Saskia Shutt

Gold choices: recycled or mined

Saskia Shutt — Tue, 28 Jul 2026 09:09:18 +0000

In July 2026, I was invited to give a talk at The Goldsmiths’Centre on a subject that has become increasingly important in my own work. The language we use when discussing gold, particularly the distinction between mined and recycled gold.

My starting point was the word “ethics” itself. Are we sometimes using this word too broadly when talking about gold? And do terms such as “recycled” or “mined” tell us enough about where a material comes from and what its production involves? To explore these questions, I looked back at my own journey — from moving my business back to Belgium, to becoming Fairtrade registered and, a few years later, becoming a Fairmined licensed brand.

This journey has led me to take a particular interest in Artisanal and Small-Scale Mining (ASM). I support initiatives that work with ASM communities, including Diamonds for Peace and other organisations working to strengthen opportunities within small-scale mining.

That experience inevitably shapes the way I approach the question of mined versus recycled gold. But I don’t believe the discussion can be reduced to which one is simply “better”.

Mining and recycling are different systems, with different characteristics, challenges and potential benefits. To understand either properly, we need to look at them separately — at how the material is produced, where it comes from, who is involved, and what claims we can substantiate about it.

That is the purpose of this article: to question the language we use, examine the differences between mined and recycled gold, and look beyond the labels.

What choices do we have when buying gold?

When I first started thinking seriously about sustainability in jewellery, I believed what many of us believed: that recycled gold was the obvious choice. It seemed obvious. If existing gold could be used again, why would we need to mine more?

But the more I learned, the more questions I had. What does “recycled” actually mean? Where did that gold originally come from? What information about its previous history remains available? And what are the implications for the people and communities involved in artisanal and small-scale mining?

Those questions eventually took me beyond books and reports. They took me to Peru, where I visited the Oro Puno mine and met members of the mining community, and to Colombia and Liberia, where I met people involved in small-scale mining and learned more about their communities and livelihoods.

What do we actually mean by "recycled"?

Recycled gold is a term we hear all the time. Consumers hear it. Jewellers use it. Retailers promote it. But what does it actually mean?

When we hear the word “recycled”, many of us instinctively think of household recycling: plastic bottles, glass, paper, aluminium cans. These are materials that have been used, collected, processed and turned into new material or products.

Gold is different.

Gold is a precious metal that can be recovered, refined and used again without losing its fundamental material properties. But the word “recycled” does not, by itself, tell us where that gold originally came from, how it entered the recycling stream, or what information about its previous history is available.

That distinction matters to me. If we want to understand the choices we make as jewellers, we need to look beyond the label and ask what the term actually tells us about the material.

What makes gold different?

We don’t usually throw gold away. Gold holds financial and material value, and it is often inherited, passed from one person to another, remodelled or refined. It can change hands and change form, but the material itself can remain in circulation.

That is why I believe comparing gold directly with materials such as plastic can be misleading. Plastic products are often designed for particular uses and can become waste when those uses come to an end. Gold is a precious metal that can be recovered, refined and fabricated again and again.

One of the remarkable characteristics of gold is precisely this ability to be reused without losing its fundamental material properties.

But “recycled gold” tells us how the material has been processed; it does not necessarily tell us where the gold originally came from. The recycled material may have entered the refining system through different routes, and the available information about its previous history can vary.

I do, however, value the opportunity to remodel existing jewellery and give the material a new form. But this is different from assuming that recycled gold is always the preferable choice when purchasing new precious metal. My question is a different one: does the fact that gold has been recycled, on its own, tell us enough to describe it as a better choice? And does choosing recycled gold necessarily reduce demand for newly mined gold?

These are more complicated questions than the label “recycled” might suggest.

I ask myself the same question when I buy platinum and palladium. I purchase these metals directly from refineries as recycled material, but I don’t describe them simply as “traceable recycled metal”. Why? Because I don’t have sufficient information about the original provenance of the material. The feedstock entering a refinery can come from different sources, including previously manufactured products and industrial or manufacturing waste, and the material may be blended during the refining process.

