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it is always a pleasure but not an easy task to choose one ring for the Bague Extraordinaire Award. there were 20 presenting artists who exhibited their work in Encoded Bodies, part of Code & Craft, the Cluster Craft showcase in November 2025, directed by Ema Marinova and curated by Valeria Del Vacchio. after careful consideration, i chose abigail’s ring as it contained the key points that i believe make up what a Bague Extraordinaire should have: uniqueness, creativity, beauty, and of course, that certain ‘je ne sais quoi’ aspect that makes me look twice. in this case, the mix of mechanical + organic details was a defining moment, as was the sense of movement and transformation within the piece. i love how abigail brings together the old and the new, creating something that feels both rooted in tradition and wonderfully futuristic. about the artist thu huong nguyen, aka abigail, is a contemporary jeweler, metalsmith, and illustrator currently based in hanoi, vietnam. after graduating with a bachelor of interior design (honours) from RMIT university in 2022, thu huong traveled to adelaide to pursue a master of design (contemporary art) at the university of adelaide. her work revolves around the use of industrial mechanics and movement to explore themes of technology, body dysmorphia, nostalgia, and the social and economic changes taking place in her country and in contemporary society. she is particularly interested in mechanizing organic forms (including the human body, animals, and plants) to reflect on the rapid encroachment of technology on human evolution, cultural heritage, and social values. by merging the old with the new, thu huong seeks to express both her desire to preserve vietnam's traditional values and her willingness to embrace the unpredictable future of an ever-changing world. process my process begins with observing and documenting everything around me, especially in my hometown of hanoi, vietnam. the city is in the midst of an industrial and technological revolution. everywhere, there are construction sites and machines building, repairing, or transforming something. in these machines, i see a beautiful simplicity that is easy to understand. life has always felt like a complex equation to me, and the only way i can simplify it is by turning it into a mechanical system. tactile movement plays a major role in my work, allowing each piece to open, close, collapse, unfold, and transform into different forms. by inviting people to interact with these movements, i hope to create a sense of curiosity and fascination. my interest in mechanics began during my interior design degree. at the time, i sketched machines and collected instruction manuals from my uncle, who is a mechanic. i experimented with combining different mechanical components to create opening and closing mechanisms. however, it wasn't until i met the wonderful jeweler katie collins, a lecturer at RMIT, and discovered her practice that i began to imagine turning machine mechanics into wearable objects. i started modeling my designs in 3d, then hand-cutting, soldering, and casting the pieces together to create new forms of machines. my work is now moving toward combining mechanical structures with organic and abstract forms, particularly the human body. i am interested in how we might transform in the future. this new direction will be presented in two exhibitions at nexus gallery and pop gallery in adelaide, australia, on september 30. about apollo and daphne (winning ring) apollo and daphne is a very important work for me because it was the first sculpture ring i ever made. at the time, i was looking for inspiration for how to mechanize organic forms when i came across an art book called baroque. i was immediately drawn to bernini's sculpture of apollo chasing daphne as she transforms into a laurel tree. the beauty of the white marble, together with the story of control, transformation, and the fight for freedom, stayed with me. in my version, daphne is represented by white marble and the laurel tree: elegant and growing upward, but still trying to break free. apollo is represented by yellow brass: strong, solid, and impossible to ignore. even the opening and closing movement of the ring reflects daphne's struggle to escape his grip. trivia my studio's name - hopo - simply means “hot pot studio.” i named it after my mum's hot pot restaurant. it was the place that raised me and made it possible for me to go to art school. without my mum and that restaurant, i don't think i would have become an artist or a jeweler. here are a few more pieces from abigail's body of work: @hopo_studio

