FROM NATURE TO JEWELRY: THE INNOVATIVE DESIGN OF STUDIO AGAEA

Studio Agaea has carved a unique niche, melding the beauty of nature with the precision of original techniques. Spearheaded by the visionary Australian-British designer Colombia Everett, the studio’s creations are not merely adornments but heartfelt narratives that beckon the wearer to connect deeply with the journey behind each piece. Studio Agaea is not just about the aesthetic appeal of its silver jewelry; it’s about establishing a profound spiritual connection between the jewelry and its wearer, fostering a bond that resonates on a personal level.

In our captivating interview with Colombia Everett, we explore the methodologies behind her innovative design processes. She begins by detailing her approach to CAD modeling and 3D printing—tools that enhance her creative expression and allow her to craft geometric forms inspired by nature. “I use Blender3D as my main CAD software because I appreciate the intuitive nature of the 3D mesh,” she explains. “When designing a ring, I typically start with a cylinder and build my mesh from there, pushing and pulling the varying points to align with my vision.” This manipulation of 3D mesh files mirrors the physical qualities of malleable materials like clay, enabling her to translate abstract inspirations into tangible, intricate designs.

Colombia also integrates traditional techniques like lost-wax sculpting into her modern practices, a combination that enriches the textural qualities of her pieces. “Casting is an amazing technique; it captures textures in a way that allows a flat 3D printed object to come alive, enhancing the contours and shadows that I work so hard to create.” This fusion of methodologies is what distinguishes Studio Agaea, inviting each wearer to experience the diverse and tactile essence of her creations. Texture stands as a cornerstone of Colombia’s design philosophy, evident in her various collections. “Each collection explores different ways to build texture,” she shares, highlighting the significance of her signature collection, Naiads, which utilizes 3D printing to create its distinct topographical texture. In another collection, Branch, Colombia draws inspiration from nature by using clay impressions, creating intricate designs that echo the forms of bark and branches. Her dedication to tactile exploration reveals her intent to connect viewers to their surroundings and the narratives within each piece.

Sustainability is another vital theme in Colombia’s work. “My background in material design makes material selection essential,” she states, emphasizing that all her silver is recycled, sourced from sustainable providers. This commitment to eco-friendly practices ensures that her designs not only exhibit beauty but also embody a sense of responsibility, aligning with her belief that jewelry should resonate with the wearer’s values and ethics. As we explore the future of jewelry making, Colombia acknowledges the evolving landscape shaped by technology. “Designers’ skill sets will adapt, fostering more multi-disciplinary creators who can explore CAD and fabrication techniques alongside traditional craftsmanship,” she notes. This balance provides artisans unique opportunities for creative exploration while raising important considerations around intellectual property in the fast-evolving digital realm. The designer crafts with an intuitive approach that intertwines digital and traditional techniques, ensuring that each piece resonates with individuality and spirit. “The identity of each piece comes from the method I choose,” she explains, highlighting how her fluid designs often arise from 3D printing, while her geometric shapes are born from wax carving—each approach revealing different facets of her creativity.

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In this beautiful interview with Colombia Everett, we learnt that Studio Agaea is where each piece of jewelry tells a story, echoing the whispers of nature, the intricacies of creativity, and the intimate connections formed between the jewelry and those who wear it. Join us as we travel into her process, inspirations, and the profound messages encapsulated within her exquisite collections, celebrating a brand that invites both aesthetic appreciation and meaningful engagement:

Could you detail the specific methodologies involved in your CAD modelling and 3D printing processes? How do these technologies enhance your creative expression when designing geometric forms inspired by nature?

I use Blender3D as my main CAD software of choice. I use this particular software because I like the intuitive nature of the 3D mesh. When designing a ring typically start with a cylinder, as this is the most basic form. From here I build up my mesh, pushing and pulling the varying points, depending on the complexity and detail of the piece the density of the mesh points vary. When designing I am taking into account the overall form of the piece and the dimension, thinking about how the texture develops, where will the hills and valleys be, determining the topographical contours. In slicer I determine the print metrics; density of print, line height, support systems etc. This allows me to control how it is printed. These technologies are my creative expression. I take inspiration from nature and abstract it. I see manipulating a 3D mesh file not too dissimilar to that of a physical malleable material like clay. It is about how one translates it to a physical object that differs. 3D print creates that additional textural element that to me is both incredibly organic but also industrial as it is a tell tell sign something is 3D printed.

