Rewrite
目次
- 1 On her favourite pieces
- 2 On femininity and her slogan, ‘delicately crude rudimentary femininity. This is my relic of being a girl’
- 3 On her creative process
- 4 On the future of Shana Cave
- 5 On her favourite pieces
- 6 On femininity and her slogan, ‘delicately crude rudimentary femininity. This is my relic of being a girl’
- 7 On her creative process
- 8 On the future of Shana Cave
On her favourite pieces
It’s hard because my favourite is always my next piece, so it’s always changing. I’m excited about experimenting with pierced cut outs and mixed metals. I think I’m becoming less sculptural and more interested in surface design. Of my previous work, I love the giant heart necklace I made called Lovebomb. It’s not very wearable because it’s so big and heavy, but it feels like an object from a Barbie Princess movie and I love its absurdity.
On femininity and her slogan, ‘delicately crude rudimentary femininity. This is my relic of being a girl’
Femininity is a huge part of my work and a lot of what I think about. My designs play off of very stereotypical feminine imagery, such as flowers and hearts and ribbons. I’ve always been attracted to the feminine and the realms relegated to women and girls. I remember feeling very lucky as a girl, having awareness that I was allowed to engage and indulge in things my brothers weren’t, such as art, fashion, beauty, and cuteness. As I matured into my womanhood, my perspectives changed, and I grieved my childish naïvety to femininity and its role in this world. I realised my body is not entirely in my control and the ways that I express myself are not simply for myself. When I started designing jewellery, I aimed to recreate that sense of play in dressing that was similar to what I felt when I was a girl. I use the words crude and rudimentary in my slogan, because my metalsmithing style is in some ways elementary. My style combines sheet and tube and features flat surfaces and right angles. To me, it is very simple and almost toy-like, like something that could have been made in the bronze age. This “primitive” style combined with the girly imagery and vibrant gemstones creates an interesting language of brute glamour.
On her creative process
I usually start with a desire to see something, a fantasy, like being blanketed by jewels or wearing a vine. I sketch but it’s not always necessary. I do a lot of designing during the process of making, holding things up to my body and making compositions in materials and taking a photo. I like immediacy and quickly actualising, so I usually work with what I have at the moment so I’m not waiting to finish. I’ve been challenging myself to design simpler things, conform to classic shapes like the signet. experiment with surface, instead of shape. The product is usually easy to “finish”, but the idea behind the product is always ongoing and evolving.
On the future of Shana Cave
I am going to continue selling what the people want, taking photos, posting online, everything I’m doing now. I love branding and want to create more elaborate displays for this world I’m building, hosting more retail events and connecting to my audience. I’m getting interested in bridal jewellery, so that’s on the way. I also love light and lamps and have some ideas for some lighting, I’m excited for that. I’m having a pop up Dec 6-8 in the East Village with my good friend Brenda who runs Siren Basics, a beautiful intimates brand. That’s going to be really fun and I’m making a lot of one-of-a-kind items for it. I will list everything online as well, but if you’re interested in this jewellery I highly recommend coming to an event in person if you can. I always say “anything good is better in person”.
Photography courtesy of Shana Cave
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
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On her favourite pieces
It’s hard because my favourite is always my next piece, so it’s always changing. I’m excited about experimenting with pierced cut outs and mixed metals. I think I’m becoming less sculptural and more interested in surface design. Of my previous work, I love the giant heart necklace I made called Lovebomb. It’s not very wearable because it’s so big and heavy, but it feels like an object from a Barbie Princess movie and I love its absurdity.
On femininity and her slogan, ‘delicately crude rudimentary femininity. This is my relic of being a girl’
Femininity is a huge part of my work and a lot of what I think about. My designs play off of very stereotypical feminine imagery, such as flowers and hearts and ribbons. I’ve always been attracted to the feminine and the realms relegated to women and girls. I remember feeling very lucky as a girl, having awareness that I was allowed to engage and indulge in things my brothers weren’t, such as art, fashion, beauty, and cuteness. As I matured into my womanhood, my perspectives changed, and I grieved my childish naïvety to femininity and its role in this world. I realised my body is not entirely in my control and the ways that I express myself are not simply for myself. When I started designing jewellery, I aimed to recreate that sense of play in dressing that was similar to what I felt when I was a girl. I use the words crude and rudimentary in my slogan, because my metalsmithing style is in some ways elementary. My style combines sheet and tube and features flat surfaces and right angles. To me, it is very simple and almost toy-like, like something that could have been made in the bronze age. This “primitive” style combined with the girly imagery and vibrant gemstones creates an interesting language of brute glamour.
On her creative process
I usually start with a desire to see something, a fantasy, like being blanketed by jewels or wearing a vine. I sketch but it’s not always necessary. I do a lot of designing during the process of making, holding things up to my body and making compositions in materials and taking a photo. I like immediacy and quickly actualising, so I usually work with what I have at the moment so I’m not waiting to finish. I’ve been challenging myself to design simpler things, conform to classic shapes like the signet. experiment with surface, instead of shape. The product is usually easy to “finish”, but the idea behind the product is always ongoing and evolving.
On the future of Shana Cave
I am going to continue selling what the people want, taking photos, posting online, everything I’m doing now. I love branding and want to create more elaborate displays for this world I’m building, hosting more retail events and connecting to my audience. I’m getting interested in bridal jewellery, so that’s on the way. I also love light and lamps and have some ideas for some lighting, I’m excited for that. I’m having a pop up Dec 6-8 in the East Village with my good friend Brenda who runs Siren Basics, a beautiful intimates brand. That’s going to be really fun and I’m making a lot of one-of-a-kind items for it. I will list everything online as well, but if you’re interested in this jewellery I highly recommend coming to an event in person if you can. I always say “anything good is better in person”.
Photography courtesy of Shana Cave
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