So, in my view, “recycled” describes a process, not a complete history of provenance.

And that is where things become interesting. Because there isn’t just one type of recycled precious metal.

Let’s break it down.

Breakdown into types of gold waste

Manufacturing scrap
Obsolete jewellery
Dental gold
Investment bullion
Unsold jewellery
Electronic waste

Should all of those really sit under one umbrella term?

This is where the terminology becomes particularly interesting.

The LBMA definition of recycled gold is remarkably broad. It traditionally includes gold-bearing material that has not come directly from a mine in its first gold life cycle. This can include post-consumer products, scrap and waste, material arising during refining and manufacturing, investment gold, and even fully refined gold products such as bars, coins and grain that have previously been sold and are subsequently returned to a refinery.

So, under this definition, a gold bar that has already been sold into the market can potentially become “recycled gold” when it is returned to a refinery for another lifecycle.

This is where I think we need to pause and ask what we actually mean when we use the word “recycled”.

For me, it is useful to distinguish between gold that has reached the end of a product’s useful life and gold that has simply been returned to a refinery after changing hands or being used in another part of the supply chain.

A piece of broken jewellery, an old gold tooth or gold recovered from electronic equipment has a very different history from a Good Delivery bar that has been sold, held as an investment and later returned to a refinery.

Both may fall within the LBMA’s definition of recycled gold. But do they tell us the same story?

This distinction matters because “recycled” describes what has happened to the material within the supply chain; it does not necessarily tell us where the gold originally came from.

And even LBMA acknowledges that its current definition is intended for responsible-sourcing due diligence rather than as a definition for consumer product claims. The organisation has been involved in work to distinguish secondary material for due-diligence purposes from recycled material used in product claims.

That is precisely why I think we need to look more closely at the different materials that can sit beneath the single label “recycled gold”.

recycling versus remodelling

I also think it is important to distinguish between recycling and remodelling.

In my work, when a client brings me old gold jewellery or gold teeth that belong to them, I describe what I do as remodelling. The material remains part of the client’s own story, and my role is to transform it into something new.

This is different from sending precious-metal material to a refinery for recovery and returning the refined metal to the wider supply chain. I don’t describe my clients’ jewellery as “recycled gold” when I remodel it.

For me, terminology matters. The words we use can tell us something about what has actually happened to a material and what hasn’t.

The same applies to mining. Large-Scale Mining (LSM) and Artisanal and Small-Scale Mining (ASM) are not interchangeable terms. They describe different scales and forms of mining, with different structures, operating contexts and challenges.

I’ll come back to this distinction later, because understanding the terminology is essential to understanding the wider discussion around gold.

Does "recycled" tell us anything about provenance?

Not necessarily. The word “recycled” tells us something about what has happened to the material within the supply chain. It does not, by itself, tell us where the gold originally came from.

You may be able to trace a piece of jewellery backwards through a documented chain of custody:

consumer → jeweller → wholesaler → refiner

But what happens when that chain reaches the refiner?

If the refiner can document the immediate source of the recycled material but cannot establish where the gold originally entered the supply chain, then the chain of custody ends there. We know who handled the material, but we don’t necessarily know its original provenance.

So “recycled” does not, on its own, tell us:

where the gold was originally mined
when it was mined
who mined it
under what conditions it was produced
how it entered the recycling stream

And let’s not forget that all recycled gold was, at some point, mined gold. Recycling describes a later stage in the material’s journey; it does not erase the fact that gold had an original source.

This is why I think it is important to distinguish between traceability of a material through a supply chain and provenance of the material itself.

For me, that distinction matters. It is also why I became increasingly interested in technologies such as blockchain, which can be used to record information about provenance and movements through a supply chain. I’ll explore this in more detail in another article.