Lost-wax sculpting is a traditional technique esteemed in jewellery making. Can you explain how you integrate this technique with your modern practices? How does this fusion impact the textural qualities and overall aesthetic of your pieces?

Casters don’t like me. Everytime I take my PLA printed pieces to get cast it is always a battle of whether it can be cast, I often have to remind them I have done this hundreds of times. Casting is an amazing technique. It captures everything, making it a perfect application for working with texture. It allows me to take a dull 3D printed object and brings it to life, the topographical texture creating contours and beautiful shadows.

Texture seems to be a cornerstone of your design philosophy. How do you approach the tactile aspect of jewellery design, and what specific techniques do you use to achieve the intricate textures that define your collections?

Each collection I look at different ways to build texture. Naiads, our signature collection, utilises 3D print texture to create its topographical texture, that has gone on to define our brand. One of our other collections, Branch, uses clay to create impressions of textures, that we then pour wax on to create wax casts of the jewellery. Harvest is made up of one off hand carved wax pieces, I build and create contrasting textures through varying jewellery carving tools and misalliance objects.

In the context of your design process, how do you utilize clay impressions during the initial phases of creation? What advantages do these provide in terms of form and texture, and can you share any memorable experiences you’ve had while working with this medium?

When designing using clay impressions it is a completely different approach to that of CAD, it is a textural focus. I like finding interesting textures from nature; bark, twigs or pavement, lace. These textured clay sheets can then be transformed to make rings, earrings, pendants, bangles. Wax is poured inside the clay molds creating the waxpiece for casting. I always love seeing the transformation of a piece. Creating Branch the first time was amazing. Seeing this man-made interpretation of bark built from layers of bark, twigs and branches becoming this silver ring with this fake skin of a tree was so exciting.

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How do you select the materials for your jewellery pieces, especially when balancing the emphasis on sustainability with the aesthetic and functional demands of the designs? Do you have a specific criteria for sourcing your silver?

My background is in material design, making material selection core to my design process. We ensure that all our silver is recycled sterling silver. We only work with casters that use recycled metals. As both designer and maker, I use old scraps from casts and filings, and previous pieces I’ve decided to discontinue ensuring that there is no waste within our production chain. Our printed prototypes produce minimal waste, due to the way I structure our prints and support systems. We take into account material selection and waste production at all points in our design process from prototypes, wax casts and final pieces. As our brand expands, we are looking to use other sustainable metals, as well as keeping sustainability at the forefront as we look to introduce stones into our work. Sustainability should be in the foundation of all brands and as a small brand we can ensure that we are properly sourcing materials, working with sustainable companies and using recycled packaging.

Given the contemporary advancements in technology, how do you foresee the future of jewellery making evolving, particularly concerning the balance between skilled craftsmanship and technological innovation? What do you think the implications are for artisanship in the industry?

Designers’ skill set will adapt, breeding more multi-dispinary designers that explore cross-dispinary design fields. It will provide artisans a unique opportunity to explore CAD, whether they themselves use this software and fabrication techniques or working with CAD, 3D scanning and printing specialists in a similar manner to using casters or stone setters. It gives jewellery designers of varying skill sets to utilise different technologies. It is a great opportunity for CAD to expand and support specialists in this industry. Something to consider will be plagiarism and intellectual property theft with the use of scanning and printing. This is something that is already happening with smaller brands in the fashion industry and with jewellery this could very easily happen to a very precise level.

Through your collections, you explore diverse techniques while maintaining a playful approach to abstraction. Can you discuss the creative ethos that permits this experimentation, and how it informs the identity of each piece within a collection?

I design in a way that feels intuitive at a time, sometimes this sees me design on my computer, other times I want to work with my hands. These different approaches define the identity of the piece. Naiad pieces are far more fluid and contoured, whilst when I am making with wax, I like to play with geometric shapes and layered texture.

As a designer deeply engaged with both digital and traditional practices, have you ever encountered a moment when technology did not meet your artistic vision? How did you navigate that circumstance, and what did you learn from that experience?

I use sketches now more as indicators or inspiration that is adapted and changed once I take it to my computer. Sketches don’t always translate to a digital medium. This is down to both the software I use and my printer. The printer I have is limited in its precision at smaller scales. I have had to adapt or shelf designs, changing how I often approach design. I take into consideration the capabilities of my 3D printer, as well as cost implications of designs based on their complexity. In the future when the technology I have access to evolves, so will my design practices.