Kintsugi Wood Cufflinks. Inlaid With 22ct Gold Leaf
Brighten up any outfit with our Kintsugi cufflinks, handmade from stunning redwood burl wood, inlaid with luxurious 22ct Gold Leaf. Perfect for those who appreciate beauty in imperfections.
The colour of the metal part of cufflink will be yellow gold, rose gold or silver plated, depending on your inlay choice.
Cufflink size
Square Shape - Approx. 15mm to 16mm
Round Shape - Diameter Approx. 15 to 16mm
Oval Shape - Approx. 19mm x 16mm
Rectangle Shape - Approx. 13mm x 19mm
Size of wood can be customised
How it is made
The design is carved out to represent the real kintsugi art of broken pieces stuck back together.
The designs will always be different, as they are freehand drawn for every piece.
Finish: Wood is finished natural with shellac and wax. Waterproof gloss option is also available. Video shows the gloss option. Please leave a note if you would prefer the gloss finish.
Made to order
These are made to order and may vary slightly, but equally as nice, every piece is unique.
Packaging
>Cufflink Wood Box - This is a luxury wooden cufflink box, comes in gloss black colour, gloss mahogany colour or maple colour with cream leatherette interior.
>Cufflink Gift Box - This is a black leatherette cufflink box
>Standard Box - This is a standard gift box.
Commissions welcome
Handmade in England
About Kintsugi & Bog Oak Wood
Kintsugi Philosophy
Kintsugi can relate to the Japanese philosophy of mushin (無心, "no mind"), which encompasses the concepts of non-attachment, acceptance of change, and fate as aspects of human life.
Not only is there no attempt to hide the damage, but the repair is literally illuminated... a kind of physical expression of the spirit of mushin....Mushin is often literally translated as "no mind," but carries connotations of fully existing within the moment, of non-attachment, of equanimity amid changing conditions. ...The vicissitudes of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, the knocks, and the shattering to which ceramic ware too is subject. This poignancy or aesthetic of existence has been known in Japan as mono no aware, a compassionate sensitivity, or perhaps identification with, [things] outside oneself.
In traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection.[2] The aesthetic is sometimes described as one of appreciating beauty that is "imperfect, impermanent, and incomplete" in nature.[3] It is prevalent throughout all forms of Japanese art.[4] It is a concept derived from the Buddhist teaching of the three marks of existence (三法印, sanbōin), specifically impermanence (無常, mujō), suffering (苦, ku) and emptiness or absence of self-nature (空, kū).
Characteristics of wabi-sabi aesthetics and principles include asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, and the appreciation of both natural objects and the forces of nature.