Frances

Wadsworth-Jones

“At the core of my practice is a commitment to craftsmanship and the sincere belief that jewelry need not play it safe to be timeless.”

 

profile

Born and raised in London, Frances studied BA Silversmithing and Jewellery at Glasgow School of Art before completing her MA at the Royal College of Art, where her subtly subversive graduate collection won her the attention of the jewelry industry, as well as multiple awards. In 2008 she founded her eponymous jewelry studio, FWJ, and has since become known for unpretentious and intelligent fine jewels.

Working from her central London studio, alongside a small team of specialist artisans, Frances has dedicated herself to creating pieces that defy both trend and expectations. At the core of her practice is a commitment to craftsmanship and the sincere belief that jewelry need not play it safe to be timeless.

Her jewellery has been featured in the pages of Vogue UK, Wallpaper, The New York Times, L'Officielle Italia, Elle and Lurve, among others.

Outside the realm the of design, Frances extends the role of jewellery beyond adornment and into contemporary art, to create large scale sculptures and installations with her partner Pio Abad. These works have been shown internationally at the Honolulu Biennial in Hawai'l: Jameel Arts Centre in Dubai. Kadist. San Francisco and the 2023 Kochi Bianalle, and are in the collections of the Hawai'l State Museum of Art and Tate.

Alongside her multifaceted practice, Frances lectures in jewellery design at Central Saint Martins, helping to nurture the next generation of jewellers.

FRANCES WADSWORTH JONES IS A JEWELLERY DESIGNER, ARTIST AND EDUCATOR

MAKING UNPRETENTIOUS AND INTELLIGENT FINE JEWELS

 

artist statement

Evolution and growth for me doesn’t necessarily mean jewelry domination. What I value most about my creative practice is the way I have been able to work across traditional disciplines like craft/ design/ fine art and fashion. I hope that the future holds more of this for me. To work on diverse projects that challenge me and to make objects of true consequence – whether that be someone’s future heirloom or a sculpture that exposes forgotten histories. 

Works on postcard series – Muso Luxe X Egyptian Papyrus

Tahitian pearl and 18kt gold, 2019

fun fact

Queen Necklace

In 2018, during London Fashion Week, Queen Elizabeth II made a surprise visit while I was showcasing my 'Who?' collection. I didn't attend the protocol meeting and attempted to sell her my 'Queen' necklace, featuring a pearl adorned with a crown. I managed to make her laugh!

Freshwater pearls and 18kt gold, 2018

Photo Credit: Tony Birch and RJ Fernandez

pivot

Kiss The Hand You Cannot Bite

I don’t see the sculptural practice I have with my husband, artist Pio Abad, as separate to my jewelry practice - it is a natural extension of it. These pieces expand the notion of jewelry and open up conversations like jewelry in the digital realm and jewelry as a witness to history. Our collaborative works have been exhibited around the world. This monumental concrete pearl bracelet talks about Filipino political corruption and was first exhibited at Kadist, San Francisco.

Concrete, mica and airplane cable, 2019

Photo credit: Jeff Warrin

“There is something a little bit naughty about piercing a perfect pearl, but I find that by making something beautifully, you ensure it is taken seriously.”

purpose

Pierced Pearl Necklace

My jewelry studio is founded on two key principles: quality and originality. Concept and craftsmanship are equally important to me. I am always trying to master “serious” traditional techniques and materials to realise humorous, non-conformist designs. If I was trying to define a deeper purpose behind what I do, I would say that: I aim to create pieces that really mean something to people, whilst also provoking them into thinking about what jewelry can be. I have always been driven by ideas, which is why my collections are so aesthetically diverse. From depicting tiny gold ants pilfering gemstones to piercing pearls, what unites my pieces is a specific way of seeing and responding to the world.

Freshwater pearls and 9kt gold, 2023

Photo credit: Juliet Sheath

people

Works on postcard series: Betty Luxe earrings X Lucas Cranach the Elder

It truly takes a village to create a ring, from multiple conversations with a client to ensuring that I have the right team of craftspeople alongside me to help me execute that vision. Respecting and nurturing all these relationships is so important. It ensures that you are always engaging with people who value and have a stake in what you create and that you are making something that will be cherished.

There's no jewelry without a wearer. In my 'Who?' collection, I've created a series of pearl portraits featuring people I care about. Pieces like the Betty Luxe earrings and Muso pendant pay tribute to my mother-in-law and best friend.

Akoya pearls, 18kt gold and diamonds, 2019

Photo Credit: Juliet Sheath

Evolution and growth for me doesn’t necessarily mean jewelry domination. What I value most about my creative practice is the way I have been able to work across traditional disciplines like craft/ design/ fine art and fashion. I hope that the future holds more of this for me. To work on diverse projects that challenge me and to make objects of true consequence – whether that be someone’s future heirloom or a sculpture that exposes forgotten histories. 


professional

Thieves Pearl Necklace

My Grandad once knocked the bent prop shaft of a boat back into line with a sledgehammer. When asked how he did it with such confidence and precision, he answered, "it helps if you don't give a sh*t." This might seem like dubious advice but I have always taken it to heart - caring too much when you’re trying to achieve something is not always productive - sometimes it is actually paralyzing. I find that giving around 5% less of a sh*t helps me get things done!

If I were to offer advice to anyone, it would be to trust yourself to fail. If you believe that you will be able to fix any mess that you might make, then you can be confident to give anything a go. I apply this philosophy to the rest of life as much as I do to making jewelry. Being prepared to fail and knowing that, if you do, you will work it out, is liberating.

Freshwater pearls and 18kt gold, 2022

Photo Credit: Juliet Sheath

passion

Meta Pearl Earring

My passion for jewelry has grown over time. I started by thinking of jewelry just as a form of small sculpture, but it is much more than that. Few objects hold so much meaning and value – whether that is the piece's meaning to the individual wearer, its literal value as something precious, or the cultural meaning and larger values that it represents. Jewelry is powerful.

Fine jewelry, in particular, comes with a set of assumed rules (i.e. most people imagine the same thing when you say "engagement ring" or “pearl necklace”). I find it almost impossible not to want to play with and bend, if not break, those rules. I often find myself making jewelry that is in some way about jewelry itself.

I initially wanted to pursue fine art but I quickly realized that I need parameters to be creative within and push against. This, alongside my tendency to work at an increasingly small scale eventually led me to jewelry. I am from a family of metalworkers - welders, fabricators and mechanics. You could say that making jewelry is a continuation of a family legacy, just on a much smaller scale.

What inspires me most has always been making. Having something in my hands at the end of the day that only existed in my head at the beginning of the day will always feel like alchemy to me.

Baroque, round and drop freshwater pearls and 9kt gold, 2003

Photo credit: Juliet Sheath

 
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