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Born in 1897 in Helsingborg, Sweden, he was a pioneer in his field. His early exposure to the arts through his family set the stage for his future work.
His father, Anders Nilsson, was a goldsmith, providing Wiwen with the foundational skills he would later refine into his distinctive style.
He studied at Paris, Copenhagen , and Hanau, where exposure to German Expressionism, and abstract art influenced his geometric style.
Rectangles, squares, cubes and circles, simple in concept and elegantly interpreted, fuelled his style in the Thirties.
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Wiwen's initial foray into jewellery design was influenced by the Art Deco movement, characterized by geometric shapes, clean lines, and a sense of modernity.
However, as his career progressed, Nilsson evolved his own minimalist approach, moving away from ornate designs towards simplicity and abstraction.
This minimalist approach was pioneering at a time when jewelry was often synonymous with opulence.
In 1928 after receiving a gold medal in Paris, he was appointed court jeweller in Sweden.
In Paris the Black and White fashion was subtly created in diamonds and black enamel or onyx. Nilsson's pendants and pins were large scale stark contrasts of clear crystal and black onyx set in stepped silver mountings.
Lapis, malachite, and moonstones, were joined with perfectly proportioned silver shanks.
Nilsson's workshop was next to a Romanesque church in Lund, Sweden. where he appreciated the peacefulness of the location.
Central to Wiwen Nilsson's design philosophy was the concept of "less is more." He believed in the intrinsic beauty of simple forms and the power of restraint. This minimalist approach aimed to highlight the purity of the materials and the precision of the craftsmanship.
Nilson's work is characterized by clean lines, geometric shapes, and a focus on form over embellishment. This design ethos is evident in pieces such as his iconic silver bracelets and necklaces, which emphasize shape and structure over decorative elements. His jewellery often features smooth, polished surfaces that reflect light in captivating ways, adding an element of subtle sophistication.
The silver that he designed for church service was"monumental" as he described it. Altar crosses of clear large crystals especially cut for him were so effective that he altered them into pendants for costume jewellery
This minimalist ideology extended beyond the look of the pieces; it influenced the entire design process.
Nilson carefully planned each piece, ensuring that every curve and angle served a purpose. This thoughtful approach not only enhanced the visual appeal of his creations but also ensured their functionality and wearability.
Wiwen Nilsson's choice of materials played a crucial role in defining his signature style. He primarily worked with precious metals such as silver and gold.
His preference for silver, in particular, was a departure from the traditional use of gold in luxury jewellery, underscoring his modernist ethos.
Silver, with its cool luster and malleability, allowed Nilsson to experiment with forms and textures that would have been challenging with other metals.
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He often combined silver with semi-precious stones like onyx, agate, and rock crystal, creating striking contrasts that added depth to his designs.
Nilsson's innovative use of materials extended to his exploration of unconventional combinations. He incorporated elements like enamel and wood into his pieces, pushing the boundaries of traditional jewelry design.
This willingness to experiment and innovate is a testament to his creative genius and forward-thinking approach.
One of Wiwen Nilsson's most celebrated works is his "Cubist Necklace," created in the early 1940s. This piece exemplifies his minimalist approach, featuring a series of interlocking silver cubes that create a fluid, dynamic form.
The necklace's geometric simplicity and impeccable craftsmanship make it a timeless masterpiece.
Another iconic creation is his "Silver Bangle," characterized by its sleek, angular design and polished surface. This piece showcases Nilsson's ability to transform simple shapes into elegant, wearable art.
The bangle's understated sophistication and versatility have made it a favorite among vintage collectors and fashion enthusiasts alike.
In the Fifties Wiwen's style changed after being inspired by Oriental woodcuts and tapestries.
Dragons, and flying cranes, and slender fish were created in etched silver gilt brooches unadorned with stones.
Conservative tastes had prevailed in Sweden in the first two decades of the 20th century and Innovation was not welcomed. Georg Jensen was admired but from a distance, and
The Art Nouveau and Art Deco influences from Europe were not explored until Wiwen Nilsson came onto the scene.
The traditionalist design ethos in Sweden was evident at the Paris Expo in 1900, however by 1925 and the time of the Arts Decoratifs Expo the beginning of modern silver design in Sweden was evident
Wiwen Nilsson had a major impact on Swedish jewellery design. His minimalist approach and innovative use of materials challenged traditional notions of luxury and paved the way for a new generation of designers.
His work inspired a shift towards simplicity and functionality, influencing not only jewellery design but also broader design movements in Sweden.
Nilsson's emphasis on craftsmanship and attention to detail set new standards for quality and precision in jewellery making. His legacy continues to inspire contemporary designers who wish to balance aesthetic beauty with practical functionality. The principles he championed—simplicity, innovation, and meticulous craftsmanship—remain relevant and influential in today's design.
