Eddie Borgo's A/W 2015 jewellery collection, inspired by Robert Mapplethorpe's photographs of roses, is striking proof of the maturation the New York designer has experienced since starting out in 2008.
The organic shapes, a deconstruction of the most romantic of flowers, are not what most would immediately associate Borgo's usual angular aesthetic with. But his approach has evolved, he explains, 'as our customer base has gotten a little bit older. She's buying fine jewellery now, whereas she used to buy costume jewellery.' This collection could easily fool his devotees: though deceivingly fine in appearance these silver, gold and rose-gold plated pieces are still costume jewellery in essence.
What has stayed firmly in place over the years is Borgo's continuing fascination with beautifully engineered objects from the 1950s and 1960s. 'Furniture, jewellery of course, leather goods and handbags, the automobile industry,' he lists. 'I'm constantly scouring the flea markets to find little objects, whether it's the perfect pen holder, little cigarette box… You look at all the little minutiae, all the little engineering details - you just don't see that today.'
Borgo set out to recreate those same elements and attention to detail in his debut luxury handbag collection for A/W 2015, which developed into a engineering feat of light-weight aluminum frames with fuss-free fastenings and multiple compartments and carrying options. All executed in powdered leathers of jet black, soft pink, mauve and dove grey hues.
'I'm a very inquisitive person,' says Borgo, explaining the thoughtful process that preceded drawing these designs. 'I asked all of my girlfriends: what do you like about your bags, what don't you like? The bags were always too heavy, they were very difficult to get in and out of, and there weren't enough ways to hold the bag.'
Borgo is clearly satisfied with the result, and the response to the craftsmanship of the bags thus far. 'We've gotten it to a new crescendo now, and I think the bags couldn't come at a better time. They're really coming into our brand DNA at a perfect moment for us in our growth.'
Borgo's latest line highlights the maturation of the New York designer since starting his jewellery career in 2008
The organic shapes, a deconstruction of that most romantic of flowers, are not immediately what most would associate Borgo's usually angular aesthetic with
He explains, 'as our customer base has gotten a little bit older. She's buying fine jewellery now, whereas she used to buy costume jewellery'
Although deceivingly fine in appearance these silver, gold and rose-gold plated pieces are still costume jewellery in essence
What has stayed firmly in place over the years is Borgo's continuing fascination with beautifully engineered objects from the 1950s and 1960s
As angular as they are sculptural, these silver earrings show the jeweller's evolution from his signature spikes
'I'm constantly scouring the flea markets to find little objects, whether it's the perfect pen holder or little cigarette box,' he says of his sources of inspiration
'You look at all the little minutiae, all the little engineering details - you just don't see that today'
Borgo set out to recreate that same attention to detail in his debut luxury handbag collection for A/W 2015
Developed into a engineering feat of light-weight aluminum frames with fuss-free fastenings and compartments and multiple carrying options, it seems Borgo is satisfied with the result: 'We've gotten it to a new crescendo now. And I think the bags couldn't come at a better time,' he concludes
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