The Winter House captivates by centering personality and craftsmanship in their LFW exhibit.
At The Winter House SS25 exhibit, a projected low-res video of two jittery flies welcomes you. Entering through an ajar door you become privy to the gothic-inspired cave that is creative director Liam Winter’s fine jewellery vision.
Ambient music envelopes the room with the occasional sound of buzzing flies filtering in. Joining the soundscape is the whir of a jewellery drill bit, as Winter himself is sat in the middle of the room, at a worktable, polishing and refining pieces in the collection, in real-time, for onlookers. The pieces from the SS25 collection are suspended around the dark room on models of (I assume) Winter’s own hands, in a deep charcoal colour and texture. The pieces truly shine in this setting, some even gently glowing.
The Winter House, which is presented by the British Fashion Council’s New-Gen Initiative, describes itself as “based on the fringes of the city,” taking creative cues from “what is often overlooked – a cracked pavement, an overgrown alley, the hazy glow of streetlamps reflected in the rain.” The SS25 collection carries that same message, acting as a dispatch from the corners of urban life. This ethos of transformation and repurposing is not only present in concept but material, as the pieces are crafted from recycled silver, sourced within London. If I were to guess what overlooked corner of the city inspired this particular collection, I would guess the hidden alleyways where pub workers take their late-night cigarette breaks — featuring buzzing flies, cracked concrete, and traditional symbols, like crosses and fair maidens, on dilapidated or glowing street signs.
Winter seeks to explore ”themes of mortality through metal” and has previously taken on anatomical and natural designs (notably the Love Me Not Ring and Sorrow Signet). But this newest collection conveys wounds and decay more acutely. A classic cross necklace consists of silver flies gathered over cascading blood-red rubies. More silver flies are huddled in the hollow of a signet ring, reminding one of a wound.
Although the collection is highly conceptual it's far from gimmick. The designs are powerful yet streamlined — rarely oversized for oversized’s sake — allowing intricate details, like Winter’s signature “splinters,” to take centre stage. Everything feels considered.
Other stand out pieces include a “living” ornate ring featuring the tranquil face of a young sleeping woman, hair tendrils wrapping around the ring — reminiscent of a mermaid on a pirate ship — which opens with a latch to reveal her skull. And a simple chain carrying a bejewelled engagement-esque ring, also featuring Winters signature splinters crested on the inside, telling a short but familiar story, and bringing to mind the beads of blood that would be drawn were you to attempt wearing it.
Most considered is Winter’s presence throughout the whole exhibit, from his actual physical presence to the hand models. It all sends a clear message of the man at the centre of the operation and what takes up his time — a clear artistic vision, dedicated values and excellent craftsmanship. The Winter House endeavours to emphasise the living quality of its jewellery and does so successfully by highlighting the real human hands behind these dreamlike, yet metropolitan, creations.🌀 7.7
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