Wearable technologies have turned from dreams into reality and from slightly embarrassingly costume like pieces into desirable designs. Yet it would be interesting to maybe take a step backward into the past to see how technology inspired designers just a few decades ago when they weren't immersed so deeply in a digital world, and maybe analyse less literal fashionable interpretations of technology.
In 1992, for example, British designer Cathy Harris came up with a necklace and a bracelet inspired by circuits (analysed in connection with fashion in a previous post a while back). Both the "Clear Circuit" pieces were made in perspex and featured incised decorations replicating stylised and abstract forms and shapes that called to mind circuits.
Harris designed and made jewellery for Liberty's, London, from 1977 to 1982 and for Butler & Wilson from 1978 to 1982. She then focused on her own work creating bold pieces, mainly employing non-precious materials. Most of her pieces were inspied by geometry and she often employed acrylic, one of her favourite mediums.
Harris died prematurely, but she played a key role in the British New Jewellery movement, taking part with other designers in exhibitions that contributed to elevate jewellery to a higher discipline, such as the 1984 event "Aspects of Art" at the Brighton Polytechnic Art Gallery.
Harris' "Clear Circuit" necklace and bracelet did not light up, they did not remotely connect to any extravagant device and couldn't take pictures, yet they still stand the test of time and they still look desirable, modern and wearable. Who knows, if we will be able to say the same in twenty years' time about the pieces produced in our times that we can file under the "wearable technology" category. Yes, time will tell, but in the meantime it would be intriguing to produce jewellery designs inspired by technology that stand out for their materials, shapes and motifs, rather than for their power to keep us perennially connected with the rest of the digital world.
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