«I try not to get too persuaded in my work by trends as such, but I did start using 3D printing as its newness seemed like an easy way to be original, not long after 3D printing really entered the public consciousness and I have been able to ride that wave a little which is nice.»
Phase jewellery came about through experimenting with some bespoke digital generative design tools I had made to explore another design concept. However one day I realized something much more interesting appearing in front of me – that of the phenomenon of Moiré patterns on the computer screen, this creative episode was the seed of the development of the collection, concentrating on sculptural geometric forms, all based on cone shapes, with cut-out sections that produce this almost magical kinetic effect as the wearer moves.
At the same time, I had discovered the material I most work in now, 3D printed nylon, a laser sintered nylon power that creates light, strong and flexible objects. The technique allowed precise and complex shapes to be produced and take colour dyes beautifully. It was relatively affordable to produce compared to other 3D printing and digital fabrication techniques at the time, giving a freedom to experiment that previously hadn’t existed. I could take the risks I wanted to take, but then also the chance to hone the designs in an exacting way by producing lots of prototypes.
Recently after developing another collection, I have returned to Phase as it still seems like a rich avenue to explore. I’ve been developing the colour combinations and dyeing techniques to give richer visual experiences, creating ombré effects by dip dyeing and exploring more complex Moire patterns. The lightness of the material makes it easy to wear while still creating a statement by the wearer. I’m also beginning to push the scale into pieces for performance and interiors.
I try not to get too persuaded in my work by trends as such, but I did start using 3D printing as its newness seemed like an easy way to be original, not long after 3D printing really entered the public consciousness and I have been able to ride that wave a little which is nice.
Another trend that I think is important is that people in the west are starting to realize we should consume a bit less, so many independent designers are tending to design and make more slowly and thoughtfully. I’m aware my pieces cannot be impulse purchases for many people, but I hope that means they are valued and cared for and are enjoyed longer than some more mass-produced objects. My pieces are made in small batches to demand and involve a lot of time to develop and hand finish, hopefully, bring the preciousness linked with jewellery without precious materials and the issues that come along with these.
Interview with Lynne MacLachlan-Eastwood.