i am pleased to introduce the work of young french jeweller ulysse thiebaux: Brut et Precieux. his contemporary rings are defined by richly textured surfaces, organic forms and a distinctly sculptural quality, resulting in pieces with an intriguing tactile presence. i rather enjoy the manner in which his pieces are presented "floating" on his instagram page. it gives it all an ethereal atmosphere, much in line with his particular style, brut and precieux! BRUT ET PRECIEUX - ulysse thiebaux I trained as a boilermaker with the Compagnons du Devoir, where I learned to work material in a direct way: bending, welding, shaping metal without shortcuts. The workshop was also a very physical environment — the smell of heated steel, welding fumes, the grinding wheel screaming, hands blackened at the end of the day. This experience was fundamental. It gave me a tangible understanding of material, but more importantly, the feeling that anything could be made. That creation is not an abstract idea, but a concrete ability. I later stepped away from that environment to develop a more personal approach. Jewelry naturally became my medium, more intimate, more demanding, where every detail matters. The scale changes, but the relationship to the gesture remains the same. In my studio, the micromotor runs in the background, and the light is neutral, around 5400 Kelvin, the same temperature used in gemology, as it preserves the true color of the stones. I’m drawn to stones with inclusions; they carry a depth and character that flawless, high-priced stones often lack. My process does not begin with a fixed drawing. It develops through a constant back-and-forth between intuition and reaction to the material. A stone can trigger a piece, an accidental texture can define a form. I give space to the unexpected: irregularities from casting are not systematically corrected — they become points of departure. There is a deliberate element of improvisation. I work in particular with Delft clay casting, a direct and demanding process that produces raw textures and sometimes unpredictable forms. The moment of casting is always a threshold , waiting, heat, then discovery. Nothing is fully guaranteed. This relationship to unpredictability interests me; it creates a tension between control and what escapes it. The piece is not about perfect mastery, but about finding balance. My influences are diffuse: organic forms, architecture, ancient motifs, mythological figures. Certain elements recur — spirals, faces, almost archaic volumes. These references are not illustrative; they act more as underlying structures or resonances. I deliberately distance myself from standardized jewelry — overly polished, overly symmetrical, often designed as disposable objects. I aim instead to create pieces with presence and density. Weight, texture, and how the piece evolves over time are essential. A matte surface, for instance, retains its character far better than a polished finish that gradually fades. Each piece is unique. It becomes a way of expressing a sensitivity to singular objects — pieces that cannot be found elsewhere. I position myself between craftsmanship and an artistic approach. The gesture remains central, but the intention goes beyond fabrication. What I seek is to create objects that endure — both through their material and through the experience they convey. @brutetprecieux

fernanda and i met virtually through another incredible artist, isabella blanco, a little over a year ago. her work quickly caught my eye (no pun intended!), and even though she doesn’t make rings at the moment, she has promised me that she will one day! as an art lover and a strong believer in repurposing objects from the past, her pieces immediately spoke to me. she is also funny, outspoken, sweet, extremely loyal, and a fierce mama bear. it is always a pleasure to talk to her and share the good, the bad, and the ugly. i cannot wait to meet her in person soon. this is fernanda’s story. enjoy! FERNANDA SOZZI i was born in Guarulhos, São Paulo, and my mother was one of the people most responsible for my encounter with art. she was an art teacher and, from an early age, taught me to draw what i felt before i even understood what it meant to create. perhaps that was where my relationship with art began: not as an attempt to reproduce the world, but as a way of interpreting it. i was not a child with many friendships, and i carried none of them from school into university. my path was built through encounters with people who arrived, stayed for a while, and somehow left something of themselves in me. at university, where i studied business administration at Mackenzie in São Paulo, i met people with different personalities, stories, and ways of seeing the world. these encounters taught me that sometimes there are no words capable of explaining what we feel. sometimes, a look can translate what we cannot say. the pieces featuring brown eyes are a reflection of those people who did not know how to speak, but knew how to be transparent through the way they looked