The Association for Contemporary Jewellery


The Association for Contemporary Jewellery

The Association for Contemporary Jewellery is devoted to the promotion, representation, understanding and development of contemporary jewellery in the United Kingdom and abroad.


Location: UK
Members: 76
Latest Activity: yesterday

The Association for Contemporary Jewellery

is devoted to the promotion, representation, understanding and development of contemporary jewellery in the United Kingdom and abroad.

Founded as a membership association in 1997 and registered as a Limited Company in 2006, it recognises a need to foster discussion, debate and critical review and interaction amongst its members. To this end we organise conferences, lectures, seminars, workshops and an annual general meeting for our members. Our regular newsletter, findings, features reviews, information, comment, book offers and discounts and is of benefit to both our members and the wider public. We also produce a monthly e-bulletin featuring news and opportunities.

We welcome as members practising jewellers, associated designers and crafts people, educators, students, gallery owners and retailers, museum curators, critics and collectors - indeed, anyone with an interest in contemporary jewellery.

The Association for Contemporary Jewellery 
PO Box 37807 London SE23 1XJ United Kingdom 
Telephone: + 00 44 (0)20 8291 4201 
Fax: + 00 44 (0)20 8291 4452 



• promote greater understanding of contemporary jewellery
• support jewellers’ creative and professional development
• develop audiences for this lively field of contemporary craft and design

Discussion Forum

"Disbelief" over plans to remove crafts from UK creative industries_ Dezeen Magazine

Started by Vicky Saragouda. Last reply by Rebecca Skeels May 7, 2013. 3 Replies

Government proposals to remove crafts from its list of recognised creative industries have triggered "disbelief" and "frustration" in the sector...Article published by Dezeen Magazine on May 1st.www.dezeen.comContinue

Tags: Council, Crafts, industries, creative, Crafts

Comment Wall


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Comment by Rebecca Skeels yesterday
What Makes a Maker?
From potters to politicians, everyone today wants to be called a maker. What can designers really expect from this ideologically hazy movement?

Sam Jacob

Illustrations by Serafine Frey
Call it the third law of late capitalist consumerism: For all our rampant objectophilia, we have an equal and opposite amount of objectophobia. In other words, as much as we love, covet, and dream of things, we feel a profound sense of revulsion to that same object lust. In it, we see our own reflection surrounded by a dark aura of sweatshops, child labor, wage exploitation, pollution, and other dubious specters of globalized production.

I’d argue that this love/hate relationship comes from the way we relate to things, mediated by the gauzy layers of consumerism. Our relationship with objects is strangely passive. We look, click, and here they are, delivered to our doorstep. We are far removed from manufacturing. These days, so too are many designers. Between the designers on their screens, designing, and the consumers, clicking on their screens, consuming, is a hazy zone of expanded supply chains, atomized production, and global logistics—a world of manufacturing where the laborer, too, according to Marx at least, is removed from the product.

The roles of designer, manufacturer, and consumer are not roles we choose. They are given to us by the logics of capitalism. These roles determine our agency—what we can and can’t do, what we see and don’t see. And it’s in the limits and boundaries between these roles that our distrust of things emerges, where the simple relationship between our stuff and us becomes a complex moral and political maze.

It’s in this context that the idea of “the Maker” has emerged. The word, with its naive simplicity, holds the promise of rethinking consumerist relationships. Or at least, many of us would like it to. Making implies a direct relationship between objects and us, and a renegotiation of our roles as designers, manufacturers, and consumers.

Contemporary maker culture evolved, I would argue, from a series of unrelated international design phenomena that began back in the 1980s. The first was Design/Art, that brief moment when design assumed the position of fine art. Marc Newson’s Lockheed Lounge, for example, was a tour de force of craftsmanship that merged eighteenth-century chaise longues with the technology of aircraft construction. Made by Newson himself, the piece was recast as a new kind of ultra-design wherein the designer’s authorship, the quality of making, and the uniqueness of the object elevated it beyond the normal status of designed objects—and to a price tag of approximately $1,480,000 at auction in 2009. Design/Art may have ended in elitism, but it resurrected the idea of high craft and a relationship between designer and object that would influence far less rarified atmospheres.

