Collections


1990
A line can be defined as an infinite sequence of points. And movement created by the pieces of jewellery in this collection reflects this phenomenon when they swathe the skin which wears them – jewellery with smooth, clean lines whose only complexity is to create geometric graphics on the body of whoever chooses to display their various delightful permutations.
1998
Iconic composer and author Paul Bowles referred to Chus Burés’ Vol de Nuit Collection as follows: "Chus Burés is an established artist and so are his ideas. His work has such impact because it derives from a blend of berber jewellery and contemporary language”. Vol de Nuit or “night flight” conveys Moroccan nights and silver atomic shapes.
2000
Buttons are exalted in this collection. These simple features of everyday wear are transformed into microcosmic jewellery – pieces of gold and silver which are enhanced with silk to create a futuristic effect – a meeting of the mundane and the elegant.
1984
"Chus Burés’ jewellery has a cannibalistic charm about it and the phosphorus in his bones flashes like gold in hidden treasure". Such was poet María Vela Zanetti’s description of this original collection. The collection, a tribute to artist Meret Oppenheim, features bone-shaped jewellery, which in a macabre yet alluring way transports us to a world of delightful primitivism.  
2000
The ancient kingdom of Siam inspired designer Chus Burés to experiment with a blend of ancient artisan techniques for his latest collection. He applies the very essence of Thai tradition to the craftsmanship of precious metals using the yan-lipao technique and also techniques associated with the Chiang Mai master potters, the manual looms which produce Sukhothai silk and silverware from Lanna Thai
2000
This artisan-created, crocheted garment made of noble metals was sourced in Thailand. Burés has used crocheting to create unique designs which are reminiscent of medieval chainmail or spirals which emphasise the verticality of the arms.
1997
Twenty four carats is the magic number which relates to the malleability of the gold Chus Burés has used to create this collection. The pieces of jewellery are not mere spirals and shapes which go around the neck, fingers or arms, but gold shapes which have been hewed with an ancient hammer.
2000
Many cultures use the potato as a prime ingredient. Chus Burés, however, has transformed the potato into gold or silver body adornments featuring hand-carved red agates. Necklaces, rings, earrings made in organic shapes with red, seductive eyes
1985
Recycling was a self-imposed creative norm at the start of Chus Burés’ career. His first collection of silver jewellery, Madrid, was created in 1984, and features a collection of iconic pieces which have been in vogue for the last thirty years - the most outstanding of which is the Matador hairpin which was designed for the acclaimed Pedro Almodóvar film of the same name.
2000
The circle is the leitmotiv of this collection which was designed by Chus Burés in Thailand. By simply linking a series of circles, Burés has created quirky, wrap-around, geometric pieces of silver jewellery such as earrings, rings and bracelets which are reminiscent of beautiful sets of fish scales or even fish which have come out of the water.  
1990
These aren’t plates or knives, and they are not spoons or forks either. And this isn’t a complete set of crockery or silverware. It is in fact tableware which goes around the neck and wrists in the form of bracelets, necklaces, cufflinks and other adornments which gleam in a veritable banquet for the body which provides a creative forum for the goldsmith and gourmet chef alike.
1986
Dragon is the name of this jewellery collection which was inspired by the legend of Saint George and the Dragon. The dragon’s backbone is pierced by a spear wielded bravely by the saint… Silver jewellery in constant revolution like suns in an infinite universe.  
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