Let’s start at the beginning. What first drew you to jewellery making, and when did you know it would become your path?
As a young teenager, I became interested in gemstones and joined a local lapidary club, where I learnt to cut and polish gemstones. This fed my interest in jewellery, and after doing a short course, I bought some small hand tools and made jewellery as a hobby. I studied languages, then spent a year overseas working and travelling. On this trip, I spent time in India, buying gemstones, and then sold jewellery at markets in Europe. I returned to Melbourne and decided to pursue jewellery more seriously, and I studied a Bachelor of Applied Arts in Jewellery at Monash University.
You’ve been designing and creating jewellery since 2002. How has your style or approach evolved over the years?
It’s become more refined the longer I’ve practised, but it has always maintained an organic edge. The beautiful thing about being a jeweller is that there are so many techniques, so there is always something new to learn. About 10 years ago, I did a short course in casting, which enabled me to work with textures in new ways. More recently, I have learnt the art of enamelling, which I really love, and this has added a new colourful range to my collection.
Much of your work is handmade and bespoke. What do you love about creating one-of-a-kind pieces?
I enjoy my clients’ stories, which are often quite personal; about why they want to use a particular stone, why they want to commission a piece, what it represents for them. They are very important stories; celebrating love, anniversaries, death, a gift to themselves, a milestone, so I really appreciate that they have trusted me to create the piece they envision.
You work with precious metals, stones and enamel. What do you enjoy about the feel and possibilities of each?
Stones are a joy to work with, as there are so many possibilities of different colours, shapes, and cuts to use. Often, the shape of the stone will influence the design of the piece. I like the durability of silver and gold, and the fact that the piece will last a long time, hopefully worn for many years. Enamelling is my new favourite thing to do! I love firing the pieces and seeing the depth of colour build up and change. It is addictive and time-consuming!
Your enamel collection adds such a vibrant layer to your work. How did you first come to enamelling, and what do you enjoy about the technique?
I’ve always admired enamel work, but never learnt it in my jewellery training. I looked for local enamel courses, but couldn’t find any. Then I found a jewellery residency in India where they taught jewellery enamelling. India is famous for enamelling, so I took the opportunity and went and did a 2-week intensive workshop in Delhi, learning with 2 master enamellers. It was amazing and I learnt so much.
When I returned to Australia, I bought myself a kiln and set up my studio so I could continue it. I love the technique so much, it enables me to add colour in ways I never could before. It is a technique where you apply wet glass granules to metal and fire it, then reapply it, and fire it, building up the colours each time. It’s very exciting each time you take it out of the kiln. It is quite labour-intensive, but the results are worth it!
You’ve travelled and exhibited internationally, and completed residencies in India, Vietnam and Italy. How have those experiences shaped your creative outlook?
I love to travel in general, so I have been fortunate to combine travel and creative work. I find it inspiring to work alongside other artists and craftspeople; to see their workshops and tools, and how they work. During a residency or workshop, I am exposed to new techniques or materials that then may influence my work back in my own studio. I remember at a workshop in Italy, a teacher told me about a small shop that sold brass. I ended up purchasing some amazing decorative material there, which really pushed my next range in a new direction.
You recently returned from Vietnam. Are there any moments, materials or ideas you’re excited to explore further in your work from this trip?
I loved their use of natural materials, particularly bamboo, in a lot of their craft products. It’s used in beautiful light fittings, kites, building materials, sculptures etc.
You came across a jewellery studio tucked down a laneway in Hoi An. What was it like being invited into that space and seeing familiar tools in a different setting?
I’m always interested to see how other jewellers set up their studios. It’s lovely to see familiar tools, and there are a few basic tools that you can usually see in every jewellery studio: soldering torch, files and a drill. The jewellers were warm and welcoming when I told them I was also a jeweller. It’s always a nice connection, even when we don’t speak the same language; there’s a respect or understanding, as we do the same work.
Tell us about your studio. What kind of atmosphere were you hoping to create at Atelier Claire Taylor?
A welcoming environment for anyone interested in art, craft or jewellery, or intrigued by what is inside. It’s an unusual space, as it’s not a traditional shop front, but it is a shop! People are definitely encouraged to come inside and have a browse or a chat, try pieces on, ask any questions, and see a jeweller at work. Any curious locals or passers-by are welcome!
We love the beautiful wallpaper and the hand-shaped knocker on the front door. What’s the story behind those details?
I wanted people to be drawn in from the street, as there’s not a large window display, so I needed visual details that would draw attention. I loved that wallpaper as soon as I saw it, as I love art deco details, but also the colours and design of it are similar to some of my jewellery work.
I bought the brass door handle in India, a hand wearing a bracelet, which I have set a garnet into, and I thought it was very appropriate for a jewellery shop. I also have a small brass display box attached to the fence, where I pop a jewellery piece in when I’m open.
I previously had a shop on Smith Street in Fitzroy for 12 years, so it was a bit risky moving from a main shopping strip to a slightly more obscure space. I was very aware I needed visual details to capture the attention of passers-by. Luckily, my old customers have found me, and I am finding some new ones in North Fitzroy!
When someone visits your studio to commission a piece, what does the process typically look like?
We discuss the possible materials, the event /person it is for, the meaning or emotion the client has around the piece, the timeframe, etc. I will show the client different stones available and pieces I have in stock that we can take design elements from. Then I will take measurements (if it is for a ring or bracelet), consolidate all the details, and give them a quote. Some clients are very specific and clear on what they want, others would like my suggestions, and we might have a couple of consultations to finalise the design. I aim to make the client comfortable and provide as much information as I can to help steer the design in the right way and make the process easy and enjoyable.
You must hear some beautiful stories in your line of work. Have there been any particularly memorable commissions or pieces with a special story behind them?
I have had many. One that comes to mind is a ring I made for a lady who had lost her house in the Black Friday bushfires. She commissioned me to make a large gold ring holding a huge yellow beryl stone. So the whole ring was a bright gold and yellow; it looked very strong and powerful, symbolic of the fire, but also of her survival.
You’ve described your work as handmade, with no two pieces exactly alike. Do you see beauty in those small variations — the tiny details that make a piece uniquely its own?
I like to work with a lot of organic prints and textures in my work, printing with silver and gold. Even when I use the same type of grass to print with, it always comes out slightly differently, which is nice as it really means no 2 are the same (even though I do have popular designs that I replicate).
When you’re not in the studio, where do you like to spend time locally? Do you have any regular spots for coffee, a glass of wine, dinner or a quiet moment to unwind?
I do love some of the old Fitzroy haunts, like Tin Pot for a classic breakfast or coffee. I enjoy taking my son to Horn Please for Indian, and we both enjoy the vibrant décor. I also love a wine at Neighbourhood Wine Bar, a stroll through the Edinburgh Gardens, a coffee in the back streets of North Fitzroy, or a pub meal at the Royal Oak or North Fitzroy Arms.
📍Atelier Claire Taylor: 637 Brunswick St, Fitzroy North
If you love discovering the stories behind Fitzroy’s creative spaces, you might also enjoy our feature on Shelley Collins at The Galerie Fitzroy, a family-run studio sharing authentic vintage poster art, and our piece on Jodie Hayes at Scout for Vintage, where slow fashion and thoughtful tailoring take centre stage.
