| Founder of Veritas Precious Metals Mark
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| | century. Archaeological evidence suggests
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| Platt studied at Oxford University before
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| | that enamelling may date back to 3000BC.
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| joining classic brand Alfred Dunhill
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| | The Byzantine Empire, Chinese, French and
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| where he worked on developing menswear
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| | Russian cultures have all influenced the
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| accessories and fragrance products.
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| | development of enamelware. Cloisonné,
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| He moved to iconic jeweller Tiffany and
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| | which is a design distinguished by using
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| Co., where he worked for 6 years and
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| | flattened wire to separate the enamel, is
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| furthered a passion for Sterling Silver
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| | most suited to jewellery. And combined
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| accessories and jewellery. Tiffany
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| | with mother of pearl, Swarovski Crystals
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| offered a fascinating insight, with its
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| | and semi precious stones bring together
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| great archives and history, into the
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| | ancient and contemporary materials used
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| silversmith's and jeweller's art over the
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| | to create work of art cufflinks. The
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| course of a century and a half.
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| | design possibilities are add infinitum.
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| Mark launched Veritas Precious Metal
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| | Now
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| Design (from the Latin meaning "Truth")in
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| | In the wake of Alfred Dunhill and Tiffany
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| Sept 2003. The first collection was
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| | Mark has taken Veritas to new heights
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| launched at the New York Collective in
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| | with the release of a range of sterling
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| July 2004, with the object of creating
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| | silver cufflinks of superior elegance.
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| unique and distinctive cufflinks in
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| | Just a brief handle will satisfy your
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| Sterling Silver and Rhodium Plate. The
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| | senses. And in the tradition of great
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| second Veritas collection debuted in New
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| | jewellers, gleaning Mother of Pearl,
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| York 2005, featuring new enamel designs,
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| | crystals and precious stones to slender
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| which built on the strong theme of
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| | elegant stems, engineered to give many
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| Swarovski crystals from the previous
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| | years good linkage.
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| year. It featured the unique African
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| | And the future
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| Animal Collection, exquisitely carved
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| | The resurgent popularity of cufflinks in
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| heads of Lion, Rhino, Leopard and Oryx
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| | recent years has inspired many young
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| with safari coloured enamel fittings.
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| | designers. New materials like resins are
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| Mark Platt is primarily interested in
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| | at hand and they're being combined with
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| design innovation, combining unusual
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| | crystals, cat's eye and semi precious
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| precious materials and offering change
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| | stones, creating a new framework of
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| and stimulus with each new season.
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| | styles, but without loosing classicism.
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| A little history
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| | The use of CAD and CAM for design and
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| Jewellers like Cartier and Tiffany
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| | modelling are used extensively and laser
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| crafted work of art designer cufflinks in
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| | welding and cutting technology employed
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| mother of pearl, crystal; precious
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| | to refine the edges. Combined they give
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| stones...These famous fashion names
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| | another dimension to the finished product
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| establish cufflinks as the essential
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| | and greatly assist the modern designer
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| accessory for men.
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| | cope with the pressures of commercialism.
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| Some anecdotes
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| | Seasonal styles are turned around in
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| For many centuries vitreous enamel has
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| | short time as demand is met.
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| been widely used to adorn jewellery of
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| | And, what of tradition? It remains
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| the highest quality- from Parisian gold
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| | intact. Designer brands like Veritas Lbb
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| snuffboxes of the 18th century to Carl
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| | London, Ian Flaherty and many more carry
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| Faberge's Imperial Eggs in the early 20th
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| | it forward.
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