It's always good to see a new take on an old tradition, and that's exactly what Filipa Oliveira does. I first came across her work in the New Designers exhibition in London last summer, when she'd just been awarded with the Goldsmiths' Company's award for jewellery: quite an honour.

It was no wonder Filipa had such a crowd around her: this is unusual work, and a great updating of an age-old technique. During her studies Philipa explored the ancient technique of filigree, which is associated with different peoples and cultures at different times and in many countries. Having begun her career in her native Portugal, Filipa took her degree in Jewellery and Metal Design in Dundee.

Making repeated tiny forms and often incorporating gemstones, Philipa constructs beautifully intricate cell-like patterns: her jewellery almost seems to unfold.

You can see (and buy) more of Filipa's work at the Barbican, open again now until 6th January, or on her website or facebook page.

Today I received the loveliest package: some jewellery by Kathryn Hinton. Unfortunately it's not for me - I'm taking it in to the Barbican in London tomorrow, to supplement Kathryn's fast dwindling collection there.

This jewellery is amazing not just in the end result, but also in it's method of production. You can see Kathryn in the picture above, and what she's doing is using a digital hammer to form the shapes of her jewellery: you can see the piece she's working on on the screen in front of her. 

The result of this stage is a digital file, as you can see in the image of the ring above. I haven't discussed the next stages with Kathryn, but I'm imaging the digital file is printed out in wax, which is then cast in metal.

The end product is a silver version of the digital image, which Kathryn then finishes by hand. Pretty incredible really, and the end results are beautiful: facets which catch the light, glimmering gently. Subtle and understated, elegant and sophisticated. Deceptively simple: I love them!

See more of Kathryn's jewellery and silversmithing on her website or pop along to the DJG pop-up shop in the Barbican now until 6th January to buy some. 

Kathryn developed her work at the Royal College of Art, and currently also has a piece in the Crafts Council's Power of Making exhibition at the V&A.

No contemporary jewellery lover can have failed to see this striking image of Mariko wearing one of her brooches: it's been one of The images of the season. Born and educated in Japan, Mariko came to the UK in 2009 to study jewellery and silversmithing in Edinburgh. The photo was taken by Agnieszka Tarnowska, who also studied in Edinburgh, and is as stunning as Mariko's jewellery.

Anyone who has been to Japan will immediately recognise the source of Mariko's inspiration for this collection. It instantly transports me back to Kyoto, with it's bamboo, temples, and tiles. It's definitely worth checking out Mariko's website for some of her photos, sketches and collages - they're just so evocative. 

Mariko's palette includes bamboo, textiles, and metal which she often enamels or patinates, creating a 'wabi sabi' aesthetic which I love. This jewellery is adventurous in form: catwalk necklaces, asymetrical earrings, and big brooches. All one-off pieces make this very collectable jewellery, but also very wearable. This is real creativity, and I look forward to seeing how Mariko's work develops.

I took this image of Mariko and some of her jewellery at the Great Northern Contemporary Craft Fair this autumn - beautifully displayed - this is the art of placement! Right now Mariko's work is available in the DJG pop-up shop in the Barbican, London. There's more information about her processes on her blog, and her news on her facebook page.

Unusually, I'd heard of and seen Ros Millar's jewellery before I saw it at New Designers last July. Exhibiting in the 'one year on' section, Ros has done such a brilliant job with getting her work out there that it's hard to believe she only graduated in 2009.  

Ros's trademark is stacks of organically inspired gold and oxidised silver rings, which she makes in her studio in London.

This jewellery has a very contemporary feel to it. A glimspe into Ros' sketch book shows a cluster of teeth cast in silver, giving a hint of the origins of this bold, assertive work. I'd love to see her graduation collection and see how her work has developed, because I hadn't spotted the toothy link in the jewellery I've seen. This work is already really mature and considered. 

It's interesting that Ros uses the process cuttlefish casting in her jewellery. This really ancient technique gives more than just texture to her jewellery: there's definitely a hint of the sea in there. The knobblyness suggests barnacles clinging to and growing out of the rings. And is it just me that sees a shoal of swimming creatures in the image above, and waving fronds of some sort of seaweed or some sea creature in the image below?

 

Work of this quality does no go unrecognised, and Ros already has a string of shows and awards under her belt. The image of her in her workshop above (by Nick Hand) was taken when she was a finalist for the Balvenie Young Master of Craft Awards, and her blog, facebook page, and website bristle with well deserved achievements.

 

I'm delighted that Ros is exhibiting with us in the DJG pop-up shop in the Barbican this winter. Open till 8pm every evening till 6th January (except 24th, 25th & 26th December), this is a great opportunity to see her work and stock up on those late Christmas presents! 

I first met Janice Zethraeus when she was in the first year of her degree in Jewellery and Silversmithing at the London Metropolitan University. I was an artist in residence there at the time, and Janice was one of those students who stood out: friendly, enthusiastic, and particularly eager to learn. Of course at that stage in a degree course it's all about experimentation, and so when I left at the end of the academic year I had no idea what work Janice would end up producing.

We met again at the New Designers show last summer, when I was part of the team selecting six of the best new jewellers to join the DJG in our winter show at the Barbican. The competition was tough as usual, but Janice's work stood out and she won a place: great news because I knew she'd also be a good person to work with.

I'm always interested in where makers get their inspiration from, and Janice was kind enough to share a glimpse inside her sketch book. Photos of cracked mud, imprints of fossils, leaf veins, and sand dunes set the tone. Janice has previously worked as an illustrator, it's no surprise to find ethereal drawings almost floating off the page. 

With these images in mind, it's easy to understand Janice's jewellery: it flows and sparkles. Sinuous and elegant silver and gold wires - often set with tiny diamonds - almost seem to dance. This is joyful work, and I'm sure would be a pleasure to wear.  

Having been selected as one of the Crafts Council's 'hothouse' makers for 2011, Janice is definitely one to watch. You can still see (and buy) her jewellery at the DJG show in the Barbican Centre, London, now until 6th January 2012.

 

I'll be showing my full range of jewellery for the last time before Christmas in Newport at Made By Hand tomorrow. http://www.facebook.com/pages/Made-By-Hand/142350276449 Lots of great craft by 140 designer makers!