In 2022, I had my phone stolen three times. After the initial frustration, I felt a sense of emptiness— without backups, the lost photos made it seem like that phase of my life had disappeared. However, through my research on sustainable design with second-hand objects, I’ve come to see this differently. The value of memory does not lie in its completeness—forgetting is part of remembering. When an item passes through the vintage market, I cannot know whether its previous owner lost it, sold it, or forgot about it. The stories behind these objects remain unknown. Similarly, I have items

tucked away in dusty corners, their details blurred in my memory. Yet even as memories fade, they do not truly disappear—what remains is embedded in the traces of human activity, carried forward by the objects themselves.

The mosaic effect on second-hand pieces reflects the haziness of memory, and it is also a way for these objects to be used again. Though I’ve beaded three objects so far, this approach can be applied to more objects. It offers a playful and adaptable way to turn second-hand items into jewellery.

This project challenges the idea that precious memories must be fully preserved. Instead, it embraces forgetting as part of the experience.

Seren Cheng is a jewellery artist based in London. She graduated with First-Class Honours from London College of Fashion and will soon begin her MA at the Royal College of Art. Her practice explores the relationship between materiality and human experience, inspired by psychology and everyday observations. Through subtle design gestures, she reflects on perception, presence, and the comfort embedded in objects.