Biophilic design may bring to mind grand architectural structures, urban landscapes, or, at the very least, the well-illuminated and verdant interiors of a nature-inspired office space. But today, I want to focus instead on something a bit more intimate and perhaps not as well-known: biophilic jewelry. Here, nature-inspired elements aren’t just for show. They inform everything from the aesthetic to the astonishingly clever forms that distinguish the pieces we wear. As a long-time observer of the intersection of design, sustainability, and natural aesthetics, I can assure you: Biophilic jewelry, in my book, is an extraordinary embodiment—an unparalleled setting—for craft, environmental mindfulness, and personal expression.
To grasp biophilic jewelry, we must first understand its familial roots in traditional adornments. For millennia, humans have adorned their bodies with objects of beauty and personal significance. While these objects may not have been traditional “jewelry” in the modern sense, they were nonetheless personal, human-shaped forms of art that often had vital experiential and experimental tales attached to them. Even when jewelry is ascetic (as with traditional Buddhist prayer beads), or comprised ancient, organic materials (as with cave art), it still plays a role in the age-old human act of adorning oneself. There are many understandable, picturesque, and momentous family trees that biophilic jewelry could sprout from. Here’s one of them.
Biophilic jewelry is versatile. Designers employ a mix of remarkable materials—sustainably harvested wood, dried flowers, natural stones, and even live moss or air plants—to create nature-evoking adornments. And whereas the really remarkable thing about biophilic jewelry is its almost limitless adaptability, it is also, and perhaps most importantly, somehow connected to the natural world in a direct and Viridian way. I once collaborated with a jeweler who worked primarily with reclaimed metal and found natural objects, like seashells and beach stones. Each piece of biophilic jewelry carries multiplicity of meaning and makes a direct connection to nature; the ocean that sculpted the shell, the beach at high tide, the artist’s former studio, etc. And yet biophilic jewelry manages to do all this without saying a word.
The idea of biophilia—popularized by people like E.O. Wilson—holds that humans have an almost primal need to connect with nature. When we wear biophilic jewelry, we’re making a statement that goes beyond mere decoration. We’re sending a message that even in our most urban settings, it’s natural to want to stay close to the Earth. And even if “biophilic” is not a term that gets thrown around a lot during the usual small talk of cocktail parties, the very pieces of jewelry that we might be wearing could have something to do with the conversation that launched this whole article.
Biophilic jewelry is, in some cases, a straight-up imitation of nature. We’re talking about things like “jewels dripping with moss,” says Amy DuFault, a friend and former editor at the trade journal Gems & Gemology, who now lives in Maine. She adds that “materials used in biophilic jewelry—from the wood and leather seen in the work of Judith Hoffman to the lab-created ‘raw’ diamonds of Bario Neal—also tell a story.”
An intriguing component of biophilic jewelry is living plant matter. Designers have taken the concept of biophilia even further by incorporating living plants into their jewelry. I once worked with a designer who created an entire line of jewelry inspired by terrariums, the tiny ecosystems that thrive in glass containers. Her designs weren’t just jewelry; they were tiny, living art installations that required regular misting, like a bonsai project, to keep the air plants in them alive. The pieces were clever and beautiful. They also represented a person’s connection to nature—an hour spent rewilding the characters on her Japanese calligraphy earrings was akin to wandering the forests of the Sierra Nevadas and gathering moss. In my work, I’ve used preserved leaves and flowers, encased in resin, to achieve a similar effect.
Biophilic jewelry is about more than just the materials; it’s also about the techniques used to create these pieces. Countless designers embrace the slow, deliberate rhythms of nature. They spend hours and hours crafting pendants from driftwood; ensuring that every contour mimics the majesty of waves or the quiet of a still forest. Here the notion of “biophilic” is not just an aesthetic or an ideal, but a way of encompassing and understanding the extraordinary beauty of nature across time and space. It is the base from which these incredibly talented artists work. And the beauty of this bio-inspired jewelry is that, unlike the seeming contradiction at the heart of “fast fashion,” pieces made in this way carry with them the intrinsic value of craftsmanship and intentionality.
Work of this sort demands not just technical skill but a profound understanding of how the work is inspired by the forms of nature. Biophilic jewelry tends to embrace the colors of nature, which tend toward the earthy—rich browns, soft greens, and subdued golds. But this isn’t a rule. I’ve seen vibrant hues used in the creation of bold statements, particularly with colorful gemstones. More often than not, the colors, shapes, and textures of the jewelry work evoke the appearance of something found in nature.
One of my favorite techniques is used in the biophilic pieces we show. It’s called electroforming, which uses electricity to do something nature doesn’t ordinarily do (at least not in a timing way we can perceive): deposit a thin layer of metal over the surface area of an organic object. The organic forms get preserved right down to the tiny details that make them look like the real deal (Walsh 92-93).