Does recycled automatically mean environmentally better?

Not necessarily. We all know that mining has environmental impacts.

But refining also has impacts.

Both mining and recycling involve energy use, emissions and industrial processes. The question isn’t which has zero impact — because neither does.

The more useful question is: What impacts are we measuring?

Carbon emissions? Biodiversity? Water? Communities? Employment? Energy use? Traceability?

And even when we are talking specifically about carbon emissions, we need to be clear about where those emissions occur and how they are accounted for.

For a jeweller, emissions associated with the extraction and production of purchased gold are generally part of the company’s Scope 3 value-chain emissions. Electricity purchased and used in the atelier falls under Scope 2.

This distinction matters because simply saying that recycled gold has a lower environmental impact than mined gold doesn’t tell us which impacts have been measured, where they occur, or what data the comparison is based on.

So rather than asking whether recycled gold is automatically environmentally better, I think we need to ask a more precise question:

Better in what respect, measured how, and based on what evidence?

Refining Gold

Refining gold is an industrial process that uses energy and, depending on the process and material being refined, chemicals to separate gold from other metals and impurities and produce a higher-purity material. Different refining methods are used depending on the composition of the feedstock and the required purity. These can include chlorine refining, electrolysis and chemical processes such as aqua regia.

Modern refineries may use systems that recover and reuse chemicals and other materials within the process, but refining is not an impact-free process.

There is another aspect of refining that is particularly important to my discussion: provenance.

When different sources of gold are brought together for refining, the physical identity of the original pieces of metal is lost. The refined gold may subsequently be made into grain, bars or other forms, and the individual atoms can no longer be associated with the particular objects they came from.

Documentation can preserve information about a material’s origin and movement through a supply chain, but refining itself does not create provenance.

This is the distinction I want to make: refining can create a highly pure material, but purity is not the same thing as provenance, and traceability depends on the information and chain-of-custody systems surrounding the material.

The diagram below, provided by Andrés Castellanos of FairAlloy, illustrates this point visually: as different sources enter the refining process, their individual identities are combined into a new material stream.

[Slide image: How refining works and how the individual sources become indistinguishable during the refining process]
Diagram provided by Andrés Castellanos, FairAlloy, on LinkedIN)

Does Recycling Reduce the Need for Mining?

There is an assumption that if we recycle more gold, we will automatically need to mine less gold.

But is that actually what happens?

Recycled gold contributes to the available supply of gold. The World Gold Council estimates that recycled gold accounted for around 1,404 tonnes of supply in 2025, while mine production reached 3,672 tonnes. Yet both sources of supply increased that year.

The same pattern continued into the first quarter of 2026: recycled gold increased by 5% year-on-year, while mine production increased by 2%.

This doesn’t prove that recycling has no effect on mining. It does show that more recycling does not automatically translate into less newly mined gold.

There is another part of the picture that is often overlooked: demand.

Gold is not only used for jewellery. It is also bought by investors, central banks and industry. In 2025, global investment demand reached 2,175 tonnes, an 84% increase from 2024, while total gold demand exceeded 5,000 tonnes for the first time.

When demand for gold remains high, recycled gold becomes an additional source of supply — but it does not necessarily replace newly mined gold.

This matters to me because choosing recycled gold is sometimes presented as a way of reducing the need for newly mined gold. I don’t think the evidence allows us to make that assumption so simply.

Reusing Gold Is Nothing New

Sometimes recycled gold is presented as though it represents a new idea. But jewellers have been melting, repairing, remodelling and reusing precious metals for thousands of years. There is nothing new about reusing gold. In fact, one of the remarkable characteristics of gold is its ability to be recovered and used again without losing its fundamental material properties. Much of the gold mined throughout history remains in circulation in one form or another.

For me, the interesting question isn’t whether existing gold can be reused. I remodel my clients’ jewellery precisely because the material already belongs to them and can be given a new form.

