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I had the pleasure of meeting Marine Billet, a distinguished French artisan and jeweler, in Paris. Known for her exquisite work with Schiparelli and as the creative force behind the INCARNEM brand, Marine has made a name for herself with her unique, sculptural pieces that adorn the body like a second skin.

In her Paris workshop, Marine takes imprints of her clients’ body parts to create personalized designs. She then moves to her Normandy workshop to craft one-of-a-kind, made-to-measure jewelry and accessories, blending artistry with craftsmanship to produce truly exceptional pieces. During our conversation, we delved into her journey, her inspirations, and the meticulous process behind her stunning creations.

Could you share how your creative journey began and what serves as your primary inspiration for your work?

I’m an architect by training, but in 2015 I decided to reorient myself towards the world of jewelry, because I’ve been passionate about vintage jewelry for a long time. I wanted to work with materials with my hands and make my own jewelry.

The notion of craftsmanship was as important to me as that of design.

My sources of inspiration are many and varied. I’m a curious person, and I like to delve into worlds far removed from jewelry for inspiration: natural sciences, medicine, religious objects…

When I’m in need of inspiration, I go for a walk. Being on the move allows me to activate my brain while letting it work freely. Otherwise, flea markets are always a good place to find objects that inspire me.

What inspired you to create jewelry of body parts fragments?

My parents are both doctors, and I think I’ve always been fascinated by the beauty and technical prowess of the human body. As a child, I loved leafing through their medical books and studying everything under the microscope. I love the beauty of the invisible, which I reveal through metal (especially the appearance of skin) and through the hyper-faithful technique of casting.

You’ve been collaborating with Schiaparelli to create renowned haute couture pieces. Could you describe your creative process when working with Schiaparelli?

In the context of my work with Schiaparelli, I’m just a “fabricator”, I receive the designer’s drawings which I have to analyze in order to anticipate the construction of the jewel, but which I also sometimes have to interpret with my soul and my artistic sensibility. I first work on a small scale model to validate a texture, a shape, etc. with the designer, then I move on to manufacture in the workshop.

 

 

 

 

 

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A post shared by Billet marine (@ateliermarinebillet)

 

 

 

 

 

 

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A post shared by Billet marine (@ateliermarinebillet)

The whole word was wowed with the necklace featuring gilded brass in the shape of lungs, adorned with rhinestone-studded bronchioles. How long did it take you to create the famous “human lungs” piece for Bella Hadid for Schiaparelli’s Haute Couture Autumn/Winter 2021/2022 collection? And what inspired it?

For the lung project, I was lucky enough to be helped by two interns. With 3 people, we had to work for 6 full days, but if I’d had to do it on my own, I’d have needed 3 weeks. Unfortunately, I only had two weeks before the show!

I looked at a lot of medical books to understand the structure of the lung, which is simply that of an inverted tree, or close to a root system. So I went into the forest to collect roots to analyze the differences in size and connections that make the whole so rich and delicate.

 

 

 

 

 

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Among all the projects and jewelry pieces you’ve created, which is your favorite and why?

Recently I created nail extensions with pieces of bramble molded on them. I really like this jewel because it has an unconventional wear, and above all, I created it without any order in order to offer it to a music band I really like, who decided to wear it in their video (ascendant  vierge : “ce monde où tu n’existes pas”). I was very proud that they liked my creation.

What are you currently working on? Do you have any major upcoming projects or new collections in preparation?

I’m very excited about my brand’s one-year anniversary next October. I’d love to be able to present all the collections I’ve created over the past 5 years in a beautiful Parisian setting.

Your jewelry is quite unique, featuring various body parts and elements, from noses, eyes, fingers, toes, and ears to lungs and even jewelry corsets. Considering this, how would you describe the person who wears your creations?

The people who wear my creations have a really varied profile. There are people who love and take total responsibility for their bodies, while others will buy this type of jewelry to learn to love it better. But I know that the idea of armor often comes up in their discourse, so I imagine they must feel protected or stronger by wearing the jewel.

 

 

 

 

 

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Are you wearing your own jewelry? Perhaps pieces that reflect the impressions of your favorite people?

My left hand is totally dedicated to my own jewelry (the armor finger and the mouth ring museum of modern art), which I wear constantly. I keep my right hand for the other jewelers I love.

With so many jewelry brands on the market today, what do you believe is the future of jewelry as an art form?

I think that with the profusion of designers starting up in the jewelry business, offering handmade jewelry that has a story behind it and is custom-made is still the way to make a living from your work. I’m not looking to flood the market with my jewelry, but on the contrary to create reasoned jewelry, little works of art to be worn and kept for a lifetime.

The complexities of crafting such unique jewelry can be difficult for those unfamiliar with the intricacies of the process. What is the most challenging aspect of the process, and what is your favorite part of it?

The most difficult aspect is the jewel’s morphology and comfort. To be worn every day, it has to fit the part of the body very well; if a piece of jewelry isn’t comfortable, it won’t be worn.

My favorite part is when I make the mold with the person, it’s a very intimate moment and an opportunity to meet some incredible people.

For long-distance casting, I love receiving the mold in the mail without knowing the person. It’s like discovering them through a small detail.

 

 

 

 

 

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Is there an artisan in another industry whom you admire, follow, and would like to support?

I love Romie Objetti woodwork, she is an amazing girl who turns wood into utilitarian objects or sculpture.

 

 

 

 

 

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How did it feel to see your pieces showcased on famous individuals, in Haute Couture shows, and in museums, while you, as the artisan, remained in the shadow? Are you ready now to became a brand on your own?

As a fashion jewelry prototypist, I was always aware that I would be working in the shadows, and that’s not really a problem for me. I am part of a system of many people who allow a parade to be a success or not. This is what makes haute couture beautiful: the limitless investment of all these people.

Alongside this work I have always continued to create my own jewelry. So I don’t have the impression that my brand is recent, in my head it is already 6 years old but has been officially visible for a short time.

Have you ever received an order for a body part that you felt uncomfortable creating and ultimately rejected?

I have never had a body part cast that made me uncomfortable. As long as the person and I trust each other, I have no problem. Not long ago, I made a piece of jewelry for a person whose finger had  two phalanges amputated. I liked this project which had a real therapeutic aspect.