Sylvo Schroeder


"Sie im Ohr" (she in my ear) 2012 - resin - silver - steel - Zircon

“Sie im Ohr” (she in my ear) 2012 – resin – silver – steel – Zircon

Sylvo Schroeder

Sylvo Schroeder

1.Please tell us a bit about yourself

You can read about me here:

 2. How would you describe your journey as a contemporary jeweller?

  •       Completion of a 3 year Apprenticeship .E.Frey Master-Goldsmith,Pretoria,South Africa.
  • ·         Invitation by Co.Gueblin, Lucerne, Switzerland to join for an Internship in its Design  and Manufacturing Department
  • ·         Fachhochschule fuer Gestaltung, Pforzheim, Germany where I completed M.A.Design with Prof.R.Reiling & Prof.K.Ulrich.  Thesis  -Body jewellery

__                                                                  __________________

·         I work concept and theme wise utilizing sculptural and linear elements.

·         For example the “Space Invader Series”

Ring from the  Space Invader Series - "Liebes Auge"( loving eyes) 2014 -  14K gold - Zircon

Ring from the Space Invader Series – “Liebes Auge”( loving eyes) 2014 – 14K gold – Zircon

·         Majorly I work  on an assignment basis through my CAD drawings – love design and manufacturing techniques and the moment a piece is born.

·         I admire work done by artists with innovative /unusual /surprising design elements.

·         My favourite artists are – René Jules Lalique – Salavadore Dali (yes he designed a lot of fantastic jewelry) Reinhold Reiling – Bruno Martinazzi and Manfred Bischoff    


 3.What inspires you?

You can read about my inspiration here: 

4.What direction do you see your work taking over the next 5/10 years?

I would be continuing developing my Jewelry, Silver Ware and Clocks

 5.What are your thoughts about the contemporary jewelry field evolving in India?

Lack of audience – exposure – will and commitment makes it hard to tell – the prevailing comment “no resell value” tells it all.

6.List of publications, projects and exhibitions that you’ve been involved in.

·         Gallery Ibo – Klagenfurt, Austria

·         Art Association Pretoria and Cape- Town South Africa

·         Studio Matthar  Cologne, Germany 

·         Yearly exhibition at IINHORGENTA   Munich Germany

·         MUBA Basel Switzerland

·         2004 , 2009.2011exhibited at AMBIENTE  Frankfurt, Germany   

·         Designer Platinum & Gold) Co.Gerstner Pforzheim, Germany.

·         Own studio for Jewellery Design in Pforzheim, Germany

·         Project Manager for    “Schmuck der Galatea “Jewellery

·         Co. in Hong Kong & Pforzheim

·         Consultant for Design   Production techniques with Saudi

.     Pearls & Gold Factory,Rijad,Saudi-  Arabia.

             Project  – Design &Manufacturing of Sterling Silver . Table clocks

            Company Soelch Eisingen Germany                                                          

·         Design & Manufacturing of  own Wristwatch Collection in Silver,  Gold & Precious Stones

·         Project – Consultancy for   Sunrise Jewellers Pvt.Ltd. Madras, India 

Principal at Jewellery    Product Development Centre New Dehli India

·         Invited as Consultant Executive Officer  JDTI Noida India

·         Design Director Silk and Silver Noida

·         Design Director El Unique Delhi India

·         Setting up – Faculty training – Jewellery Institutes in Karachi and Lahore Pakistan

·         Exhibited at the Saffron Auction House in  Dehi

·         Since 2013 own  Galleria and workshop  in Delhi        


 “Diamantenschmuck von morgen“De Beers Runner-up.                                                                  

 “Gold”Art Association Pforzheim  4th Prize.

 “Idar-Oberstein Schmuck & Edelstein Preis“   1st Prize & Runner-up.


Pen clock - silver oxidized  - covered with leaf gold - Swiss movement - Chrystal glass

Pen clock – silver oxidized – covered with leaf gold – Swiss movement – Chrystal glass



7.Where can one buy your work?

b’precious Galleria

Birbal Road 4/17

Jangpura Extension



011 43584011



On the bench: Tea/ coffee assemblage designing for a demanding client  

On the wall: Otto Schroeder – Luederitzbucht – my favorite pastel

On the pod: Steve Winwood

In the drive: American Sniper

On the shelf: Namibian History

 11. Anything else you would like to share about yourself:

Doing commissioned Design work

Needle - wire extravaganza - 18 K gold - real pearls - Stainless steel - 2009

Needle – wire extravaganza – 18 K gold – real pearls – Stainless steel – 2009

A lesson I learnt

January’s Blog-O-Sphere Think Tank topic:  “A great piece of advice. -What is one thing you would share as “the best advice ever” ?