at the world. we all carry a singular way of interpreting reality, and this perspective can transform our relationship with things, with others, and with ourselves. perhaps creating is precisely that: gathering fragments with gold, as if transforming what was broken until something unique emerges. my artistic identity was born from this movement of welcoming what has been broken, reorganizing its parts, and revealing a form that did not exist before. my creative process begins with the search for objects that carry an emotional identity: old tableware, forgotten plates, and fragments of vintage porcelain marked by time and invisible stories. in the studio, i bring these memories together through mixed techniques, combining broken fragments and whole plates with metal, hand-painted eyes, and surrealist elements. i do not create despite the fragments, but because of them. i preserve the marks they carry and allow them to become part of something new. by transforming objects from the past into jewelry and conceptual sculptures, i give discarded objects another possibility of existence. for me, there is no more profound form of expression than transforming these fragments into pieces that can be carried with us, wherever we go. @fernandasozziatelier

martina and i missed meeting each other in person by only a few hours last march in paris. as part of the jewelry cast, a group of young and up-and-coming designers established by darren hildrow, she was showing at nouvelle box, while i was a guest of the jewelry show. we have been in contact for the past three years, as i have shared her unique and fun work a few times, so it was such a pity to miss each other! but since we are, in fact, already connected, it felt only natural to invite her to tell her story here. i must say that although i love her pieces, the lips ring really tickled my fancy, along with the astroshroom collection. her imagination is so wonderfully whimsical, sometimes candy-like, sometimes almost fairy-tale-like. it is such a joy to share her impressive story here today. MARTINA KOCIANOVA I grew up in Slovakia and started making jewelry when I was around eleven, almost by accident. I bought one of the jewelry making sets, which inspired me to create and delve into more jewelry techniques. No one in my family worked in art or craft, so for a long-time jewelry didn’t feel like a real career path. I somehow convinced my family to let me attend an arts high school, where days were spent drawing anatomy for hours at a time. Around then I gained access to a small jewelry studio in the city and started experimenting with silver, building a portfolio that eventually led me to apply to universities in the UK. Getting into Central Saint Martins, completely changed things for me. The moment I visited, I knew it was the right place. I had already been fascinated by mushrooms since childhood, especially through mushroom foraging with my mum in Slovakia, and at CSM I realized this strange obsession was actually something unique to hold onto creatively. Mushrooms became a way for me to stay connected to home while living in London, but also a symbol I could build an entire visual language around. During my studies, interning with Castro Smith was incredibly formative. He and his team taught me proper jewelry making, storytelling, and what it means to build a practice from the ground up. Katharina Dettar also pushed my stone carving further, and my graduate collection ended up defining much of the aesthetic I still work with today. After CSM I studied Japanese metalsmithing in Japan, which deepened my commitment to craftsmanship and ultimately pushed me towards pursuing my own artistic practice fully. Later, becoming part of the Sarabande Foundation gave me the time and environment to properly refine my work. I became much stronger technically in stone carving and setting, but I was also influenced heavily by the art side of Sarabande, which led me to explore sculpture and mycelium more seriously alongside jewelry. It was there that I built my first commercially successful collection, and where opportunities really started opening up for me, including Sarah Burton buying several of my pieces, which felt surreal. Today my work sits somewhere between fine jewelry, talisman, and little sculpture. I carve gemstones by hand and create mushroom-inspired pieces that feel playful, magical, and emotionally charged through the crystals. For me, mushrooms represent luck, transformation, superstition, childhood memory, and connection to nature all at once. They’re like contemporary lucky charms. That idea eventually evolved into Astroshrooms, a zodiac-inspired collection where I paired each astrological sign with a mushroom based on shared visual traits, symbolism, and energy, integrating birthstones and hand-carved crystals into every piece. My goal is quite simple: I want to make mushroom heirlooms that feel alive, deeply personal, and slightly magical. i currently sell my jewelry at Dover Street Market in London and New York and also via my ESHOP and at Louisa Guiness Gallery in London. By the time this comes out, I will also be represented by Twist in USA. MARTINA KOCIANOVA photo by karina golisova THE ATELIER @martinakocianova

