Bronze Jewelry Design · 2026
Flora Octopus Brooch
- A' Design Award 2026 Bronze Winner in Jewelry Design
- Awarded April 15, 2026
- CLIENT: Nana Watanabe
- Estimated Number of Design Views: 7,408
- Verification code 389ACD2D90 · Verify this award
About Flora Octopus Brooch
The Flora Octopus Brooch fuses contemporary jewelry with embroidered sculpture, presenting a lightweight yet voluminous form inspired by imagined marine life. Instead of conventional metals or stones, it employs recycled threads and organza to create texture, fluidity, and organic movement. The three-dimensional embroidery construction reflects sustainability and innovation, while the vivid interplay of colors transforms thread into a sculptural medium. This brooch serves as both ornament and statement, highlighting artistry and ecological awareness in contemporary jewelry.
Nana Watanabe's Flora Octopus Brooch participates in the vibrant contemporary revival of textile-based sculptural jewelry that bridges traditional fiber arts, studio craft movements, and wearable sculpture practices, positioning this work within a broader international dialogue about materiality, adornment, and the elevation of craft techniques to fine art status, the piece demonstrates technical virtuosity in its seamless integration of soft sculptural construction with meticulous surface embellishment traditions reminiscent of both historical embroidery practices and contemporary bead art innovations, compositionally the work achieves remarkable formal sophistication through its marriage of naturalistic anatomical observation with decorative stylization, the octopus form rendered with sufficient fidelity to convey species character while simultaneously transformed through pattern application and material choice into something fantastic and ornamental rather than strictly representational, the chromatic decisions reveal sensitivity to color relationships with the rose-cyan pairing creating visual energy through temperature contrast while maintaining overall tonal harmony through shared pastel luminosity, technically the execution evidences painstaking handwork in the systematic placement of individual beads creating floral rosette motifs and geometric borders that articulate anatomical zones while adding dimensional surface complexity, the textile substrate choice suggesting velvet or similar pile fabric introduces tactile luxury and soft visual warmth that contrasts productively with the hard reflective quality of bead embellishment, stylistically the work navigates between several aesthetic territories including Japanese kawaii culture's embrace of cute biomorphic characters rendered with decorative charm, surrealist traditions of unexpected material transformations and animate-inanimate boundary dissolution, and folk art embellishment vocabularies that celebrate labor-intensive ornamental detail, thematically the brooch invites contemplation of several rich conceptual territories including humanity's enduring fascination with marine life forms whose alien morphology and fluid movement have inspired artistic representation across cultures and centuries, the transformation of natural creatures into decorative motifs reflecting both appreciation and domestication of wildness, the elevation of functional adornment objects to sculptural status questioning hierarchies between fine art and craft, and the expressive potential of textile and fiber media often historically gendered feminine and relegated to decorative rather than serious artistic categories, the octopus subject carries symbolic freight across multiple traditions representing intelligence, adaptability, mystery, and transformation given the creature's remarkable camouflage abilities and complex neural architecture, while the decorative treatment with floral-inspired patterning suggests hybrid identity between botanical and zoological realms, between surface ornament and volumetric presence, the scale appropriate to wearable jewelry creates intimate viewing relationship demanding close attention to appreciate the density of detail and material richness, yet the sculptural presence transcends pure functionality projecting personality and narrative character that engages viewers beyond ornamental appreciation alone, how does the translation of living creature into handcrafted decorative object prompt reflection on the relationships between nature and culture, observation and imagination, functional craft and expressive art, and what meanings emerge when marine wonder meets terrestrial adornment through patient handiwork and material transformation?
Press Kit
- Unique Properties
- Flora Octopus Brooch combines textile embroidery with sculptural jewelry design, creating a lightweight yet voluminous form that resembles an imaginary marine creature. Unlike conventional jewelry made of metal or stones, it uses threads to express texture, fluidity, and movement. Its unique fusion of embroidery and three-dimensional construction highlights sustainability and artistry, offering a distinctive alternative in contemporary jewelry.
- Dimensions & Packaging
- Dimensions: 16 x 18 x 15 cm
Weight: approx. 10 g
Materials: recycled polyester fabric, brass fittings, nylon.
