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Charles Laurie & Jessica Osborne

Can you explain a little about what it is you do?

JO: I design traditionally, and digitally printed wallpapers and fabrics all printed in the UK. I think I am known for being quite bold in colour and pattern.

CL: I am a leather craftsman and designer. I founded my leather goods company in 2016 after working for 5 years as an apprentice at a high-end leather goods manufacturer in Hoxton.  I specialise in bespoke commissions for both men, women as well as having my own collection of bags and small leather goods. I have also started to take on more commissions for interior designers.

What is your favourite piece of jewellery you own and why?

JO: I have two pieces of jewellery that mean the most to me. Firstly, my Sophie Breitmeyer engagement ring! Charlie designed it based on one of Sophie’s rings he had seen. It looks like a diamond laurel wreath. I had never seen a ring like it and it’s incredibly special. Secondly, after my younger sister passed away a couple of years ago, my elder sister Sophie and I had matching gold disk bracelets made with all three of our initials on. Along with my engagement ring, it is my most treasured thing I own.

CL; I don’t own much jewellery but I love my gold cufflinks that my grandparents gave me for my 21st birthday which I wear on special occasions.

 

What is your favourite element of the jewellery boxes and why?

JO: What I love the most about the boxes is that three designers, each with a similar ethos of creating high quality British-made goods, have come together to create a collection of boxes that encapsulate our aesthetic entirely. I think that makes them quite special.

CL: My favourite thing about the jewellery boxes is definitely the combination of the materials we have used. The leather is sourced from one of the finest tanneries in France. The veg tan leather alongside the alcantara and the silk designed by Jess makes for a really striking combination.

What do you think sets these jewellery boxes apart from others?

JO: What sets them apart from other boxes is the combination of the beautiful classic green leather on the outside of the boxes against the vibrancy of the green and pink geometric silk lining. When you lift the lid on the boxes and see the lining, you get that element of joyful surprise.  Another thing is the sheer quality of them. I may be biased but I think Charlie’s craftmanship is as good as it gets.  Every time he makes something, I find it hard to get my head around how someone can handcraft something so perfect with their hands.

CL. I think it again it has to be the quality of the materials used and attention to detail throughout the entire process. This is something we have been working on since March early this year though out lockdown and right through the summer and the combination of our different sets of skills and perspectives makes them even more interesting and special.

What was the design process for the boxes?

JO: We started pre lockdown No. 1 on these boxes and we have been meticulous in getting things right from the choice of the leather, the design and the pattern on the lining. For the silk lining, we discussed in the initial meeting that something geometric with sharp lines and rich colours would work well. I started with hand drawing then moved on to the computer to rework the design and put it in repeat. I designed quite a few patterns and altogether we chose one to develop. Then came the colour part and this took quite a few prints to get to the right shade we wanted.  Plaster pink and green is such a wonderful timeless combination.

CL: We started out with research into box sizes and what they would hold and used for. We knew early on how we wanted them to look so started sourcing samples of high-quality leather, silk,  alcantara lining for the trays, different locks and fittings. To create the patterns of the boxes and roll, I drew 2 dimensional drawings to scale that would then be used to send to the woodworker to create the inner skeleton for the boxes and trays. I then made mock-ups and perfected these time and time again until everything fitted together just right. Jess and I met with Sophie many times along the way to discuss any changes that we thought should be made and once we were all in agreement we had things right, the design was finalised and I started the production.

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