igor reached out to me through my website a couple of years ago. he was working with a very special material called Fordite, also known as Detroit agate, Motor City agate, or paint rock. it is formed from finely layered paint deposits from automobile factories. most of it comes from Ford plants, which is how it got its name. my father worked at Ford for quite some time so this resonated with me. Fordite is not the easiest material to work with, but igor has truly managed to tame it, creating beautiful pieces that immediately capture one’s attention. i have shared his unique work on Instagram and today I share his story. OST ARTEFACTS by Igor Korkin I grew up in Ostankino, a Moscow neighborhood dedicated to USSR space explorers; many of its streets bear the names of cosmonauts and space scientists. Later, my path took me west — first to Dublin, and eventually to Berlin, where I now live near Ostbahnhof. The name OST ARTEFACTS itself is a hidden cipher of my own geography, a thread connecting the places that shaped my vision. My background is in tech, but it was my passion for collecting wristwatches that led me to Fordite. One day I came across this material online and couldn't let it go. Fordite is an accidental byproduct of the Detroit automotive industry — during the car paint process, accidently, paint guns layer after layer left car enamel on racks and fixtures. These layers fused into a dense mass baked up to a hundred times. Layer over layer, hardened into a stone that geology could never make. The idea that paint leftovers of all things could produce something this strange and beautiful hit me immediately. I made the decision that I need to work somehow, to utilize this material and share it with people. That’s how the idea evolved and brought me here. The brand's debut collection, SAi_TRi, works with three geometric forms — square, circle, triangle — each one treating the ring as a frame and the Fordite as the canvas inside it. Every piece is cut from a different section of the material, so no two rings hold the same pattern. For me, the ring is not primarily an adornment. It's an object you choose because something in it caught you — because it says something about how you see the world without you having to explain it. It is an object that draws attention, sparks questions, and starts a conversation about who you are. Our rings are exactly conversation starters. People notice it. They ask about it. @ost.artefacts

CUPOLONE it has been over five years since i first saw - and instantly fell in love with - le sibille’s creations. it has been a true pleasure to share their unique and meticulously crafted work over the years. the craftsmanship is beyond extraordinary, as is the house’s devotion to the ancient art of goldsmithing. at the same time, each piece carries its own touch of innovation and, why not, a contemporary spirit. today, iam so very happy to share the story of le sibille, narrated by the brand’s creative director, francesca. this remarkable trio never ceases to amaze me, and i am truly proud to be in touch with them and to celebrate their exceptional work. LE SIBILLE LE SIBILLE was born in Rome and is internationally recognized for its unique work with Roman micromosaic, an ancient artisanal technique made of tiny glass tesserae assembled one by one by hand. This remains the soul of our atelier and one of the rarest artistic expressions in contemporary jewelry. But over the years our world has expanded into multiple collections and creative languages, each one exploring different materials, symbols, and forms of craftsmanship. What truly defines our work is not only a specific technique, but an approach to matter itself. We believe the role of the artisan jeweler is to transform material — whatever it may be — into something meaningful. Gold, enamel, mosaic, silver, coral, stones, or unexpected surfaces become emotional objects through human hands, intuition, and time. For us, craftsmanship is an act of transformation: giving soul, memory, and energy to materials that otherwise would remain silent. Inside our atelier, experimentation and tradition coexist continuously. Every piece is created with love, patience, and deep attention to detail. We believe this is the true formula behind beauty and lasting value: when an object carries intention, care, and humanity, people can feel it immediately. In a world dominated by industrial perfection and speed, we continue to defend the emotional power of handmade creation. Le Sibille: Antonella, Camilla and Francesca CAPITELLO WILD FLOWERS ARA PACIS MARCO GARLAND ORANGE SCRIPTORIUM @lesibille

