On the ground floor of an old Edinburgh tenement, a soft tinkling sound can be heard, as rhythmic as breathing. This is where Karolina Baines spends most of her days. Her workbench is covered in sheets of silver, tiny moulds, and glass jars filled with enamel the colour of the midday sky. She works as a sculptor of sorts, one who creates tangible sensations. Her jewellery seems to capture a moment of movement – the curve of a neck, the turn of a hand, a slight stir in the air. More at edinburghka.
Here, we explore how the Scottish native transforms ordinary materials into living objects. We will trace her journey from student experiments at art college to establishing her own brand, which is recognised for its delicate, fluid forms.
The Maker’s Heart
Karolina’s entire creative practice is based in Edinburgh, where she was born. Here, she creates what she aptly calls ‘small sculptures that move with the wearer’. For Baines, a piece of jewellery has never been just an ornament or a subtle decoration. Her goal is to create an independent object, imbued with its own character and filled with life and essential colour.
Her education was crucial in shaping this vision: in 2015, she graduated with a First Class BA (Hons) in Jewellery from the prestigious Edinburgh College of Art. But earning her degree was just the beginning. She continued to hone her craft by completing an internship, an artistic residency, and several masterclasses, most notably studying the ancient Korean technique of Keum-boo (fusing gold foil to silver). This continuous development later earned her recognition, as she soon received a Goldsmiths’ Craftmanship and Design Award.
The inspiration for her unique style comes from a surprising combination of influences: the architectural motifs of ancient Venice and the rhythms of traditional basket-weaving crafts. Japanese textile customs hold a special place in her heart, particularly the revolutionary pleating techniques of the legendary Issey Miyake.
The Alchemy of Form
Metal forms the basis of Ms Baines’s sculptures. This includes both precious and non-precious elements. But in her hands, it ceases to be just a material, transforming into an elegant canvas. She works with sheet and wire, but never leaves them flat. Through masterful bending, folding, engraving, and raising of the surface, the metal takes on an architectural quality.
Enamel is another medium she uses to skilfully express emotion. It is a key characteristic of the Edinburgh native’s work, allowing inanimate objects to gain depth. As the designer herself notes, she uses ‘lacquer layers and etching to playfully build up objects that give a [new] experience’.
The final stage is texture. The surfaces of Karolina’s jewellery are rarely smooth; they come alive through relief. She actively applies complex patterns – from dotted lines to entire lacework designs.
Key Collections
«Weave»
One of the artist’s most iconic works, «Weave» is a deep exploration of global weaving and plaiting traditions. Inspired by both Japanese textile motifs and universal techniques, this series embodies the idea of fabric in metal. Baines skilfully harmonises silver, rich enamel, and occasionally adds accents of gold foil.
«Lines in Motion»
This capsule collection illustrates a poetic celebration of flow. The «Lines in Motion» collection draws direct inspiration from the pleated designs of the aforementioned Issey Miyake. Here, form takes the lead: the raw metal is shaped into folds, much like fabric. However, the real magic emerges through movement. When a piece moves with the body, it “comes alive” – the folds react to light, changing shades or demonstrating a “ripple” effect.