This is different from choosing recycled gold as a source of newly purchased precious metal. When I need new gold for a piece, I choose Fairmined gold.

The question is therefore what we mean when we call material recycled, what its previous history tells us, and whether recycling alone tells us anything about the need for new mining.

A prime example is The British Crown Jewels

This shows that the regalia has been continually altered, rebuilt and remade over centuries. New monarchs commissioned new crowns; existing crowns were modified to fit different sovereigns. Gemstones were removed and reset.

Even the famous Imperial State Crown has been remade several times. After the execution of Charles I in 1649, Parliament ordered the medieval Crown Jewels to be broken up and melted down. Following the Restoration, King Charles II commissioned entirely new regalia in 1661. Since then, crowns have continued to be altered and remade for successive monarchs.

Differentiating between remodelling and recycling

Remodelled

Identity retained: The original jewellery remains identifiable as part of the new piece.

Provenance retained: The history of the material remains connected to the owner and the original piece.

Story continues: The new jewellery carries a connection to what came before.

Usually same owner/family: The material remains within the same personal or family context.

Recycled

Physical identity lost: Once material enters a refining process, the original object is no longer identifiable within the refined metal.

Original provenance may no longer be physically identifiable: Information about the material’s earlier history may not travel with the metal through the refining process.

Material enters a new lifecycle: The material enters a new commodity cycle, and the story that belonged to the original object no longer travels with it.

Returns to the wider precious-metals supply chain: The material becomes available for use in new products and supply chains.

When Does Remodelling Become Recycling?

There is another aspect to this distinction that I think is important.

What happens when a client owns a piece of gold jewellery but doesn’t want to have it transformed into something new? Perhaps they simply want to sell it. If I buy that jewellery from the client, melt the gold down and use the resulting metal to create a new piece of jewellery that I then sell to someone else, I would describe that as recycling.

The gold has entered the wider precious-metal supply chain. It is no longer connected to the original owner or the story of the original piece. But if that same client brings me their old gold jewellery and asks me to transform it into something new for them, I describe that as remodelling.

The physical process may involve melting and reforming the gold in both cases. The difference lies in what happens to the material and its relationship to the person who owns it. When remodelling, the material remains connected to the client’s story. With recycling, the material becomes part of a wider supply chain and is available to become something for someone else.

It is a fine line, but for me, it is an important one.

If Mining Continues, What Kind of Mining Should We Support?

If mining continues, then perhaps the more useful question is: what kind of mining are we talking about?

To understand what I mean, I want to break it down again, because there are many different forms and scales of mining. Once again, I don’t think we can talk about mining as though it were one single system.

There is Large-Scale Mining (LSM), Medium-Scale Mining (MSM) and Artisanal and Small-Scale Mining (ASM). There are also different sourcing models, such as Single Mine Origin (SMO), where the material can be identified as coming from a particular mine.

And then there is deep-sea mining, which is a very different proposition altogether.

At the time of writing, commercial exploitation of minerals from the international seabed has not yet begun under an approved exploitation contract. Much to my relief, the question of whether and how deep-sea mining should proceed is still being debated internationally.

For me, this is precisely why terminology matters. If we simply say mining, we can end up comparing very different activities as though they were one and the same.

So let’s look at them separately.

Large-scale mining

Large-Scale Mining (LSM) generally refers to industrial mining operations undertaken by large companies, often using substantial capital investment, mechanisation and specialised technology.

These operations can employ engineers, geologists, machinery operators and other specialised workers, alongside local employees and contractors. They can also contribute to national and local economies through employment, taxes, royalties, procurement and export revenues. The extent to which these benefits reach surrounding communities varies considerably from one operation to another and depends on factors such as employment opportunities, local procurement, taxation, community agreements and how revenues are distributed.

The scale of an LSM operation can also mean a significant physical footprint. Depending on the deposit and the method of extraction, mining may involve open-pit workings, underground operations, extensive infrastructure, waste-rock storage and processing facilities.