Maker culture is—or should be—an attempt to wrestle with questions about the nature of labor, the status of objects, and the meaning of design in the twenty-first century.

At the same time, a culture of design hacking was imported from digital circles to the world of physical stuff. It imagined new ways of using the kits of parts supplied by the global system of production. It found new ways to assemble, for example, IKEA flat packs (to the annoyance of IKEA). DIY ingenuity allowed the design hacker to reinvent the role of the consumer and the product according to his or her own imagination or need.

Simultaneous to both, digital tools threatened to disrupt the traditional roles of designer, manufacturer, and consumer. It was argued that 3D printing would cut out the middleman and bring designer and consumer in direct relationship—a file could be transferred directly from the studio to the printer at home. Digital tools would also allow, so the promise went, infinite customization. The boundary between consumer and designer would be blurred. Mass production would become, so the boosters said, a relic of the industrial age as digital culture spread its democratizing ethos. This promise remains to be fulfilled.

But at a grassroots level, a branch of the same philosophy has been making an impact. FabLabs and maker spaces combine high technologies with an old idea of the workshop. Here, open-access spaces act as a hybrid of social hub, public library, incubator, and garden shed. These are places where communities can find workbenches, machines, and tools that would otherwise be out of their reach. The ambition of these spaces goes far beyond the things themselves. The revolution promised by places such as Blackhorse Workshop in London’s Walthamstow are answers not only to questions of making, but to wider societal issues. They act as social enterprises as much as workshops, as gateways to employment for jobless local economies, and as ways of re-skilling communities where traditional industry has been decimated.

From here, the cult of the maker extends from objects to immaterial labor, from the transformation of stuff to the remaking of society itself. Making here is imagined as social activism, the design of life itself rather than its accoutrements. Take PBS’s series Makers, which profiled groundbreaking American women such as Hillary Clinton, Ruth Bader Ginsburg, and Oprah Winfrey. Is this the fulfillment of design’s long-held desire to act in this societal role? Or is it just a hip way of talking about people who have gotten things done?

Of course, as with any contemporary avant-garde or subculture, corporate interests are never far behind. What to make, for example, of Chrysler’s “Born Makers” ad campaign that attempts to recast a behemoth of the industrial age as a calloused-handed craftsman? Because, perhaps, of its inherent ideological haziness, makerism—originally conceived as a reaction to consumerism—is easy to recast as a means to other ends.

In the midst of the rise of the maker, it’s wise to remember that both the idea and the scenario it responds to are nothing new. Think back to the Arts and Crafts movement—not as the movement has come to be known, full of flowery domestic decoration, but its radical political roots. For figures such as John Ruskin and William Morris, the act of making was a political response to the Industrial Revolution. They saw industrialization degrading labor, social structures, and conditions of society. In response, Arts and Crafts resurrected an (idealized) vision of medieval craft, welded it to growing ideas of socialism, and shaped design practice as a form of resistance intended to reconnect the schisms between labor, products, and capital. In reality, the socialist-maker society the Arts and Crafts movement imagined was very different from the middle-class Victorian domestic market that it served. But should this be seen as its failure? Maybe its ambition to reconfigure the act of making in the industrialized world was enough.

We face exactly the same problem that Morris and company did as contemporary making attempts to negotiate a new role for design. Can the movement’s promises to renegotiate the practice of design, the meaning of objects, and our respective roles in the machinations of consumerism really succeed, given the global dominance of capitalist production?

Perhaps it is not revolution that we should expect in maker culture. Instead, its true value is the various ways in which it reimagines the acts of creativity and production. Maker culture is—or should be—an attempt to wrestle with questions about the nature of labor, the status of objects, and the meaning of design in the twenty-first century. What, it asks, might design be able to do, who might it be for, and what might it be able to influence? Most importantly, it suggests, it’s not the final product that counts, but the way that you get to it.
Comment by Rebecca Skeels on Friday
SavannahFull Time
Job Number: 131
Job Opened: March 02, 2015
Category: Faculty
Department: SAV - Jewelry and Objects-12600
Job Description: The field of jewelry offers endless opportunities for exploration and creation, where designers use new technologies and materials to create aesthetically strong wearable objects that delight and surprise. SCAD has the largest jewelry program in the U.S., with a 13,562 square-foot facility boasting cutting-edge technology. Join SCAD Savannah as a full-time professor of jewelry to support this unparalleled program.

