Georg Jensen Jewelry Goes Modernist with the Curve Collection

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Silversmith Georg Jensen was at one time described as the designer of “epoch-defining jewelry.” Now, the heritage brand continues in this spirit with a return to the Curve ring – designed by Regitze Overgaard.

The 2006 archive piece was loved for its bold yet soft design that was at once sculptural and sensual. Having stood the test of time, it is ripe for modern interpretation, setting itself up as the antidote to fleeting trends and unsubstantial design.

Long-time collaborator Regitze Overgaard has expanded on the original ring’s pillowy and cloud-like shapes, creating bangles, necklaces, rings, pendants, and earrings that mirror the sculptural beauty of the original Curve ring.

The Curve’s playful nature allowed plenty of scope to expand and experiment. The result is a fresh and contemporary look; soft yet graphic and imbued with gold.

Georg Jensen’s use of light when working with precious metal is a defining feature of the brand. By harnessing light, metal appears supple and vibrant – a quality reflected in their homeware and jewelry design, but also in Overgaard’s own practice.

Her work is synonymous with fluidity, as the rigid precious metals she works with feel animated. “The reflection of light has a great influence on how the form is perceived,” she explains. Indeed, her “preoccupation with reflectivity and shadow inform her jewelry designs.”

It is this light, contained within the gold and silver forms, that creates the striking balance between substance and the collection’s inherent airiness. Overgaard explains that to achieve this buoyancy “The shape must have the right tension: too much and the curve becomes balloon-like, too little and it appears limp.”

Overgaard, who trained as a goldsmith in Gentofte before finishing her education at Copenhagen School of Arts and Crafts in 1973, has collaborated with the brand since 1987. She is considered a pioneer of the abstract organic design that dominated the 80s, and has an ability to manipulate precious metals into soft, organic forms. Her main artistic concern is with movement and the energy expressed in simple lines. She has a deep understanding of the Georg Jensen oeuvre but has brought new life to classics through her own unique design language.

This approach to design has seen Overgaard not only placed alongside the best contemporary designers, but the principal designer behind some of the brand’s most significant designs, including the Magic, Moonlight Grapes, and Infinity Collections.

The malleable quality of Overgaard’s designs is in part what makes them so appealing to a wearer. There is a delicacy in spite of the voluptuous shape that allows these high-concept pieces to be worn as everyday items. This is a design concern that underpins all of her work, as she strives to make jewelry that is both well-crafted and comfortable to wear.

Of this approach to design, Overgaard says “I like to surprise – and sometimes even influence – the customer’s choice [of how to wear each piece]. And, I’m delighted to say that I also enjoy designing men’s jewelry.”

Through playing with proportion and scale, Overgaard has created pieces that are universal. Individual items can, of course, be worn alone, but through Overgaard’s mindful design there is the option to be bold. Oversized statement pieces like the Curve cuff are surprisingly lightweight, while layered necklaces and stacked rings work in perfect harmony, demonstrating an intelligent design that talks to its counterparts.

The clean, uninterrupted lines of the designs present an ageless quality. There are references to Jensen’s Art Nouveau history, as the soft, organic shapes seem lifted from nature. But the minimal effortlessness of soft and billowing shapes feels entirely modern.

The enduring appeal of the Curve has made it an obvious choice to expand upon. The collection is an organic continuation of the Curve ring’s original characteristics: bold, beautiful, and an instant classic.