ISFJELL RING i have been sharing capucine's outstanding work since the very beginning of my page, back in 2020. over the years, i have had the pleasure of following the remarkable evolution of her practice. she is not simply a jeweler; she is the complete package, carrying out her own research, design, drawings, and benchwork with exceptional dedication and skill. over time, we have spoken about life, travel, cats (she is a fellow cat mama, just like me), the importance of raising awareness about our environment, and, of course, rings. every award and accolade she has received has been richly deserved, and i have no doubt there are many more to come. her work is impeccable, thoughtful, and she brings to life deeply meaningful jewelry that not only captivates but also spark conversation and makes a difference. it is a true pleasure to share her story today. CAPUCINE HUGUET I am a French jewelry designer, and my work moves between science, art, and craftsmanship. My collections are like living archives of the natural world. To develop them, I conduct field research: I meet with scientists and travel to extreme places, from the North Pole to the tropical rainforest, to better understand the topics and stories I want to convey through my jewelry. From the glacial tension of my early work to the sensuality and richness of the rainforest, my aesthetic keeps evolving, but it remains rooted in deep observation and driven by curiosity. My pieces carry nature's complexity, energy, and the hidden intelligence of the living world. Each jewel tells a very specific story, whether it's about photosynthesis by plankton, Costa Rican leaf-cutter ants, or the different states of a melting iceberg. I'm drawn to creating one-of-a-kind pieces with a distinctive style, where meaning and craftsmanship carry equal weight.That craftsmanship runs through everything I make. I studied jewelry making for four years in Paris (HEJ School, with internships at Cartier and Van Cleef & Arpels), then completed an MA in Design at Central Saint Martins in London, where I first developed my ambition to use my art as a way to highlight the beauty of nature and the urgent need to protect it. This dual training lets me be both designer and jeweler: I work myself on all my prototypes and ideas, in my studio in Paris, using recycled metals and ethically sourced gemstones. What I enjoy most is the wax-carving process, it's deeply meditative, and there's nothing quite like watching a block of wax turn into a jewel.This same foundation, technical rigor paired with a scientific curiosity, is what pushes me to explore parametric, futuristic, and highly detailed approaches in my work. I see my creations as wearable works of art, designed for collectors passionate about art, design, and fine craftsmanship, and my ambition is to keep pushing the boundaries of contemporary jewelry design, offering pieces that surprise, intrigue, and inspire awe. In 2021, my first collection, Wahlenbergbreen Mementos, was awarded the Grand Prix du Jury at the Festival de Hyères — a milestone that pushed me to believe in my work and my particular approach. That recognition found an echo last September, when Melanie Grant's new book, The Jewelry Book, was released, spotlighting 300 of the most influential figures in the jewelry world. Being included among them was deeply rewarding, and it positions me clearly as the jewelry artist I aspire to be. CAPUCINE HUGUET CRISTELLARIA ECHINATA BROOCH SENDERO DE ATTA II PURA VIDA RING SENDERO DE ATTA II PURA VIDA RING OPHIDIA RING ATTA RING @capucine.h

i had the opportunity of meeting emefa in london in 2024 thanks to jet, who invited me to visit their Auric event. it was such a lovely evening, and i was immediately drawn to her statement rings: bold, organic and beautifully crafted. her pieces are clearly a labor of love, greatly inspired by her roots in ghana, her deep connection and respect to nature and, of course, her unique creativity. to me, her rings are earth’s treasures. she transforms natural forms found in nature into her own creations, refining and translating them into wearable art. they feel powerful, almost like shields for women who know what they want... and, perhaps even more importantly, what they don’t. i had the chance to try several of them on, and i can honestly say there is a shift in energy the moment you wear them. in other words, they are fabulous in that way. it’s my pleasure to share a little of emefa’s story today. if you’d like to discover more about her journey and her work, i highly recommend visiting her website. EMEFA COLE My journey into jewellery was by chance. I was on track to study forensic science when, at the very last minute, I wandered into a WH Smith and picked up a copy of