Despite its voluminous size, the brooch is extremely lightweight, ensuring comfort and making it suitable even for delicate fabrics. The design balances artistic presence with everyday practicality. The packaging is made from recyclable paper, further emphasizing the brand's commitment to sustainability. - Tags
- Embroidery, Textile Jewelry, Sculptural Brooch, Sustainable Design, Recycled Materials, Organza, Tulle, Transparency, Nature Inspired, Marine Aesthetics, Innovative Craft, Ethical Jewelry
- Production Technology
- The brooch is created by layering recycled polyester organza with high-precision machine embroidery, then hand-assembling the pieces into a sculptural form. Instead of relying on traditional jewelry materials such as metal or gemstones, the design employs thread as a primary medium to construct a three-dimensional organic structure. This innovative approach redefines the boundaries of jewelry design, combining lightness, sustainability, and artistry in a single piece.
- Design Challenge
- The greatest challenge was transforming soft materials such as thread and fabric into a sculptural form that could maintain its structure. Conventional methods failed to provide stability, which led to the development of an original sewing and assembly technique. Another difficulty was to ensure durability while keeping the piece lightweight, so that it could be safely worn even on delicate fabrics. This was achieved through extensive material research and close collaboration with embroidery specialists. Furthermore, by filling the interior with loosely arranged tulle instead of tightly packed wadding, the design introduces a sense of air and transparency. The inner tulle subtly shines through the outer organza in a gradient effect, capturing the translucent and poetic beauty of creatures that inhabit the sea.
- Project Duration
- The project began in April 2025 in Fujisawa, Kanagawa, and was completed in June 2025. It was first unveiled at a solo exhibition in Tokyo in the same month, where it was introduced as a new approach to contemporary jewelry expression.
- Operation Flow
- The brooch is easily attached by inserting the pin through fabric, offering a secure yet lightweight hold that does not damage even delicate garments. Once worn, it instantly transforms ordinary attire into an artful statement, embodying the organic beauty of nature. More than a decorative accessory, it offers a sensorial and expressive experience, allowing the wearer to carry a piece of sculptural poetry as part of their personal style.
- Research
- This research set out to challenge the historical paradigm of jewelry design, which has traditionally relied on metals and gemstones, by exploring the potential of textiles as a primary medium. Through the observation of natural forms, material experimentation, and iterative prototyping, a unique methodology was developed to sculpt fabric into three-dimensional structures. In particular, the layering of organza on the exterior with softly inserted tulle inside creates an airy volume with translucency and subtle gradients of color. This technique evokes the ethereal beauty of marine life, with its transparent and fluid qualities. The result is a piece that is not only lightweight and sustainable but also expands the boundaries of jewelry, traversing the realms of fashion, craft, and art.
- Inspiration
- The design was inspired by the organic beauty of marine life, particularly the graceful yet mysterious form of an octopus. By combining floral motifs with oceanic imagery, it symbolizes both fragility and strength, evoking a sense of an imaginary paradise where nature and fantasy intertwine.
- Image Credits
- Photographer: Sayuka Tanaka, 2025
Colors of Flora Octopus Brooch
Design Interview about Flora Octopus Brooch
The design was inspired by the organic beauty of marine life, especially the graceful and mysterious form of the octopus. Watching the way an octopus's arms move and how its silhouette gently unfurls underwater, I saw something very close to a flower coming into bloom. That connection led me to merge floral motifs and oceanic imagery into a single form. My brand is built around the theme of an "imaginary paradise": I take the colors and shapes of real plants and animals as a starting point and create creatures that do not exist in reality. Flora Octopus was born as one of the inhabitants of that paradise, a creature in which fragility and strength, nature and fantasy, are intertwined.
My main focus was to reconcile two opposing qualities: lightness and presence. The brooch measures 16 x 18 x 15 cm, yet weighs only about 10 grams. I wanted to create a piece that instantly transforms an outfit into an artistic statement, while remaining comfortable enough to wear all day without weighing down even delicate fabrics. Another major goal was to express, using only thread and fabric, the translucency, fluidity and soft movement of creatures living underwater.
I plan to expand this work into a series of marine- and botanical-inspired pieces that apply the same structure and techniques. I also intend to present Flora Octopus at exhibitions and galleries in Japan and abroad, to show a wider audience that embroidery can stand alongside metal and gemstones as a true medium for jewelry. I am also scheduled to exhibit in New York in 2027.
I began the project in April 2025 at my studio in Fujisawa, Kanagawa, and completed it in June 2025. Over those three months, I went through many rounds of structural studies, prototyping and material adjustments. The finished piece was first unveiled that same June at my solo exhibition in Tokyo.
It was an entirely self-initiated project. I have long created pieces inspired by marine life, and among them the octopus has always fascinated me, with its soft body that constantly changes shape. I thought it would be exciting to capture that "beauty without a fixed form" in three dimensions using embroidery, which is itself a soft material. I also wanted to push the techniques I developed for my previous work, Shrimps Earrings, which assembles embroidery into three-dimensional forms, toward a larger and more complex structure.
