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Adapted from research for my University of Oxford Certificate of Higher Education in Archaeology.


75,000 year old beads from Blombos Cave, South Africa
Are they not fabulous? 75,000 year old shell beads from the Blombos Cave, South Africa (from Henshilwood 2004).

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A handful of natural treasures - stones and shells
Natural treasures found on the beach.

Most of us have probably done it.


We are walking along a beach and notice a beautiful stone or shell. We pick it up, turn it over in our hand and perhaps slip it into a pocket. Years later, we may still have it.

Objectively, it is just a stone. But to us it can hold the memory of a particular day, a place, the people we were with, the sound of the sea or simply the feeling of being there.

There is something about holding such an object in the hand. Its smoothness, weight and texture connect us physically to the natural world. A small stone can become comforting, grounding and deeply personal.

Perhaps this is one way of thinking about some of the earliest objects humans chose to collect and wear. Jewellery is often described as decoration. We wear it because we like the way it looks, because it completes an outfit, or simply because we enjoy beautiful things.

-But perhaps jewellery has never really been just decoration.

Long before jewellery became a fashion accessory, people were selecting objects, modifying them and wearing them on their bodies. And when we look at some of the earliest examples, it seems that these small objects were already doing something more than making the wearer look attractive. -They were communicating. The fascinating question is not really when jewellery became symbolic, but why humans have used objects on the body to communicate for so long.


Some of the earliest jewellery

At Blombos Cave in South Africa, perforated marine shells were being worn around 75,000 years ago. The shells had been deliberately selected and modified, and some show traces of pigment and colouring. They were not simply beautiful shells picked up and carried around. Someone had deliberately chosen them, made holes in them and turned them into something that could be worn. We cannot know exactly what these shells meant to the people who wore them. They might have communicated identity, relationships, belonging, status or something else entirely.

But we can see that the objects had acquired a meaning beyond the material they were made from. And that is an important distinction. A shell is not automatically a symbol. Its meaning comes from the people who use it and from the ideas shared within their society.


Jewellery becomes part of the body

Jewellery also changes when it is worn. At an archaeological site in western Russia, thousands of ivory beads were found associated with burials. Their quantities and positions suggest that people were wearing very substantial amounts of jewellery as individual pieces or as beads sown onto clothing. Looking at a reconstruction of a person wearing such ornaments, it becomes easier to imagine how different this may have been from the jewellery we normally wear today. Jewellery would have moved with the body. Some pieces may have caught the light, while others may have moved or made sounds as the wearer walked or danced. In other words, jewellery was not simply something placed on the body. It became part of the way the body was seen and experienced.

Reconstruction of dancing man with beaded clothing and jewellery
Reconstruction of jewellery and beaded clothing from 8,000 year old Russian man (Rainio and Mannermaa, 2014)

Jewellery can connect people

Jewellery can also tell us something about relationships between people and communities across large distances and time. 50,000 - 30,000 year old Ostrich eggshell beads found across Africa show remarkable similarities in their manufacture and appearance, even across considerable distances. Such similarities suggest that people shared ideas, symbology and ways of making and wearing ornaments across wide geographical areas. Jewellery can therefore give us clues not only about individuals, but also about connections between people. It can travel. Techniques can travel. Styles can travel. And perhaps, through these small objects, ideas travelled too.


And what about Neanderthals?

The story becomes even more interesting when we look beyond our own species. Neanderthals also selected and modified objects. Perforated shells have been found at Neanderthal sites, and their use may have had symbolic significance. This does not give us a simple answer about exactly when symbolic behaviour began. Instead, it suggests that the story may be much older and more complicated than the idea that modern humans suddenly invented symbolism.


So, has jewellery ever really been just decoration?

We will probably never know exactly what the first beads meant to the people who wore them.

But perhaps we can recognise something of ourselves in the simple human act of choosing and keeping an object. We still walk along a beach and pick up a stone. We turn it in our hands because we like its shape or texture. We take it home and, without necessarily intending to, give it meaning. Later, that small object can bring back an entire experience.


-A place. A person. A moment in time.


Thousands of years later, we are still doing something remarkably similar with jewellery.

We choose pieces because of how they look, but also because of where they came from, who gave them to us, what they remind us of and how they make us feel when we wear them.

The materials and styles change. But perhaps the human desire to select, hold, wear and give meaning to small objects is much older.

Perhaps jewellery has never really been just decoration.


-A small object can carry a story that is much larger than itself.


That idea is also at the heart of my Heirloom necklaces, where I incorporate personal objects chosen by the wearer into a piece of jewellery. A small object that may hold a memory, connection or private meaning becomes part of something new — carrying its story forward.

