The Collection Under the White by Molly Wu. A Klimt02 Critical Review

"Ah, je ris de me voir
Si belle en ce miroir,
Est-ce toi Marguerite,
Est-ce toi ? Réponds-moi…


In Charles Gounod's opera Faust (1859), the "Air des bijoux" is one of the most iconic portrayals of jewellery as a revelatory object of identity. In Act III, Marguerite, standing before a mirror and adorned with jewellery, sings of her transformation: a young girl, long convinced of her own ugliness, into a woman fascinated by the discovery of her own beauty.

She explores, in awe, her feminine identity. A face-to-face encounter unfolds: between her reflection, framed in the mirror, and the subject who gazes upon it.
The jewellery becomes a mysterious knot, linking the self and the ego, between self-objectification and the emergence of a conscious subject. It is a true revelation! Marguerite discovers a femininity that shapes and transforms her, while the ornament acts as the trigger.

However, unlike in the opera, where Marguerite ultimately exclaims, "Ach wir Armen!" (Poor us!) upon realising her situation, here, Molly Wu’s interpretation shifts the narrative. Her collection Under the White, seems to capture this moment of revelation with quiet contemplation. Marguerite does not pity herself. She observes her reflection calmly, almost passively.

Molly Wu translates Marguerite’s transformative moment into a contemporary creation. In her collection Under the White, jewellery and head ornaments become more than decorative accessories. They are the main elements of a visual narrative. Inspired by Baroque, Romantic, and Victorian motifs, Molly reinterprets traditional symbols to weave a dialogue between the history of art, jewellery, and questions of identity and femininity.


Molly Wu: Under the Romance, 2022. Silver, white topaz, freshwater pearl, pastel pearl. From series: Under the White. Photo by: Roni Ahn


Molly Wu: Under the Romance, 2022. Silver, white topaz, freshwater pearl, pastel pearl. From series: Under the White. Photo by: Roni Ahn


The pieces, existing somewhere between ornament and costume, are designed for special occasions. Marguerite, adorned, seems on the verge of marriage. She appears elsewhere, lost in thought.
Knots, a recurring motif in Molly’s collection, are timeless symbols of purity, delicacy, fidelity, and femininity. Associated with the colour white and pearls, they evoke marriage and the traditional rites of passage that mark the traditional significant transitions in a woman’s life.

Dreamy Marguerite waits, wearing a silver knot on a delicate crown.

In Romantic and Victorian art, the knot often appeared in the hairstyles and dresses of young women in portraits, made from ribbons, lace, pearls, or silk. These knots embodied moral purity and conformity to social values. As sentimental jewellery rose to prominence in the Victorian era, the knot became a cherished emblem of fidelity and connection. Later, in the suffragette movement, it acquired feminist connotations, symbolising solidarity and resistance. And here, the knots are the subject, embodying this rich duality of connection and restraint, tradition and transformation.

Molly’s Marguerite is different. Though she appears innocent, her transformation unfolds differently. She does not merely admire her reflection; she becomes it. She freezes herself into a medallion, framed like a cameo.

With its idealised scene, this living cameo becomes an ornament that captures the fleeting nature of Marguerite's fleshly beauty.


Molly Wu: Under the Frame, 2022. Silver, white topaz, freshwater pearl, pastel pearl. From series: Under the White. Photo by: Roni Ahn


Under the Frame perfectly illustrates this idea. As its etymology suggests, the jewel becomes a marker of what is most precious about a person: for Marguerite, her evolving identity; for others, the gaze upon her as a sexualised subject adorned with its emblems.

Through Under the White, Molly Wu invites us to reflect on the dual nature of jewellery, to question the concept of identity, and to revisit feminine and feminist narratives through traditional symbols. Does jewellery, as a tool of expression and transformation, contain an inherent contradiction? This moment, when it magnifies feminine identity, allowing the subject to exist fully, does it not also coincide with the assertion of women's dependence and alienation? Is jewellery a tool of emancipation or a mirror of constraints?


 

Faust, Opera by Charles Gounod, 1859, Acte 3

Molly Wu: Under the Frame, 2022. Silver, white topaz, freshwater pearl, pastel pearl. From series: Under the White. Photo by: Roni Ahn




About Molly Wu:
Molly Wu is a London-based jewellery artist and Royal College of Art graduate. She specialises in crafting meaningful jewellery, blending traditional craftsmanship with a modern design sensibility. Molly’s work is inspired by the stories and emotions that make each piece more than just an adornment. She aims to create timeless symbols of love and celebration.
Her pieces have been featured in local and international exhibitions, including gallery showcases in London and participation in Jewelry Weeks worldwide. Molly’s approach focuses on the details—using symbolic elements and thoughtful craftsmanship to bring personal narratives to life.
She is dedicated to storytelling and incorporates traditional techniques alongside contemporary ideas to create deeply resonating pieces. For Molly, jewellery is not only about beauty but also about capturing the significance of cherished moments in wearable form.

Website: https://www.dearmollyart.com/ 
Instagram: https://www.instagram.com/hahaha0w0_jew/



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