We had the distinct pleasure to interview award winning designer Ekaterina Korzh about their original and creative Jewelry Set design work. Ekaterina Korzh is an award-winning creative designer, that makes our world a better place with their original jewelry set works.
Ekaterina Korzh ("EK") answered Design Interview ("DI") questions about their award-winning work Traditional Parure Jewelry Set. Interview questions prepared by Frank Scott.
EK : My design is rooted in sustainability, storytelling, and identity. I often use recycled materials—such as reclaimed jewelry components or plastic bags—to give discarded items a new life. Much of my work draws on Slavic folk traditions, mythology, and personal memory to create wearable pieces that hold both narrative and ecological significance.
EK : I focused on creating a dialogue between the past and present, merging traditional craft with contemporary concerns like environmental sustainability. I wanted the work to feel both personal and universal, inviting the wearer to reflect on cultural roots, transformation, and impermanence.
EK : I plan to expand it into a larger collection that further explores modularity and material reuse. I’m also interested in exhibiting it in both art jewelry galleries and design contexts to bridge the gap between art and wearable design.
EK : The concept evolved over several months, including research, experimentation, and iteration. However, the seed of the idea—upcycling old materials into meaningful jewelry—has been growing for years through various projects.
EK : It was self-initiated, driven by a deep personal need to make sense of memory and displacement through materials. The design allowed me to channel my inspiration from folk rituals and ecological thinking into something tactile and poetic.
EK : I produce all of my work myself, either as one-of-a-kind pieces or small editions. I value the intimacy of making and the control it gives me over materials and narrative integrity.
EK : Jewelry, to me, is a powerful vehicle for storytelling. Its scale makes it intimate and its presence on the body allows it to act as a portable symbol—almost like a personal shrine or amulet. That’s why I’m drawn to this format for expressing identity and heritage.
EK : I’m influenced by both historical Slavic ornaments and contemporary conceptual jewelers who explore materials in unconventional ways. I also find inspiration in folk artifacts, textile patterns, and ceremonial objects.
EK : My ideal customer is someone who values craftsmanship, sustainability, and symbolism—someone who sees jewelry as more than adornment, but as a statement or personal talisman.
EK : The combination of cultural storytelling, sustainable practice, and emotional depth gives my design a unique voice. Each piece carries layers of meaning—mythical, ecological, and autobiographical.
EK : I often use poetic or folkloric titles. One of my recent series was titled "There Are More Fairies Further From Home..."—a reflection on exile, belonging, and enchantment. The name suggests both displacement and the magic of adaptation.
EK : I use a mix of traditional metalsmithing tools, ceramic techniques, and digital sketching software. I also incorporate non-traditional materials, utilizing glass heat-fusing and mixed-media assemblage techniques.
EK : Its hybrid nature: it exists at the intersection of fine art, folklore, and environmentalism. The use of waste materials to tell sacred or ancestral stories gives the work a haunting beauty.
EK : While most of my work is created independently, I do occasionally consult with ceramicists and sustainable material experts, especially when scaling up or exploring new techniques.
EK : Technology plays a minor but essential role—especially in the planning phase. I use digital sketching and sometimes CAD software for mockups, but the actual making is mostly analog and tactile.
EK : Yes, I conducted ethnographic and visual research into Slavic paganism, as well as material research on biodegradable and recycled elements. The work is heavily influenced by cultural symbolism and mythological archetypes.
EK : Balancing fragility with wearability was a challenge—especially when working with delicate or unconventional materials. Another challenge was ensuring that recycled elements were safe, clean, and durable enough for jewelry.
EK : I believe the themes of my work—sustainability, cultural identity, and interdisciplinary craft—resonate globally. Submitting to an international competition felt like a natural step to share these ideas with a broader audience.
EK : I became more attuned to the emotional resonance of materials—how even a piece of plastic can carry symbolic weight when contextualized thoughtfully. I also grew technically, learning to adapt fragile materials for functional wear.
EK : Yes—my work is not only about making objects but about crafting experiences. I often present my jewelry within installations or as part of performative narratives. This multidisciplinary approach is central to my creative identity.
