Tatty Devine | Perspex jewellery handmade in England
Harriet looked at the marigolds in the embroidery and after printing them out a pixelated version of the photo, that became the isolated design that would feature in the final piece.
Harriet also had other source material such as this wonderful book on pressed flowers. Care to make a little person playing tennis with dried mimosas and honeysuckles? Not for the pressed flower amateurs out there...
Initially, we were going for a necklace but in the end, I gravitated towards my natural state of being, which is to have something floating on top of my head so we decided on a headpiece.
I also wanted to incorporate the cross stitch and textiles element into the flowers and so Harriet had done a few tests beforehand to try this out. We decided the cross stitch looked quite fiddly so we went for the vertical strokes instead. The growth of Tatty Devine, with the company now employing thirty people, has enabled Harriet and Rose to concentrate on their respective roles with Harriet specifically enjoying the experimentation and materials development side of things. These are the "fun" bits that get the duo going, hence why they'd get so worked up over new perspex colours of the discovery of a new technique or material.
Speaking of perspex colours, I was faced with quite the choice for my floral headdress, going far and beyond the perspex availability I had back in D.T. class at school. There are colours here that Tatty Devine have had to create themselves just because they couldn't get the shades they wanted. Most of the perspex is sourced from the UK but when needs must, they also get some of their perspex from New Jersey in the States where there happens to be more choice in finishes, colours and effects.
These sherbet-y fluoros had just landed into the office, which caused both Rosie and Harriet to squeal a little. I don't think I've ever seen anybody so excited over a swatch of plastic but it was definitely infectious as I ended poring over the freshly delivered box of swatches too, wondering what they'll be cooking up with all these new perspexes.
Tatty Devine may be primarily known for perspex jewellery but over the years they've also incorporated wood, enamel, leather and textiles into their work. These formica surfaces were quite tempting too what with my obsession with all things Balenciaga A/W 10-related.
In the end, we settled on using the pastels, with the lilac being a new colour that Tatty Devine haven't actually introduced properly into their collections yet.
In honour of the new shade of perspex, I think this Parma Violets necklace will be hitting stores soon. I'm not so keen on the sweets but they smell and look great.
We also pumped for some of these clear perspexes with a hint of colour.
I was going to go overboard and stick on as many of these iced gem-esque flowers but I tried to control myself. It was hard to resist though, considering Rosie and Harriet had laid out these boxes of treats as decorative options for my head dress.
On Illustrator, Harriet mapped out the layout incorporating the leaves and also drew out a flower that had the square serrated edges of the initial cross-stitched marigold on the embroidery. I loved watching Harriet work swiftly on Illustrator, a skill that she admits has been honed over the years, enabling her to get the symmetry and science of the jewellery absolutely spot on. Science, you ask? Joining up fifty perspex pieces for instance in a dinosaur necklace and getting it to balance and swing correctly when worn can be a trying process. Harriet and Rosie go through tests with their jewellery ensuring that wearability can be achieved. This is done through errr... a very exacting and scientific method of jumping up and down in the office, to make sure none of the bits fall off.
Downstairs in the basement of the office is the workshop where Tatty Devine make most of their jewellery - samples, intricate pieces and one-offs. Tatty Devine have another workshop in Rochester, Kent (where Harriet is from) where some of their more simpler and popular pieces are made. For some reason, I assumed that Tatty Devine, with the amount of stock they shift, would have outsourced production by now but this is a far better solution where both Rosie and Harriet can oversee the production of their jewellery in person and ensure that everything is finished to the standard that they personally care so much about.
Having spent an entire day at Tatty Devine headquarters, it's got to be said that I haven't come across such a happy work environment for quite some time. Ok, the 28 degree sunshine helped but the mainly young and female staff all looked so jolly and happy to be working there, whether they were doing Photoshopping, handling the laser-cutter or stringing up teensy tiny bits of perspex. Harriet said that someone compared their brand to
The House of Eliott, the BBC TV show that EVERYONE NEEDS TO WATCH (ok, only if you're into period dramas). The comparison is a fairly solid one. Two women helming a fashion business and experiencing both adversity and success, with a small but supportive workforce behind them. Except I dont think there are backstabbing seamstresses and vendors at Tatty Devine. Instead, we have happy girls bustling about, proudly wearing Tatty Devine jewellery, all excited to do what they're doing.
The central hub of the Tatty Devine operation has got to be this heffer of a machine - the laser cutter. They also have a smaller one that is portable, enabling Tatty Devine to do laser-cutting on the go at special events and in-store but the big one is the mothership that cuts up most of the pieces for sampling and production.