L’OBJET x Jessica McCormack Turns Jewelry Into Objects for the Home

Shells, spirals, and ropes are familiar territory for objects inspired by the sea. In L’OBJET x Jessica McCormack, the first collaboration between the luxury brand and the London-based jewelry designer, those motifs are treated less as surface decoration and more as building blocks, translating the precision of fine jewelry into objects for the table and home.

“The danger with shells and spirals is that they can tip into souvenir territory very quickly,” says L’OBJET founder and creative director Elad Yifrach. “What kept us honest was treating them as structure rather than ornament.”

That distinction appears across champagne and ice buckets, platters, bowls, mirrors, a sculptural caviar dish, and L’OBJET’s first cutlery. Rather than applying marine motifs to conventional objects, the designers worked them into the forms themselves: a shell becomes a dish, while a spiral can support a mirror.

“When a form is doing something functional, it earns its place,” Yifrach says. “That’s always been true across L’OBJET’s work, and here, with Jessica, it meant the sea stayed a sensibility rather than a theme.”

The sea was a shared reference point for the two designers. McCormack previously explored the subject in her 2023 Beaches jewelry collection, while marine references have long existed within L’OBJET’s own design language. But Yifrach says the collaboration began with something less tangible than a single motif.

A gold seashell object displayed as a sculptural table piece.

“It started with a feeling, not a sketch—the intimacy and precision that jewelry carries, and how rarely we let objects for the home hold that same quality,” he explains.

One of the earliest ideas was a twisted corde motif, borrowed from fine jewelry-making and used as a visual thread across objects with different functions. Inspired by the way a chain, twist, or clasp creates a continuous line through a piece of jewelry, the detail traces the edge of a platter or forms the handle of an ice bucket.

Breakfast objects arranged with fruit, pastries, and tableware.

Materials reinforce the connection to jewelry. Fine bisque porcelain is paired with hand-painted 24K gold, while hand-sculpting and metalwork bring a level of intricacy more commonly associated with something worn on the body than placed on a dining table.

The most direct translation comes in the cutlery, a new category for L’OBJET. For Yifrach, working with a jewelry designer made the move especially fitting.

A champagne bucket with gold rope detailing beside upholstered seating.

“I didn’t want our first set to be an obvious one—I wanted it to feel like jewelry you’d pick up at the table,” he says. “Flatware is essentially wearable-scale object design: It has to sit beautifully in the hand, catch light the way a ring does, hold detail at a very small size.”

The flatware handles combine several recurring ideas, moving from corde to shell before twisting into a spiral at the tip. It is in details like these that the collaboration moves beyond simply enlarging McCormack’s jewelry motifs for the home.

A gold picture frame displayed upright on a neutral pedestal.

“Jewelry has always been a source of inspiration for me—its intimacy, its precision,” Yifrach says. “With Jessica, we wanted to bring that sensibility into the home, to create objects that feel both personal and essential.”

For McCormack, that shift offered a chance to bring familiar ideas into a different context. “This collection brings together some of my favorite design motifs and perfectly translates the intimacy and craftsmanship of jewelry into everyday pieces for the home,” she says.

Across the collection, the scale may change—from a piece of cutlery held between the fingers to a champagne bucket placed at the center of a table—but the attention remains on the details, allowing shells, spirals, and ropes to become more than familiar symbols of the sea.

A shell-shaped white vase held with flowers.

Design reading

For ArchUp, the collection is most interesting where it treats the domestic object as a small architectural assembly. The handle, rim, shell, and spiral are not only decorative signs; they organize touch, scale, reflection, and ritual. That makes the work relevant to broader questions of design, interior design, and how craft moves between the body, the table, and the room.