Interviews

How to design honest jewelry? Interview with Tomasz Kargul

Introduction

Working with amber is not only a profession for Tomasz Kargul, but also a return to his roots, to his childhood on the Baltic Sea. His unique approach to jewelry design attracts the attention of not only amber lovers, but also those who are looking for modern, functional and ecological solutions. In conversation with Beata Bochińska, Tomasz shares his story, inspirations and vision of the future for amber jewelry.

Conversation

Beata Bochinska: Why amber? Since when did it become the leading material in your work?

Thomas Kargul: For me personally, amber is associated with childhood, carefree, warmth and holidays. It is great to process, it is warm both in color and in feeling to the touch. The most important thing for me is that amber comes from my environment — where I live, the environment of my friends, my family, the place I often return to. I love the Baltic and everything connected with it.

I started working with amber regularly around 2015, when we started regular production of amber jewelry in my company. Previously, before 2015, works with amber were more sporadic, treated as short episodes in my work. Now amber is the centerpiece of my designs.

B.B.: How many years have you been working and designing jewelry? Where did the idea for such a development path come from?

INCL.: I have been in the jewelry business since 1997. My adventure with this craft began at the Vocational School in the direction of goldsmith and jeweler.

In 2008 I opened my Atelier, a jewelry studio and gallery, where I realized jewelry for individual orders for clients. Working on individual, unique pieces was fascinating, but in the context of production jewelry design, this is only the beginning. The design of production jewelry requires a deep analysis, taking into account the weight, repeatability and acceptability of the product by customers.

The most inspiring thing for me is to create jewelry that looks good, is functional and meets customer expectations. The studio must be able to do this, and for this I often harness new technology and innovative ideas for production. It is these aspects of jewelry design—from concept, to production, to the introduction of new technologies—that most stimulate my imagination and passion for creation.

B.B.: Your jewelry has a distinctive stylistic feature, how would you define it yourself?

INCL.: If I had to determine the style of my jewelry, it would undoubtedly be a style inspired by architecture, IKEA, LEGO and Scandinavian aesthetics, which I like a lot and that helps me realize my ideas. I try to eliminate traditional jewelry processes in favor of those that I invent myself. In my projects, I strive for the most rational production path, taking into account the use of materials, minimization of waste and a simple but stylish appearance.

The thought always resonates in my head that the most difficult things are simple. My shapes and patterns, although simple at first glance, hide behind them a very complicated process of analysis and production. Therefore, I would call my style “honest jewelry”. It is an approach that combines functionality, simplicity and precision, while creating unique and thoughtful designs. I try to give more than just shape — I also offer a way to rationally approach what surrounds us, both in the context of thinking and living.

My jewellery is also eco-design, deeply rooted in the fascination with Scandinavian nature and care for the environment. I try to create designs that are not only aesthetically pleasing, but also friendly to our environment. I use materials in a sustainable way, minimizing waste and making sure that each element has its place and meaning. My projects are thought out for their environmental impact, which is extremely important to me these days.

B.B.: Our lifestyle has changed, the young generation has access to many different tools allowing for the development of creativity, thus more and more people see and distinguish aesthetic nuances, therefore expectations and stylistic elaboration are increasing, especially in the younger generation. How do you see your jewelry from this perspective? Who is it addressed to? How would you describe your client and client?

INCL.: My jewelry is aimed at people who value conscious minimalism and functionality. I target the age group of 30, 40 and 50 who appreciate simplicity, elegance and thoughtful design. My client and my client are people who are looking for more than just ornaments — they want products that are honest, authentic and have a deeper meaning.

My client is a woman who values minimalism and elegance. She is aware of ecological and sustainable practices, so she chooses jewelry that not only looks beautiful, but is also environmentally friendly. She is looking for unique but simple forms that fit her lifestyle. She is often inspired by Scandinavian design and architecture, which is reflected in her fashion and decorative choices.

My client is a man who appreciates functionality and precision in design. His style is modern, but at the same time timeless. Like my client, she values an eco-friendly approach to production and chooses products that are durable and well thought out. This is a person who pays attention to quality and detail, is looking for jewelry that will emphasize his individuality and fit his lifestyle.

