Astrid Fog (1911 – 1993) Long-time resident of Denmark, Astrid Fog’s first design creations did not include jewelry. She began her career as a fashion designer and editor. Her clothing included both haute couture and ready-to-wear creations.
When, in 1969, she released her first jewelry collection for Georg Jensen, it was intended to complement her clothing designs. Her earliest collections for Jensen attracted almost immediate attention and a strong following.
These Jensen jewelry designs are noted for their sculptural qualities. She created jewelry that was weighty, yet comfortable. Her designs are said to have significantly increased Jensen’s jewelry sales during the 70s and moved jewelry into a primary part of the Georg Jensen lines.
Fog’s biographers note that her experience in fashion gave her an acute appreciation for customer’s tastes and an understanding of what catches the eye. They also state that Fog’s approach to clothing design propelled the success she attained creating jewelry because it demonstrates her understanding of how material relates to design.
Fog’s jewelry combines modernist elements and simple geometric shapes, such as circles, squares, and rectangles in ways that were unconventional for the period. Her jewelry has large bold shapes and utilizes lightweight, hollow silver forms. By using such modernist elements, Fog’s jewelry is said to be a testament to the fashion sensibilities of that time.
In the 70s, Fog’s silver spiral pieces designed for Georg Jensen were not among the biggest sellers, but a simple, large heart pendant on a long chain was popular and continues to be produced. Another popular design that incorporates classic shapes is the oval half egg hung on a chain of six long, articulated links.
Astrid Fog was also associated with Royal Copenhagen, the well-known porcelain manufacturer. Whether Fog produced jewelry, clothing or lamps, experts agree that her designs have intrinsic similarities including exceptional attention to detail and innate simplicity.