Insight into textiles part 6: Joanne Haywood, Jewellery Designer

Article Added: 30/04/2010 11:42:15

In the final part of our Insight Into Textiles series, we have been speaking to Jewellery Designer Joanne Haywood. Joanne graduated from Central Saint Martins in 2001, when she set up as a studio jeweller. While she mainly designs and makes jewellery to be exhibited in galleries, she has also worked as a consultant and artist on a variety of commissions in the UK and internationally. In addition to being a studio jeweller, Joanne is also a lecturer in Art and Design and has taken part in a wide range of teaching projects and residencies. Joanne describes her jewellery as "drawing on the conflicts of opposites - skeletal forms/fleshy volumes, natural/unnatural, colour, light/shadow". We spoke to her to find out more about her job...

HHT: How would you define your job?
JH: I am an art jeweller, writer and lecturer. All three cross over into each other so it’s really just one job which encompasses different roles. I chose to work as a self employed jeweller and so this is the majority of my experience, although I do occasionally take on commissions when companies ask me. I enjoy being self employed and deciding what I want to work on, making all the rules.

HHT: After university how would you say is the best way to become a jewellery designer? Would you recommend work experience, an apprenticeship or is it fairly easy to find a job? What did you do?
JH: Be passionate about what you do. Work hard and don’t lose sight of what you want to achieve, don’t compromise on your own work. If you are just setting up on your own, sometimes it’s best to get a second job just for money, as this allows you the freedom to keep doing what you want to do and it sometimes takes a while for people to get to know your work before they buy it. Gain as much experience as possible – any work experience or apprenticeships are an advantage – grab everything with both hands and give 100%. You never know what will come from an opportunity, it’s like a snowball effect and it’s not always predictable, so keep an open mind and keep going.

Choosing what to do next depends on where you want to be working. Some people prefer to work for someone else and be part of a team and others prefer to go it alone and do their own thing. There is no right or wrong, just decide what you really want out of a job.

After University I set up my own studio and designed and sold my own work in galleries. I was lucky that I had a good response from my degree show and had a lot of offers for exhibitions. But it is hard to make a living from making and selling your own work.

HHT: How important is your portfolio to your chances of getting a job?
JH: A portfolio is important, as it represents who you are and what you do. Getting good photographs for your portfolio is very important. Save up and get some taken by a photographer, unless you have this as a skill yourself. High quality images can be the difference between getting an opportunity or not. An employer or gallery might spend a few seconds looking at images of your work and if they are not well lit or in focus they won’t be interested, even if it’s really good work. A portfolio is also a good way of keeping a record of your work. Time moves quickly and you will sell work, so keep track by taking photographs whenever you can.

HHT: Would you recommend doing further courses or is it best to get into the design world as soon as possible?
JH: Both. If you can afford to do a further course then go for it, but the reality for a lot of us is that it’s too expensive to do an MA straight away, so if you don’t win the lottery or find a rich benefactor then think how you can achieve the same skills and advantages in a different way. Work experience with a maker is good, or you could focus on new projects or research independently. If you have the opportunity to work for a designer or company then that can give you invaluable experience.

However long you have been designing or making, there is always something new to learn, short technical courses, training in new technology or learning from a friend or colleague. The best artists are always inquisitive and want to develop and find out more.

HHT: Do you know of any scholarships or funding that are available to help students get started in their career?
JH: Keep an eye out for opportunities, you need to actively search for them. Websites can be helpful and the following regularly show opportunities for jewellery artists among other disciplines: Crafts Council www.craftscouncil.org.uk, Klimt02 www.klimt02.net and the Arts Council www.artscouncil.org.uk. There are also some that are through membership, which you will have to pay for, and include Axis www.axisweb.org/, ACJ www.acj.org.uk and A-n www.a-n.co.uk. Word of mouth is also important. If you have found a good opportunity, share it with colleagues, they might remember you when they see something that would help you in return.

HHT:  What hours do you work?
JH: It varies. When I am teaching I have fixed hours, but when I am making or writing I just work until it’s done. I don’t clock watch and finish at a fixed time. It is good to take time out and do other things you enjoy. Even though it’s a very enjoyable job it’s not healthy to be doing just that seven days a week. Having a life and a variety of interests outside of work can actually bring energy into what you do, although in reality I do find it hard to switch off from it completely.

HHT:  What is your advice for someone with a degree in jewellery design, but who doesn’t know what to do with it?
JH: In an ideal world this shouldn’t happen as your tutors would have discussed this with you and offered the support and guidance you need. I think you should pursue whatever you really want to do. There will always be practicalities like earning money, but outside of this you want to enjoy what you are doing. You might complete your degree and end up working in a different area. Think what you want to be doing long-term and go for it.

HHT:  What is the best bit about your job?
JH: There are so many. Experimenting with materials and not knowing what’s going to happen and then having that magic moment when you create something that surprises you. Within my teaching I enjoy watching students develop confidence and enjoyment in making and designing. For writing I enjoy the research and the whole process of writing and compiling. I enjoy both the hermit existence of making and writing in my own studio by myself and equally working with students or talking with colleagues, discussing ideas and projects.

HHT:  What is the biggest challenge you have faced in your career and how did you overcome it?
JH: Balancing all the different aspects of my work. I can be split in different directions and often want to do everything at once and take on every opportunity that is offered. I have to occasionally sit back and ask myself what is important and what I am trying to do, as the bigger picture. Not really solving world peace is it? But that’s what I find hard.

This interview completes our interviews with the experts for our Insight Into Textiles series, aimed at helping students coming to the end of their degree to learn more about the industry they are about to embark on. In case you missed any, the other interviews are available at the links below:

Part 1 – Stacey Harvey Brown, professional weaver

Part 2 – Jenny Lister, Curator at the V&A Museum

Part 3 – Pip Cokaj, Visual Merchandiser for Debenhams

Part 4 – Rebekah Roy, Stylist

Part 5 – John Allan, Screenprinter