Both are people who value conscious minimalism, care about the environment and look for products that combine aesthetics with functionality.

B.B.: Where do you get your inspiration from?

INCL.: I draw inspiration from many different sources that reflect my interests, passions and life experiences. Architecture is one of the main areas that shape my approach to jewelry design. This is primarily about the way of thinking, constructing and analyzing, not the visual form. My jewelry is multi-piece, which means I have to think carefully about how to design each piece to make the whole thing durable and functional. I analyze what to do so that jewelry does not break, so that it can withstand impacts and pressures, and how to use mechanisms such as latches and ratchets, which are crucial for stability and functionality, just like in architectural structures. Combining one element with another affects the strength of the whole. I base all this on the shape changes in the machining process and the ease of joining together.

Scandinavian aesthetics are another important source of inspiration. I appreciate the minimalism, simplicity and naturalness that are characteristic of this style. Scandinavian design teaches that less is more, which I try to transfer to my jewelry designs.

My work is also influenced by my childhood experiences, especially those related to the Baltic Sea and amber collection. Amber, which is a natural material from my surroundings, combines tradition and modernity, which is extremely inspiring to me. Working with this stone reminds me of carefree moments spent on the beach, warm sand and the scent of a pine forest.

LEGO and IKEA have also influenced my approach to design. LEGO has taught me creativity and the ability to create an infinite number of combinations from simple pieces. IKEA, in turn, inspired me to think about functionality, thoughtful production and rational use of materials.

My inspirations are also deeply rooted in the idea of eco-design and care for the environment. I try to create jewelry that is not only aesthetic, but also sustainable and friendly to our environment. I use materials in a conscious way, minimizing waste and making sure that each element has its place and meaning.

B.B.: At the exhibition “Treasure Box of The Future” we show you the non-obvious material used by you. What materials do you use most often?

INCL.: Most often I use different materials that combine tradition with modernity and aesthetics with functionality. In my works you can find gilded silver, stainless steel, gold, Baltic amber, as well as more unobvious materials, such as plaster. It is a combination of ground, recycled plastic with amber, dipped in a fluorescent resin. Plaster in my jewelry is a collaboration and support for various interesting ideas related to eco-design. The plaster elements are made by Monika Błaszkowska from Migaloo home.

This material is not only aesthetic, but also environmentally friendly, fitting into the ideas of eco-design. Plastryko allows you to create unique, glow-in-the-dark jewelry pieces that attract the eye and carry a message about the importance of recycling and environmental protection, and at the same time about our modern life here and now.

The use of these diverse materials allows me to create jewelry that is both functional and aesthetic, combining classic beauty with modern design and care for the environment.

B.B.: We know that for the younger generation, amber is associated with coral at aunts on name days. What do you think about the current production (and design) of jewelry using amber in Poland?

INCL.: The current production and design of jewelry with amber in Poland are often dominated by traditional patterns, which for the younger generation can indeed be associated with outdated corals that aunts wore on their namesakes. This association with traditional and somewhat old-fashioned aesthetics makes young people not see amber as an attractive material for contemporary jewelry.

The problem is also the fact that most of the production is based on cheap jewelry, the main purpose of which is to sell quickly with minimal labor. Amber is simple and fast to process, which leads to the mass production of classic corals and simple designs that do not bring anything new, neither aesthetically nor emotionally. This is due to an approach where amber is the main piece of jewelry, rather than part of a larger, modern design.

My approach to designing jewelry with amber is to treat it as an addition to my idea, not the other way around. The shape and size of amber result directly from the design of all jewelry, and not vice versa. This allows me to create more innovative and contemporary designs that appeal to younger clients. I find it crucial to experiment with new shapes, textures and colors, as well as combining amber with other materials to create something truly unique.

