Best Essay Writing Services-futurism is a tag in contemporary jewelry

Thesis is futurism pursuing modality, emphasizing individuality.

The essay can be start with the Filippo Tommaso Marinetti – Manifesto of Futurism ( in the introduction and telling the opinion about the article and make some reference from it. The essay can be talking about from the origin, then how it become large area popularity, and how it decline and how it end.

This will be included in the essay (please extended to more detail level):

  1. The 11-declaration point from the Manifesto of Futurism
    1. After futurism first time reveal in the realm of literature, it has widely spread to art, music, architecture, drama, sculpture.
    1. Explain the futurism environment time span and the relationship (or maybe conflict) between each period.
    1. Technical Manifesto of Futurist Painting: please use article to talk about the visual art filed promote the Filippo Tommaso Marinetti’s idea. (
    1. Music, movie(1916.9.11), drama (1915.1.11)– talk about the manifesto appear in those area with corresponding time.
    1. Compare to music, architecture, drama, sculpture., “futurism” jewellery’s follower appear in later time, but it still takes place in contemporary jewelry design.
  2. Please detailing this part:
    1. Examples of “futurism” contemporary jewellery.
      1. Gijs Bakker + Emmy
        1. Stovepipe Collar and Stovepipe Bracelet by Gijs Bakker, 1967. 
        1. Ten-loop Bracelet by Gijs Bakker, 1965
        1. Large Collar by Gijs Bakker, 1967, 
        1. Scholderpiece by Gijs Bakker, 1967
      1. Etc.
    1. Analyst the futurism in the jewellery field with examples.
      1. Define and illustrate material, function, detail, form.
    1. “Futurism” jewellery design is pursuing modality, emphasizing individuality. But keep a long term freshness.
    1. “Futurism” jewellery compare to others like fashion.
      1. Example can use André courrèges from 1960s
        1. “space age” collection in 1964
          1. Collection includes accessories, rings, helmet, eyewear, etc.
          1. Inside the collection, Pierre Cardin have design such as:
            1. Huge Metallic neck piece, 1961
            1. L’official magazine 1968, huge metallic choker neckless.
            1. Eyewear
  • In the summary part:
    • During the same stage, futurism movement’s characteristic compares to the early 1909 to 1920, the art, music, literature, drama, it lost their popularity they used to be and also fragmented. Even so, it is still pursuing modality, emphasizing individuality.
    • In this part also mention my work connect to the essay body. It will be like, “ the understanding of how futurism related to contemporary jewellery, my third year project direction relates to all the characterize of the futurism.”     Please refer again in this part that I think futurism pursuing modality, emphasizing individuality to point out the thesis.

Reference book:

  • Please read Futurismby Richard Humphreys and cite some useful source from it to explain some term or anything you think would help. I have find a website can read the context free (
  • Joshua Taylor futurism ( (if that link is not working:
  • perspective of contemporary jewelry damian skinner (or if you do not find access on this book you can also reference on similar content book.
  • Etc. have as many as possible.

Format can be follow by proposed enquiry, introduction, main body, bibliography and illustrations

Below is a Sample Paper. You Can Order a Custom Essay Written From Scratch From Our Website. Click Here to Order.


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This paper is inspired bythe work ofFilippo Tommaso Marinetti of futurism.It is a masterpiecethat revolutionized the arts field, fromliterature to music, to drama, to poetry. Marinetti believed that theItalian cultureneeded achange; andatransformation which will embracemodernismandneglect theold.Futurismwas an early20th-centuryartistic movement centered inItalythat stressed thedynamism, speed, power, andenergytechnologyand vitality, transformation, and buoyancyof contemporarylife.In the second decadeof the20thcentury, the movement’s impact moved outward through Europe, most notablyto theRussian avant-garde (White, n.d., n.p.). Theimpact of themovementwas significantlyon visual arts and poetry.The movement was launchedin February1909, when theParis paperpublished amanifesto bythe Italian poet and editorFilippo Tommaso Marinetti.Futurismhas been predominantly featured in all artisticforms, and has been brought even to the contemporaryjewelry. Contemporaryjewelry,which can beunderstoodas aform of practiceunderstood bythemodern generation ofa craft-based design undertakingthattraces its origins in medieval workshops. Futuristic features in jewelrydesign depict modality, emphasizeonindividualitywhile maintainingits ancient freshness.


