The foundations of Lorn Jean are sculptural—formed through a language that moves between structure and intimacy, garment and jewellery, material and form. The early works of the studio did not treat jewellery as an addition to garments, but as their very architecture—shaping silhouettes, holding structure, and redefining what it means to wear form.

The Florentine Dress, now held in the National Museum of Scotland, marked a seminal moment. Constructed from thousands of hand-sculpted silver links, it suspended the need for fabric and thread, creating a lattice of pure form. Function was not hidden; it became the visible structure. The result was not adornment, but a wearable sculpture shaped through process, philosophy, and personal vision.

Other early works, including those in the Diadem collection, extended this sculptural language. Garments were constructed without seams, where jewellery formed the foundation. Every mark and cut aligned with sculptural intention. Jewellery was not added—it was integral, defining each line, each silhouette, with architectural precision. Body and object, garment and sculpture, coexisted through material logic.

SFA Dress, Diadem Collection. Photography by Ryan Buchanan.

Today, jewellery has become the central medium through which this philosophy continues. A distilled format for exploring scale, balance, and spatial composition. Yet the considerations that once shaped garments remain unchanged. Silver and gold are no longer decorative—they are instruments of thought. Each piece is shaped through the same process of material clarity, balance, and proportion.

This continuum is not fixed. It evolves through experimentation. The jewellery at Lorn Jean does not depart from earlier work; it carries forward the same sculptural foundation, shaped through research, emotion, and enduring form.