About

Botanically Inspired Fine Jewellery

There is a moment that I have in life, where the noise and the pace and the complexity makes me sit and draw – and I draw plants.

I watched my Grandmother paint bluebell woods and was taught that design and the core of that process drawing, was a good deed in the chaos of the world. Drawing with pen and drawing with gold hold the same magic for both heart, soul and intellect. As my work has developed over the years the botanical influence has literally grown – from my hammered petals to my large flower brooch to the commitment ring and now the flower setting and my botanical drawings. I worked with vintage jewellery at the start of my career and those swirling, weaving motifs have always drawn my eye. I now specialise in the Victorian Flower Setting, where the metal is pulled over the stone to create tiny flower shapes, it’s a setting that has been handed through four sets of hands from the original Victorian craftsmen. You are commissioning tiny pieces of our making and design history to wear, as a new heirloom, for the flower setting to been seen and admired by the fifth and sixth generations. These pieces are designed and made by the best craftsmen in the country at Goldsmiths Centre and unlike the Victorian Flower Setting they are designed by a woman and one with children. Jewellery shows the passage of time, just four generations ago I would not have been able to design jewellery, so the flower setting has meaning as well as beauty.

My work and jewellery bench are based at The Goldsmiths Centre. I make two days per week at the bench, pictured below, in this busy workshop at the heart of the fine jewellery world. The rest of the week I paint for Elizabeth Bradley, teach at Halley House School and tutor children to draw.

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