Olivia began her design process looking at the depictions of women’s figures generally termed by ‘apple shape’ ‘pear shape’ ‘hourglass shape’. This inclusion of fruit and glass, also typically painted in still lives, interested her as the idea of woman’s body being related to a vessel and fruits linked to the surrounding ideals of reproduction, and the rights in which woman have to control their body regarding sexuality and concealment. This concept was taken further by considering fruit and which fruits symbolise certain parts of the body: The peach and its symbol of ‘juiciness’ consists of suggestive outward bodily shapes which are typically sexualised, despite the fact they are natural. The pendant highlights questions regarding the underlying taboo around sexualised features. It levels within the sphere of influence on the body, relating to the phrase ‘low hanging fruit’ which runs parallel to this concept of body control within our society.




The pomegranate chain plays with the idea involving conformity to modesty through traditional depictions of the body. The pomegranate series invests in the concept of abundance, concealment and fertility. By designing an abundance of chain which consists of full and empty seed links, the individual wearer takes control of how and where their body is concealed, through wrapping, knotting, and tying the chain around the body. As a citrus fruit, a lemon is typically squeezed. The physical aesthetic of this proposed ring design, relates to a jarring representation of suggestive body parts being involuntarily restrained. The proposal of glass to portray the lemon adopts the idea of the female body fragile yet strong. The translucency of the material additionally allows a type of hybridisation of the piece with the body of the wearer.




Similar to a female reproductive system, banana plants take around nine months to produce banana tree fruit. As a fruit so highly connoted to masculine ideals, I wanted to encourage the act of peeling away the physical and metaphorical structure, encouraging the breakdown of a typically phallic form, into a fluid, wearable piece. The orange pendant hangs directly level to the navel; the attachment site of the umbilical cord, referred to as the birth cord. The physical similarities the glass structure has with the navel and the translucency of the material proposed, creates a combined harmony with the body. The glass structure, constrained by the metal, encourages questions revolving around control of the female body as a reproductive tool.



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