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Jewelry designer Jill
Platner's living quarters/work space are quite
frankly a single
person's wet dream. Spacious (not just by NY
standards), with a hammock
for dozing, a revolving collection of
World and R&B music coming from the
sound system and two plump
tabby cats with a mission to laze, "the crib"
is designed for maximum
comfort; likewise Jill, who is all pixie cut,
shorts, tank top and smile.
Twenty seven and hitting the big time with
some impressive high
profile exposure (Gen Art Top 10 New Designer
for1997, Vibe,
Harper's Bazaar, Allure, and Elle magazines and hang time
with CNN's
Elsa Kleanch) , Platner's attitude is more surfer/soulie than
Village
diva.
Platner exudes a personal warmth you can't help
noticing in her
jewelry. Her pieces are primarily made of silver, but are
not limited
to the cool linear distance of metal. These are live
"creatures";
rounded, swimming, crawling, and fallingthey are meant to
be
touched. Close inspection reveals small differences in the individual
parts that make up a piece. The effect is endearing, like a loved
one's
imperfection, something that makes them yours.
These jewels work well
over clothing, but really come to life when
worn next to the skin. This
is part creative invention and part
calculated research. Prior to
production, Platner takes a prototype of
her work (ring, bracelet,
earring, or necklace) out for a test
walkabout, checking each piece for
comfort, durability, and style.
With a stack of orders to fill and a
fashion show to get ready for,
necessity bids our interview take place at
the work table amid press
kits, take out cous-cous, and an enormous pile
of soon to be
crocheted red Gore-Tex threads.
c o n t i n u e
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