World Cup Style

Now that the Brazil 2014 World Cup is in full swing, there has been a lot of fashion talk surrounding the kits and the players; noted in The Guardian as the 'the most fashionable World Cup ever'. We thought it would be fun to model up some football pendants.

Base on the Atlas pendant which was inspired by the myth of the eponymous Titan with the weight of the world on his shoulders, Atlas is inside the sphere to represent the concept of restriction within the mind and the way a weight on our shoulders may in fact be more of a mental limit than a reality.

For the football pendant we wanted to take the pattern traditionally associated with the football shape, known as a spherical polyhedron. This style of football takes the pattern of regular pentagons and regular hexagons to create the spherical polyhedron, but it is more spherical due to the pressure of the air inside and the elasticity of the ball. It was introduced to the World Cup in 1970. In 2006, the iconic design was superseded by alternative patterns.

The front of the design would consist of the badge or flag for each club embossed into a shield. The above image showing the England three lions. We also tried out some variations using Enamelling to highlight the colour in the countries team emblem.

Each day of the World Cup we'll be posting the scheduled matches over on our twitter page @saxonsofoxford We want to know your thoughts on our football pendants. Would you wear a piece of jewellery to show your team colours? If we have enough interest in them we will bring out a limited edition collection #worldcuppendant

The Microscopic Creation of ‘The Man in a Cage’

The Man in a Cage pendant is our signature statement piece, mirco-machined from a solid block of 925 sterling silver and completed with an impeccable high polish finish and intricacy.  Exuberating pride, strength and independence, wearing this pendant is guaranteed to get you noticed.

The Man in a Cage began its long journey in 2009, but had existed for longer in idea and sketch form for some time before then.  So why did it take over 4 years to come to fruition?  The answers lies in the Saxons of Oxford ethos and the way in which a seemingly impossible concept is pursued until the dream is realised.  The Man In a Cage is the embodiment of this ethos and the story of its creation symbolises the elements we strive for in all of our pieces.

The Man in a Cage is typical of any intricate piece of jewellery in that the process of its creation involved a number of trials and tribulations. The desired precision and underlying quality meant that many imperfect prototypes did not make the final grade.  However, this is where the typical process ends for Man in a Cage, as its design was a complex blend of digital precision, blending with a modern manufacturing process and more than a little old fashioned workmanship.

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The digital complexity of the design process involved a great deal of precision, time and effort.

Ultimately the numerous imperfect prototypes left us wanting a process that would achieve our desired level of intricacy and finish and our quest led us to micro-machining from a solid block of silver.  This process enabled us to focus on the details of the pendant without having to make compromises inherent with traditional casting methods.

A wireframe model of Man in a Cage

The main aspect of micro machining which appealed was the way in which computers and software could visualise the best way to create our designs and use a multi-axis drill to mill the block of silver to the desired result in extreme microscopic detail.

One part of the finished Man in a Cage, which best highlights the minute detail required are the fingers of the figure himself. The digital design process had taken time to move the 21 joints in the hand to the required position to make it as realistic as possible, particularly as seen below, where the hand is gripping part of the cage.

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Micro machining gave us the ability to translate the intricate details of the Man in a Cage into reality, with individual fingers and ribs visible on the figure.

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