April 26, 2023 |
BLINGIN’ IT IS TEN’S ONLINE SERIES WHERE WE SPOTLIGHT THE INNOVATORS AND CHANGE-MAKERS OF THE JEWELLERY WORLD.
Captivated by the rawness of an uncut stone or the fingerprinted imperfections that linger after completing a wax cast, Toby Vernon, the founder and autodidactic jeweller of The Ouze, is both an artist and an innovator. Emerging out of the Covid-19 lockdowns, his androgynous bijouterie brand offers an exquisite melting pot of unpolished precious metals and lustrous stones in the rough, with Vernon describing its aesthetic simply as, “raw, unique, authentic, expressive, alternative, British”.
The Ouze crafts jewellery for everyone, but especially those with a deep appreciation for slow and considered, hand-crafted production, for those who care for the planet and who want to express themselves in unconventional ways. Vernon makes rugged chain link bracelets, textured signets and elusive twin heart charms; sporadic gemstones melt into enigmatic gold and silver forms like lost treasures in a landslide. Even symbolic, paperweight dice are included in his core collection, as well as a singular, ornamental clothes pin for clipping your receipts together or hanging your Chanel socks on the washing line. Coupled with a natural edge and an intoxicating sense of intimacy, everything is hand-crafted using recycled materials and natural or lab-made gems. The Ouze even collects all of its off-cuts and defected samples to be melted down and reused in subsequent collections.
The latest launch includes an elevated range of coquette style brooches and earrings – a graduation from Vernon’s previous focus on rings – that’s set to be sold across major stockists such as Mr Porter.
To celebrate the launch, Vernon produced an editorial film series in collaboration with a slew of emerging creatives, in an effort to cultivate and nurture community and like-minded creatives. Filmmakers Ethan&Tom captured musician, producer and writer Tendai in a haunting mirage, running alongside spiritualist, multimedia artist and performer Ratiba Ayadi. Through grainy abstracts, the jewellery moves, dancing amid the darkened daydream on their abbreviated figures.
Going forward, Vernon is absolutely buzzing for a future of further learning; learning everything there is to understand about the historically rich craft of jewellery making. Plus, he has all the intent to sink his teeth into categories that go beyond jewellery this year – think glassware and furniture. But really, Vernon just wants to make something that can outlive himself; arcane objects of desire that will never expire.
ON THE BIRTH OF THE OUZE
Vernon: “It [The Ouze] was born out of lockdown. I was fortunate enough to have some time to experiment whilst living back at my parents’ house. This was also a couple of months before starting my final year of university, so I was researching ideas I could develop into my graduate collection. I was introduced to jewellery making after commissioning a ring to be made. I had been searching for pieces that I wanted to wear and couldn’t find anything on the existing market. After the piece was made, I couldn’t stop asking questions: “How was it made? Could I do this?”
“Initially, I started making jewellery because I thought it might benefit the collection I was working on, but it quickly became my obsession and primary focus. It was then that I discovered the ancient jewellery-making process of lost wax, which is still a method we use today at The Ouze. I loved learning about this process and quickly started experimenting with it myself. I’m not sure that I will ever get used to calling myself a jeweller because I still feel so new to it – being self-taught – but that only makes it more exciting.
“Location and heritage have also been hugely influential. I named this brand after the river that runs through my hometown – The River Ouse. This is because The Ouze celebrates the aqueous flow of experimental design and works in harmony with nature, using only recycled materials and slow production principles. But it is also because I have grown up in a town that has shaped my identity. Recognised globally as the undisputed bonfire capital of the world, Lewes and its formidable Bonfire Night celebrations are rooted in anarchy and revolution. The Ouze honours this spirit of rebellion as we look to uphold the tradition of British fine jewellery while breaking a few rules along the way.”
ON FINDING HIS FOOTING AS A SELF-TAUGHT FINE JEWELLERY DESIGNER
Vernon: “When I first started making jewellery, it was about two months before my final collection at university was due. At the time, I was studying menswear at Westminster, which was a hugely influential aspect of my creative education, and I still draw on my knowledge of menswear when conceptualising new ideas for jewellery.
“I have always loved using my hands to craft things, hence my interest in menswear. But jewellery-making took this to an entirely new level. At the time (and still today), I was obsessed with the arts and crafts movement, and this influenced my approach to designing and making jewellery. For example, the first ring I ever made came back to me rough and unpolished. But rather than deterring me, I loved its ruggedness and unevenness. It was proof that my own hands had made it. Today we continue this tradition by leaving imperfections in our jewellery so that our clients can feel intimately connected to their pieces.”