These activities can result in land disturbance, habitat loss, changes to landscapes, water use and water-quality risks, as well as greenhouse-gas emissions and other environmental impacts. Mining companies may have environmental management, rehabilitation and monitoring programmes in place, but the effectiveness of these measures varies between operations.

So when I talk about Large-Scale Mining, I don’t want to suggest that every operation has exactly the same social or environmental record. LSM describes a scale and model of mining; it doesn’t, on its own, tell us whether a particular mine is well or poorly managed, or what its actual impacts are.

That distinction is important when we compare different sources of gold.

Single mine origin and Artisanal and small-scale mining

Single Mine Origin (SMO) is a supply-chain initiative that aims to keep gold traceable to a single named mine. SMO Gold is kept segregated through its chain of custody, with the origin of each batch documented from the mine through refining and onwards to manufacturing. The process is independently audited, and the gold can be identified through a batch number and QR code.

SMO works with selected commercial mining operations and uses recognised mining frameworks as part of its mine-level due diligence. It is therefore quite different from Fairmined, which is specifically designed for Artisanal and Small-Scale Mining (ASM).

I have to admit that SMO is an area I know less about than Fairmined, so I don’t want to make claims about it that go beyond what I have been able to establish. What interests me about the model is the emphasis on maintaining the identity of the gold through a segregated supply chain and making the named mine visible to the buyer.

Artisanal and Small-Scale Mining (ASM) is where my heart lies.

ASM is very different from large-scale industrial mining. It can involve individuals, families, cooperatives and small mining organisations, often with a strong connection to the communities where they operate. The work can be highly labour-intensive, with miners using relatively simple tools alongside more mechanised or technical methods, depending on the operation.

For many communities, ASM is an important source of livelihoods and economic activity. At the same time, the sector faces significant challenges, including informality, occupational health and safety risks, environmental impacts and limited access to formal markets and finance.

This is where Fairmined comes in for me. Fairmined is a certification system specifically for artisanal and small-scale mining organisations. Mining organisations must meet the requirements of the Fairmined Standard and undergo an assurance process that includes auditing.

My interest in Fairmined comes from the opportunity to support ASM organisations that are working towards formalisation, improved practices and access to a formal international market — while also being able to identify where the gold comes from.

This is also why I don’t want to talk about mining as though it were one single thing. LSM, SMO and ASM represent very different approaches to how gold is mined, documented and brought into the supply chain.

Why Artisanal and small-scale mining

Despite producing around 20% of the world’s gold, Artisanal and Small-Scale Mining (ASM) supports an enormous number of livelihoods. The World Bank estimates that around 45 million people work directly in ASM worldwide, with hundreds of millions more involved in the wider labour and service networks connected to the sector.

This is one of the reasons ASM matters to me. It isn’t simply a question of where gold comes from. It is also about the people and communities whose livelihoods are connected to the extraction, processing, transport, trade and services surrounding mining.

But there is another side to this story.

ASM is not automatically benign, and artisanal, small-scale, informal and illegal mining are not interchangeable terms. ASM describes a scale and form of mining; informality refers to whether an operation is operating outside formal legal, regulatory or administrative frameworks, while illegal mining involves activities that violate applicable laws. A mining operation can therefore be artisanal and small-scale without being illegal.

Where ASM is informal or poorly regulated, the challenges can be considerable. These can include unsafe working conditions, limited access to finance and technology, environmental degradation and exposure to hazardous substances.

Mercury is one of the most serious concerns in artisanal and small-scale gold mining. UNEP estimates that ASGM is responsible for around 37% of global mercury pollution, making it the largest source of anthropogenic mercury pollution. Mercury can enter the environment during gold processing and can pose serious risks to the health of miners and surrounding communities.

