The serpent is one of the oldest figures in Greek myth and never a simple villain: Medusa is punished and then feared, the ouroboros eats its own tail to keep time moving, and Asklepios carries a snake as a sign of healing. I wanted pieces that hold that double reading, protective and dangerous in the same object.
The other half of the reference is Taylor Swift’s Reputation era, where the snake was thrown at her as an insult and she wore it back as armour. That is where the black and gold comes from, and why every piece is scaled to be noticed rather than tucked away.
A nail cover ring, cut high enough on the finger that the tail coils around it.
Cut like a flame caught mid-flicker, pinned where a collar would otherwise sit closed.
It is a single pierced sliver that grips the lobe rather than hanging from it.
Branching prongs that run the length of the ear, fine wire looped through every gap between them.
A serpent’s head raised solid at the throat, its body a hammered wave thin enough to move with the neck.
The collection starts from a single drawn serpent and asks what that line becomes at each point on the body: a coil at the finger, a wing at the shoulder, a fang at the ear, a grip along its edge, a clasp at the throat.
Nothing is symmetrical and nothing repeats exactly, so the five read as one family rather than one product in five sizes. Every piece was photographed on black at the same distance, then worn, because the body is the only real test.