Ok, this advice is coming entirely from personal experience and frustration at my continued harassment by members of a lay Buddhist organization called Bharat Soka Gakkai. Due to relentless harassment by them alongwith my family, I completely lost my mind 2 years ago. Thereafter, they spread rumors and lies that I lost my mental balance due to lack of money. My business fell apart from the depression that set in as a result of the constant public humiliation and harassment I was put through.

Though I’ve removed them from my facebook account and cut off all ties with them, it seems their ego has taken a hit at not getting there way with me and they continue to incessantly call and e-mail with shameless accusations of my showing lack of gratitude for the 2-bit morsels they threw at me while disgracing and humiliating me. They continue to have my family’s support who don’t even blink an eye at every opportunity they get to abuse me for the choices I’ve made in my life: to be an artist and to not get married. simple activities as stepping out into the local market have become difficult, as these are people that inhabit my neighbourhood as well and look for opportunities to toy with my mind, further deteriorating my fragile mental condition.

The Happy Hands Foundation, India, is an organization run by a member of this religious cult. Whenever, I’ve enrolled for a workshop with them, I’m deliberately made to sit next to members of this Buddhist organization who continue to provoke and harass me. I had to drop out of 2 of the workshops.

This is unbearable.

I’ve had suicidal thoughts for sometime now. Death would certainly bring respite.

So here’s my advice:

You can see my friends posts on the same topic here:

Andes Cruz:

Tosca Teran:

Purvi Sanghvi

Blue Brown Desert necklace

Blue Brown Desert necklace

Purvi Sanghvi

Purvi Sanghvi

1. Please tell us a bit about yourself.

School Lady vissangi girls academy ,  1987

Narsee monjee institute  management studies ,PGDBM

Amrutben jivanlal , BCom
John cass , London , MA jewellery 2008
2. How would you describe your journey as a contemporary jeweller?
I had been a trained potter for some years and had specialised in making and designing clay beads jewellery.
There came a point wherein I couldn’t see much in future with the clay jewellery and hence studying was the only option to move forward in my work.
I studied MA jewellery design at the John Cass dept of art and design, London which was a eye opener to contemporary jewellery
I realised during my studies that I loved exploring new materials/ unconventional materials for jewellery making. And I like working with my hands hence all pieces are made by myself.
I discovered nibs to use for jewellery design by chance.
I come from a family which used to manufacture pens and nibs and since the business was closed down, there was a lot of raw stock, including the nibs.
My father wanted to dispose the huge amount of nibs ( raw stock of gold plated as well as steel polished nibs)
I was shocked that he wanted to sell it as scrap. I asked him to keep some for me which he readily agreed.
 Currently nibs is a strong element in my jewellery and I feel connected to.
The story behind the nibs in my family
Tedx link :
Forgotten Letters

Forgotten Letters

3.What inspires you? 
It all depends on the phase I am going through. Nothing or anything can inspire me.
However, I am always interested in various cultures, colours , food, materials, textures.
4.What direction do you see your work taking over the next 5/10 years?
I see my work improving,  getting more simpler with different and better quality materials and finishes. And which becomes popular and reaches a wider audience.
Green Brown Sea necklace

Green Brown Sea necklace

5.What are your thoughts about the contemporary jewellery field evolving in India?

I believe it will take some time for people to appreciate and buy contemporary Indian jewellery. Jewellery which is not made from traditional materials like gold, silver, diamonds, etc
Indians are enamoured with materials more than the concept or theme based jewellery and believe in wearing gold , silver ,etc as investment and not to wear it to express themselves through the jewellery. It’s a status issue.
Though I must mention that there is a tiny section which craves for and is looking for some thing different , something to express themselves , something which they can relate and connect to. They are open to wearing jewellery which is NOT made from conventional jewellery materials.