In conclusion, in order for jewelry with amber to become more attractive to younger generations, it is necessary to move away from traditional patterns and mass production in favor of innovative, contemporary designs. It is necessary to treat amber as an element of a larger whole, and not as the main element of jewelry. This approach can bring a fresh look at this precious material and help in its renaissance in the world of modern jewelry.

B.B.: Who is your authority on jewelry design? Whose work do you admire?

INCL.: My authority in the field of jewelry design is Jacek Byczewski. His works are distinguished not only by excellent craftsmanship, but also by an innovative approach to form and materials, which makes them unique and modern. Byczewski is able to combine tradition with modernity, creating jewelry that is both elegant and innovative.

As for other inspirations, it is worth mentioning the characters that, although not directly related to jewelry design, have had a great influence on the development of design and creativity in a broad context. The first is Marcel Bich, who in 1951 presented the world with the Cristal pen, which has become synonymous with affordability and reliability.

Ingvar Kamprad, the founder of IKEA, who revolutionized the way we think about furniture and utilitarian design. His philosophy of simplicity, functionality and accessibility has a lot to do with the modern approach to jewelry design for me. Ole Kirk Christiansen, the creator of LEGO, who shows how important it is to combine creativity with simplicity and how innovation can affect everyday life.

Frank Gehry and his architectural masterpieces, full of dynamic forms and innovative solutions, are for me a perfect example of how a bold approach to design can transform spaces and inspirations into other areas of art, including jewelry. In turn, the works of Wassili Kandiski, as a pioneer of abstraction in art, show how you can experiment with form and color, which is crucial in the design of modern jewelry.

I am not a person who previews the work of other jewelry designers, because I prefer to develop my own unique ideas. However, if I had to recommend someone, it would definitely be Jacek Byczewski, whose work I find very interesting.

B.B.: Not everyone can afford very expensive retail items. What do you think about the democratization of amber design, that is, long production runs, often called everyday or functional jewelry?

INCL.: Democratizing amber design in my work involves creating jewelry that is accessible to those who are looking for something unique, but not necessarily very expensive. This makes amber more common and attractive, which helps in its renaissance as a material used to make modern jewelry.

B.B.: What is luxury for you today? How will you define it from the point of view of the younger generation

INCL.: For me, luxury today is much more than just a high price or exclusivity. In my opinion, luxury from the point of view of the younger generation is authenticity, quality, sustainability, personalization, valuable experiences and minimalism. It is something that enriches our life, adds value to it and allows us to enjoy beauty and sustainability in a conscious and responsible way.

B.B.: How do you want to develop your brand that you are systematically building?

INCL.: I don't design jewelry based on what clients are looking for, just what is in line with my feelings. I have a few strategies that I have set for myself and plan to continue with them. I want customers to feel that every product they buy has not only aesthetic value, but also a deeper meaning in their perception of themselves, amber and their surroundings.

B.B.: I have such a dream: I would like jewelry from Poland to be associated with exceptional class, contemporary designs, based on different price ranges related to their production: unique, short studio series and serial production. I would like them to be addressed to young brave aesthetes. Today, our mass and artisanal production does not have such a character, it is similar to many other regions on the Baltic Sea. What do you think would have to happen, apart from promotional programs such as those implemented by Gdańsk, for our amber to deserve such perception and reception in the world?

INCL.: I think Amber needs her super hero. It can be jewelry, a person, an institution, a company, a film, a song, a creation, or even a capital — time will tell. It can be any of the above, and even more. The main thing is that we ourselves appreciate what we have and be proud of it. If we stop complaining and repeating like the mantra “beads from aunts”, and look for, appreciate and highlight interesting projects, then there is a chance that something will change in the end. I think amber has earned a unique perception and reception in the world, for this we need not only local promotion, but also iconic, modern symbols, contemporary projects, education, national pride and collaboration with global influencers. If we ourselves, that is, creators and local customers, stop complaining and appreciate our imagination, then there is a chance that amber will gain its rightful place on the world jewelry scene.

B.B.: The exhibition “Treasure box of the future” is supposed to be just such a breakthrough in changing our perception of amber, I am glad that we see it in the same way. Thank you for the interview.

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