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Interview with Jasmine Watson

Principal jeweller for Lord of the Rings talks about designing for the big screen

Can you tell me how you came to be involved in making jewellery for film and television production?

I first became involved in the film industry while at design school, I had a part time job dressing actors on set (for the tv series's Hercules and Xena) and that led to them offering me the position of jeweller/costume/armour maker on the same show, once I had graduated.

Which design school were you in?

Unitec School of Design, 1992-95

Were there any teachers who had a particular influence on you?

Pauline Bern, the head of the jewellery dept had a very big influence on me, as did Elizabeth McClure, head of the glass dept, (I took glass as my second subject, as it benefitted my enamelling.....) I have a great deal of respect for both of them, and really admire their work.

I also worked closely with Tania Patterson for 2 years running as part of the unitec work experience programme, I greatly admire the compexities within Tania's work, and I learned a huge amount working alonside her.

I also was fortunate enough to attend a glass workshop, and go on to do work experience with Helen Aitkin-Kuhnen while in Melbourne and Canberra in '95 as part of the JMGA conference, this benefitted my work incredibly, as glass and enamel in particular need to be so technically precise.

Do you think of your work as having any particular New Zealand influence? If so, how would you characterise it?

I am endlessly facsinated and inspired by nature, and the complexities and minute detail in particular of the native plants and flowers of new zealand, they are so much a part of the landscape and very familiar icons to me, and my work constantly refects this.

How much creative freedom were you given in designing the jewels for Lord of the Rings?

I was lucky enough to be given a huge amount of creative feedom, I would be given my initial brief from the costume designer Ngila Dickson, and I liased with the conceptual artist Allan Lee, and then it was over to me to gather resources and reference material and begin designing. I always started by looking through the book, as much of the jewellery was very specifically and beautifully described by Tolkein. When I had produced a body of work there would be a design meeting to discuss the best options, and the final authorisation would be given by Peter Jackson before work on the actual jewellery commenced. Often I would make mock-ups of the pieces out of cardboard or copper and try them on the actors in the initial costume fittings to ensure accurate sizing and a perfect fit, and also to give the costume designer/hair and make-up artist etc... a clear idea of the how the finished piece would function and look.

Can you recall the passage from Tolkien that you based this piece on?

"...the web is good, for it was made in this land...leaf and branch, water and stone: they have the hue and beauty of all these things under the twilight of Lorien..."

What other elements did you add to that, from either your own inspiration or the design brief that you were given?

The Elven Brooches needed to have a hand crafted organic look, and an aspect of simplicity, while at the same time be complex and ornate with almost a magical quality, as the elves were very clever craftsmen and the evlen cloaks functioned a a garment of camouflage.

How did making a piece for the camera compare to making a piece for personal use?

Designing for film and television generally allows you to be more elaborate and expressive, you are creating something larger than life, a fantasy, you can be far more theatrical and really exaggerate certain aspects of the character you are designing for.

In more practical terms, jewellery for films still needs to be very well made, as flaws are very visible on screen,and considerations such as safety, durability and comfort are still very important as the particular piece may be worn everyday for the entire shooting period, in this case over two years.

What impact did the LOR commission have on your subsequent jewellery practice?

It has created a great deal of worldwide interest in my work, and I have been inundated with requests for replicas to be made of the LOTR jewellery, which is extremely flattering but of course impossible as it is all (except for the official merchandise) under copyright.

Are you engaged in anything now or in the future for film, and are there other projects that you are keen to develop?

I am now based in London where I am doing freelance design for various clients, which also includes the release of my 'Jasmine Watson' 2002 collection of womens jewellery via the QVC shopping network both in the United Kingdom and America in July of this year. At the same time I find designing for film and television very diverse and rewarding, and I will certainly be continuing with this also in the future.

Jasmine Watson is a New Zealand jewelley currently working in London. She has a website.

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