The finalists of the Young Designers Corner 2025

The ceramic I use for the ring was originally developed for use in space technology.
It is lightweight, heat-resistant, and very durable. In combination with silver, it protects it from scratches and makes the ring robust and suitable for everyday use.

In industry, aluminum oxide/titanium dioxide is considered to be very wear-resistant and resistant
to chemical influences.

For the motif, I explored the shape of the circle. The ring directly reflects this shape, and the chosen pattern also picks up on this theme. The circle
symbolizes perfection, eternity, and harmony. It also stands for the reconciliation of opposites.

I started the design process with quick sketches. In doing so, I tried to
visually represent and capture various opposites using simple graphic means.
The contrast between light and dark in particular came to the fore once again, confirming itself as a central theme. Against the backdrop of the current global political situation, the motif seemed particularly relevant to me, which is why I decided to explore it further.

For me, it is essential that communication takes place, especially in times of crisis. Without
open exchange, there is no way to achieve a rapprochement between opposing sides and points of view. In my design, I try to make this idea of reconciliation visible in a point shading. Black and white blend into flowing transitions in different shades of gray, symbolizing compromise and understanding. No section of the ring repeats exactly the same pattern, emphasizing the diversity and dynamism of communication. Each section tells its own story while reflecting the larger whole.

I drew and soldered the profile of the ring. The pattern is then carved into the material using a
ball end mill. The ring is sandblasted for the ceramic coating. The coating is applied at 8000° C and the powder is applied to the silver at twice the speed of sound. Finally, the ring is sanded by hand until the silver is visible and the ceramic is only visible in the recesses.

Design
• Shape: The bangle is hollow and has an oval shape that fits ergonomically around the wrist.
• Structure: The rhythmically placed settings (tubes) protrude from the surface like small suction cups, giving the bangle a lively appearance.
• Stones: The seven gemstones are deliberately asymmetrical but distributed in a harmonious balance to enhance the impression of natural movement.
• Contrast: The cool elegance of the 925 silver is broken up by the bright colors of the gemstones.

Craftsmanship
• Inner and outer band: Precise bending, straightening, and soldering to create a stable basic shape.
• Bezels and tubes: Neatly fitted, soldered, and arranged at different heights to create depth and rhythm.
• Hinge & lock: Precision work with a counter hinge and box lock, representing an invisible, secure, and technically sophisticated locking mechanism.
• Setting & surface treatment: Fine setting work with polished edges, careful polishing on the inside, and a matt finish on the outside for an exciting finish.

This piece is a bangle that combines the precision craftsmanship of goldsmithing with the inspirational power of nature. It is not only a technical masterpiece with its hinge and lock, but also a poetic object that translates the magic of the underwater world into a wearable piece of jewelry.

The design follows the rhythm of the waves. Curved silver pieces rise and fall like waves rolling onto the shore at different heights. The unusually shaped eyelet blends smoothly into the design and symbolizes the soul, which is invisible in the sea but always connected to us.

Two smoothly cut drop-shaped aquamarines symbolize water droplets with their colorful and luminous shapes and cuts. The blue tone of the gemstones is reminiscent of the freshness and purity of the sea. A starfish created from wax rests above one of the aquamarines. It stands for life in the sea, for diversity and constancy in the marine world.

83 brilliant-cut diamonds give the piece a delicate sparkle. They are set in pavé surfaces and reflect the light like sunbeams dancing on the water's surface.

The two lower elements of the pendant are movable. With each swing, they reinforce the impression of dynamism and remind us that the flow of the sea lives on in jewelry too.

The subtitle “The sea is only blue” describes not only a color, but also an attitude: blue is not simply blue, but a spectrum full of nuances. Light, dark, clear, deep. Just as the sea reveals its infinite facets, this piece of jewelry also reveals a diversity that goes far beyond its materials.