ON APPRECIATING IMPERFECTIONS, FLAWED BEAUTY AND FINGERPRINTS
Vernon: “I have always expressed myself through style and I wanted my jewellery to be a reflection of this, but before starting The Ouze, I could not find any brands that reflected my own aesthetic or values. The majority of the jewellery on the market seemed too polished and standardised – high polish, no texture, uniform and lacking personality. So I took to antique stores and vintage stores to find jewellery that inspired me.
“I come from a small town called Lewes which is near Brighton – both locations are known for their antique shops and markets. In these antique stores, I discovered pieces that enabled me to reflect on the notion of heritage and heirloom jewellery. I decided that this is what I wanted my jewellery to one day become – something precious, kept for future generations.
“A few attributes I love in antique jewellery are their noticeable hallmarking and patina. The patina is evidence of wear on a ring, and the hallmarks enable us to read jewellery – to read its origin story, to know who made it and when. So, my work now reflects these qualities.
“I have also applied this to my material choice, using only recycled metals and uncut stones. Uncut stones are rare in the industry, as most jewellers consider them to be “worthless” simply because they are unpolished. But these are the purest form of gemstone, and because of this, they are the most valuable to us. Uncut stones reflect our belief that imperfection and uniqueness is inherent to creating jewellery that will be treasured throughout a lifetime – and hopefully beyond.
“Each piece of jewellery is entirely hand-crafted, and our brand is so influenced by notions of craftsmanship that we wanted to evidence this in our jewellery. So, when our fingerprints make impressions during the making process, we simply leave them there. This is not due to lack of care but rather because it creates this intimacy between our clients and us. The piece suddenly has personality and an element of connection that it wouldn’t have without. These flaws are honest and highlight how the jewellery is made – slowly, carefully and with our own hands. The beauty is in the process, and the intended feeling is a sense of human connection.”
ON EXPANDING THE OUZE’S OFFERING
Vernon: “As I am self-taught, it has been a natural progression – but it is a very exciting next step. These new offerings mean that we can provide a wider range of styles so that The Ouze can be worn in many different ways, allowing our customers to express themselves how they see fit. On a personal note, I am really proud of this progression. I can see it, from creating my first ring to now offering more refined, delicate pieces. Having witnessed this and having made this experiment so beautiful, it feels like the sky’s the limit.”
ON WHAT INSPIRED THE LATEST LAUNCH
Vernon: “I am inquisitive and like challenging myself, so I will forever create new works that push me. But I am also interested in a range of things – as I mentioned before – I can be fairly obsessive. This ranges from antique thrifting to football – and I like to incorporate all of this into my jewellery.
“I usually look to the past [for inspiration]. However, the history of jewellery is still something I am always learning about. I am interested in everything, from antiquity (The Romans) to more contemporary art deco styles. I have found ebay an excellent tool, as well as antique shops and markets. However, inspiration can come from anywhere. Having studied fashion design for four years, I have learnt to constantly scan my surroundings for ideas and Inspiration – whether it’s a random person walking past or the patina on a bike lock on the pavement. My camera roll is enormous, because it’s a very hands-on process; it’s not always simple to translate visual references from books, museums or even antique pieces. Sometimes, a new unplanned outcome emerges. I have an extensive collection of books ranging from fashion, furniture, stamps and origami that I frequently refer to also.”
ON THE KEY PIECES OF THE COLLECTION
Vernon: “I am particularly proud of the brooches that feature in this collection. Inspired by brooches from the Victorian era, they have traditional qualities that I have subverted for contemporary times. The brooches are embedded with gemstones that are – as if recently unearthed – scattered across the surface randomly. These brooches are made to be worn on clothing, representing the gap between fashion and jewellery that I look to fill, and are a nod to the future of The Ouze.”
ON THE IMPORTANCE OF CREATIVE COLLABORATION BETWEEN EMERGING CREATIVES
Vernon: “Collaboration is essential to our work at The Ouze, representing something unique about our vision. Unlike many mainstream retailers prioritising profit, we want to foster community above all else. Our community includes both our customers and collaborators – and we ensure that we engage with both. Most recently, we collaborated with a team of emerging creatives to produce a series of short films advertising our jewellery. This project included the emerging film directing duo Tom&Ethan and models Tendai and Ratiba Ayadi – both creatives in their own right. Collaborative, thoughtful and highly charged, this project is a celebration of shared vision, capturing the energy of collective creativity that has defined The Ouze since day one.
“It was fantastic working with like minded creatives. This was our first editorial shoot for The Ouze and everyone was so engaged and inspiring. Working with Tom and Ethan allowed me to see the jewellery in new ways. The pair were really interested in the lunar quality of the casting process itself (because the process is so fundamental to The Ouze), and so they showcased this in the film, where models are seen to be scanned by lasers before being frozen into place like statues. I consider this brand to be my own form of art – and as I have outlined, I am obsessed with art and visual history – so it was fantastic to have produced a shoot with so much emphasis on concept.”
Photography courtesy of The Ouze.
