We’re delighted to welcome Scarlett Cohen French to launch Fodder Focus 2026 which will welcome a series of guest makers to exhibit at the store throughout the year. Scarlett’s work will be on display throughout February and March and will also feature in our Objects in Relation edit. 

Scarlett is a jewellery maker who explores movement, connection, and the relationships formed between objects, bodies, and spaces. Through modular wearable pieces made up of rotating elements and flexible connections, her practice invites interaction and change. Based at The Goldsmiths Centre, in the historic Hatton Garden area of London, Scarlett draws on a rich context of jewellery making and craft traditions while pushing her work into contemporary, experimental territory. We caught up with Scarlett to learn more about her practice, process, and the ideas behind the work featured in this edit.

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Hi Scarlett, we’re so excited to welcome you to Fodder as part of our Objects in Relation Edit. We’d love to hear more about you and your jewellery.

F | To begin, could you tell us a little about yourself and your practice? How would you describe the work you’re making now, and how has your journey as a maker developed over time?

SCF | Thanks so much for having me at your beautiful shop. The area means a great deal to me, as I grew up in Hampstead wandering around these picturesque little lanes, and I went to primary school just over the road!

Although very much a London girl, I studied jewellery and silversmithing at the Glasgow School of Art (GSA). The course is renowned for being highly conceptual, and I was heavily influenced by my incredible teachers, who really pushed the importance of original concepts driving original design work. Everything we made was deeply considered, and if you couldn’t back it up with theory—whether aesthetic or intellectual—it simply didn’t cut it.

I realise now that this is why my jewellery has always had such a clear and unwavering visual aesthetic: proud, bold, and totally original.

After finishing my degree, I stayed in Glasgow for over twelve years. During that time, I undertook various artist residencies around Scotland, including two years as Artist in Residence at the Glasgow School of Art, where I taught and worked alongside students. I also established myself as a maker and began exhibiting my jewellery in galleries and shows across the country.

I’m a regular exhibitor at the prestigious (and fabulous) Goldsmiths’ Fair—which, if you haven’t been, you should absolutely come and take a look.

F | Your work has a strong sense of material presence. What draws you to the materials you use, and how do they influence the forms or ideas you explore?

SCF | I specialise in enamel—the ancient art of fusing glass with metal—always striving to be bold, modern, and original in my approach.

I use enamel in a very practised yet spontaneous way—for me, colour has never been the objective; it has always been about the spontaneity within the process. I work using only white and black enamel, with all colour essentially burnt out through the heat of the kiln and a few clever processes.

I then marry these tiny pieces of enamel “art” in a highly controlled and considered way, respecting the preciousness of the fine and expensive materials we jewellery makers use.

F | There is a real sense of movement in your work, from rotating pixel-like elements to flexible connections between crafted components. How do you think about motion, rhythm, and pause within your pieces, and where does stillness come into play, if at all?

SCF | I make rolling films called feedback loops. This is a form of iteration that happens between a camera and a monitor. You know how, if you put a microphone too close to a speaker, it screeches? If you do the same with a camera and a monitor, it creates a kind of visual screech.

This technique was used by artists in the 1960s to create psychedelic film work, and it’s also how the original Doctor Who title credits were made.

In a digital format, I get a lot of repeated shapes and rotated pixels—very geometric in nature. My films move, but my pieces are static, and I’m always trying to capture, within the stillness, a sense of movement or spontaneous colour.

F | The Objects in Relation Edit brings together work that sits in dialogue with other objects, spaces, and people. As your pieces are made to be worn, how do you think about the relationships they form with the body as well as the environments they move through?

SCF | I honestly think of jewellery as a form of armour. In a way, my conceptual design reasoning becomes unimportant once someone buys a piece. Jewellery is powerful—we buy it to mark occasions, both happy and sad. It lasts a long time and is passed down through generations. It’s not always logical why we’re drawn to a particular piece of jewellery.

I love that once it belongs to somebody else, it takes on an entirely new meaning. It’s a beautiful thing.

All of the labour-intensive steps I take as a designer to make original work—completely independent of fashion trends—are, I hope, what will allow my jewellery to stand the test of time.

F | Are there any pieces included in this edit that you feel are especially reflective of your practice or where you are right now as a maker?

SCF | I’d say I’ve given you a fairly classic collection of my pieces. The enamel work has remained pretty consistent over the fifteen years I’ve been making, and it always seems to resonate with people—so I hope the Fodder customer likes them!

F | Seeing work in a shop setting allows it to be encountered in everyday life rather than a purely gallery context. How do you hope people engage with your pieces when they come across them at Fodder?

SCF | I hope people feel confident enough to touch and try on! Jewellery is made to be worn and comes alive when on the body!

F | Your studio is based at The Goldsmiths Centre, in the historic Hatton Garden area. How does working within that setting, with its long history of jewellery and craft, feed into your creative thinking or making process?

SCF | I’m very lucky, actually. The Goldsmiths’ Centre is one of the few subsidised workspaces for jewellers in London, and I’ve been fortunate to be supported by the Goldsmiths in many ways over the years—through bursaries, awards, and business mentoring.

The jewellery trade is a vast industry made up of small businesses, and being based in Hatton Garden means I have casters, setters, precious metal dealers, and gemstone specialists right at my fingertips—very useful indeed.

F | Looking ahead, what feels exciting or important for you to explore next in your practice?

SCF | I’m currently working to make it clearer to my clients that I offer a bespoke remodelling service. With metal prices soaring, many people are coming to me with old, unused gold that’s been gathering dust. It’s an incredible time to repurpose existing pieces and sidestep today’s eye-watering metal costs.

Alongside my bold and distinctive designs, I also make engagement rings, source beautiful stones, melt down old gold, and rework it into something entirely new. It’s one of my favourite things to do.

If any of your customers would like to arrange a meeting with me to discuss this, that could absolutely be arranged.

F | We love celebrating other makers, too. Are there any artists, designers, or craftspeople whose work you’re particularly drawn to at the moment?

SCF | I admire a lot of jewellers, each for different reasons—skill, concept, social media presence, and more. Some of my favourites include JOYBC, Susannah King, Nak Armstrong, Patrick Davidson, and many others!

F | Finally, what do you hope people take away from spending time with your work, whether through wearing it, living with it, or encountering it at Fodder?

SCF | I just hope it brings a bit of joy really! What more can you ask for?!

Scarlett’s work invites a considered engagement, encouraging the wearer or viewer to notice how objects move, connect, and respond to the body and its surroundings. Each piece holds a quiet balance between structure and flexibility, intention and play. We’re delighted to share her work as part of Fodder Focus 2026 and look forward to seeing how these pieces find new meaning through use and interaction.

Scarlett’s collection is available in store and online now. Get in touch for more details.