Memento — history, society and personality
Elena Esaulova
Jewelry designer
Elena, originally hailing from Siberia, obtained her degree from the Faculty of Graphic Design in 2005. Following her graduation, she established a successful career in advertising, specializing in various aspects such as style, makeup, and accessory design. Moreover, she assumed the role of an organizer and curator for a series of prestigious international poster exhibitions. Around seven years ago, she embarked on an intensive exploration of the realm of fashion jewelry.

Concurrently, alongside her practical involvement with materials, she commenced her academic pursuit as an art historian at the esteemed Stroganov Academy and the University of the Humanities. Elena firmly believes that the creation of innovative artistic works relies heavily on a comprehensive understanding of global art history.
Profound knowledge in this field empowers the jewelry designer to skillfully convey intricate and captivating narratives through their crafted pieces, including brooches, pendants, earrings, and rings. For Elena, it is of utmost importance not only to appreciate jewelry in its original form and symbolic essence but also to engage in rigorous research that is deeply rooted in its historical context. This concept is central to her successful lines of jewelry: E2J, Hleb and Lenaginarium.

As a result of extensive research, the inception of the "Memento Mosquito" collection took place in 2019. This initiative subsequently evolved into a personal exhibition/fashion pop-up and garnered commendation and an accolade at the Museum of Stone and Jewelry Art in Yekaterinburg. The limited release is still available to buy in selected designer boutiques across Russia. Within the European artistic tradition spanning the 15th to 19th centuries, the utilization of masks served both aesthetic and utilitarian purposes. Masks concealed one's visage to maintain anonymity in public spaces, provided protection against the plague, and even facilitated criminal activities. This phenomenon is evident in the artworks of European painters showcased in museums across the globe. In her series of works, Elena poses the question: To what extent has this dynamic changed over time? The author asserts that it has not, as individuals continue to obscure their true identities and personalities. We remain hidden behind social media avatars, fearful of vulnerability—not only in relation to fatal diseases (although this aspect has become especially pertinent with the onset of the coronavirus pandemic), but also vulnerability in terms of others' judgments, words, or actions.

By donning masks and isolating ourselves from society while simultaneously yearning to remain a part of it, how often do we recognize our intrinsic worth? How frequently do we exhibit our own value? These are the inquiries that Elena explores in her research. Drawing inspiration from the practices and works of contemporary jewelry art luminaries such as Attilio Codognato and Giovanni Raspini, who also delve into the Victorian aesthetic and the concept of memento mori ("remember death") in their creations, Elena crafts her own imagery encapsulated within antique cameos adorned with contemporary jewelry settings. These visual depictions suggest that perhaps our own selves undergo a life cycle akin to that of an antique cameo. We commence as a cherished memento, a reminiscent souvenir from a Grand Tour, and eventually evolve into a valuable rarity. Nevertheless, we also run the risk of being inadvertently fractured and discarded at a flea market. In present times, it requires substantial effort not only to locate such items but also to reimagine and bestow upon them new value, interweaving layers of narratives, musings, and profound significances.
In the "Memento Mosquito" series, the images captured within the cameos undergo depersonalization behind the masks of Del Arte's comedy, which impart fresh attributes to the persona. However, even under the safeguard of a mask, that image remains vulnerable. There will always exist a mosquito that discovers an unprotected point, where it can bite and sting the persona, breaching its incognito. In her collection entitled "Memento:Point," Elena delves into vanitas, the European aesthetics prevalent during the 14th to 16th centuries, with its enduring motto of "Memento Mori." This adage served as a constant reminder of the fragility of existence and the transient nature of all life during that era.

Now, within the designer's work, "memento" serves as an ongoing admonition regarding the ephemeral value of artistic objects and their perception. In each fashion piece comprising the "Memento:Point" series, we witness Elena utilizing jewelry techniques to fashion novel visual chimeras within their imagery. At this juncture, it is pertinent to recall one of the figurative connotations of the term. A chimera not only embodies an "impossible creature" but also represents a distinct and unattainable aspiration. Within the irrational pursuit of such a dream lies the designer's path, which eschews a definitive search for meaning in favor of discovering fresh starting points with each stage of their creative process. Undoubtedly, we will soon witness the continuation of the "Memento" series, which will further delve into the significance of personality and the image of human in the modern world. Additionally, it will emphasize the value of a jewelry masterpiece, wherein the meanings not only endure but are also reveal in a novel manner within the context of contemporary discourse and aesthetics.
05.06.2023
Sarah Cerasi