Founded by the visionary Australian-British designer Colombia Everett, Studio Agaea explores a fascinating connection between nature and soul, merging both to create exquisite silver jewelry that embodies beauty and depth. Each creation is not merely an adornment; it is a story of its own, an invitation for the wearer to engage intimately with the journey it has taken—from its inception as a mere concept to the meticulous processes that give it life.
At the heart of Studio Agaea is the celebration of craftsmanship, both digital and traditional. Each piece is crafted with intention, revealing the subtle traces of its making, encouraging a connection that transcends superficial aesthetics. The designer, Colombia Everett believes it is crucial to establish a profound spiritual connection between jewelry and the wearer, creating a bond that goes beyond mere adornment. It is through this contemplative approach that the signature collection, Naiads, emerges as a stunning testament to the potential of modern technology intertwined with organic inspiration. Utilizing cutting-edge 3D printing techniques, Naiads showcases distinctive topographical textures that transform into fluid, sculptural forms—each piece feeling alive, evoking a sense of movement and vitality.
Through the philosophy related to spiritual connection, a jewel by Studio Agaea becomes a talisman of personal significance, a reflection of the wearer’s journey and identity—more than just a piece of art but a cherished companion on their path.
Across its three diverse collections, Studio Agaea explores various techniques, from the precision of CAD modeling and 3D printing to the age-old methods of lost-wax sculpting and clay impressions. This versatile approach reflects a deep-seated love for texture and a playful exploration of abstraction, ensuring that every piece possesses a unique character and allure.
In this beautiful interview with Colombia Everett, we’ll immerse ourselves in the philosophical underpinnings and creative processes that drive her artistry. We will discuss the significance of merging contemporary techniques with timeless craftsmanship, get into the inspiration behind the collections, and explore the personal stories that inform her design ethos—all while celebrating a brand that embodies both innovation and a deep respect for the natural world. Let’s explore together the heart of Studio Agaea, where every piece of jewelry tells a story, resonating with the echoes of nature, the spirit of creativity, and the deep connections forged between jewelry and the wearer:
Can you elaborate on the genesis of Studio Agaea and the philosophical underpinnings that guide your approach to designing fine silver jewellery that captures the essence of both nature and industrialism? How did these dual influences shape your initial vision?
Studio Agaea was founded on the principle of multi-disciplinary design actualised through jewellery. Utilising a common tool within modern jewellery design; CAD and 3D printing I wanted to expose the texture, which to me is a tell-tale sign how it’s been fabricated to showcase that to the wearer. This concept has long been a part of my practice, ever since University I have had a material first approach exploiting materials to get the best out of them. Much of my material work focused on the transformation of natural materials; mycelium and borax crystals, into utilitarian forms. As I have moved into jewellery design I have taken the same philosophy and inverted it, creating naturalistic forms from more industrial materials. It is integral to understand how to produce interesting and inventive products. The duality of nature and industrialism is that when design is very sculptural, natural and fluid this is juxtaposed by batch product design techniques and rich textures that blur the line of nature and man-made.
In your opinion, what role does craftsmanship play in the contemporary jewellery design landscape? How do the traditional techniques you employ resonate with the modern desire for authenticity and connection in an increasingly digital world?
”Craftsmanship is an integral part of contemporary jewellery design. I am not a true craftsman, I am trained in both modern conceptual and industrial design as well as silversmithing. My practice encompasses both philosophies, so I’d describe myself more as an artisan.” – Colombia Everett, founder of Studio Agaea
I think that there is a disconnect in the understanding of craft from much of modern audiences and how we consume it. In saying that, I think that audiences today really resonate with craft, there has been a massive resurgence as a counter to our mass production world. We like things to be local, to know who made it, to feel personal to something. We want to be connected to a movement or to a brand identity. My work engages the wearer; it encourages tactility and is intended to mold and wear with the wearer, through softened textures over time.
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Your collections prominently feature textures and abstract forms that reflect the beauty of nature. Can you discuss the specific processes you use to translate organic inspirations into tactile jewellery pieces? What challenges do you face in remaining true to these natural inspirations while incorporating industrial techniques?
My design process is very sculptural, whether designing in Blender3D or with wax, I view making like crafting clay sculptures, the push and pulling of a mesh to create forms that feel organic, fluid, abstract. Casting is a wonderful medium, it captures everything. It solidifies the organic topographical texture of the 3D printer into silver. It allows the defined ridges to reflect and have dimension in a way that is devoid when in its PLA form. It takes a small scale industrial technique and gives it life and character. I think it comes down to how you design whether something looks and feels natural or industrial..
Could you walk us through the journey of a particular piece from the Naiads collection? How does your creative process evolve from the initial concept to the final crafted item, particularly regarding your exploration of topographical textures?
The Io necklace from our Naiads collection is inspired by the Mycenaean terracotta female figure. I found the form and side profile a beautiful interpretation of the female figure. This concept originally involved simple embossing of coins, to 3D forms of a variety of the figures, stretched to create blow out rings, simple pendants and bangles. After many iterations and consideration of how the pieces sit, the female form was thinned out and simple indentations were placed to enhance the topographical texture and play on light and contour the figure..
IO is simple in structure of a pendant on a wired chain. I think it is so effective because its form is so soft and merely alludes to a figure. It is designed to sit in the suprasternal notch, the form continuing the line of the colour bone.
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As a designer, how do you ensure that each piece communicates its own unique story and individuality? Are there particular elements of the design or crafting process that you prioritize to achieve this sense of distinctiveness?
I plan for a distinctiveness between each collection, but within each collection there is a common thread, often defined by the production process. For instance my next collection is going to integrate 3D printed design with natural stones.
In a world where mass production and computer-aided design dominate, how do you balance the efficiency of digital tools, such as 3D printing, with the more labor-intensive traditional methods you also employ? Do you see a clear synergy between the two, or are there inherent conflicts?
It really depends on the pieces. There are some pieces that involve building the core design from scratch, including an element of 3D printed casts like our bracelet Iasis, whilst ours don’t change much after our original cast. I use Blender3D which as a software provides a lot less metrics (weight, tension points, etc) so there is a lot of work done during prototyping to get the pieces castable. 3D printing is an incredible tool for fast prototyping and whilst printing not much has to be done. I look at 3D design much more as digital sculpting than Computer aided design. It gives me a tactile cast from which I can develop the pieces.
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What feedback have you received from customers regarding their emotional connections to your jewellery pieces? Can you share any poignant stories or testimonials that illustrate the impact of your work on wearers?
One piece of feedback in particular that comes to mind was in response to the Naiad ring, Ripple. They shared how calm the piece makes them feel. It’s the tactile nature of the rings, the textures surface with open space. The evocation of rippling water reminded them of the gentle disruption of raindrops in a puddle which was incredibly soothing.
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Looking ahead, how do you envision the evolution of Studio Agaea’s design philosophy? Are there new techniques or materials you are considering incorporating into future collections that could expand on the dialogues between nature and industry?
My design philosophy will change with time, I don’t want to be stationary with my approach. I would love for my pieces to continue to tell stories. I think it’s important to consider how the wearer interacts with things, most of our pieces are everyday and I love to explore more bespoke, occasion jewellery and varying scale.
The way we are currently structuring Studio Agaea is for each collection to use a different fabrication technique. This has happened with the introduction of Harvest which uses carved lost wax casting to have on off pieces and our Branch collection which uses clay imprinting and wax. I am always exploring new techniques and combining them, blending 3D printing and wax to create multi-textural pieces is something that interests me. Use of stones and setting is something I am also looking at to expand our design possibilities.
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