Cover Ming Lampson, founder of her eponymous jewellery studio in Notting Hill, London (Photo: courtesy of Ming Lampson)
Ming Lampson, founder of her eponymous jewellery studio in Notting Hill, London (Photo: courtesy of Ming Lampson)
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Ming Lampson reflects on 25 years in Notting Hill, the eastern traditions that shape her work and the hidden engineering behind her anniversary collection
For 25 years, Hong Kong-born jeweller Ming Lampson has worked from her Notting Hill studio, building a body of work that draws on classical western traditions as much as Chinese symbolism, Japanese shibori and Indian carving. Her anniversary collection, titled 25, began as a celebration of the connections her gemstones create across countries and faiths, but it soon became a reflection of her own journey and of the clients and families who wear her pieces. It also shows her long-held commitment to hiding complex engineering inside designs that appear simple, as in the Dahlia ring, whose loose petals tremble with every movement. Here, she discusses the Japanese philosophy of monozukuri, her conviction that her studio can make anything, and why she has come to believe there are no rules for wearing jewellery.
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Above Masquerade earrings (Photo: courtesy of Ming Lampson)
Masquerade earrings (Photo: courtesy of Ming Lampson)
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You’ve spent decades rooted in Notting Hill but carry influences from Hong Kong, where you were born, and beyond. How has that blend of east and west informed your aesthetic—not just visually, but philosophically?
I am English and there are definitely classical western traditions in my designs; but I have been fascinated by Asian art and crafts all my life. Chinese symbolism, Japanese shibori, Indian carving, Thai and Sri Lankan religious architecture: all these decorative traditions deeply influence my shapes, colours and forms. The philosophy of monozukuri [“the making of things”] is extremely important to me. In Japan it has a name, but all across Asia there is generally a deep respect for artistry, tradition and making things with a high degree of skill, dedication and perfection. The power of gemstones in Ayurveda, Confucius’ views on jade, the history of the pearl trade: all of these are examples of how eastern philosophy and traditions have shaped my approach to my art.
You’ve often spoken about making complex engineering appear effortless. What’s one piece from your anniversary collection, titled 25, that best encapsulates this technical illusion—and what was the breakthrough moment in achieving it?
There are quite a few pieces in 25 that are technically complex—it is difficult to choose just one. The Dahlia ring appears to be a simple flower ring but the petals, which are individual stones, are loose and designed to tremble. To make each of the gems move, but not fall out of place, and be sure they didn’t tip to the side or show much of the connectors behind was a challenge. It took a lot of attempts to get the size of the wires right and have the structure behind completely hidden. When you first look at the ring it appears simple—it is only when you turn it over that the engineering becomes apparent.
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Above One of a kind Dahlia ring (Photo: courtesy of Ming Lampson)
One of a kind Dahlia ring (Photo: courtesy of Ming Lampson)
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You’ve previously said that jewellery should feel as if it “came together by magic”. What’s your process for maintaining that sense of wonder through such technically rigorous craft?
I love to see an artwork and be filled with a desire to look again, look closer, look from a different angle—to have the feeling of wanting to keep looking at it; to think about how the artist came to create it. These feelings are, for me, [the same] sense of wonder that I am trying to achieve with my jewellery: pieces that deserve a second look, that hold your attention and stay in your mind. I aim to treat the jewel as a sculpture that is beautiful from all sides, not just the front.
The 25 collection feels deeply autobiographical—part love letter to Notting Hill, part reflection of global connections. When you began designing it, did you imagine it as a personal timeline or as a universal story about connection?
When I started designing 25, it was very much a story about connections. It is magical to me that I have ties to every major religion and so many different countries across the world through gemstones. My initial aim was to celebrate these relationships in the pieces, but I found that in thinking about where my gems come from, I couldn’t not consider my own journey and how my past influences my designs and way of working.
The connections that gemstones and jewellery create are not only about where the gems come from, but also where they end up. My ties to my clients and the broader picture of how giving and receiving jewellery connects individuals and families turned the collection into something universal.
Above Firethorn earrings (Photo: courtesy of Ming Lampson)
Firethorn earrings (Photo: courtesy of Ming Lampson)
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Your work often involves pushing the limits of what’s technically possible. Was there a piece in 25 that initially seemed impossible to realise but turned out to redefine what your studio could do?
I truly believe that my studio can do anything; I always design with that freedom of thought. I love the challenge of figuring out how to make a jewel, and I don’t think I would enjoy designing if I was worrying about if it was possible to make. I also have incredible goldsmiths who are aligned with my ethos that we can do anything. We create with the freedom of knowing it doesn’t matter if it doesn’t work the first time, we will find a way of adapting the design and figure it out. That is the creative journey that we all love.
Looking back over 25 years, what principle has remained unchanged in your studio—and what belief have you since outgrown?
My belief that jewellery is treasure has never changed ... what has changed is how I think jewellery should be worn. I have really come to see there are no rules and you should wear it however you like, whenever you like.
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As the Regional Editor for Watches and Jewellery and Editorial Content Lead for Tatler GMT, Amrita Katara specialises in luxury watch and jewellery coverage across Asia, with expertise in editorial strategy, feature writing and interviews with industry leaders. Her past roles span luxury lifestyle media and client partnerships. Based in Mumbai, Amrita’s work bridges global trends and Asian market insights.
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