Thefuturism movement showed its desireto usemodern and popular forms of communicationto spread its ideas without fear.Thefirst declaration of themanifesto read: “weintend tosingthelove ofdanger, thehabitof energyandfearlessness”(Flint, 1973, p.

2). In 1910, Umberto Boccioniand his friends also launched themanifesto forfuturistic painters whichglorifiedoriginalityand embraceduniversal dynamism in paintingart.Boccioni becomes oneof theinfluential futuristic paintersofthe early20thcentury(Anon., n.d).

Accordingto Humphreys(1999, p. 12), Boccionimoved from social realism in 1909, through a

form of divisionism, and then respondingto thedazzlingeffect ofcubismin 1911.

Figure 1:States of Mind II: ThoseWho Go(Boccioni, 1911)

Thepaintingcaptures themovement in time.It consists of lines of force, simultaneity, and emotional ambiance.Accordingto Humphreys (1999, p. 14), the statesof mindpainting show thetrajectoryof themovingobjects, as wellas the viewer’s emotional attachment to the image. Therefore, the statesof minds show the oblique forcelines of thepassenger’s travelingbytrain asitmoves past landscaped buildings further describingthe modalityof theartistin his work.

TheCityRises (1910)paintingbyBoccioniis considered the first futuristicpaintingin which he draws apictureofamodern city.Ultimately, the artistic pieceindicates the combination ofviolence andcultural change,and waras the onlywayofgainingcontrol overthe world.

Figure 2:TheCityRises byBoccioni(1910)

Futurism in Contemporary Jewelry

            Although contemporaryjewelrywouldcome laterafter themanifestosof futuristic movements, it still foundits placein themovement.Contemporaryjewelryis a typeof practice which is taken as contemporaryoffspringof a craft-based formactivitywith roots in medieval workshops.Itfinds its antecedents in the ancientmovements and renewedin themid-19thcenturydueto interest in manualexpertise, and theemergenceofradical jewelryactions inthe mid-20thcentury(Lignel,2008, n.p). The contemporaryjewelryunderlines the concepts of individuality,craftsmanship, and its unsettled interaction to theproductionmedia.Itreflects

individual’s talent and hasthe abilityto influencethe contemporaryculture of thelocation where itis made. Therefore, contemporaryjewelrycarries futuristic aspect in thatitis capable of influencing and transformingcultural beliefs ofaplace.

Modern jewelryis a fast-changingindustryat a crossroad between craft, design, andart, presentlyridged byidentitycrises.However, themain issueis anchored onthe image (Lignel,

2008, n.p). Thefailuretorecognizeauniversal definition ofwhat is meant bycontemporary jewelryhascontributed to anextreme too manyopinions, and sometimes descriptions are subjective and according to personal opinions. Various jewelers define contemporaryjewelryin theirown terms in termsof how theydo itand how it personallyimpactsthem, thus promoting modalityand individuality. Contemporaryjewelrylater would adopt futurism to depict its perception of future and describemodalityas wellas emphasizeindividualismwhile preservingits traditional freshness.

Aftertheemergenceof contemporaryjewelry, jewelers haveshown ahigh degreeof the concept offuturismin designingthe jewels.GijsBakker and Emmyareexamples of individuals who included futurismin thejewel designs.In thelate1960s,jewel designers Bakker andEmmy created an uproar with their avant-garde work thatcombined fashion, design, and art, which marked arevolution in the contemporaryart(Howarth, 2014). Themostprominent object that theymadewas theBakker’s Stovepipenecklace and stovepipe bracelet, which presented such an audacityand provocationfor debates on contemporaryjewelry.

Figure 3:Sonja Bakkerwith StovepipeCollar and StovepipeBracelet byGijs Bakker, 1967.

LargeCollarwas anotherjewel that createdan uproar. SonjaBakker, whowas pictured wearing ablack pantsuit, caused acommotion as itshowed livemodels who shifted to electronicmusic through futuristiclightning.

Figure 4:Sonja Bakker inablue and black pantsuitwith LargeCollar, 1967.