This is your chance to work with talented students within the historic district of Savannah, Georgia, a walkable, bikeable coastal city that provides a living laboratory for the study of art and design.


- Terminal degree or its equivalent in jewelry or a related field

- College-level teaching experience

- Strong knowledge of historical/contemporary art, craft, design and current issues in the field

- Extensive knowledge in teaching a range of advanced jewelry and metalworking skills, experimental and extended materials, and processes in application of jewelry and object making

- Expert knowledge and working ability in CAD/CAM

- Expert skills in traditional hand rendering as well as industry-style quick sketching skills

- Expert skills in computer rendering including V-Ray, KeyShot, Adobe Illustrator and Autodesk SketchBook Pro

- Certification in teaching Rhinoceros and Matrix preferred

- Contacts in the jewelry industry preferred

Apply for this position
Comment by Rebecca Skeels on Thursday

Good Afternoon,
We are delighted to share an exciting opportunity with you taking place later this year. Elements is a 4 day festival of gold and silver in central Edinburgh, incubated by the Incorporation of Goldsmiths and Lyon & Turnbull Fine Art Auctioneers. Elements takes place from the 10th to the 13th of September 2015 at Lyon & Turnbull’s stunning showroom in Edinburgh.
Elements is looking for both experienced and new makers to show their work at the selling fair, which gives makers the rare opportunity to reach established collectors, corporate commissions and new customers. Elements will also give makers a chance to network and discuss work in a supportive setting, with several events organised specifically with this aim.
If you would like to learn more or to apply to exhibit as a maker, or know anyone who may be interested, please visit
Kind regards,

Comment by Rebecca Skeels on March 25, 2015 at 2:53am
One of the requirements of the Hallmarking Act 1973 is that all dealers supplying precious metal jewellery shall display a notice explaining the approved hallmarks.

This must be the notice produced by the British Hallmarking Council, as shown right featuring date letters 2015 - 2024.

Any previous versions of this notice will need to be replaced with this latest version.

How to get your Hallmarking Dealers' Notice

• Downloadable PDF. This must printed out in black and white (minimum 300dpi, A4 size) and clearly displayed on your premises.

• Hard copy, at a cost of £10.00 each including VAT from Goldsmiths' Hall, or £15 if posted. For more information email
Comment by Rebecca Skeels on March 23, 2015 at 12:32pm

Dear Rebecca,
We would like to remind you that there’s only one  more week for your students to apply for the 2015 Deutsche Bank Awards for Creative Enterprise.

By submitting an application, they are in with a chance of winning:

— £10,000 start-up capital.
— 12 months business mentoring.
— Small business training.
— Access to new networks and audiences.
— Deutsche Bank endorsement.
— A fast track to success.
Take a look at why they should apply here.

Five prizes are offered in five broad categories that the business plan can fit into:

— Fine Art
— Design
— Film and Photography
— Music
— Performance

Their application should consist of a business plan for a project or enterprise that they wish to pursue. The plan should support the applicant’s long-term career goals.

We’re looking for originality, feasibility, clarity and conciseness… and for it to be financially sound.

But it’s worth reminding your students that impressions count; make our judges want to read their business plans!

Check here to see if your college / university has already registered. If not, you’ll need to do so in order for them to apply. It’s free and easy, and takes no longer than a minute.

Once you have done so, then please do encourage them to submit an application by forwarding this link: Click here to access the guidelines and application form
Deadline: 17.00, 31 March 2015.

And don’t forget to check out the resources on our website, including the questions and answers from this year’s #DBACE Live session.
If you have any questions, then please do not hesitate to contact me on the email below.

