evolved in the late '60's
early '70's, I was
Back to my point--memory wire. When I started this latest venture into jewelery making I embraced wire wrapping and tried to make myself into an Eni Oken plebe. No stringing, molds
or touches for me. . . also at that moment my job, commute and family life didn't leave me the time or access to learn these techniques. Then. . . there it was in my local craft store, a little plastic bag next to the beads--memory w
ire! And it came in 2 size--choker and bracelet and silver or gold tone or base metal. How could I not be attracted? And while it wasn't wrapping with wire, my first project-a delicious cuff of gorgeous gems on memory wire brought a lot of positive attention and a good price. I had it on display at an event to promote a class I was teaching. A future client followed me around until I (gladly) sold it to her. In fact I hated to let it go and she was willing to pay a proper price for it. I was very complimented and felt she understood and appreciated my efforts. By the way, I never took a photo of that cuff but I tried to recreate it with smaller stones and it sold for a smaller price.
It seems the main thing with memory wire is strategy,But here's the thing, there is something very easy and yet irritating about memory wire. Wire wrapped beads and beads that are strung (on fiber of any nature) flow around the neck or wrist. Memory wire is "there!" It stays where you put it. It does not caress the body it doesn't quite resist the body. The body and the adornment exist in the same space. I guess they compete and the job of the designer is to find a way to bridge the two, body and adornment, into one.