The galleries need to take some sale or return items in order to have a larger selection of items available for their customers. It provides them with the opportunity to showcase work from less well known designers, to see how the customers like the work before they commit to buying from new designers. It also enables them to change their stock on a more regular basis. Galleries of course take the risk and foot the expense of the high shop rentals and all the costs that go with this which the designers don’t.

From the designer’s point of view, sale and return can be both a good and bad thing as there is no initial income and if providing new stock, costs can be incurred in providing the gallery with a selection of a new product range. On the other hand, if a designer has stock stored in the workshop it is better to have it on display to the public than stored awaiting new orders. Once a good and ongoing relationship has been forged with a gallery, providing them with sale or return items on a regular basis can become a reasonable source of income.

Many designers complain that work is sometimes returned slightly damaged, for example with silver having scratch marks and needing repolishing or with items being returned without adequate wrapping. The best way to avoid this is to ask the gallery if they are happy to provide you with the name of a designer who has previously provided work to them in order that you can obtain a reference before providing them with your work.

It is, however, important to note that a contract is signed with any outlet taking the goods on a sale or return basis.

There is such a wide-ranging collection here, from ancient to present day, from all parts of the globe (although unsurprisingly a fair proportion of it is from Europe). You can really get a sense of where the influences for modern-day jewellery comes from. Take, for example, the Elizabethan era. A lot of what is seen in the gallery could be worn in contemporary London without too many double-takes. The colours are so vivid, the designs striking.

Towards the end of my visit, I was thinking of how many people must have been employed in the jewellery trade and other crafts before the dominance of mass production and globalisation; before the division of labour and the decline of true craftsmanship. I visited the medieval and renaissance rooms, with the collection of reliquary and was amazed at the intricacies involved in the silver crosses, plates and other artefacts such as this astonishing hand made from silver parcel gilt, and which would be an excellent way of displaying my jewellery! This was art as much as the sculptures on the ground floor and in line with the textiles elsewhere in the museum.

Apart from those who can afford such work today, we are slowly losing out on the beauty that comes with individually-designed and crafted objects. To me, such a decline is a real shame – not just because work for the likes of me is diminishing as people (quite naturally) veer towards the cheaper end of the market, but because people begin to lack their individuality. Yet that is what customers are asking for and if people like me do not like it, we should think of another way in which to regain the initiative.

The obvious tool for doing this is the internet; finding a way in which the typical consumer does not naturally go for the same as everyone else, what is in vogue in the magazines and on the High Street. I am currently working with a couple of people on a project which, I’m hoping, will assist along this line. We are hoping to have the first inception of this idea online in the next few months. Let’s hope it works and in the future, people will be wandering around the V&A and will be inspired by what they see from the early 21st Century.

Previously sponsored by Coutts, well-known for being ‘the bank of royalty’, they have withdrawn this year, possibly because they are these days part of the Royal Bank of Scotland, who perhaps are re-focusing their priorities.  It would be an incredible blow to the global  standing of the UK jewellery industry if this event doesn’t take place.  Can you imagine London fashion week being in the same boat? It seems extraordinary that a well known corporate group doesn’t see the benefits of sponsoring such an event, and terribly sad too if it doesn’t take place. However, I am confident that those involved in this week long series of events will find a way for it to take place – one way or another.

Treasure which I was hoping to exhibit at, is an event well worth attending, alongside all the other fantastic events that take place – whether you are exhibiting or buying or simply love looking at beautifully crafted pieces of jewellery. These events are an inspiration to all…fingers crossed that those involved find a way for London Jewellery Week to go ahead.

What a joy! Since visiting the National Portrait Gallery’s Leibovitz retrospective last year I have had very little opportunity  to read this marvellous book. I love her work and this is a fascinating insight into the stories behind how each picture came about.

Initially, I was a little shocked when I realised quite how much work goes into creating the images. For instance, consider this glorious picture of Helen Mirren and Judi Dench. Pictures that look as if they were taken ‘as of the moment’ are often finished on computer well after the shoot.

Having taken at least two half-days of getting to know her subject, Leibovitz gets her inspiration and creates an amazing story, often employing fabulous props, all in line with her subject’s personality – better this than relying on the public persona that everyone knows and which may well hide many misconceptions.

Why blog about photography when my raison d’etre is jewellery? Well partly because I have a keen interest in photography but I guess I started writing this as the Leibovitz book demonstrates how the path you go down – the direction you follow – changes the opportunities that you take up.

Initially slightly taken aback by the way Leibovitz was working in creating a set, as I felt she was sometimes ‘faking it’,  now I feel that she, like others before her, is pushing on the boundaries of photography and on into other art forms. She doesn’t hide the way she works for anyone interested enough in finding out how she creates her images. To stay true to yourself, however, can result in missed opportunities as Leibovitz has found out to her cost over the past year or so. But fingers crossed that both she and other individuals out there simply remain happy and content in themselves. I intend to do so!

If you want to buy cheap as chips jewellery and clothes, fine but you can actually find other places to buy it, as well as the obvious stores. Charity shops are a great place to look for high fashion items these days – their revenue has increased dramatically in the last year or so. Or….go and buy a piece of ribbon and some diamante bits/buttons/beads and make a high fashion necklace yourself! If you love fashion, you love creativity so go for it…and yes I know time is of the essence in this mad crazy world but more and more people are suffering from stress and finding half an hour a day to really relax is a great antidote to this.

http://www.verygarcia.co.uk/

http://www.vannettaseecharran.com/gallery.php

http://www.annevmassey.co.uk/

http://www.rinatairo.com/rina.swf

http://www.elizabethbone.co.uk/MainV1.html

http://www.grantmccaig.co.uk/gallery.php – silversmith

Who is Katrina Alexander?  I design and make jewellery from silver and semi-precious stones which is all hand made by myself in my Brighton workshop. I am passionate about jewellery and love exquisite things, exploring new places and discovering new things……..Enjoy my blog.