The Rules
The stones had to be round and of a small size, 2-3 mm. They had to be placed at the very center of the coiled form. Each coiled form could only have one stone. The finished form should flow well together. The form should be made in such a way that the finished piece is wearable and functional.

The Piece
Using these limits I began to fi gure out the form for the piece. I wanted to take advantage of some qualities of coil building, specifi cally in the possibilities of creating hollow objects and organic forms. To do this, I decided to treat the gemstones as the middle point and coil cupular shapes, which quickly achieved volume while remaining light. One stone was coiled, and then another, and then the forms were puzzled together to form a hollow shape. The form of this shape, which occurred naturally while fi tting the different forms together, reminded me immediately of an oyster shell, which prompted the idea of somehow incorporating pearls into the piece. This quickly turned into the idea for a hinged ring, with a pearl in the middle, protected and providing the wearer with a hidden pleasure, and thus the fi nal form of the ring was designed.

As stated in my rules, I wanted to create a piece which would serve a certain function for the wearer, specifi cally the calming and soothing of the same. The hills and valleys of the piece, as well as the textured surface of the coils, which I deliberately chose not to blend into a smooth shape, can be used to trace soothing circles, and focusing on each individual stone should help the wearer lock into calm.

The wearability of the piece comes from the relative lightness of the ring, in spite of the larger shape, and the coiled yet comfortable band, wide but flat. Adding to the functional component is the hinged lid, which can be used to fidget and let out additional nerves but also protects the delicate surface of the pearl.

As of this moment I have finished the wax model and picked out the stones, the next step will be to cast the model in 925er Silver, add the hinge, set the stones, and add the pearl.

The poem's first verse, quoted on the front page, shapes the scenery where the mourning takes place. It is a June midnight and the moon beams its light all over the valley; and, while a lily playfully reflects its image on the lake's wavy surface, the "rosemary nods upon the grave" of the narrator's deceased lover. It appears that this landscape is created so it matches the feelings of the man narrating, causing each of the pictures from the poem's first verse to be inseparably joined with feelings as deep as desperation, love and grief.

The depiction of this scene I tried to reflect in the ring I am presenting. The central stone, an aquamarine, stands for both the palely lit valley and the lake, as well as the casement of the dead woman, "open to the skies", like a window to the majesty of the scenery. The white pearl hangs over the aquamarine like the moon hangs above the valley, and along with the leaf surrounding it, it reflects a lily that leans over the surface of the lake. The rosemary is depicted in the floral details of the ring shank and the prongs that hold the aquamarine in place, which have organic and irregular shapes to be as natural as possible. The main body of the ring is made out of silver 925, symbolizing the cold undertones of the poem.

This piece of jewelry is a tribute to the simple yet engaging landscape which Poe chooses for this hymn to the hopeless love. It is an effort of encapsulation of the poem's nature, and a Memento Mori for all the long-lost lovers separated by death.

Three years ago, I began my training as a gemstone setter. The decision to pursue this craft was an easy one, as it allowed me to combine my creative interests. Gemstones hold a special fascination for me—not only because of their beauty, but also because of the possibilities they offer for integration into unique pieces of jewelry.

My desire was not only to set pre-selected stones, but to design and create my own pieces of jewelry. One of my first personal projects was a layered stone ring, which is meant to symbolize strength, self-confidence, and inner peace.
My enthusiasm for cars—especially their design and form—has also influenced my jewelry design. I was particularly inspired by the Mercedes-Benz G-Class. The striking, solid exterior walls, the clean lines, and the slight slope of the side walls, which taper toward the top, appealed to me aesthetically.

Upon closer inspection of my layered stone ring, you can see that the rough outer contour of the vehicle—especially from the middle onwards—is reflected in the design of the ring. The onyx layered stone symbolically corresponds to the roof of the vehicle. The transitions, edges, and surfaces of my ring deliberately echo the characteristic shapes of the G-Class.
 
I also made a few design adjustments: the slope of the ring band was flattened toward the center, as was the bezel around the center stone. The development can be seen in the drawing below.