Read more about my Heirloom necklaces here:




Henshilwood, C., d’Errico, F., Vanhaeren, M., van Niekerk, K., and Jacobs, Z. (2004). Middle Stone Age shell beads from South Africa. Science, 304.


Rainio, R. and Mannermaa, K. (2014). Tracing the rattle of animal tooth pendants from the middle neolithic graves of Ajvide, Gotland, Sweden. World Archaeology, 46(3).

 
 
 

Meet the Makers is an ongoing series featuring artists and makers I admire.



In "Meet the Makers" I share the work of artists I genuinely admire — people whose practice, values and way of working resonate deeply with my own. These are makers whose work I return to again and again, because it is beautiful and carries agency, intention, story and care.

The second artist to be featured in this series is the amazing Hannah Wilson.


Here Hannah describes her work:

I’m a ceramic artist working from my studio in Henley-on-Thames, crafting unique hand-built pieces. My work is inspired by nature, texture, pattern — and by a love of travel and seeing new places, which constantly shifts the way I look at the world and my work. These impressions filter into my ceramics in intuitive, often unexpected ways.

I build each piece slowly by hand, coiling, pinching, scraping and smoothing the clay. After an initial bisque firing, I subject my work to a dramatic smoke firing: I bury the pieces in sawdust, set them alight, and wait. I enjoy trying to influence the flow of the smoke to suit my designs, yet it always reacts unpredictably with the clay, embedding soulful patterns into the surface and making every piece truly one-of-a-kind. Even after over 20 years of working with clay, I still love the excitement of opening the pit to discover what has happened.

Each vessel or object reflects a careful balance between form, surface and texture. I find joy in the hands-on process, and with every new item I strive to evolve, refine and push toward what feels like the “perfect form.”

Check me out on my Instagram @hannahsceramics or if you’d like to see my current work in person, look out for me at local art fairs throughout the year, or make an appointment to visit my studio in Henley-on-Thames.



Hannah Wilson at work in her studio.

 
 
 

Your story is the precious material


Marianne wearing her own Heirloom Necklace
2026 my own Heirloom Necklace

Most of us have meaningful objects tucked away in drawers and jewellery boxes.

A ring inherited from a parent. A pendant collected on a journey. A small charm that once belonged to a grandparent. Objects that carry memories, people, places, and moments from our lives.

Often these pieces are too precious to discard, yet rarely worn.

The idea behind an Heirloom Necklace is simple: to bring those fragments together into a beautiful and meaningful design that can be worn and enjoyed every day.

Not because of their monetary value, but because of the personal stories they carry.

An Heirloom Necklace becomes a personal map. A way of carrying important memories, people and experiences with us. It tells a story that no one else could tell because it is built from the objects and moments that have shaped a life.

Detail of Heirloom Necklace with personal objects and gemstones
The colour and meaning of the gemstones tie the elements of the necklace together.

The necklace shown here is my own.

It combines a traditional Agadez cross, a traveller's compass from the Sahara; an antique French cross given to me by my parents on my confirmation day; a small silver bell and heart from my grandmothers; a ring gifted to me by an elderly Arab man in Bethlehem when I was travelling alone at eighteen; and an ancient Byzantine cross with its beautiful green patina.

The gemstones have been chosen for their own significance: yellow topaz as my birthstone, a ruby with visible growth rings reflecting my geological background, and green emeralds and aventurine that echo the colour of the Byzantine cross.


Marianne at 20 years old wearing the first prototype of the Heirloom Necklace
1990 first prototype of my Heirloom Necklace, this also contained the Bethlehem ring.

As I assembled these objects, I realised this was not entirely new. When I was eighteen, I wore a necklace carrying shells, scarabs, amber and found objects collected during my travels. Without realising it, I have always been interested in jewellery as biography.


Yet every Heirloom Necklace would be different. Some might be bold and sculptural. Others delicate and understated. Some may contain inherited jewellery, others found objects, stones, medals, charms, or fragments collected over a lifetime.


-What matters is not the material.

-What matters is the story.


Because the most meaningful jewellery is rarely defined by value.

-Your story is the precious material.


Marianne's Heirloom necklace in detail. Showing a very personal story
A necklace with a very personal story .

I have realised this idea extends far beyond my own necklace.

Over time I hope to create Heirloom Necklaces for others, working together to transform inherited jewellery, meaningful objects, collected fragments and personal treasures into beautiful, meaningful designs that are deeply personal.


If you have objects carrying stories that deserve to be worn rather than hidden away, I would love to hear from you.







 
 
 
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