The story of Polya Medvedeva jewellery

A few times in the interviews I have been asked when and how I have decided to crash into jewellery. This is exactly how it happened. 

In 2010 my friend Vova took me to Vipassana, it is an old tradition of meditations with free retreats all over the world, most common – for 10 days of silence and about 11 hours of meditation per day. Modest food, waking up at 4.30 a.m., no talking, no even eye contact to the other participants. This practice unraveled enormous source of ideas. I was not planning anything and i had littlecuriosity about jewellery. But on the 3d day the images of already done jewellery pieces started to fall on me like heavy rain. We were not allowed to have any pen or paper, but the ideas were so beautiful that I found a small business card in my bag pocket and started to make the smallest sketches one ever did. On this small piece of paper I placed around 40 ideas with the shortest notes on both sides between the lines.



Later in august we had already a small collection with the pine twig, bamboo triptych and couple of more pieces for the first campaign to shoot. I didn't have any budget at all, I've spent all the money from doing graphic design on jewellery, so we captured our first photos at home without any light or make up artists. Ive asked my friend Konstantin Lunarine, who was shooting amazing flowers, to shoot the model the same way, and my friend Ariana Khmelnyuk showed me all of her Facebook girlfriends who we could contact and ask for help. I laid my eyes on photos of Cate Underwood and realised that this is a girl I couldn't even dream about to have a pictures of. Only later she become a greatest model (now she lives in New York), but that time we were just lucky to work with her. That was simple home party with the camera and a few crazy guys who just wanted to make something beautiful and we did.



I was going through the huge amount of the photos (around 1600) to choose my favourite as a cover, and Cate who was already working as a photographer showed us tricks of retouching. On my hands were the treasures of dark ink shadows play where the bamboos looked like Chinese characters, like the ink calligraphy I wanted them to be.

I have printed a huge 2 meter board of plastic which was standing in the Atelier1, printed black accurate boxes and brought rough stones to put them under the glass shelfs with the jewellery. And this is how our first collection was born.






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