Vintage Interpretations
Our bead study group is about to embark on a new series of studies involving bead weaving interpretations of vintage costume jewelry of the 1920’s thru 1950’s.
Walid is a contemporary jewelry designer I came across while researching materials for our new study unit. He’s very into the interpreting of vintage approach, using bead embroidery, beaded fringe, lace applique.
Walid for CoutureLab
When interpreting vintage pieces, it is important to understand the materials, and their contribution to the success of the piece. You would probably want to use Czech seed beads, rather than Japanese, because the Czech seed beads are more irregular. They would convey a more hand-done, rather than machine-done, sensibility to your piece. You might rely on hand-cut beads rather than pressed glass, and older color palettes, rather than new ones, for similar reasons.
Walid for CoutureLab
Historically, people wore jewelry for many reasons. This included mourning, commemoration, fun, and imitating fine jewelry.
What were the goals of vintage styles?
– appreciation of hand craft
– to be “wealthy” was to be “elegant”
– decadence
– class distinctions
– eccentricy
Walid for CoutureLab
People today are attracted to vintage pieces, because these pieces demonstrated great “hand” skill. Working in vintage styles feels a lot like recapturing lost treasures. These proven vintage styles seem to transcend fashion. Wearing vintage jewelry always makes the wearer feel very special because these are always conversation pieces.
So, here were are trying to restore life to forgotten styles. We want to try to be unique in a cookie cutter era.
Walid for CoutureLab
Walid for CoutureLab
Some links of interest:
http://www.couturelab.com/editorial/story-walid.heml#1
Learn To Bead 
Joyce Scott – Is There A Place For Controversy?
Posted by learntobead on May 21, 2009
Joyce Scott
Bead Artist, Multi-Media Artist, Social Commentator
I consider Joyce Scott to be one of the founders of today’s modern beadwork movement. Her work is intricate and layered, both technically and socially/politically.
Peeping Necklace
A couple years ago, her less provocative bead works were to be on display at our local Frist Center Gallery in Nashville. The curator of this traveling exhibit switched out her pieces with more provocative ones. Ones dealing with inter-racial relationships, sexuality, rape and the like. The Frist pulled the exhibit.
Race Gender Politics Mixed Media
I wrote them to ask why they would take away a prime opportunity for local beaders to experience this master — Joyce Scott?
Day After Rape
They phoned a few days later. In our phone conversation, they explained that this kind of charged material takes months to market to the community, set their expectations, calm knee-jerk emotions. Otherwise, the likely headlines and the included images in various publications around town, could be too inflamatory. They explained that Nashville wasn’t ready for this kind of exhibit yet.
Painful Death
We were left to view her pieces as images online or in magazines, or to travel to New York or California or Maryland, where Joyce works and lives, to see her pieces in person.
And the action of the Frist Center sent a chilling message to artists that they tread lightly on difficult themes, and that they avoid finding powerful voices within their media, lest they be without a display showcase and livelihood.
Posted in Art or Craft? | Tagged: bead artistry, bead work, death and dying, joyce scott, political commentary, race relations, rape, social commentary | 2 Comments »