A plate catalogue of the works.

An elongated marquise-shaped pendant constructed in silver, featuring openwork line structures over layered blue, light blue and white resin. A surrounding border of cubic zirconia frames the central composition, while a raised gallery creates depth and lightness within the form. The piece combines botanical geometry, stained-glass luminosity and contemporary ornamental structure.

Marquise of the Veiled Garden explores concealment, revelation and cultivated beauty through line, colour and light. The title draws from the marquise silhouette, historically associated with refinement and elegance, while the “veiled garden” refers to an imagined interior landscape partially hidden beneath layers of structure and light. The pendant becomes a miniature enclosed world: ordered, luminous and quietly mysterious. The central surface is built from blue, pale blue and white resin contained within a silver openwork network. This line system suggests intertwining branches, lattice pathways, leaf veins or formal garden planning viewed from above. The design intentionally moves between natural and architectural readings, allowing the eye to shift between plant growth and geometric order. In this way, the work investigates how nature may be translated into disciplined ornament. Colour plays an atmospheric role. The darker blues evoke depth, shadow and evening light, while pale blue and white create the sensation of mist, bloom or reflected sky. The resin fields are therefore treated not as simple decoration, but as contained spaces of light. They create the impression that the pendant holds an inner garden seen through a screen or veil. The surrounding cubic zirconia border functions as both frame and threshold. Rather than acting solely as embellishment, it defines the edge between outer object and inner world. Its brilliance activates the pendant through movement, creating a contrast between the quiet interior pattern and the lively perimeter of reflected light. The raised gallery was used not only as a technical structure, but as an important conceptual device. By lifting the central field, the piece gains depth, shadow and presence. Light enters beneath the surface, reinforcing the idea that beauty often exists in layered spaces rather than on flat appearances alone. The pendant was developed through personal design intention supported by AI-assisted visualisation during the concept stage. AI imagery was used to test relationships between proportion, openwork density, colour balance and edge framing. However, the final piece required hand manufacture, structural judgement and technical refinement to resolve stone setting, resin integration, gallery construction and wearability.

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