“My jewellery is not entirely planned before I start making it. I do not work to detailed drawings, I need to experiment with the material itself. The starting point is always metal, and it has always been so during the past twenty or so years. My four year training was very strong on design and this remains the most important thing to me.
I would like to think that my jewellery reflects the qualities of the materials I use. I believe that a finished piece should show the processes used to make it; I never want to over decorate or highly polish a metal surface – techniques that disguise and alter the texture of the metals I choose to work with. I love using gold, with its warmth, strength and timelessness. It is the closest I can get to the quality of sunlight from my native country Greece.
My work is designed to be worn and comes alive as the body moves. I actually enjoy the restrictions this imposes on the creative process. For instance I have to pay particular attention to how a necklace will move around the neck and what kind of material a particular brooch might work with.
I look at a great deal of jewellery and metalwork from various periods and cultures but I wouldn’t place my main influences directly from those. My ideas come from the world around me, whether this means my immediate environment, the natural world, art and architecture or innumerable man-made objects; also my family, the light and colours in my native country Greece, and of course my own emotions.”
Daphne is one of the most heralded designer makers working in Britain today and her work is much sought after worldwide.
Daphne’s work is cited and featured in numerous books and articles on contemporary jewellery both in Europe and the USA and her work is in many private and public collections including the permanent collections of:
- The Victoria and Albert Museum
- The Goldsmiths’ Company
- The Crafts Council
- Stafford Art Gallery