Ten-loop bracelet byGijs Bakker

Figure 5:Sonja Bakkerwith Ten-loop Bracelet byGijs Bakker, 1965

ScholderpiecebyGijs Bakker

Figure 6:ScholderpiecebyGijs Bakker, 1967.

Sincetheirwork was introducedinto the limelightinthe 1960s, Gijs Bakker and Emmy haveinfluenced both Dutch and international jewel design.Both trained as jewel designers from GerritRietveld Academy, the couple pursued sublimation ofjewel form.TheDocumentain Kassel and other exhibitions in theirlocal Dutch cultural, as wellas international arts such as Minimalismand Geometric Abstraction,motivated them to studytheforms of jewelry, on the foundation ofgeometricand systematicmodels(Besten, n.d., n.p.). Theirwork was characterized byeradicatingthe subordinateroleof jewelryas just a decoration, byincreasingits scale and showingthe relationship between jewel andclothing.Themadebigaluminum collars which could be related to dresses and trouser suits. Theunique design of thesejewel makersdepicts a unique modalityand individualism sincetheymadethem in their own design.

AccordingtoBesten (n.d), theobjectiveofBakkerand Emmywas to rebelagainstthe traditions of craftand theyaimedat freeingjewelryfrom its historical slavery.Although they stroveto achieveindustrial manufacturingof theirjewels, theynever achieved itbut theymade modifications on materials to create sober pieces in no regard to the traditional craft ofjewel- making.In their view, by1970s thebracelets hadbecometoo autonomousin form of application, while profiles werepersonal, non-exchangeableobjects, forming apersonal relationship with the person wearingthem, thus furtherpromotingindividualitybut preservingits decorativemodality (Besten,n.d., n.p).In questioningthe motives of both the jewelerand people, Bakker thinks that contemporaryjewelryisan ironic character. Heemphasizes the concept ofindividualitywhen he claims that jewel has to be “moreforme.Forme, it remains thepegon whichIcanvisuallyhang mystory”. However, themodalityof his work reappears in his work asasort ofdistortion of the ideologyof decoration.This is shown byhis 1977 five-meter necklaceofgold wire andanother sequel of necklaces henamed Queens (1977), through which heridicules status jewelry.

Therefore, thework ofBakker andEmmyis relevant in promotingthe ideaof innovativeness in jewel-making, abandoningthe traditional useof jewel as justadecorativeornament, and embracingitas apart ofclothing.

Figure 7:Queens (1977)byGijs Bakker

Lookingat thecontemporaryjewelry, especiallytheonemadebyBakker and Emmy, itis noteworthythat theyaimed to create anew ageofjewelrybut makingthe traditional one frumpish (Anon., 2018, n.p). Bycreatingbigjewels, theymadejewelrylessof an object of status and moreofan object offashion.It was suchan innovative approach sincefashion and jewelry had not connected in such amanner before.The choiceof their materials wasalso veryfuturistic. Theyused aluminum, furtherdestroyingthe ideologyof jewelry,and with jewelryasasymbolof class sincethe material was inexpensive and easilymade, makingitaffordable foralarge population. Further, the function ofjewelrywasdisrupted, and itbecame amatterof socialparticipation. Contemporaryjewelrycan beused as awayofengagingthe societyin discussing issues that areaffectingit.Thematerials usedandits affordabilityhas madethe jewels mobile as theycan becarried byour bodies and thus can beviewed as an important mediumof passing messagein all types of settings.As Besten(2012,p. 15) states:

“movingaroundin socialcontexts, jewelryoperates between thepublic and personal state, it has

apeculiarabilityto interact with the viewer.”

However, she also points that contemporaryjewelrymoves onlyin smallcircles to makingpoints or titillatingto anextent ofdebate.Eitherthe mass does nothave anaccess or is not interested in thesekinds of wearablejewels. Further, thedisplayofcontemporaryjewelryin the galleries makeitappear just as a commodityand not as asubject that can spur social debate (Skinner, 2013, p. 243).Themasses mightalso be unable to understand the meaningof the jewelryworks becausethelanguageof materialand function seems isolatedand inaccessible to individuals who arenot conversant with aparticularfield(Kallman, 2014,p. 6).Therefore, although modern jewelryhas innovativelytransformed theroleof jewelryin thesociety, it requires special knowledgein thefield to fullyunderstand, further advancingthe ideologyof individualism and modality.

