Nature, memory, and heritage bloom through the jewellery of Edwin Charmain. His latest collection, The Garden of Recollection, is rooted in the Sekar Jagad batik motif - one of Java’s most cherished patterns. In Javanese, sekar means flower and jagad means world or universe; together, the motif becomes a ‘map of flowers’, a patchwork of shapes and blossoms flowing into one another like regions on a living landscape. Traditionally worn on festive occasions, it symbolises unity in diversity: the beauty of many elements coexisting, distinct yet harmonious, like the melting pot of cultures in Central Java where Edwin was born.

The Garden of Recollection Collection is also a tribute to personal memory - to the garden once crafted and tended by Edwin’s grandfather. Though that garden no longer exists, its spirit blooms again in metal, in pieces that balance blossoms and leaves with flowing sculptural forms. The collection speaks of resilience, harmony, and the quiet strength of tradition carried forward.

Now based in London, Edwin works under the name Pusaka, meaning ‘heirloom’ or ‘legacy’. His chosen language is filigree - the twisting, compressing, and arranging of fine strands of metal as delicately as threads in cloth. Through this technique, he honours his family’s roots in textiles while transforming motifs inspired by batik, nature, and architecture into contemporary jewellery.

Twice awarded by the Goldsmiths’ Crafts and Design Council and admitted as a Freeman of the Worshipful Company of Gold and Silver Wyre Drawers, Edwin has already been recognised for his artistry. Now, selected for the Goldsmiths’ Centre’s Shine 2025 new talent showcase and associated skills training programme, he brings The Garden of Recollection Collection to a wider audience.

For Edwin, each jewel is more than an ornament. It is a living fragment of a greater whole- connecting home, heritage, and the universal language of craft. Read on to hear Edwin in his own words speak about the inspirations, stories, and techniques behind his latest collection.

Growing Up in the Rhythm of Making

'For me, making is more than just a skill - it’s a way to understand the world. I come from Central Java, and I’ve always been surrounded by hands that were continuously making: my grandparents were dressmakers, painters, and carpenters. My parents were also involved in textile production. That rhythm of making was something I absorbed early on. What began as playing with offcut fabric, twigs, and flowers in the garden slowly grew into something more deliberate.

I trained in design, but it wasn’t until I discovered filigree making that something truly clicked. Filigree gave me space to explore both materiality and the rich language of culture, and how it relates to life. My entry into the industry was quite organic. I started by creating a collection of one-off pieces for my graduation in 2018. From that, I was invited to exhibitions, international programmes, and one thing led to another - and here I am now.'

Filigree as a Creative Language

'In simple terms, filigree is an ancient ornamental wire technique. You twist two or more very fine wires, compress them, and then arrange them into different ornamentations. I was drawn to it because of my textile family background, and because my hometown produces Batik fabric. Batik inspires me greatly, and I’ve found filigree allows me to translate the delicate qualities of fabric into three-dimensional form.

I didn’t realise it at first, but filigree has also helped me to regulate my thinking. It’s like a form of meditation, because the process involves repeating the same actions over and over. That meditative rhythm of making is what I embrace, and what I communicate through my pieces.'

Roots, Symbols, and the Making Process

'I always see my work as delicate and rooted in storytelling. There’s a certain movement I want to capture in that delicacy - it’s fragile, yet strong at the same time, reflecting the resilience of craft. My designs are often very poetic, inspired by heritage and symbolism in nature, and by how objects reflect their makers and cultures over time. For me, making is a way of understanding people and culture in general. Although my work draws deeply on Indonesian culture, it connects to broader cultural contexts too, because cultures shift as people move and meanings evolve. If I had to describe my work, I’d say it is delicate, rooted in storytelling.

The characteristic style of my hometown is very floral, but it’s also influenced by Arab culture, which introduced geometry - because figurative motifs weren’t allowed. That balance between organic forms and structure attracts me. I love exploring the tension and spaces between tradition and modernity, absence and presence. That conversation is always present in my work. It’s also why my pieces are often neutral in colour: I want people to focus on the details, and to discover themselves reflected in the pieces.'