Many thanks, regard and best wishes
John Kundu
The DBACE 2015 Team

Comment by Rebecca Skeels on March 23, 2015 at 12:29pm

We would be grateful if colleagues can forward through appropriate notice boards, peer networks and associates; with full apologies for the receipt of cross-posts.

Making Futures will be held on Thursday 24th and Friday 25th September 2015 within the magnificently sited Mount Edgcumbe estate on the River Tamar opposite the city of Plymouth, Devon, UK.
The CALL FOR ABSTRACTS is open and the closing date for receipt is 18th May 2015. Building on the success of its three previous editions, Making Futures invites proposals for papers and presentations that address the main conference topic, thematic fields and workshops. Making Futures seeks to be broad and inclusive, and invites a diverse range of response, from artists, craftspeople, designer-makers, Fab Lab and maker-movement enthusiasts, campaigners and activists, curators, historians and theorists.
ON-LINE REGISTRATION OPEN: registration is open with an ‘early bird’ offer on two-day conference tickets until the 17th May 2015.
CONFERENCE AIMS: Making Futures investigates what it means ‘to make’ and its future significations - personally, collectively, artistically, economically, politically… Its impact on sustainable agendas, its subversion of mass consumption, its relation to new technologies, its contribution to community and 'place-making', and to the possibilities of new political economies…
Embracing contemporary craft and making as instances of thought in action and convinced of their transformative potential at individual and social levels, Making Futures envisages the “(re)turn of the maker” as a project capable of generating new progressive possibilities, and of contributing to new social and economic futures.
THEMATIC FIELDS: proposals might address one of six themes:
Lifecycles of Material Worlds (Sustainability in Practice)
Craft in an Expanded Field
Critical Perspectives on Producers & Consumers
Translations Across Local-Global Divides
Materials & Processes of Making
Making Thinking (Crafting Education)
WORKSHOPS: the call also requests proposals to three workshops:
Digital Crafting – Defining the Field in collaboration with the School of Materials, The Royal College of Art.
A Western Jugaad? Makers & Frugal Innovation in collaboration with the Judge Business School, University of Cambridge, and Fab Lab Barcelona.
Place-Making-Space: tools and methods for ‘crafting communities’ and ‘making places’ in the post-global era in collaboration with the Community21 Sustainable Design Research Group at the University of Brighton.
Practice-led presentations and case studies: projects that engage the conference themes, and which might typically connect to practitioners, processes, products, projects, enterprises, collectives, institutions, agencies, ideas and allied movements, campaigns, initiatives, and curatorial practices and strategies.
Historical and theoretical papers: rooted in examinations of the broader contextual formations and critical discourses connected to the conference programme. To include perspectives derived from historical, technological, social-cultural, philosophical aesthetic, anthropological, and/or political and economic models of enquiry


Comment by Rebecca Skeels on March 23, 2015 at 4:46am

Comment by Rebecca Skeels on March 23, 2015 at 4:27am

The Colour Group (Great Britain) is proud to announce that the Turner Medal 2015 will be awarded to the Kinetic-Optic artist Carlos Cruz-Diez

Since 1941, stemming from the Physical Society, The Colour Group’s mission is to promote the study of colour and to assist the dissemination of colour knowledge in all its aspects.

Every two years, alternating with the Newton Medal rewarding scientific contributions, the Colour Group presents the Turner Medal to a distinguished artist in recognition of their outstanding contribution towards understanding colour in the Visual arts. This year, the Colour Group is honoured to present the Tuner Medal to Carlos Cruz-Diez.

Carlos Cruz-Diez with his Physichromie 500 at the exhibition “Radical Geometry: Modern Art of South America from the Patricia Phelps de Cisneros Collection”, Royal Academy of Arts, London, 2014

Carlos Cruz-Diez (Caracas, 1923)

Franco-Venezuelan artist Carlos Cruz-Diez has lived and worked in Paris since 1960. He is one of the great figures of kinetic-optic art. He is a contemporary theorist of color whose artistic proposal is based on four chromatic conditions: subtractive, additive, inductive and reflected condition. His research has brought art a new way of understanding the phenomenon of colour, greatly expanding its perceptual universe.

