From pop-art jewels to luxurious silverware, this London-based designer injects an air of playfulness into his remarkably detailed works.
Whimsical and flamboyant with a cheeky touch of British humor, Theo Fennell’s meticulously crafted jewels have earned him a legion of devoted fans, including pop icons Elton John and Madonna. The silverware and jewelry designer launched his brand in 1982, and his flagship store and workshop are now based in west London. There, his skilled craftsmen create imaginative one-of-a-kind jewels, as well as home objects such as crystal cocktail shakers with sculpted lids of sterling silver. An exceptional attention to detail and an enthusiasm for experimentation, combined with a wide range of cultural, historic and literary references, make Fennell’s creations collector’s items.
How did you become a jewelry designer?
I answered an advertisement for a job at a very old-fashioned silversmith’s soon after I left art school. I was amazed to be offered any job, so I took it and then fell in love with what the trade had to offer. That was in 1973, and the music was wonderful!
Which designers and craftsmen do you admire the most?
I have very broad tastes and interests, so they are not all from my trade, but [16th-century artist Benvenuto] Cellini, [19th-century gold- and silversmith] Paul Storr and the original Fabergé were absolute masters. [Among] British designers, Eric Gill, William Morris and Inigo Jones are hard to beat. I think any designer should have as broad a set of references as possible.
With influences as varied as Shakespeare and pop artist Roy Lichtenstein, how do you translate these into your creations?
It is not as simple as pure translation. These influences are part of a process of looking at, listening to and reading as much as possible and exploring as many cultures and artists as possible. These influences and ideas are going to color a designer’s thinking and lend weight to his own voice. Some pieces I design are straightforward homage, but normally these great artists just lend me a little color.
What is your latest collection about?
Stiletto, which will launch this fall, is a variation of a very simple theme we have been developing for many years. It started with our Quiver collection, which was based on an arrowhead, so even though it is abstract, the shape has many references through thousands of years — from stone-age flint, through the great armorers of the Elizabethan age, to what we have here, which is a very modern, stylish shape.
What do you consider your most iconic jewel?
We design and make many one-off pieces, both bespoke and for general sale, and I would like to think that they are all very special. The first of any new idea is always important, and our first opening ring came from my seeing a door in a garden wall that led through to a secret garden. This seemed like a neat idea, putting opening doors in the side of the ring with enamel scenes within. Luckily, we have the craftsmen to carry this out, as it was spectacularly difficult.
As a designer who is involved in mentoring the next generation, how do you see the new fine- and high-jewelry scene?
I hope the strange times we have been going through will allow people to think about what is important, and that the move away from mass-produced fashion jewelry will continue and people will prefer to use original designers and great craftspeople to make something really special for them. I think it is a great time for young designers and jewelers to be working really hard to learn their trade and to be part of this craft renaissance.
