'I find beauty in the most unconventional of places,' shares Tokyo James, the celebrated British-Nigerian fashion designer. In the last decade, James has pushed discourses centred upon the plurality of identities, and how Africa, often thought of as an adjunct, leads as an important incubator and inspiration point for design globally. This season, sees James present a jewellery collection in the brand’s own image, having previously collaborated with a number of jewellery designers: 'We are always trying to change the narrative. Both with our designs and the choices of materials we use in order to create something special and it was the same with the jewellery.'
Entitled ‘Ewá’, which means ‘beautiful’ in Yoruba, the collection of earrings, bracelets and necklaces made with magnesites, anthracites and gypsum, paired with Swarovski crystals challenges notions of intrinsic value, and what pieces are permitted to be viewed as heirloom worthy, given that no precious gemstones are used. James expands: 'All of the natural stones used are found here in Nigeria. I am trying to show that rawness can be beautiful. It is a continuation from my last clothing collection, called ‘Imperfection’. Shining a light on unrefined stones and how in fine jewellery we expect everything to be clean and polished was important for us as a team.'
Thus, the pieces rely on the innate lustre found in anthracites, or the undeniable tactility of the large magnesite and gypsum orbs that juxtaposed with the sparkle of the Swarovski crystals anchor the collection.
As with much of James’ work there was an innate dualism in the naming of the collection, the methods used to make it and its presentation in the campaign. Ewá is also an Orisha, part of the traditional pantheon of Yoruba deities and custodian of purity and passion and a diviner of future. 'As a brand we are committed to finding something new in what we do. With the jewellery we are trying to show the playful and quirky but at the same time serious and mature side of the wearer’s identity. After all it’s a challenge designing jewellery that people will want.'
To achieve his intentions, the pieces hark back to ancient beadmaking techniques found within Nigeria, with James’ atelier being graced by 'a sixty-year-old woman who has been making jewellery by hand for years who comes in and we discuss what the vision is and how we will go about making those pieces, because it was quite important for me to create something with her that is of heritage.' However, James’ irreverence and intellectualism are never far away from the process, with campaign imagery using a ram as the model. 'If one looks at the symmetry that exists within the ram, it actually is a very beautiful creature, from the horns to its ears, to the shape of its head. It is also associated in some cultures as a sacred creature playing a central role in religious rituals, and it was just the perfect muse to encapsulate the whole collection,' he explains.
For a brand that has prided itself in using design as starting point for wider cultural discussions, it was evident that even in the august and often storied world of jewellery, Tokyo James would be a joyous disruptor of the status quo, with his pieces being available in pre-order format not only to maintain a sustainable model in terms of material resources, but also to ensure his team in the atelier have a manageable human-scale workload. However, at the heart of the brand’s ethos across its offerings is a lifelong quest to document pulchritude in all its guises via his dual Nigerian British lens. 'There is so much beauty that comes out of Africa every day when it comes to the world of luxury,' he asserts. And he aims to share it with the world.
