Madara Keidża x Double Notch October 26, 2016 – Posted in: Designers, Double Notch, Lifestyle – Tags: fashion, jewelry, latvia, madara keidža, silver, wood
This week I am sitting down with Ieva Madara Keidża – a jewelry designer who just as well could be a sorceress… There is something deeply charming about this lady dressed all in black. Is she not only endowed with strong opinions, sharp irony and intelligence, but is also an amazingly talented craftswoman behind the young, but already surprising and immensely promising brand MADARA KEIDŻA.
Best thing you’ve read this month?
I can’t decide, but the last thing I read was a couple of pages from my diary yesterday.
If you were not a designer, you would be…
Possibly a sorceress! It sometimes seems to me that I can read minds [laughing]…
I strongly believe in the unlimited powers of human mind, I am interested in psychology and I really enjoy observing coincidences, the irony of life and reading between lines. I’d probably work with people, maybe something management related.
A game-changing experience of any kind you have had in the near past?
Nothing exceptional comes to mind, but I unceasingly try to find something new in little things, small events, conversations, people, experiences of theirs and also mine. It’s important to accumulate this information as it complements my vision on things and broadens my horizons.
Are there any hot trends in jewelry design at the moment?
Probably there is, especially if we speak about the big brands and companies who focus on ready-to-wear collections, however, I try not to analyze them. I follow the work of few jewelry artists, who craft their pieces with their own hands, and that is where the trends does not matter.
I want to work as a jewelry artist. Every single piece is a result of an experience or a feeling of mine. I position my work as timeless, not based on trends.
How did your self-expression through the jewelry design began and what was the first piece you ever made?
It appears my career started when I was 5. At the time I collected beads and pearls, and made bracelets for my mom. I always wondered why she didn’t wear them, now she’d probably love it that I would make jewelry for her on a daily basis [laughing].
However on a more serious note – deep down I’ve known this is the field I’ll be working in for a long time. It was self explanatory. My first experience with metal was when I started my studies at RDMV (Riga School of Design and Art). The first piece from which I truly felt that this is my calling was a necklace made from vertebrae of a beaver. To this day I look at that necklace with a delight, as it started my journey with this craft. This necklace allowed me to identify and accept the fact that nothing brings a fulfillment close to creating jewelry. Actually plans to develop this idea are in motion.
In your collection Washed Ashore you’ve chosen to work with driftwood , before that you used amber – something that is found on the coasts of the Baltic Sea. Not only it means that every piece is one of a kind, but it also implies the fact that the environment around you is an essential inspiration for you, am I right?
Yes, I have used materials found in my surroundings, but it wasn’t a deliberate choice as these materials somehow came to me by themselves. Amber was a theme for my final project in RDMV. It was an excellent challenge for me – how to present this mineraloid in a new light, which locally is overgrown with stereotypes and usually associated with cheap souvenirs. Meanwhile the driftwood started out as a couple of pieces I picked up from a stroll I took in the first day of spring thaw. Of course, the environment I am in strongly affects these unintended choices, but I think that it’s something in-apprehensible, somewhere in me, inseparable. I am a Latvian and I couldn’t run from that even if I wanted.
How exactly do you intervene with the material you have chosen to work with?
Speaking of collection ‘Washed Ashore’, you have to understand that the piece of wood I use is the way it is. I am not intervening with the shape nor the feeling. My part is complementing the piece after my taste and making it ergonomic.
It reminds me a quote from a sculptor I know: It’s always beneficial to use the shapes made by nature. They can’t be ugly or wrong. They are indisputable therefore automatically aesthetic.
Do you have any taboos as a designer? Can you imagine making jewelry out of plastic, for example?
No, I don’t have any limitations, if the subject in question is about the choice of materials. I’m open to everything, as long as the outcome is true, made for a reason. Pieces created artificially and doing something only because it’s trendy are my only taboos.
What does the fashion need the most nowadays, in your opinion?
I couldn’t care less.
Interview by Eliza Aboltina
Photos from Madara Keidża’s personal archives
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