A French heritage,


step creation photyne jewelryWhen Marco Polo traveled through China in the 13th century, he discovered a delicate, transparent type of ceramic unknown in the West. He called it “porcellana” after a white shell by the same name. This term quickly designated an art form that caused sensation in Europe and especially in France.The extensive palette of infinite possibilities that porcelain offers led to the development of an incomparable know-how, in particular within the renowned French Manufactures.

Today, porcelain remains an everyday luxury. It’s everywhere, from tableware, decorative objects and lighting to jewelry.

Because I’m passionate about excellence, I decided to entrust my creations only to the most expert hands. Therefore, « my jewelry is made by the finest French craftsmen, keepers of a unique knowledge and “savoir-faire” envied around the world.

Ceramists, enamellers and jewelers interact and work together in my design studio, creating handmade pieces that symbolize my vision of French art-de-vivre. Thanks to the mastery of ancestral techniques and an eye for the slightest detail, from shaping to polishing, from enameling to the application of gold, each piece of jewelry is sublimed.

I love mixing raw and precious materials, combining the luxury of gold with the softness of porcelain. 

I love combining styles and orchestrating the process of transforming simplicity into sophistication through stylish and timeless jewellery, every bit as unique as the women wearing them. »


From raw material to jewellery…


 work          Workshop Photyne raw material

 

The quality of my porcelain jewellery is based on the perfection of the successive operations that are performed. Each one depends on the previous and affects the next one. But it also lies in respecting the incompressible times needed for the shaping, drying and firing.

Limoges porcelain paste is made of three minerals (50% kaolin, 25% quartz and 25% feldspar) that are diluted in water, then ground, mixed, sifted and filtered. They are presented in slab form before being converted into pastes of varying liquidity (depending on the manufacturing technique).

After the pieces are hand shaped, the drying process begins. The time will vary from twenty four hours to sometimes a week for certain pieces!

 

Next, a delicate manual polishing ensures the removal of any imperfections before the pieces undergo a first firing at 1050 °C ! This firing hardens and dehydrates each piece, making it porous so that the glaze fixes itself to the surface.

For a smooth and shiny appearance each piece is hand dipped into a glaze slop (which is made of the same ingredients as porcelain paste, but in different proportions). Glazing is a very elaborate, manual technique which ensures an even thickness on the surface of each piece.

Pieces then undergo a second firing, at1260°C, in order to vitrify the paste and the glaze. This increases the whiteness, translucency and hardness of the porcelain. It is during this firing that the pieces undergo significant shrinkage and reach their final size.

At this stage, each piece is individually checked and those with defects (such as stains, cracks, patches of missed glaze or deformations) are rejected. Only the most perfect are hand-painted with liquid gold by craftsmen of incredible precision and dexterity.

Finally, they undergo a third firing to finally become the central part of my creations.

 

Such is the long and intricate process in which the raw porcelain paste slowly metamorphoses into a unique and delicate piece of my collection… a jewellery collection emblematic of an exceptional French tradition and "savoir-faire".

Workshop Photyne finishing          Workshop Photyne finishing