Individually yours
Individually yours
My jewellery grows from a lifelong fascination with the natural world.
I trained first as an ecologist and later as a biologist and veterinary parasitologist. For much of my life I have worked with animals, farmed and studied the extraordinarily intricate structures and processes that are easily overlooked in nature.
That way of looking has never left me.
My workshop sits close to the Jurassic Coast, where the cliffs reveal millions of years of natural history. On our own land, another history occasionally emerges from beneath the soil. Detectorists have uncovered objects spanning centuries — including gold coins from the reign of Charles II — precious fragments connecting the land to the people who lived here before us.
I find something compelling in these objects and traces of the past.
Buried, weathered and altered, edges soften and surfaces erode. Perfect symmetry disappears. Yet what survives can become more intriguing because of the passage of time.
That idea increasingly finds its way into my jewellery.
I create sculptural pieces in precious metals, diamonds and gemstones, exploring natural forms, irregular forms, texture and the beauty that can emerge through imperfection. Some pieces begin with something recognisable from the natural world, fungi, lichen or insects; others with landscape, geology, architecture or an object unearthed from the soil.
I don't try to reproduce these forms literally. I am interested in what remains when they are distilled into form, surface and line.
Perhaps that comes from a lifetime spent looking closely.
My jewellery is contemporary, but I want it to feel as though it has a history — something discovered rather than manufactured; something that might be treasured now, buried, found and treasured again long after us.
I’m delighted to introduce you to my design for Christmas 2026. This year has been full of memory making and has been strongly influenced by a visit to Japan. The quiet beauty, symmetry, architectural elegance and captivating good manners were striking.
The Spire pendant began as a festive idea, gradually simplified into a more sculptural form and shaped by other influences along the way.
Its upper curves recall the silhouette of traditional Japanese dress — the two rounded forms suggesting the generous sleeves of a kimono, with arms gently folded. Below, the elongated triangle echoes the poised, tapering line of a ceremonial kimono.
There is a quiet symmetry to the finished piece, giving the impression of a figure standing calmly and composed, facing forward.
A diamond is set at the centre of the tree as a small symbol of hope.
The name of the piece — The Spire — has very different origins.
I grew up in Coventry, a city whose skyline and history are defined by its famous three spires.
St Michael’s, the old Cathedral, was largely destroyed during the Blitz, yet its medieval spire and the shell of the building survived. Close beside it stands the 12th-century Holy Trinity Church, its historic tower and spire still intact today. The third, Greyfriars Spire, dates from the medieval Franciscan friary. Following the dissolution of the monasteries under Henry VIII, much of the friary disappeared, but its tower and slender spire survived and still stand, almost in isolation, in the heart of the city.
For those of us who grew up in Coventry, these spires are more than landmarks. They have witnessed destruction and extraordinary change, yet together they continue to define the city’s skyline.
That idea seemed to belong naturally to this piece: hope through adversity, calm amid chaos, and strength expressed through simplicity.
The Spire became the inevitable name.
Each Spire will be made individually to order and will be available for Christmas gifting. It can be created in recycled sterling silver or gold, with a diamond set at its centre, and will be hallmarked by the Goldsmiths’ Assay Office in London.
Feel free to send me a message