Naomi Filmer is another contemporary jewelry designer who considers her work as “wearable objects about the body” rather than just jewelry. She uses jewelry to show planes, concealed spaces and places of the body, as well as materials that show entropic change in bodies (Anon., n.d.). She challenges the limits that define the traditional purpose of jewelry, concentrating on how the body and wearable objects relate by experimentally using various materials such as ice, chocolate, rubber, and ice, to create her jewelry.

Figure 8: Naomi Filmer’s Contemporary Jewelry (Source: Central Saints Martins)

GetulioAlviani, an Italian artist created Monorecchio in 1965, a jewel object that defied the traditional definition of jewelryfurther promoting jewelry individualism while maintaining its modalities (Rossi, 2014). Monorecchio, a circular aluminum disc with an ear-shaped hole cannot be termed a work of a jeweler but a rejection of previously used designs and materials, describing its futuristic nature. If this piece can be compared to anything ever made, it would be Bakker and Emmy’s work. it shows that thinking about various fields doe not imply failure to explore the rest. Instead, it encourages thinking about the modalities and individual attitudes, issues, and beliefs that different areas present, elements that inform both jewelry-creation and interpretation.

Figure 9: Monorecchio by Getulio Alviani, 1965 (Source: Art Jewelry Forum)

Contemporary Jewelry andFashion

Contemporaryjewelryand futuristic fashion are closelyrelated.At the timewhen jewelry was at peak of its revolution,AndréCourrèges, afashioner designer, wasalso out to transform how women dressed. Notablyrecognized alongsideMaryQuant, theduo dressed thesixties (WWD Staff, 2016, n.p).Theycreatedafashion that left ahistoricalmark; theyinvented mini- skirts and trousers forwomen.Theobjectiveof settingaspacewas to createa clothingthat wasboth functional and liberating.Courregesrecognized the need to haveready-to-wear clothes which could allow women to movefreely.Inspired bythe futuristic freedom of movement, he discovered that womenwanted to wear casual and sportyclothes(WWD Staff, 2016, n.p). The “space-age” clothes included angularmini-dressesand trouser suits.Mostof his designed clothes had midriff cut-off and backs and wereput on withoutabra(Anon., n.d., n.p). Theywereworn alongsideflat boots, goggles, andhelmetsweretakenfrom thematerials used bythe astronauts. Thestark shapes and white and silver colorchoicegavethe eraaSpaceAge. Goggles and helmets are contemporary jewelry – initially they could be thought as compliments of fashion but with Courreges, it was possible to use them to improve how women looked.

Figure 8:Triangle-shaped shift dress byAndréCourrèges in 60’s

Figure 9:AndréCourrèges Eskimo or Eclipseor Slit whitesunglasses, 1965.

Figure 10: Audreyin“How to Steal a Million”,1965.

Thefuturistic natureof the clothes designed byCourreges motivatedevenfilm producers. For example, inHow to Steela Million (1966), the jewelrywas inspired byhis work(Hyland,

2016, n.p). Further, futuristicjewelryis witnessedin PierreCardin’sgallerywherehestores hugemetallicneck piece,hugemetallic choker necklace,and eyewear.

Figure 11:Metal CollarNecklace at PierreCardin’s

Figure 12:HugeMetallic Choker

PierreCardin’sjewelrycollection shows a combination ofthe spaceageand contemporaryjewelry.Witha combination ofjewelryand futurism, fashion was significantly impacted. Courregerfeltthat the designers, and not the clients understood the best jewels, showingtheextent ofindividualism in futuristic ideology.Hefeltthat fashion and jewelry was experiential and ittook an effort of anindividual to transform theindustry. Heutilized modern technology and new fabrics to makeinnovative jewels that would laterbecomeaground-breaker to the modern fashionof using ornamentedjewelrythat acted as architectureforfemale’s body(Park,2012, n.p.). He appliedcleangeometrical lines andabandoned superfluousmaterial while employedaminimal amount of decorativesculptures to create decorative jewelry to be put with other clother. Alongwith PierreCardin and other contemporaries, Courregesaided in creatingajewelrythat defined theera.Thegreatest motivation forthe futuristic fashion designers wasthe infinite modalities of thefuture and they stimulated their personalinterest in experimentation with form.

