Images of "Interlacing Identites"

Images of  "Interlacing Identities"

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Black background.

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Grey background. Photography: Roland Woon

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Black background.

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Grey background. Photography: Roland Woon

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Black background.

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Grey background. Photography: Roland Woon

Annotation:

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating.

The purpose of my research mainly focused on two objectives. The first was to examine and investigate gendered identities of feminism and its associations with metallic and lace inspired jewellery. The second objective was to progressively integrate and manipulate the technique of bobbin lace within jewellery. Both textile lace and jewellery are associated to gender and identity stereotypes, usually imposed by a patriarchal society. My research aimed at highlighting these elements and allowing one to understand jewellery through an empowerment lens. Interlacing Identities is a product and representation of the powerful role in which women played in their ability to produce, wear and represent lace. This piece also demonstrates the complexities and evolution of the functions of lace, and its continuously changing constructs associated with it during the course of history. Critically analysing lace jewellery allows for a deeper understanding with regards to society and its interaction with these techniques, which are predominantly programmed within a pre-existent context; shed light on the success of women within these fields and pays attention to the impact enforced by a patriarchal society.

Jewellery has been in existence for centuries however, contemporary jewellery in South Africa is a growing field which allows for a deeper understanding of jewellery through academia as well as within our society. Contemporary jewellery can also be explained as the need to break away from the pre-existing traditional connotations associated to jewellery, through unusual and innovative design, the use of alternative materials and techniques. The importance of associating, understanding and aligning jewellery through both social and artistic constructs allows for epistemological gain which is critical for research. The way in which we relate to jewellery design and manufacture practices are no longer confined only to the wearability and aestheticism of jewellery. My piece allows one to identify and consider the existence of complex feminine identities within lace jewellery and broaden the perspective on jewellery itself. The metaphorical analyses of the piece also provides support for the complexities presented in a gendered society.

The technique of bobbin lace within jewellery should be highlighted as it is this innovation within contemporary jewellery, a niche and growing field, which allows one to provide new knowledge and align itself to a new set of ideals. The design and manufacture of this piece is where I played in the realm of binary opposites, which allows for epistemological insight of feminine roles within a patriarchal society of jewellery design and manufacture. Bobbin lace is a French lace technique which I adapted and changed within a jewellery context. The integration and investigation of techniques from other disciplines allowed me to push the boundaries of design and aligns my piece to a new set of ideals within jewellery design and manufacture, such as cross integration of techniques and skills development.

In 2018, Interlacing Identities participated in the Inaugural Contemporary Jewellery Awards Exhibition in South Africa, whereby it was part of an exhibition hosted at the University of Johannesburg, FADA Gallery in Johannesburg on the 15^th March 2018. It received an award as ‘Runner Up’ in the awards. As part of the award prize, Interlacing Identities was featured in a magazine called Creative Feel, April 2018 edition. In addition to this accolade, Interlacing Identities also featured as part of an article written by Geraldine Fenn, “Contemporary Jewelry in South Africa”, which was published in an international magazine called Metalsmith Vol 39.

Invitation & Acceptance of Participation in the Inaugural Contemporary Jewellery Awards Exhibition 2018:

Group Exhibition – Contributors/ Participants

Joani Groenewald - joani@sun.ac.za

Lani van Niekerk - lanivn@gmail.com

Nina Newman - newmann@tut.ac.za

Gussie van de Merwe - gussievdmerwe@gmail.com

Erika Wessels - erika@erikawessels.com

Karien van der Schyff - kvldesigns@gmail.com

Eric Loubser - eric@ericloubser.com

Samantha Vincent - samanthav@dut.ac.za

Alisa Knoblauch - alisavdmerwe@gmail.com

Jan Bekker - jan@sirkeljewellery.co.za

Michelle Liao - michelleliaosa@gmail.com

Hilda Swart - hildaleswart@gmail.com

Marchand van Tonder - info@studioloubser.com

Liz Loubser - liz@lizloubser.com

Tracey Jane Lötter - tracey@madeofmettle.co.za

Mariét Schwalb - mapuladesigner@gmail.com

Nora Korvats - info@norakovats.com

Chris De Beer - chrisdb@dut.ac.za

Marlene DE Beer - marlenedb@dut.ac.za

Anne Manaczynski - anaczynski@gmail.com

Philisa Zibi - philisa.zibi@gmail.com

Adeline Joubert Heyns - info@firepetals.com

Images of Work: Interlacing Identities

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front, black background.

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front full, black background.

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Detailed photographs, black background.

 

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Grey background. Photography: Roland Woon.

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Grey background. Photography: Roland Woon.

Mariambibi Khan. 2015. Interlacing Identities. Bobbin Lace, Fine Silver, Sterling Silver & Gold Plating – Front & Detailed photographs, Grey background. Photography: Roland Woon.

