photos of me for the independent newspaper. Euan tapped me on the shoulder laughing. As I turned around, we looked at each other; shocked that we were in matching clothes. My friend Elliot could not stop laughing saying “did you plan to be matching?’”. I didn’t even know Euan was in the country as he was living in India at the time.

Which year was that?

2000

Were either of you travelling to India with the intention of starting a fashion label?

Euan was already living in India and designing with Jade Jagger on a label called Jade inc. Jade had just been signed to Garrard and the label was about to close, this is when we met. We had lots of friends in common from work and the travelling we had both been doing, we just hadn’t met each other yet.

Do either of you have a background in fashion?

Yes, at the time I was a fashion photographer working with Alice McCall when she was styling so I had been in fashion for a long time. I had just started my own brand of bikinis called Club Tropicana.

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CREATIVE PROCESS

What is the process for creating a new piece? Do you simply draw it and then have it produced in India or do you start playing with the leathers and stones to get ideas?

Euan and our creative team start playing with materials, stones and leather and also looking at past embroidery swatches and colour pallets. We also create mood boards for inspiration. Euan draws everything by hand on special tracing paper for the embroiderers. The designs are then pinned to be transferred to the embroidery looms. He then will work hands on with the embroiders applying the various materials piece by piece. 

How do you stay inspired?

Travelling to different countries helps us stay inspired. Looking at different cultures, traditional arts and handicrafts. Regular visits to London to see galleries, exhibitions and bookshops and perhaps above all constantly observing nature in all its wonder on and around our island home.

Do you create pieces around a theme for a collection?

Some parts of a collection have a strong theme and some just move on organically from the last collection. 

You launch 2 seasonal collections each year. How many pieces do you create for each collection?

Over 100 pieces in each collection if you count the bags and jewellery together.

You’ve also launched into sandals and jewellery, as well as homewares. How did the expansion into these areas come about?

We have always wanted to expand into home furnishings. When you experiment with scale you realise that a lot of the detail of the embellishment for the bags and jewellery translates beautifully when enlarged onto a bigger canvas, just as some of the ideas for the jewellery and bags begin life as large designs. The same with the sandals, essentially the starting point was having a simple shaped sandal to embellish with a similar motif to that used on the jewellery; something elegant and beautiful.

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PRODUCTION

Did you choose India as your production base solely because that’s how the two of you met or because it is home to artisans with particular skills?

The latter, it seemed natural to stay working in India as Euan had already set up a production unit in India which had carried on from Jade inc closing and we wanted to carry on working with the artisans. 

Is it difficult to find people in India who will work with cowhide given their religious belief that the cow is sacred?

Most of our bags are made with sheep nappa so we do not have the issues above. 

How do you go about sourcing an overseas production house?

It’s hard. I wouldn’t recommend it if you’re not going to live in the country you’re working in.

How do you oversee quality when production occurs overseas?

The staff in india have been working on our brand for 12 years so they know what to look for.

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Do your production team in India work only on your label or do they work for many labels?

Only ours, although we sometimes do some production for Swarovski. We produced all of the Christopher Kane collection for ATELIER SWAROVSKI.

How do you prevent overseas production houses from producing your designs and selling them off to other customers themselves?

It’s ours [production house] so it is usually ok.

What is involved in producing a BUBA London bag?

Too much to go into but there are 10 people who work on one piece at different stages.

Why was it so important to you to keep the traditional techniques of crochet and whipstitch as opposed to the use of a sewing machine?

Embroidery by hand is a dying trade which is usually only used for saris and for traditional Indian dress. We love our pieces looking unique; we do not mass produce so that they all have a little bit of love from all who make the pieces. Our staff are really proud of what they do.

Why does it take 3 weeks for a bag to be made – is that the actual hours involved in producing a bag or does it also factor in postage from India back to London?

No it does take 3 weeks to make. There are so many stages from the embroidery to pasting to finishing. There are 10 people overall that will do a stage on the bag. Then it takes a few days to come to London.

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Does that mean that all bags are made to order rather than you keeping stock in London?

Yes, everything is made to order and we often do bespoke pieces for important clients.

Do you oversee the working conditions of the artisans in India?

Euan is there to oversee the sampling and some of the production. I don’t go so often these days as we have two children together but when I do it is great. I miss them. We are all a team.

How did BUBA LONDON enter the competitive fashion market?

With a bang! We had designed a few pieces that were being sold by the Cross shop. They suggested we enter our pieces for New Gen sponsorship at London fashion week. I didn’t think we would get it as it is so competitive but we did.

I was 9 months pregnant at the time with our first baby and when I arrived on the stand Neiman Marcus and Saks were arguing about who could have the brand. I shouted at them “I’m 9 months pregnant – who was really first?” Saks said they were so I started to write the order. We did not have the funds to produce all the orders so we had let some clients go. It was sad but we could not take on too much otherwise we would break the brand before we had started.

You showcase your jewellery lines at London Fashion Week and Premiere Classe in Paris each season. How much have these showings contributed to your brand being successful?

We get all our clients from the shows; all the most important department stores and boutiques come to Paris.

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FUTURE

As I mentioned before, you’ve moved into sandals, jewellery and homewares as well as your original handbag line. Are there other avenues you’re going to expand into on the horizon?

Euan would like to do some scarf developments and a line in printed and embellished t-shirts. I would like to work on some more interior pieces. 


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Sandals are obviously a Spring/Summer collection item. Will you be expanding into Winter boots and the like too?

No. At the moment, it would be difficult for us to sell shoes alongside the bags and jewellery as it’s a totally different market with a whole new set of buyers; new shows, manufacturers, etc…. With the interiors it is easier to gradually introduce a few products at a time and utilize our current production base.

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What else do you see in BUBA LONDON’s future? 

We are building a new home so I see our interior collection growing. We are also looking to open a flagship store.

REFLECTIONS

Do you have a favourite piece of all time?

Euan –  Vb fairy and mine had to be the Travel bag as originally I designed it to be our baby bag.

How about from this collection?

Euan – freesia day bag and me the same

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What are your best-selling pieces?

All our clutches, purses and large travel bags. Our cuffs and bracelets are the best-selling jewellery pieces.

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CUFFS

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How does it feel when you see people wearing your pieces?

It’s funny as we do not produce on mass so Euan often thinks he knows the people wearing our bags. There have been some funny episodes in Ibiza where we have met people at restaurants or boarding the plane wearing Buba.

Have you had any particularly notable moments when someone has worn one of your pieces? 

Apart from the obvious reference to celebrity, I have about 5 different photos of babies being put and carried around in the Travel bags, which makes me smile. I also have some wonderful pictures from weddings with the bags.

How do you feel that your designs have evolved since you started out?

Naturally they have evolved: the stitching and pattern details have become more elaborate; the range and quality of the materials has broadened and increased but essentially the handmade, artisanal quality remains. 

Do you have any words of wisdom to pass on to fellow designers hoping start their own label?

Design from the heart, do your own thing and don’t follow trends.

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That was the interview. Check out the beautiful artisinal pieces at http://www.bubalondon.com