The Bite Magazine - Autumn/Winter 2021 - Issue 30

bitejewellery F resh out of art school with no ‘intention of getting real jobs’, Fine Art graduates Harriet Vine and Rosie Wolfenden de- cided to form jewellery brand Tatty Devine in 1999 in east London. Their quirky jewellery pieces quickly gained a cult fol- lowing that still stands today thanks to their originality and fun factor. Besides creating classic, limited edition and seasonal cap- sule collections, the brand collaborate with artists, designers and charitable institutions such as Venus Libido, Young Women’s Trust and Fawcett Society. Before establishing the brand, Harriet and Rosie had discovered a lack of available interesting and accessible jewellery. They created their own with an anarchic streak and roots in punk that resonated with both the industry and the public searching for something dif- ferent to the commercialised, mass-produced poor quality prod- ucts on offer. Using discarded materials like scraps of leather and guitar plectrums, they transformed these into art jewellery which placed them at the forefront of the industry. While on a research trip to New York in 2001, the design duo discovered laser-cut acrylic. “It was one of the most exciting mo- ments of our lives because there were all these little shapes cut out of plastic,” Rosie revealed to Professional Jeweller. “We bought all these shapes and took them to LFW, and they got such an amaz- ing reception.” Eventually, the founders invested in their own laser cutting machine which gave them creative freedom to push the boundaries. Tatty Devine’s early work included ‘Come Dancing’, a range of charm belts inspired by equestrian activities and ‘Wish You Were Here’ influenced by the 1970s and UK pop culture with items such as a Rubik’s Cube, bracelets and hair bands, which were shown at London Fashion Week. In 2003, the brand’s first clothing range ’Welcome to Hotel Tatty’ featured a collection of Perspex jewellery including plectrum bracelets, rosette brooches and tape measure belts. Later that year, their second clothing range, ‘Unreal Life’ was shown at Fashion East, an initiative set up by Lulu Kennedy in September 2000 as an off-schedule London Fashion Week event. In 2004, Tatty Devine created ‘Join The Circus’ that showcased pieces like Horse and Carriage, Trapeze and Dinosaur necklaces. The following year, they experimented with solid silver, enamel and diamonds in the shapes of plectrums, swallows and shoes. Maritime became an influence for their nautical pieces which carried a treasure, sea creature and compass theme, while outer space and the great outdoors inspired the Intergalactic Hedgerows collection. For SS07, ‘Colour Me’ was a collection reminiscent of growing up with colour, games, rollercoasters, patchwork and kiss- es and the AW07 collection ‘Dark Stages’ featured circus themes with tigers and magic, as well as disco elements. The ‘Movie Mayhem’ collection featured popcorn beads, Lolita glasses and 3D glasses, followed by ‘Attack of the 50ft Jewellery’ with giant zips, ink splats and pencils for AW08. The following Tatty Devine Jada Brookes is enthralled by Tatty Devine’s creati ve journey and their fun and quirky jewellery pieces including the Bowie collection. Bowie Di vi ne