The first time I grasped an electroformed leaf, it was a tiny, delicate thing, coated in copper, with the veins still visible through the metal. It was like grasping a piece of nature that had been turned into something both eternal and ephemeral. That same sense of swaying between the two sides of that equation is present in what biophilic jewelry attempts to do. “Biophilic” is a term that originated in architecture to describe how designers can create spaces that foster a sense of connection to nature. Jewelry artists are using this idea to create a kind of personal architecture that allows us to feel linked to the natural world.
Having spent a substantial amount of time investigating the boundless possibilities of using natural materials in design, I have learned to appreciate the fragility-strength balance biophilic jewelry strikes. It’s no small feat. This delicate and durable adornment, the logical next iteration of “natural” jewelry that Marilyn da Silva pioneered, is what we might also call “functional art.” Biophilic jewelry doesn’t just exist, waiting for the next enshrined moment. It enhances life, walks beside the wearer, and bears witness to a constellation of lived experiences. It speaks to the fragility of nature and reminds the observer and the wearer of the presence of environmental threats. It does all this while being so sturdy that, even given a little nature-related wear and tear, it can hold its own for decades if not centuries.
Biophilic jewelry holds a unique and captivating aspect in its relationship to nature and its wearers: that is, how it offers a direct and personal connection to the natural world. Many of us live in cities and are far removed from the natural landscapes we might feel drawn to. Yet even in these urban jungles, I’ve spoken with individuals who find calm and a sense of rightness when wearing pendants made from driftwood or rings struck through with preserved, pressed wildflowers. These jewelry pieces remind their wearers of coastal splendors and delicate flowers swaying in the wind. They allow us to carry with us, in the odd fashion of a token, something close to our hearts that speaks to our right to nature. Remembering this, I think fondly of my dear client who claimed an old love for the ocean. You see, she was a city-dweller through and through, having lived much of her adult life in urban environments. Yet that was all a cover for her true self: a devotee of the sea. She commissioned an artist friend to help her create a necklace using sea glass from her travels and a child’s seashell.
Biophilic jewelry is not only packed with a sentimental charge; it also carries an enviable environmental message. “Biophilic design knows that people are happier and healthier when they have a connection to nature,” says jewelry designer Christina Watkinson. With each piece, she and others like her work on making biophilic design principles wearable and accessible, all while affording them something that even biophilic design can’t accomplish: the ability to take a personal stand for the environment in their everyday lives. After all, what better form of self-expression is there than wearing something created from a responsibly sourced, sustainably managed, and altogether beautiful piece of nature? Biophilic jewelry is as much an intimate accessory as it is an environmental statement, one that could revolutionize not just personal adornment but also the accessory side of the “tree hugger” shtick.
Selecting jewelry made from natural, sustainable materials is an excellent way for consumers to make environmentally friendly choices. And as I’ve mentioned, the design and craftsmanship of sustainable biophilic jewelry are making jewelry fashion much more sustainable. Sustainable biophilic jewelry is not just for wearers who know that they aren’t wearing jewelry made from toxic, synthetic materials. The craftsmanship and design are stunning. Unlike the associated jewelry of the fast fashion industry, biophilic jewelry is typically made by independent artisans and is very much unlike anything you’ll find at your local chain mall. By wearing biophilic jewelry, you’re supporting an ethical approach to jewelry design and craftsmanship. And “sustainable” doesn’t necessarily mean “pricy.” Some pieces of biophilic jewelry might be seen as investment jewelry, but that is not the case with every piece.
I’ve discovered that some of the most stunning biophilic jewelry celebrates and tells stories about the flaws and imperfections in the materials used to create them. One ring that I made, for example, is cut from a piece of wood that had been partially eaten by insects. At first, I worried about how fragile the wood would be, but as I worked with it, I grew to appreciate the texture those tiny holes added to the piece. In the end, that ring came out beautifully. It would be impossible to replicate, even if you tried. And even if you tried, you wouldn’t want to, since it was a celebration of the beauty in the materials that nature gave us, as well as a piece that was a perfect reflection of our real-life, natural world.
I’ve created necklaces specifically to hold plants. My designs take living, breathing pieces of nature and allow them to exist in a microenvironment—small glass or resin cases—to keep them safe and healthy. That’s a delicate balance to achieve and one I’m not always certain I’ve nailed. But when I do, those necklaces become living, wearable art. And what’s even more exciting is that the world of biophilic jewelry is rapidly expanding. Although I suspect I’m one of very few on the biophilic jewelry beat, I’ve been fortunate enough to connect with artisans from around the world who’re doing stunning, wildly creative things with nature-inspired design.
Several designers are pushing the capabilities of 3D printing to create complex forms derived from nature that would be impossible to produce by hand. Others are looking to biomaterials—natural ingredients like algae or even mushrooms—to build not just biodegradable jewelry but truly innovative pieces that marry design and sustainability. All of this is opening up new avenues of creative possibilities for biophilic jewelry and what it can accomplish in our living spaces. If nothing else, biophilic jewelry reminds us that our proximity to the natural world (however interpreted) is a source of inspiration that we can fashion into a meaningful and even “trend-worthy” adornment.