Floodlight, the magazine where you could find every course available across UK universities. Flicking through it, I landed on a page for jewellery and silversmithing at the London Guildhall University. I had no idea you could study jewellery at university and it piqued my interest. Before committing to something I knew nothing about, I decided to try out a ten-week jewellery course at an adult education centre in Fulham, London. I wasn't very good at it in my opinion but I carried on. I enrolled onto the National Diploma at The London Guildhall, which later merged with North London University to become London Metropolitan University. I was based at the Sir John Cass Department of Arts, Media and Design in Aldgate East. I did an ND, then an HND, then a BA, eventually completing my studies in 2011. It was then, I always say, that the real learning began. At university, you're working to briefs, pushing yourself to the next stage. Upon leaving university, I applied for many jobs and didn't get a single response. Looking back, it was a blessing in disguise. I also no longer had access to the equipment we were so spoilt with at John Cass, so I decided instead to teach myself lost-wax casting, something I'd only briefly touched on during my studies. The ring I carved during that brief introduction to wax carving still exists to this day, it's not great, but I haven't destroyed it, which says a lot because if I don't like something I will absolutely destroy it and start again. I learned by trial and error, without tutors or fellow students to critique my work. I had to become my own worst critic, something, I'll admit, I do very well. It was during this period of solitude that I found my voice. I tuned out the outside noise, honed my skills, and worked until I was pleased with what I was making. My focus had already begun to take shape in my final year at university, with pieces inspired by what lies beneath the surface. I took that further by exploring volcanoes, what exists deep within the earth's core, how it is brought to the surface over time, and the process of erosion, how it slowly reveals things hidden from our view. That is where I go, and I try to go as deep as possible. I do not work to commission in the traditional sense; people come to me because they have seen a piece I made and want something inspired by it. From 2022 to 2025, I served as Jewellery Curator (Diaspora) at the Victoria and Albert Museum. The V&A holds what I consider to be the world's finest jewellery collection, and it was an extraordinary privilege to spend three years there, adding to it, seeking out contemporary makers from across the globe whose work was of such exceptional quality that it truly belonged within that collection. There was something interesting about that period. I had always been careful not to look too much at what other makers were doing as when you are developing your own design language, you must be mindful of what you consume. However, as a curator, looking is your entire job. You are documenting the present, which will become the history of tomorrow. So I found myself immersed in the work of some of the finest living makers, while also continuing to develop my own practice. Upon reflection, a shift in my work had already begun before I entered the museum. I still have an obsession with the uncontrollable forces of nature and what surfaces slowly over time. I am equally fascinated by humans, particularly the masks and layers of behaviour. Lately, it is my own experiences and emotions which have perhaps lain dormant that are naturally beginning to emerge through my work. I continue to create from my studio at the Goldsmiths’ Centre in Clerkenwell and I am very excited about works in progress. and here are a few of emefa's rings i tried on at Auric: @emefacolejewellery

DEW RING setenay and i first came into contact about four years ago when i shared one of her gorgeous rings. we stayed in touch on instagram over the years, and last august i shared yet another one of her pieces: a dreamy, bubbly, beautiful ring that i absolutely loved (seen above!). little did i know that only a few months later we’d actually meet at nouvelle box! she immediately recognized me, and my eyes went straight to the very ring i had admired so much. she was incredibly sweet. we spoke about her work, she showed me her pieces, and of course i tried everything on. it felt like heaven! only recently did i discover that she too has roots in sweden and previously worked in PR and communications, just like me. the world really is an oyster, and i feel incredibly privileged to meet people like setenay through this page. it’s my pleasure to share her story today, along with her unique and beautiful rings. SETENAY ORMAN I come from a background in PR and communications, so storytelling was a central part of my everyday work. But I’ve never