Awards: “Runner Up” Certificate

Creative Feel Magazine, April 2018 Edition - Screenshots

Metalsmith Magazine, Vol 39 – No 2 Edition – Cover Page & Contents - Screenshots

Metalsmith Magazine, Vol 39 – No2 Edition – Article - Screenshots

Final Necklace with Conclusion

In this post I will reveal the final piece along with the conclusion of the study.

Mariambibi Khan. 2015. Final Lace Necklace. Fine Silver, Sterling Silver & Gold Plating. Displayed at FADA Gallery.

Mariambibi Khan. 2015. Final Lace Necklace. Fine Silver, Sterling Silver & Gold Plating. Displayed at FADA Gallery.

Mariambibi Khan. 2015. Final Lace Necklace. Fine Silver, Sterling Silver & Gold Plating. Displayed at FADA Gallery.

Mariambibi Khan. 2015. Final Lace Necklace. Fine Silver, Sterling Silver & Gold Plating.

Conclusion

The role in which men played in the production of lace is evident. Their ability to produce, wear and represent lace also demonstrates the complex and evolution of the functions of lace, and changing constructs associated with lace during the course of history. The success women had in the design and production of lace is also evident as well as the power and control over women in a male dominated society. The roles in women related to jewellery design and manufacturing practices are no longer confined to the wearability of jewellery.

The jewellery represented by Lenka Suchanek and Lauran Sundin, are both different. One representing the general stereotypes of feminine design whereas the other a more modern and explore a more universal design aesthetic. I argue that both aspects of the design seen in both jewellers are credible works of art. This allows one to identify and consider the existence of complex feminine identities. The metaphorical analyses of the pieces also provides the support of the complexities presented in a gendered society.

I intend on proceeding to masters by exploring the link between lace and sexuality through aspects of the notions of concealing and revealing in feminine and creative representations. In this study I intend on accomplishing the sexual and alluring identity found in lace jewellery through the concealing and revealing of lace. I intend on focusing on aspects which lead to curiosity and intrigue of such binary opposites. In order to accomplish these aims, I will create a large draping veil made with metallic lace, exploring whether it allures and intrigues the viewer by concealing and revealing certain aspects. Aspects which influences the study is the female body and the male gaze.

Developing a Lace Necklace

This post focuses on the growth of the piece on the body and the changes needed to enhance the piece to its full potential. The piece began looking incomplete, although the pieces of lace were increasing. There seemed to lack a sense of variety. When I began working with lace I always envisaged it in gold. Taking this thought further I plated a 15 point lace piece to give me an idea on whether adding colour to the piece will enhance the lace or not.

Mariambibi Khan. 2015. Gold Plated 15 Point Lace Component. Fine Silver & Sterling Silver.

The gold plated lace enhanced its aesthetic beauty which I intended on using. Relating the use of gold in the piece also increases the value and quality which is an important factor in fine jewellery.

Mariambibi Khan. 2015. Lace Components on Bodice. Fine Silver & Sterling Silver.

After placing the gold lace with the other lace pieces the piece remained incomplete. I then started creating a 3 dimensional ball with the 15 point lace in order to give more volume to the piece.

Mariambibi Khan. 2015. 15 Point Lace Component in a ball. Fine Silver & Sterling Silver.

The white background of the bodice in comparison to the silver of the lace faded into each other. I then covered the bodice in a black cloth so that when the pieces were placed back onto it, you are able to see it much better.

Mariambibi Khan. 2015. Experimental Lace Components on Black background. Fine Silver & Sterling Silver.

I then began arranging the components allowing for areas to be highly concentrated and others simpler.

Mariambibi Khan. 2015. Lace Components forming a necklace. Fine Silver & Sterling Silver.

Once all the components were placed on the bodice, the solid aspect of the flowers were not doing it justice. In order for the piece to stand out and not be lost in the transparent appeal of the lace, back plates of varying sizes were needed to provide a solid contrast. It is because of these contrasts that make lace beautiful.

Mariambibi Khan. 2015. 15 Point Lace with plain disc. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. Lace With Discs in Necklace. Fine Silver & Sterling Silver.

After the discs were placed the piece took on a completed look. The contrasting effects of the discs brought out the lace. After having all the components, I began playing around with the best possible ways in which I could create the piece. Focusing on complicated areas and simple areas.

Mariambibi Khan. 2015. Lace Necklace - Attempt 1. Fine Silver & Sterling Silver.

This is the first attempt of arranging the necklace. It appeared to be misplaced and did not flow well.

Mariambibi Khan. 2015. Lace Necklace - Attempt 2. Fine Silver & Sterling Silver.

The second attempt became more structure, focusing on concentrated and simplistic areas.

Mariambibi Khan. 2015. Lace Necklace - Attempt 3. Fine Silver & Sterling Silver.

