In the Studio with Alicia Hannah Naomi

on 6th November 2024

Since your introduction at e.g.etal, how has your creative process evolved?

I think the real gift of this relationship I have now with the gallery is the trust to approach each piece with a truly artistic focus. When I started my practice 11 years ago, I took an attitude influenced by the fashion world—producing repeatable, larger collections with a view to update them seasonally. But I quickly realised this wasn’t the path for me as an artist. I’m a slow creator and a slow consumer; I don’t seek to update my wardrobe or jewellery seasonally, so designing this way didn’t feel authentic to my work.

The support from e.g.etal has given me the confidence to slow down even further, to really focus on the nuance of each individual piece and take joy in the subtle details within each creation. This slower, more intentional approach feels right for me and has allowed my work to evolve in a way that’s meaningful and true to my style.

You’ve mentioned your work draws inspiration from Australian landscapes and environmental transformations. What landscapes in Australia capture you the most?

My work draws a lot from the Australian landscape and its raw, geological forms. I have strong instincts about how certain shapes should take form—there’s a tactile element to my process that almost feels intuitive, something I only recognise once I’m deep into making. The textures I create often echo elements like rock, water, and sky, and while each texture has its own identity, I enjoy hearing others’ interpretations of these surfaces, seeing them through different eyes.

Sometimes, the materials themselves guide the direction. My collection Heavenly Bodies, for example, was born from an unexpected moment—I’d ordered a parcel of stones that arrived much smaller than expected, and scattered on the table, they looked like a galaxy of stars. I began researching astrophotography, especially of the Australian night sky. Most of the images online show views from Europe or America, but the sky here is uniquely ours, and that beauty inspired the collection.

Can you tell us more about the symbolism embedded in your newer collections, like the tension between polished surfaces and rugged textures?

The juxtaposition of surfaces in my work is deliberate and meaningful. I believe that exploring any dichotomy—light and shadow, hard and soft, sun and rain—reflects the human experience, with its mix of good days and bad. That balance is important to me. The contrast of clean lines against rough textures expresses this duality, but it’s never just about grabbing a rough file and scuffing the gold. The nuance in these details matters; it brings a serious, poetic quality to the work that I hope feels accessible, even in its rawness.

How do you incorporate personal connection and meaning into your designs?

Empathy is one of my core brand values, extending beyond the standard expectations for any business. Jewellery is such an intimate medium—not only is it worn close to the body, touching the skin, but it can carry layers of meaning beyond the value of its materials. There’s often a deep purpose behind why a piece is acquired or gifted, and sometimes it takes on an even greater significance for the individual. For me, empathy is about allowing each client to feel truly seen and understood through that experience.

Through your visits to the gallery and your online presence, it is obvious that you have a wonderful sense of personal style. Do you draw inspiration from designers such as Rick Owens and Ann Demeulemester? And if so, how do they influence how you think about design?

Aesthetically and culturally, I’d describe my style as ‘dark’. It’s an umbrella term that includes various subcultures like goth, punk, industrial, dark wave, and alternative. Music is at theheart of dark culture, influencing more than just aesthetic choices; it’s deeply connected to politics, film, visual art, the written word as well as personal style. Music holds a special importance for me in maintaining authenticity to specific pieces—I often mentally attach myself to certain albums or songs while creating. For my piece in the Site Specific exhibition, I listened to ‘Savant’ by British post-rock band Oceansize on repeat. For a new collection I’m developing, I’m drawing from an album by American doom metal band Aseethe, using its atmosphere as a barometer for the weight and mood I want my work to evoke.

In fashion, I gravitate toward dark, avant-garde designers like Yohji Yamamoto, Rick Owens, and Ann Demeulemeester (especially when Ann was still at the helm of her house). Despite common roots, each brings something unique: Rick’s work has a harshness, with strong lines and proportions that exaggerate the body, while Ann’s is more romantic and softer. I find myself drawn to both facets, and that duality shows in my own work. Everything is interconnected in both practice and life.

How do people respond to the narratives behind your jewellery? Do any particular client interactions stand out?

I think it’s always incredibly flattering—and a bit humbling—when someone feels they can see a part of themselves in my work. As a designer, like any artist, I’m trying to express something about myself or something I care about. So, when someone resonates with it, whether they just think it looks great or feel a deeper connection, it sometimes feels surreal. For example, the client who bought the first version of the Atria Ring, which I’d originally created based on the smoky, creamy tones in an image of the Aurora Australis, told me he was drawn to it because it reminded him of his childhood home on Bruny Island in Tasmania. When he showed me the landscape he grew up in, I could see it too. There’s no way I could have planned that—it was just such a beautiful way to connect.

What have you been working on lately?

I feel deeply impacted by everything happening in the world right now—it feels like it’s time to be a little bolder, to take up more space, even if it’s just through the jewellery we wear. Over the past two years, I’ve been working on a smaller scale, so now I’m looking to go bigger and create thicker, chunkier versions of some best-sellers, like the Vinifera hoop earrings.

As always, I’m refining my technique and exploring more ‘artistic’ concepts in my designs. I’m enjoying the freedom to push the boundaries of my creativity!