6.List of publications, projects and exhibitions that you’ve been involved in.

Legnica ‘silver’- may 2012
Platform gallery, London –  April 2011
Grazia   – October 2011
Youth eye   – October 2012
Creative gaga  –  nov-dec2011
Livemint newspaper – September 2011
Timeout Mumbai feb-March 2012
Vogue –  September 2013
Air India inflight magazine – August 2011
Online :
Credit mention in book : how to design bead and wire jewellery by renata graham
7.Where can one buy your work?
Currently by contacting me through the ‘the other side’ facebook page. And  through the website when it’s active.
Website being developed at present . It will take a while.
Until then you can view my work here

On the bench: beads, threads, nibs

On the pod: coke studio , pink , ani choying , one Republic, zeb and Haniya , jack Johnson,

In the drive: Maruti swift

On the shelf: Dalai lama’s cat, Paulo coelho, and cook books :)

11.Anything else that you would like to share about yourself?

 I don’t use leather in my work. And I try and not use any glue to stick /join materials. I would rather find a way of joining by a technique instead of gluing.
Brown Pink Desert necklace

Brown Pink Desert necklace

A long list of things to learn

December’s Blog-o-sphere Think Tank topic: ‘What would you really like to learn’

Geez! I fell asleep…just remembered as I woke up with a start…so I’ll quickly list out the things I want to learn.

In the jewellery trade, I want to learn lapidary work: stone cutting and stone carving.

Other than that,

  1. woodwork
  2. pottery
  3. lampwork
  4. basketry
  5. crochet & embroidery…I don’t know how I’ll manage this with my clumsy hands
  6. machine-stitching
  7. papier-mâché & decoupage
  8. screen-printing
  9. tying of different kinds of knots and braids
  10. and last, but not the least, brick-making and brick-laying. I want to raise a wall….if not build my entire room

And here’s where you can read what my other blogger friends want to learn:

Andes Cruz:

Kathleen Krucoff:

Catherine Witherell:

Tosca Teran:

Continuing traditions: A way forward for Art jewellery in India

‘India, like no other country on our planet, can rightfully boast of an unbroken heritage of jewellery design that spans atleast 5000 years and extends back into antiquity. Its people have expended limitless energy and creativity in the invention of ornaments that celebrate the human body and in developing opportunities for their use. By adorning the visible, material body, they also seek to satisfy a universal longing for the embellishment of its intangible counterpart: the human spirit.’ Traditional Jewelry of India by Oppi Untracht

There are many key words here that would ring familiar to the contemporary world of Art Jewellery. However, it is the word ‘unbroken’ that renders versatility to the traditions and subsequent evolution of Indian jewellery.

Ancient Indian jewellery, whether tribal or classical, of metal or organic material, refined or primitive, was rife with symbolism and stories of the people who wore it, accounting for communal identities, marital status, social hierarchies, etc. And as it developed in isolated pockets, the jewellery in each area spoke through distinct vernacular languages and textures.

Today, even though the jewellery looks the same, the stories have long been lost.

In my humble opinion, it is imperative to document, study and evolve from these traditions before they are lost to us in these fast changing times of globalization.

This would be particularly challenging, as most art courses don’t actively include the study of jewellery.

It thus inevitably follows, that collaborative efforts are made towards developing a dedicated space, such as a museum or an institute: a dynamic space that allows for scholastic studies, new dialogues and for the showcasing of past traditions and continuing and evolving traditions in jewellery.

Sham Patwardhan-Joshi

Thinking Hands

Thinking Hands

Sham Patwardhan-Joshi

Sham Patwardhan-Joshi

1. Please tell us a bit about yourself.


Assistant Teacher for Jewellery Design,

University for Applied Sciences and Art



Guest lecturer: “Accessory Design

School of Fashion Technology, Pune India


Cultural Program Assistant

Goethe Institute Pune-India.


Diploma: Metal Design “HAWK“ Hildesheim

University for Applied Sciences and Art



Freelance Decorator: instrument/furniture

Till 1996

InterpreterTranslator for Indian and German Firms


German language Masters Studies DaF     University Bielefeld,Germany


Intensive German language courses

Goethe Institute, Pune, India


Bachelor of Commerce

Pune, India

2. How would you describe your journey as a contemporary jeweller?

Journey to jewellery. It took 45 years to get  realized. The process started actually in montessory kindergarten.

