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This is Felicious

Felicious’ jewellery can be described as objects for an endless present: timeless, transcending season and always perfectly fitting, regardless of context. They are what you’d call in pop music “instant classics”. Having formerly studied architecture before learning the craft of goldsmithing, Felicitas Seidler creates her small collections from carefully selected materials directly in her Berlin studio, consciously pricing her unique series between overly expensive designer accessories and mass produced down-market products.

Established in 2006, sources of inspiration for her label include music, cinema, literature and the classics of product design. Seidler bestows the functionality of standard objects with an idiosyncratic elegance, a good example being one of her past series, “Pipes”, which was influenced by the paperclip. In that sense, she gravitates towards refining design idioms, employing the occasional seasonal touch and a sense for where and how perfect forms become obscured by dull, everyday objects. A cube is a cube is a cube and needs no ornament to be a convincing pendant and to outlast the current season’s trends. Without leaving the impression of being superficially retro or dwelling in the past, an occasional hint of nostalgia can be detected in Seidler’s work: the bracelet “Link” from her current collection quotes identity bracelets, which were historically a favorite accessory of Mods. However, her version reduces the original to leave the impression of a casual, almost fragile beauty.

Typically clean Felicious forms thrive on a combination of passionate understatement and cool charm. And despite subtle resemblences and references, they remain accessible to newcomers. Instead of creating a style imperative, these pieces intentionally fit to every individual outfit and adapt to individual tastes and sartorial habits—though they work especially well with clothing by Berlin label Wolfen, with whom Felicious occasionally collaborates.

While Seidler tends to work intuitively and experimentally, her pieces attempt to never appear too serious. Indeed, her current collections include a number of humorous details, such as the brooches of the series „Twisted“, which take their formal cue from the classic button, rings resembling insatiable, opened mouths or glass spheres which evoke the mood of a girl’s childhood bedroom. While her pieces always appear coherent and are never too conceptual or extravagant, Seidler’s attention to form and detail enable her collections to always achieve a happy medium.

Aram Lintzel