Bjorg’s fashion jewelry is consistently wearable, delicate, and feminine. The designs are inspired by the love for nature, past legends, and futuristic anticipations. They merge the past and future visions to make modern relics, always attempting to push the limits on what a jewelry can be. Combined the traditional freshness of jewelry, and combining modalities of fashion and individualism in his design, he always to balance the raw and refine, and to focus on the beauty of imperfection.

Figure 23: Necklace Bjorg: Precious stones and metal textures, 2017 (Anon., 2017, n.p).

According to Arumsari (2015, p. 68), clothes and jewelry are inseparable from human life. In addition to protect and cover the body, they are also useful in revealing one’s identity, opinion, and preferences. Therefore, clothes, accessories, motif, and color give better appearance to an individual. In respect to contemporary jewelry, Arumsari states that it relates to fashion and jewelers are able to use various materials like gold, silver, polymer clay, wood, and dried flower, which is combination of both traditional and new materials. Contemporary jewelry in most parts of the world follow’s the generation fashion and tastes. The designers have freedom to choose from variety of materials to create and shape and form of material. Fashion accessories that have shown the use of contemporary jewelry include headwear, necklaces, eyewears, shoes, and belts, among others.

Figure 14: Jewelry made of nylon, by Nora Fok (Arumsari, 2015, p. 72)

Figure 15: Jewelry made of fabric and thread, by Amithevintagist(Arumsari, 2015, p. 73)

The materials and techniques used to make modern jewelry reveal various concepts, and not just fulfill aesthetic or functional values, but to show a changing culture, individualism, and modalities of wearing such ornaments.


Contemporaryjewelryreflects futurismin both form and material.After itslaunch in February1909, futurismmovement impacted both arts and literature.In contemporaryjewelry, it was predominantlyfirstwitnessed in thework ofBakker and Emmyinthe1960swhen they revolutionized jewel-makingbydepictingitnot just as an object of status,but as athingthat could be used alongside fashion.Bycreatingbigaluminumjewels, theywereable to create a social attention, and themobilityofsuch materials can beused to spur debates on social issues. This paper has discussedhow contemporaryjewelryembraced futurism, and how fashion would later beinfluenced bythefuturistic approach to jewel-making. Significantly,makingof jewels was motivated byfuturistic modalities, emphasizingindividualism, whilemaintainingtheir traditional freshness.


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Figure1: States of MindII: ThoseWho Go(Boccioni, 1911). At onApril6,


Figure2:TheCityRises byBoccioni(1910). At

artworks.htm#pnt_1(Accessed on April 6, 2018)

Figure3: Sonja Bakkerwith StovepipeCollar and StovepipeBracelet byGijs Bakker, 1967. At:

jewellery-to-open-at-the-stedelijk-museum/(Accessed on April 6, 2018)

Figure4: Sonja Bakker inablue and black pantsuitwith LargeCollar, 1967.At:

jewellery-to-open-at-the-stedelijk-museum/(Accessed on April 6, 2018)

Figure5: Sonja Bakkerwith Ten-loop Bracelet byGijs Bakker, 1965. At:

jewellery-to-open-at-the-stedelijk-museum/(Accessed on April 6, 2018)

Figure6: Scholderpiece byGijs Bakker, 1967. At:


(Accessed on April 6, 2018)

Figure7:Queens (1977)byGijs Bakker. Accessed on April6, 2018. Figure8:Triangle-shaped shift dress byAndréCourrèges in 60’s. At: onApril6,2018)

Figure9:AndréCourrèges Eskimo or Eclipseor Slit whitesunglasses, 1965. At: on April6,2018)

Figure10: Audreyin “How to Steal a Million”, 1965. At: on April6,2018)

Figure11:Metal CollarNecklace at PierreCardin’s.  (Accessed on April6, 2018) Figure12:HugeMetallicChoker. (Accessed on April 6, 2018)

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