I cannot say which is my signature style- better ask other who know me and my works.

I use all kind of materials, like metal, paper, cloth, organic and  synthetic materials.

Technique: extensive use of lost wax method



3.What inspires you?


4.What direction do you see your work taking over the next 5/10 years?

Given all facilities with well equipped workshop, I will be able to continue with lost wax method.

My work will become complicated in appearance.

5.What are your thoughts about the contemporary jewellery field evolving in India?

A lot to say but still too early to compare Indian contemporary jewellery with European scene. Chances for young people are not enough to express their ideas. Jewellers and art collectors know less about this particular subject.

Indian designers are still stuck to traditions and traditional designs. That is only a repetition or copying.
The high class jewellery as well as designs were made only during Mughal times.
People are repeating them. The artisans have no way to develop their skills because of demand for traditional type of jewellery. The jewellery dealers are not aware of western developments, so are the educational institutions.
This attitude is holding back young aspirants. There is no question of lack of finances but willingness and proper design education.

6.List of publications, projects and exhibitions that you’ve been involved in.

MineralArt, Idar-Oberstein 2014

Group exhibition, Antiquariat Dieter Zipprich, Munich, Germany 2014

Cominelli Foundation Award, Padova, Italy 2013

Exhibition:mit Esther Brinkmann Schweiz, Georg Dobler, Margit Jäschke India 2012

Workshop mit Georg Dobler and Margit Jäschke,School of Fashion Technology (SOFT) India, 2012

“RITUAL” 21st Legnica International Jewellery Competition, Legnica Poland 2012

7th CHEONGJU International Craft Competition, South Korea 2011

“500 Rings” Lark Crafts Sterling Publishing Co., Broadway Asheville USA 2011

“Hochdosiert-Kunsthandwerk in Dosen“ Handwerksmuseum Deggendorf Germany 2011

“SEXY” 20th Legnica International Jewellery Competition, Legnica Poland 2011

“MINIMUM” 19th Legnica International Jewellery Competition, Legnica Poland 2010

(Honorable mention)

“Six Pack”Jewellery Design Competition, Greencard Crative Inc. New York USA 2010

C. Hafner, „Material and Design: “Form Follows Function“ RRH Stipendium Germany 2009

“Silber für den Altar 1900 bis heute” Museum Kestnerium, Hannover Germany 2009.

Friedrich Becker Preis, Germany 2008

“EXCLUSIVE” 17th Legnica International Jewellery Competition, Legnica Poland 2008

C. Hafner, “Creating independent Design with precious metals and other materials,RRH Stipendium Germany, 2007

“Family Members” Firma Münchow, Berlin Germany 2007

New Traditional Jewellery Competition, Amersfoort The Netherlands 2007

“Cup and Paten “competition of Regional Church in Hannover Germany 2005

(Purchase of work by the Church of Hannover)


“Tradition – Possession and Beyond” with Esther Brinkmann, Georg Dobler and Margit Jäschke, Pune India 2012

”Jewellery Design” with Georg Dobler and Margit Jäschke, School of Fashion Technology (SOFT) Pune India, 2012

“RITUAL” 21st Legnica International Jewellery Competition” Legnica Poland, 2012

“MINIMUM 19th Legnica International Jewellery Competition” (Belobigung) Legnica Poland, 2010

“Silber fuer den Altar. 1900 bis heute” Museum Kestnerium Hannover Germany 2009

“EXCLUSIVE 17th Legnica International Jewellery Competition” Legnica Poland, 2008

The Compendium Finale of Contemporary Jewellers 2008,

(Nominated by Karl Fritsch)Darling Publications, Germany, 2008

(first Indian Jewellery Designer for Contemporary Jewellery)

“Cup and Paten”, Regional Church of Hannover, Germany 2005

7.Where can one buy your work?

Only from me.

Green rose 1

Green rose 1





On the wall:   peter doig

On the pod:   currently none, but maria callas, cecilia bartoli, Lata Mangeshkar till 1970, Claudio Arrau-Chopin works, and many more

In the drive:   none

On the shelf: 70 books out of 100 by P.G.Wodehouse. Plan to have all.

Green rose 2

Green rose 2