The brooch is currently produced in small quantities under my own brand, NANA WATANABE. I handle the design and hand assembly myself, and the embroidery is created in collaboration with a trusted embroidery craftsman in Japan with whom I have worked for many years. To preserve the quality and nuance of each piece, I plan to continue with this approach.
I believe the value of jewelry should not be defined only by the rarity of its materials. I wanted to create "wearable art" that moves the wearer emotionally, using only thread and fabric instead of metal or gemstones. Embroidery has been used for ornamentation for centuries, but by placing it at the center of jewelry-making, I hope to propose a new value system for jewelry. By avoiding mineral resources and using recycled polyester, I also wanted to show a more sustainable way of making jewelry.
There was no specific designer or piece that directly influenced this work. My greatest source of inspiration is nature itself; the movement, colors and textures of creatures I have observed at aquariums and by the sea form the foundation of my work. That said, my years on the ISSEY MIYAKE collection team, where I explored materials and structure, have deeply shaped my approach to building three-dimensional forms from soft materials.
Anyone who resonates with this world, regardless of age or gender. I especially envision people who value self-expression and love both art and fashion. I also hope to reach collectors who wish to own jewelry as a work of art, as well as those who care about sustainable craftsmanship.
What makes it distinctive is that embroidery is treated not as surface decoration, but as the very material that builds the three-dimensional structure. Inside the layered organza exterior, I loosely placed tulle instead of tightly packed wadding. This creates an airy volume and a soft gradient as the inner colors shine through the outer layer. It captures a translucency and gentle movement unique to sea creatures, something conventional stuffing techniques cannot achieve. Its lightness, only about 10 grams despite its size, also sets it apart from other jewelry.
"Flora" means flowers and plants in Latin, and is also the name of the Roman goddess of flowers. "Octopus" is, of course, the sea creature. The name directly expresses how this imaginary creature was born, from two worlds, flowers and marine life, merging into one. I wanted a name that is simple, yet immediately conveys the world of the piece.
I began by exploring the form through hand-drawn sketches and paper patterns, then used Adobe Illustrator to refine the shape of each part and create the embroidery data. The embroidery was produced with high-precision embroidery machines, and finally, I hand-assembled each component into the three-dimensional form.
Its most unique aspect is that it achieves both sculptural dimensionality and the translucency of an underwater creature using only soft materials: thread and fabric. The layers of organza and tulle change their expression as they catch the light, and the colors shift depending on the viewing angle. Although it is jewelry, it carries the presence of a work of art, and I believe that is its greatest character.
I collaborated with an embroidery craftsman in Japan with whom I have built a trusted relationship over many years. To balance lightness with durability, we went through many rounds of prototyping and discussion about thread density and embroidery specifications until we achieved the right nuance. This piece was made possible by carefully bringing together the craftsman's high level of skill and my vision as a designer.
High-precision embroidery machines allow me to reproduce fine, accurate embroidery consistently, which would be difficult with hand embroidery alone. The assembly into a three-dimensional form, on the other hand, is done entirely by hand. This combination of technological precision and the soft expression of handwork is what supports the quality of the piece.
Rather than market research, I rely on the observation of nature and my own sensibility. However, I conducted extensive material research, testing which materials and structures could hold their shape while remaining light and safe to wear on delicate garments. I also reflected feedback from my customers regarding comfort and lightness in the design.
The greatest challenge was creating a three-dimensional form that could hold its structure using soft materials like thread and fabric. Conventional methods did not provide enough stability, so I had to develop an original sewing and assembly technique. Balancing lightness and durability at this size was also difficult. It took a great deal of trial and error before I arrived at the solution of loosely filling the interior with tulle instead of packing it with wadding.
Winning an award for Shrimps Earrings gave me confidence that my work could be appreciated internationally. This time, I wanted to see how the techniques and expression I had further developed since then would be received on an international stage. I also wanted to share embroidery as a medium for jewelry with a global audience.
Taking on a larger and more complex form made me realize how much potential soft materials still hold. I learned once again that moving back and forth between intuitive expression and structural logic is what raises the quality of a work. Through this piece, I also reaffirmed the importance of believing in my own world and giving it form, even through repeated failures.
It is said that countless creatures still unknown to humankind live in the ocean. Flora Octopus is an imaginary creature that might be dwelling somewhere in those unexplored depths. I hope that wearing this piece brings a small paradise and a sense of nature's wonder into everyday life. I will continue to explore new possibilities for jewelry through the art of embroidery.