considered myself particularly good at writing openly about my own thoughts and feelings. When I discovered jewelry-making, it became a more personal outlet — a way to process emotion and observation through form rather than words. Over time, that has naturally become the foundation of my creative process and the way I approach my collections. Since founding ORMAN in 2018, I’ve approached jewelry less as ornament and more as a way of preserving emotion in physical form. I’m drawn to pieces that hold presence quietly — sculptural yet restrained, expressive without needing to announce themselves loudly. Rather than following trends or fixed visual codes, each collection develops from its own emotional and conceptual starting point, resulting in forms that are distinct in silhouette yet connected by the same underlying sensibility. Jewelry is inherently three-dimensional, but with my pieces, that quality often becomes more pronounced. They often invite people to touch and turn them to fully understand the form. I like to play with details and angles — whether through stone setting, proportion, or structure — to create silhouettes that feel distinctive from every perspective. I was raised between Stockholm and Istanbul, and I think both cities continue to shape the way I see design. Stockholm taught me clarity, restraint, and the beauty of simplicity. Istanbul introduced me to texture, contrast, and movement. ORMAN exists somewhere between those two worlds — balancing clean architectural lines with organic forms and emotional depth. I’m generally less drawn to jewelry as mass production or trend-driven consumption. While my designs are often bold and substantial, they’re intentionally not loud or overly literal in the stories they tell. I prefer subtle references to inspiration, leaving space for the wearer to attach their own memories and meaning to a piece. The idea of an object becoming part of someone’s personal history is far more appealing to me — pieces worn daily, carrying traces of life as they evolve alongside the person wearing them. What I truly appreciate about jewelry is its permanence. Unlike many other forms of design, it moves through generations while absorbing traces of human experience. A ring or necklace can quietly witness entire chapters of a life. I think that’s why I continue to return to this medium — it allows emotion, memory, and identity to take physical form in a way that feels both intimate and enduring. ANCHOR DIAMOND TRIPLE BAND RING DEW BLUE TOPAZ RING ALL WET CALM SEAS SAPPHIRE RING ALL WET WAVE BREAK CHAMPAGNE DIAMOND RING ORMAN AFLOAT ANCHOR AQUAMARINE WIDE RING SETENAY ORMAN @atelierorman

MAAR SPIKED RING i love it when i meet someone and we immediately click. not necessarily in person, either. these days, with all the ways we can connect, it is entirely possible to build a meaningful friendship without ever meeting face to face. of course, that is always the cherry on top, but sometimes it simply isn’t possible, so we continue nurturing these digital friendships, which can be surprisingly fulfilling. i had the pleasure of meeting hugo a little over a year ago, and we have stayed in touch ever since. beyond our shared love of jewelry (yes, rings), we speak portuguese, exchange thoughts about life, people, artists, and all the things that move us. dividing his time between london and lisbon, hugo brings a sense of elegance and curiosity to everything he does. it is my pleasure to share his story and his impeccable work. he is a gentleman, a generous soul, and someone i am very glad to have met. i hope we finally manage that lunch in lisbon one of these days. HUGO CAHILL My entry into jewelry came through proximity to making. My grandfather and uncle were goldsmiths, and my father was a hand engraver. I grew up around workshops, drawings, tools, and the strange seriousness that surrounds objects made by hand. Long before I understood what I wanted to do, I was already observing how things were constructed. Years later, after studying Art across Portugal and elsewhere in Europe, I moved to London and worked across different ateliers in costume and fine jewelry. It was an important period for me, not only technically, but personally. I realized I was not searching for a place within someone else’s vision, but for the freedom to construct one of my own. The House began in 2020. Most pieces begin quite instinctively, usually with an idea or form that refuses to leave my mind. From there, the structure, proportion, and materials gradually reveal themselves. I often return to the same obsessions: celestial bodies, architecture, geological formations, couture, tension, light moving through stone. At the end, though, everything settles on the body. That is where jewelry finally becomes complete. AQUARELLE ELLIPSE RING EPHYRA RING HAUMEA CHROMA RING OUMUAMUA RING @hugocahilljewels