Cruz-Diez’s work revolves around color conceived as an autonomous reality, devoid of anecdotes, progressing in space and real time without past or future, in the perpetual present. In his works the colour appears as a reality that can exist without the help of form and even stand unaided.

Comment by Rebecca Skeels on March 22, 2015 at 1:42pm
Research Bursaries

The Wellcome Trust has recently announced details of a new research funding scheme. Research Bursaries are available for small and medium-scale research projects based on library or archive collections supported by the Trust. Projects must focus either on Wellcome Library holdings or on any collection supported by a previous Wellcome Trust Research Resources grant.
Comment by Rebecca Skeels on March 22, 2015 at 1:35pm
This year festival of crafts is taking place Sat 17 & Sun 18 October 2015

festival of crafts is now in its nineteenth year and 2015 promises to be the best yet, with a curated marketplace, DIY workshops, and activities across the town.

We are looking for applications from makers working in a variety of disciplines, including new and traditional craft techniques, producing work with a modern design aesthetic. festival of crafts is a weekend long celebration of all things handmade; championing great design, the process of making, and the joys of up-cycling. The marketplace will showcase over 70 designer makers and products with a lifestyle focus, including (but not limited to): homewares, jewellery, ceramics, stationery, accessories, furniture, lighting, textiles and print.

The show offers opportunities to well established craft practitioners as well as first time exhibitors and graduates (special graduate rates available). As we receive more applications than we can accept the selection process aims to offer visitors an eclectic mix of contemporary craft from innovative makers. Please take a look at the selection criteria below for more details.

Why exhibit at Farnham Maltings?
The Maltings is an historic 18th century brewery comprising beautiful beamed rooms across which the show takes place. On a day to day basis the collection of buildings hosts a range of studios including printers and picture framers together with 6 resident theatre and dance companies who produce and tour work regionally, nationally and internationally. We offer a varied programme including theatre, cinema, craft, music, workshops and more.
We are a small but friendly team curating a craft festival programme comprising unravel… a festival of knitting, thread… a festival of textiles and festival of crafts attracting an annual audience of over 6,000 visitors including craft enthusiasts, art students, stylish shoppers, DIY-ers, and indie bloggers.

Selection is made based on the following considerations:
How your items fit in with our vision of festival of crafts; contemporary lifestyle craft with a modern design aesthetic, designed or made by the exhibitor, i.e. if your items are made by hand, or if some of your designs are produced/manufactured elsewhere
How your items are represented in your photos/website
The overall cohesiveness and consistency of your work
If the range of work falls into more than one category, then the organiser reserves the right to specify that only one part of the range is eligible for display
If your work falls more into the categories of High End Craft or Fine Art, Fair Trade Goods or Vintage
If a shared application, the relevance and standard of each individual; neither or both would be selected
If a returning exhibitor, how your work has progressed since participating in or applying to past festivals. We’re looking to see whether or not you’ve produced new items or designs, so we can keep the festival fresh and exciting year in and year out for shoppers
How your work fits in with the range of disciplines and our need to diversify the crafts available at festival of crafts
To apply for a stand at festival of crafts please complete and return the attached application form by Thursday 2nd April 2015 to Emily Phillips by either email: emily.phillips or by post to: festival of crafts, Farnham Maltings, Bridge Square, Farnham, Surrey GU9 7QR

If you have questions please do not hesitate to get in contact,

Look forward to hearing from you,

Kind Regards,


Emily Phillips
Craft Events Intern
Farnham Maltings | Bridge Square | Farnham | Surrey | GU9 7QR
t: 01252 745425 (direct line)

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Rebecca Skeels commented on Rebecca Skeels's group The Association for Contemporary Jewellery
"What Makes a Maker? From potters to politicians, everyone today wants to be called a maker. What can designers really expect from this ideologically hazy movement? Sam Jacob EMAIL PRINT FEED Illustrations by Serafine Frey Call it the third law of…"
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