The third attempt focused on aligning the concentrated area with the open lace pieces and then slowly declining to the closed off lace pieces.

Mariambibi Khan. 2015. Lace Necklace - Attempt 4. Fine Silver & Sterling Silver.

The last attempt seemed to work well. The open lace pieces formed the base as discussed earlier and the concentrated complicated pieces went after the base pieces.

Mariambibi Khan. 2015. Lace Necklace - Attempt 4 - Side view. Fine Silver & Sterling Silver.

This is the side view to distinguish the height of the piece.

Mariambibi Khan. 2015. Lace Necklace - Attempt 4 Final. Fine Silver & Sterling Silver.

This is the working piece of the final necklace. After the structure of the piece was complete, I determined the flow of the gold plated lace to contrast and enhance the necklace. The completed piece will be seen in the next post.

Abstract & Lace Components

In this post I would like to focus on linking the piece to the research component. The title for my research is: Lace Jewellery: Weaving Identities in Contemporary Jewellery.

Abstract

The purpose of this study is to examine and investigate the gendered identities of feminism and its associations with metallic and lace inspired jewellery. This will be achieved by creating lace jewellery pieces and providing a semiotic analysis on each piece. This research provides a comparative analysis between the alternative material of lace and lace jewellery, and explores the associated gendered assumptions. However, my main focus would be to analyse whether the material and context used plays an important role in feminine inspired designs of lace jewellery.

I am mindful that society is deeply gendered; however, historically the linkages with lace has evolved from being asexual to contemporary associations of deeply sexual connotations. On some levels the manufacturing of lace remains a practice that resides in the domestic and craft domain. The first phase of this study explores and plots the role of lace in history as well as in a masculine and feminine world, however it being limited to the feminine readings and links the wearable role of lace in a jewellery context to both a masculine and feminine context.

The second phase looks at the transformation of lace production from fabric to metal by looking at lace jewellery produced by two jewellery designers. I provide a semiotic analyses on the pieces, linking it to design aspects associated to women, in lace. I also find that although a more geometric structure is used it remains true to the feminine stereotypes of design as demonstrated in delicate lines, floral patterns, and soft, organic design motifs and is considered to be aesthetically beautiful. I argue that that such design motifs are attractive and beautiful, and it also reflects the constructed and gendered identities in the creative arts and practices. In the third phase of this study I provide a semiotic analysis on the pieces created, and I explore the possibility of whether such domesticated skill can be associated to fine jewellery, while fulfilling historical role and function of adornment. I also argue in a metaphorical analyses between the complexities of the piece in comparison to the simplicity, which represents a fragmented feminine identity. I propose that the complexity of the piece in all aspects focusses and could possibly relate to the multiple feminine identities.

Mariambibi Khan. 2015. Experimental Lace Components. Fine Silver & Sterling Silver.

Once the decision was made to create a necklace, I began placing the experimental components together in order to analyse the combination. Once the components were placed together it became evident that in order to design the piece to its best representation of the study, I would require many more components all ranging from the examples made previously.

Mariambibi Khan. 2015. Experimental Lace Components with Flowers. Fine Silver & Sterling Silver.

The flowers used are the same ones which were made in the beginning of the year. The reason for incorporating them is to provide a solid contrast to the delicate aspect of the lace. When the lace is placed around the wrist it is a one dimension form however, still visually appealing. After placing the lace on a wrist, it allowed me to analyse and decide on creating many one dimensional lace pieces as the base of the necklace. Then building onto it with the dimensional examples made.

Mariambibi Khan. 2015. 32 Point Lace with flower. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 32 Point Lace with flower on wrist. Fine Silver & Sterling Silver.

The next step was to place it on a bodice in order to examine the way in which it should be placed and connected on the body.

Mariambibi Khan. 2015. Lace Components on Bodice. Fine Silver & Sterling Silver.

Due to the long hours needed for one lace component in comparison to the time I had left, the chances of completing the piece seemed slim. I then decided that the base of the necklace will be created with a 15 point lace instead of a 32 or 40 point lace. This allowed for a quicker production of lace components to create the base of the necklace. Using a 15 point lace for the base of the necklace enhance the contrast of the 32 and 40 point lace.

Mariambibi Khan. 2015. 15 Point Lace - Beginnings. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 15 Point Lace - Production. Fine Silver & Sterling Silver.

After mapping out these elements, the production of multiple lace pieces begun.

Mariambibi Khan. 2015. Rings. Sterling Silver.

Mariambibi Khan. 2015. Wire. Fine Silver.

Mariambibi Khan. 2015. 15 Point Lace - Production - Complete. Fine Silver & Sterling Silver.

Mariambibi Khan. 2015. 4 leaf lace - Complete Production. Fine Silver & Sterling Silver.