Weaversfield

Wire wrapped jewellery handmade in Cambridge, England

Cambridge, United Kingdom · 385 Sales

Weaversfield

Wire wrapped jewellery handmade in Cambridge, England

Cambridge, United Kingdom 385 Sales On Etsy since 2011

5 out of 5 stars
(147)
Shop owner

Debbie

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Announcement   I specialise in wire-wrapped, wire-woven and semi-precious stone jewellery, always individual, and always handmade with love, using quality materials and careful workmanship. I am based in the UK but ship all over the world. Orders can arrive very quickly: the delivery estimate for the Royal Mail service I use to the USA, for example, is just 5-7 days.

Announcement
Last updated on Jan 5, 2016

I specialise in wire-wrapped, wire-woven and semi-precious stone jewellery, always individual, and always handmade with love, using quality materials and careful workmanship. I am based in the UK but ship all over the world. Orders can arrive very quickly: the delivery estimate for the Royal Mail service I use to the USA, for example, is just 5-7 days.

Debbie

Contact shop owner

Debbie

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About

Weaversfield: A Personal Story

I started Weaversfield after many years of being a sub-editor and production editor in magazine publishing. I liked the publishing work and I think I was good at it, but there was always something missing for me: I felt I was over-using part of my brain, the careful, analytical editing part, and found that increasingly it felt tired! At the same time, I was using very little other aspects that I wanted to use: my enjoyment of colour, shape and pattern, and my ability to make things with my hands.

The women in my family have always made things, not just for their homes, but for a living. My nana was a flower-maker in the famous English pottery industry of Stoke On Trent, whose five towns became known worldwide as The Potteries -- the home of Josiah Wedgwood and the birthplace of iconic china brands such as Wedgwood itself, Royal Doulton, Aynsley and Spode. She was one of the teams of women who modelled flowers in clay, petal by petal, and formed them into miniature posies and bouquets, later to be fired, painted and glazed as the home ornaments of the 1950s, and even, in single pieces, as brooches, pendants and earrings.

When I was around eight years old, she bought some clay for me and showed me how to create a rose, breaking off small balls of clay, flattening them with my fingers and working them until their tips were almost as fine as paper, then pinching the base of each petal and setting them aside until we had enough petals. Then we made the centre of the rose, creating a fat whorl from a strip of thinly rolled clay. Finally, it was time to put the elements together: we pressed one petal at a time against the centre, building them up in layers, overlapping as in nature. To my delight, a beautiful and accurate rose began to emerge. I was hooked, and used up pack after pack of Plasticine making miniature roses. To this day, I can make one in minutes.

We were a working class family, and my Mum, Irene, followed her mother into the pottery industry, becoming a lithographer: these women (and they were always women) used skilled fingers to burnish colourful pattern transfers seamlessly onto the surface of plain white chinaware, every pattern in a specific position -- which had to be judged entirely by eye -- on the ware. I remember occasionally visiting my Mum at work, in a vast, white-dusted, high-ceilinged warehouse room lined with wooden benches covered in stacks of white 'biscuit' ware waiting for decoration, where cheerful, chatty women meticulously covered plates, bowls and cups with delicate colour and design at breakneck speed.

Meanwhile, her sister, my aunt Patricia, had become a seamstress, garments of every kind flying out of her sewing machine. Every time my sister and I had a party or special occasion as children, Auntie Pat came to the rescue with a new dress made just for us.

As I child, I loved creating -- clay modelling, drawing, painting, sewing -- but at the time of my higher education, girls from working class backgrounds were, quite rightly, being encouraged to go in academic directions if possible, and none of my chosen subjects were artistic or creative. I don't think I even realised I COULD choose art as a subject! I lost touch with my family's handworking traditions, but as the years passed I increasingly (though not always consciously) yearned for them. Then, looking for something to occupy evenings when my husband worked late (there were lots of them!), I took a beading class... I'd always loved jewellery and never could pass a jewellery shop or stall without stopping to look -- and usually buy!

Beading was the start of the process, which progressed to wirework and into metalworking. I'm constantly striving to encapsulate my feeling of what a pleasing and wearable piece of jewellery should be. I am always impressed and engrossed by the decorative art of the middle and far East, and with the elegance, style and balance of the Art Deco, Art Nouveau and Arts & Crafts movements. My primary aims are beauty, durability and comfort/ease of wearing for the user.

My aims for the future are to continue developing my techniques (I'm studying traditional silversmithing to extend my metalworking skills), to get better at the marketing side of having a jewellery shop, and to remember to make the most of every day -- and every opportunity. My nana, Ethel, and my Auntie Pat both passed away very early and are sadly missed. I know I'm lucky to have the time and the chance to do what I'm doing.

I hope you enjoy looking at my work, and that you find something that appeals to you. I'm always open to special requests and commissions.

Thank you for reading. :)

Debbie
Weaversfield

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  • Debbie

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Last updated on Apr 4, 2016
Frequently asked questions

Can I return earrings for pierced ears?

EU health regulations prevent me from accepting returns of earrings for pierced ears.