In the Studio with Stephanie Schneider
From her studio in Antwerp, the jewellery designer takes us into her textile-inspired world
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In the Studio with Stephanie Schneider
From her studio in Antwerp, the jewellery designer takes us into her textile-inspired world
Despite the precious metals, ornate detailing and intricate chains, Stephanie Schneider does not consider her creations to be jewellery. Rather, she describes her designs as fusions between art, jewellery and textiles.
Having studied fashion and textiles in Germany and the UK, at Winchester School of Art, a fascination with the tactile and textural underpins each delicate item – a fact that manifests in the delicate silk threads that are woven into each piece.
Now based in Antwerp, with its historic jewellery quarter and reputation for avant-garde design, Liberty visited Schneider in her studio to explore her world.
Can you tell us about your brand? How did it all begin?
It was actually kind of an accident. I never studied jewellery, I studied fashion and textiles. I was always very busy with old handcraft techniques like hand stitching and embroidery. I had some materials at home, like chains and threads, and I was trying out techniques, mainly thinking about embroidery.
I made my first piece and wore it without really knowing what it was – whether it was jewellery or a textile piece. I visited a friend’s shop wearing it, and he really loved it. He told me it was jewellery and encouraged me to continue. That was the moment it became jewellery.
How did you first become interested in design?
I first became interested in design as a child. I was always knitting, crocheting, and trying things out. Working with my hands has always been very important to me. It doesn’t feel like a job, it's just something I naturally do.
How did it feel moving from textile and fabric into metal?
It was a natural transition. My jewellery still feels a bit like a textile because of the weaving technique. Even though I use metals like silver and gold, there’s still a silk thread inside, so it is a combination of both. It didn’t feel strange; it felt like a natural evolution.
How would you describe your aesthetic and brand ethos?
Our difference lies in the textile aspect, which is very important to me because it’s where I come from. My work is textile made with precious metals. It becomes jewellery through a weaving technique I invented by accident. Many designers now mix textiles with jewellery, but this is really my own technique.
Where do you find inspiration beyond textiles?
A lot of my inspiration still comes from textiles: old weavings, Bauhaus design, especially Anni Albers. I'm also inspired by West African small strip weaving. They weave in small bands and connect them, which is similar to how I create patterns in my jewellery. I don’t have a loom, just my hands and a needle, so I work within those limits.
What is your favourite material to work with?
My absolute favourite is gold, though I usually use it only for special clients. It feels amazing in your hands. I mostly work with silver or gold-plated silver.
Silk thread is also very important: it's soft, smooth, and the colours are beautiful. I sometimes use mohair, too. It adds a warm, hairy texture that contrasts with the cold metal. But I never draw my designs, I always work directly with the materials.
You've made some exclusive pieces for Liberty. Can you tell us about those?
Yes, we created some special pieces with neon colours. At first, I wasn’t sure because I don’t usually work with bright colours, but I found a way to keep it solid and avoid it feeling kitschy. In the end, the pieces turned out beautifully.
Who do you imagine wearing your jewellery?
Over the years, and it’s been almost 20 years now, I’ve noticed something interesting: many people who buy my jewellery say, "I’m not really a jewellery person", but then they end up wearing it. It’s not made for a specific customer; people who connect with it just find it. It's for anyone who appreciates it.
Does living in Antwerp influence your work?
Yes, definitely. I have many friends here who work in fashion, textiles, art, music, and writing. We’re all around each other and share ideas - we inspire one another. Antwerp is small, so it’s easy to find those connections. That’s very important to me.
What’s the best compliment you could receive from someone who loves your work?
The best compliment is when it becomes personal. Jewellery is very personal. Sometimes customers tell me stories, like receiving a piece from someone meaningful. One woman received a piece from her husband who passed away. Years later, she lost it and asked me to remake it. That really touched me. It showed me how much people love their jewellery - it’s more personal than clothing.
Some people describe jewellery as their armour. Your work has a chainmail feel - does that resonate with you?
Yes, that’s a nice idea - jewellery as armour. I once did a project with a knitwear designer from Brussels for an exhibition. I added jewellery to one of her sweaters and to a silk dress. It was quite heavy, but I like the idea of jewellery as protection.