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There was a point in my life – and I may still be in that era – where I’d conflate luxury with quality, custom with handmade, and costume with lesser.
A thing wasn’t good or worthy if it wasn’t substantial – maybe I’m stuck in a quality vs quantity conundrum? I’m not sure, but there was always an underlying scepticism that would either encourage or deter my urge to shop.
I have this innate ability to tell if something’s worthy by touching or observing the way it moves. Chiffon when it glides, varying cuts of linen in the way its wrinkles crease, sturdy hemmed trousers that maintain form as the wearer struts.
Okay, it’s a gift, but as many times as I’ve been right about this, I had my doubts because I know it’s not an infallible indicator of good or not-good things. I was even more sceptical about one-of-a-kind pieces. Take for example, a crescent moon charm necklace I bought at MoDA Market yearsss ago, I still think about it to this day – years after it was tarnished, because it was well made.
Custom holds sentimental value because it feels as if the maker sought you out in a sea of thousands just to give you this one thing they’ve made for you. It’s an extremely special feeling, especially if it’s jewellery, proving to the receiver that it’s not just a cut above, but slow to make, there was attention to detail, and it was made with the desire to please its wearer.
And the demand for custom is growing. Late October it was announced that Jamaican jewellery designer Symoné Currie, founder of Metal x Wire was nominated among 10 of her peers for the inaugural Council of Fashion Designers of America Tiffany & Co x CFDA Jewelry Design Award.
Currie’s ‘Hummingbird Brooch’, which was a bespoke project designed for the High Commissioner of Jamaica in London, is a study in precision and detail. The 14-karat yellow gold, sterling silver brooch with black diamond and freshwater pearl is a symbol of Currie’s perseverance and a timeless classic with subtle-not-so-subtle undertones steeped in Jamaican history.
For many Jamaicans, custom jewellery isn’t just an accessory; it’s a statement of identity, style, heritage, and status.
And though the practice of customizing gifts is as old as time, it remains one of the most sentimental forms of gifting. One example of custom art is the #loverocks; pebbles hand-painted with whimsical images by visual artist Claudia Porges-Beyer. How could something so simple be packed with such sentiment? It’s the thought that counts.
Nowadays, talks of custom have shifted to include economic impact and sustainability efforts, which, in turn, affect the materials that are used for each design. Makers are conscious, they want to find ways to reuse material and reduce waste. Some find it to be counter-productive – the loss outweighs the gain, financially – but in the same breath will tell you that custom is far more rewarding.
Makers like Jasmine Thomas-Girvan, Girl and The Magpie’s Veronique Lindard, and Peace-is Of Bianca by Bianca Bartley are some of the foremost fellows of fine handmade local jewellery.
Whether it’s a piece of jewellery made from local materials like wood, bone, precious metals, bamboo or even human hair (à la Girl and The Magpie), the artisanal nature of a custom design offers more than meets the eye. It’s most often imbued with an artist’s POV with hints of the client’s personality. Costume jewellery, on the other hand, lacks the same cultural or sentimental value, while maintaining elements of artistry.
Mass-produced costume jewellery may be more affordable and accessible; handmade jewellery resonates with culture and celebrates craftsmanship, durability, and individuality — values that continue to shape Jamaican style and identity. I still believe that whether it is custom or costume, if something is well-made, it will stand the test of time.
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