“I don’t really know the difference between art and craft,” says the Parisian jeweller and maker, who creates bespoke pieces interpreting her clients’ lives
- Who is it? Zoé Mohm is a Parisian jeweller and maker
- Why do I want it? Surreal folky pieces that are addictively tactile and tell bespoke stories about their wearers by connecting personal symbols
- Where can I find it? On Instagram, Apoc Store and Dover Street Little Market
Who is it? Injuring one of your hands rock climbing, like Paris-based Zoé Mohm has just done, isn’t great news for a silversmith – not that she would ever call herself one. Speaking from her apartment in the up-and-coming suburb of Montreuil, the 25-year-old explains how the outsider feel of her folkloric jewellery is just that. She uses self-taught skills honed by trial and error. But far from irrelevant, studying textile design in Lyons and Brussels has also influenced her work. “I’m mainly a craftswoman,” says Mohm. “I don’t have the right techniques for a jeweller, they mostly come from textiles, but jewellery is faster and easier. I used to create big pieces like chairs or rugs, then I explored jewellery for a project, made some rings for friends, people wanted them, and it started there.”
Too labour-intensive to sell, Mohm still weaves rugs for herself on the side – her latest effort won’t be ready for a year – but their usefulness inspires her. Beyond research for stitch and embroidery ideas to translate into metal, their crafty functionality echoes through everything she does, separating her work from art. “I don’t really know the difference between art and craft, but I only make things you can wear or use. Whether it’s a rug or a ring, it must be something you can experience for years, get dirty and repair.” Practicality doesn’t spring to mind when you see her pieces, but it is integral to the importance she places on their worth.
Having French and Cambodian parents exposed her to refined and more rough forms of craft growing up, as well as the respect for precious objects passed down through generations. Especially things that hold their value, like jewellery. “I have so much from my mum and aunts. Each has a story but also a weight in metal. In times of need a silver ring in your pocket is like having 50 euros. My mum has gold jewellery that is more than just beautiful. When her country was at war, what you were wearing might be everything you owned, so the value of your jewellery could mean buying food to survive.” This emphasis on longevity is reflected in the timelessness of Mohm’s work; she hates the idea of someone falling out of love with her pieces because they no longer seem fashionable, which explains why her designs are so idiosyncratic.
Why do I want it? Crafted at home (except for the casting because it drains her electric), each piece is custom, even the limited drops in stores. Every commission begins with Mohm asking the client for images and symbols that mean something to them. The skill then is in connecting the parts to build a narrative in 3D, sketching out her initial ideas on paper. “It’s like creating a language,” she says. “I have to translate the mood of a person into a form. It’s more than jewellery, it’s a story you can carry, woven together from all these elements in your life. The best thing is when people come back years later for another piece that embodies what has happened to them since the first one.” It’s a unique relationship; chokers, ear cuffs, rings and brooches can be so individual that they feature techniques Mohm might never use for anyone else.
“Silver has this amazing glow. You can add layers. You can cast it, use it as a thread, stamp it into sheets. It can be smooth, or sharp, and I think touch is important. I touch my jewellery so much I’m worried the silver is rubbing away!” Mohm often adds a tassel or chain, in keeping with her raw folky style, that encourages the owner to play with it. The experience of wearing her pieces is always a consideration, including hidden engravings just for the owner. “Only they will ever see it, and they might not even find it at first. It should take time to discover everything about a piece.”
Her focus on the act of wearing jewellery extends to how it moves, from weaving techniques that make silver wire flow like fabric, to exploring articulated joints and hinges. The way it stops being an inanimate object as soon as it is put on fascinates her. “They are completely different. Creating something static is easy but making it move is hard, and that’s why trying out ideas is exciting. Surprises, like realising it makes sounds as it moves, are fun.” The rare and personalised nature of everything Mohm makes keeps it covetable and underground. Bespoke projects also suit her design approach, letting her experiment while pushing traditional jewellery ideals. “I’m just happy making objects,” she says. “People only show your work if they can sell it, but I’m more excited about finishing the personal projects and commissions I already have, I get to wear them and enjoy them in my own place.”
Where can I find it? On Instagram, Apoc Store and Dover Street Little Market in Paris.
