Aida Bergsen considers design as a sensory-aesthetic model of communication. “Body sculptures” complements the bodies that carry them with their movement, form and warmth. In the production of meaning and emotion, it is a case of elegant accordance between nature and humankind. When a heartfelt and sincere communion, such as a profound and pleasant conversation, with its spontaneity and mutuality, is rendered possible, both the body and the jewellery are complemented upon the body. With the phrase “living ornaments”, Bergsen underlines just that: “Creativity endures even after the design is out of my hands. Not only that your personality is made manifest in these designs, but it also enters a process with them, perhaps becoming a means of discovery of your self, your body and your world of emotions.”


What makes Aida Bergsen’s designs unique is that they’re the product of a nestling of the experience she accumulated in Europe and America with a natural culture. In her quest from technique and form, she feeds from a geography where jewel crafting has existed for centuries, from traditional workshops in İstanbul’s Grand Bazaar. Her designs carry traces from İstanbul, where she lives and creates and from the multi-layered cultural texture from which originates. She succeeds in channelling her style, which consisting of the amalgamation of the East and the West, of arts and crafts, of tradition and contemporaneity, of the local and the universal. Having achieved her personal form of expression through extrapolation from the traditional, Aida Bergsen’s design combines the collective memory and individual imagination in a melting pot.


Each of Aida Bergsen’s jewels has a story of their own. Each is the protagonist of universal and immortal stories that have been told in different tongues for centuries. Bronze, gold, silver, valuable, semi-valuable or “valueless” gems speak out. Wings, fantastical flora, metaphysical worlds, mythological animals and all those myths seeping through the collective memory and bounding across cultural borders prove to be a source of infinite wealth for Aida Bergsen. Symbols and images of creation myths that stalk history and geography like a phantom are brimming above the skin from the depths of human mind.


In her designs, Aida Bergsen abandons the traditional western dichotomies of light and shade, line and colour, figure and background. The harmony of light and dark feeds from sensation of a holistic and dynamic universe consisting of a co-existing, mutually engendering and dissolving soil, humans, plants and animals. Instead of extracting form from the light and the void, Bergsen restores the void its value. She heralds existence to absence. Through her jewellery, Bergsen does not imitate nature but points at the material existence of nature. She does not expose the body but renders it visible. These are not merely ostentatious, glittering and costly status symbols that satiate a visual lust. Similar to icons that respond to spiritual needs, they possess meanings in the shadowy realm that they reveal beyond what is visible.


Aida Bergsen has mastered the art of knowing and loving the colour, the taste, and the smell of metal and stone and of finding the most suitable tone for them. She still pursues the secret of touching the body with nature’s hands. Her designs intervene life like the ripples around a pebble, thrown into a dormant lake – elegant and daring.


Aida Bergsen’s designs still meet audiences in various international fairs and exhibitions as well as Prêt à Porter-Atmosphère, Eclat de Mode Bijorhca, Première Classe Jardin Des Tuileries, and Couture Las Vegas. They travel the world on bodies.