'My design process is partly intuitive and partly methodical. I usually begin with fragments - a passage from a book, a thought, a story from elders, or something overheard. From there, I search for connections and do deeper research. Once I find an element I feel obsessed with, one that resonates with me and often reflects what I’m experiencing at the time, I begin sketching ideas. If more precision is needed, I’ll move to digital design, which allows for exact scaling. After that, I quickly make models with wire, paper, and glue, just to explore the dimensions. When I’m satisfied with the piece and its story, I begin working in metal - recycling my own, drawing it into different wire thicknesses, spinning filigree wires, and building frames. From there, the process repeats.

I only recently realised that everything I do is, in some way, a call back home. Batik and other Indonesian artefacts were once treated as sacred; makers would fast before creating them, waiting for inspiration to arrive, and only then would they begin. I feel I’ve developed my own rituals like this, allowing the story or moment to dictate the object.'

The Garden of Recollection: Nature, Pattern, and Memory

'My Shine collection is called The Garden of Recollection. It’s essentially an archive of memory and belongings. I’ve been inspired by the Batik motif Sekar Jagad, a name drawn from the Dutch word Kaart (map) and the Javanese word Jagad (world). Over time, it has come to be known as “the map of flowers”, symbolising unity in diversity. That meaning feels especially relevant today, in a world where cultures, identities, and communities feel increasingly divided.

There are twelve pieces in the collection, yet one core piece encapsulates its spirit. The collection as a whole is about imaginative spaces - places where connections and differences are valued, and where contrasts are celebrated rather than erased. Each piece holds its own meaning, but together they create a unified whole.'

'That central piece is titled Bloom, a statement headpiece in the form of a hair comb. I sculpted it to resemble a large tree, filled with flowers at different stages of growth, alongside leaves. These varied elements create harmony without conflict, echoing a concept that reflects the collection’s central theme of unity in diversity.

The process is still rooted in traditional filigree, but with this collection I’ve explored composition more deeply, introducing new layering methods to create fluidity. I’ve also embraced asymmetry and imperfection, deliberately leaving marks to enrich the storytelling within the pieces. This surprised me, as I used to insist that everything be symmetrical and perfect - but this collection allowed me to let go of that. It mirrors life itself, which is rarely perfect or balanced.'

The People Behind the Pieces

'Those drawn to my pieces are often artistic and reflective people, because my work looks beyond material value. It’s about storytelling and connection. For example, I once created a piece inspired by cherry blossoms because of their link to a Batik pattern I knew. But for one customer, it carried a different meaning: it reminded her of her time living in Japan and brought back personal memories. That kind of resonance is what I value most. Many of my collectors are women with strong personal values, who see meaning beyond silver, gold, or precious stones - they treasure the story and relationships the pieces hold.

Each piece carries its own character, shaped by how it’s worn and perceived. For everyday wear with a touch of storytelling, the Achillea ear cuff is a great choice - comfortable, piercing-free, and versatile enough to adapt to different ear shapes. For those just starting to explore jewellery, the asymmetrical leaf earrings encourage playful styling; each side is unique, making them easy to wear without rules. For the more confident wearer, the Bloom asymmetrical earrings stand out with their sculptural form and pearl backings, offering two looks in one - effortlessly shifting from day to evening. Ultimately, I believe the best way to approach my pieces is to choose those that resonate with your feelings and personality.'

Shine 2025 and Beyond

'Through Shine, I’m looking forward to connecting with an audience that values slow making, traditional craftsmanship, and broader conversations about sustainability, which feel more important than ever. I’m also excited to connect with other makers - we never stop learning, and each maker brings a different story and approach.

I already have plans in motion. The Garden of Recollection will serve as a bridging collection after Shine. I don’t launch new work annually, nor do I follow the fashion cycle - I create a collection every three years. The Garden of Recollection sits between my previous collection and what comes next: a new body of work titled Astra Nova, meaning ‘new star’.

Astra Nova will draw on the fishing heritage of my hometown, where people navigated by the stars. It will explore themes of navigation, transformation, and celestial objects - a continuation of the journey. If my previous collection and The Garden of Recollection are rooted in earth, inheritance, and memory, then Astra Nova will look skyward, exploring the cosmos, imagination, and life’s transformations.

This is how I see culture, artefacts, and making: as reflections of people and their journeys. In the same way, my work is a reflection of me. Though I am far from my hometown, my jewellery always brings me back there. By wearing it, I carry time, home, and story.'