Cyanide is also used in some gold-processing operations, and inappropriate handling can create environmental and health risks. These problems are precisely why formalisation, access to appropriate technology, training, finance and safer processing methods matter.

There are also places where the social conditions surrounding informal gold mining are particularly severe. La Rinconada in southern Peru is one example.

Located at around 5,100 metres above sea level, La Rinconada is widely described as the world’s highest permanent settlement. Its economy is heavily dependent on gold mining, and the town has grown rapidly alongside the rise in gold prices. Reports have documented severe problems with sanitation, waste management, mercury exposure and working conditions.

The International Labour Organization has also documented serious problems there, including exploitation of miners, crime and violence.

La Rinconada is an extreme example, and I don’t want it to become shorthand for ASM as a whole. This is precisely the distinction I want to make.

ASM is a diverse sector. Some operations are informal and face serious social and environmental challenges. Others are working towards formalisation, improved working conditions, safer processing and access to legitimate markets.

For me, the question isn’t whether ASM is perfect. It clearly isn’t.

The question is whether we support systems that help mining communities move towards better conditions, greater transparency and access to formal markets, rather than simply writing off the entire sector because some operations face serious problems.

This is one of the reasons I chose to work with Fairmined gold.

What does informal mining look like?

When I was in Peru on the Fairmined trip in 2022, fellow jewellers, including a German couple who are Fairmined Advocates, travelled with a journalist and tried to visit La Rinconada. Even with the funds they offered private security firms, no-one was willing to take them into the city because of the security risks.

I am fortunate to have a Peruvian friend, Dr Maria Eugenia Robles Mengoa, who researched informal mining for her PhD and has visited informal mining sites in several parts of the world, including La Rinconada. I was in the audience for her doctoral defence at the University of Antwerp on Friday 6 March 2026. She has kindly allowed me to reproduce the photograph shown here, which appears on the cover of her doctoral thesis, Enduring the Grey Zone: Regulatory Ambiguities, Legal Loopholes and Gendered Agency in ASGM. She has also generously allowed me to read her research.

Her research also connects with work published by Mike Pieth in his book Gold Laundering: The Secret World of the International Gold Trade. I have read the book myself, and Eugenia contributed several photographs to it. Seeing some of her fieldwork appear in the book gave me another perspective on the complexities of informal and illegal gold mining and the wider gold supply chain.

The closest I have ever come to La Rinconada was during my visit to CECOMIP, a Fairmined-certified gold mining organisation, at approximately 4,800 metres above sea level. From the CECOMIP site, La Rinconada can be seen in the distance, marked by a large dark area on the mountainside.

Sadly, informal mining exists in many parts of the world. This is one of the reasons initiatives such as Fairmined (South America), Fairtrade (South America), Peace Gold (Africa), and Mercury Free Mining (Africa) have developed different approaches to working with artisanal and small-scale mining communities.

These organisations and initiatives address different aspects of artisanal and small-scale mining, including formalisation, working conditions, environmental practices, access to markets and the reduction of mercury use.

For me, this raises an important question about how we engage with artisanal and small-scale mining communities. Rather than treating ASM simply as a category to avoid, I believe it is important to understand the different circumstances in which it operates and the initiatives working with mining communities to address the challenges they face.

These organisations and initiatives take different approaches, but they share an interest in addressing some of the challenges faced by artisanal and small-scale mining communities. From formalisation and working conditions to environmental practices, access to markets and reducing the use of mercury.

For me, this is important. I don’t believe the answer to the challenges of ASM is simply to turn away from these mining communities. I believe it is also important to support initiatives that work with miners and communities to address those challenges and create opportunities for change.

Deep sea mining

Another form of mining that is being pursued by commercial interests is deep-sea mining.

One of the reasons I personally oppose deep-sea mining is that we still know relatively little about many of the ecosystems that would be affected. The deep ocean contains highly specialised habitats and species, some of which have adapted to environments that are very different from those found closer to the surface.

The concern is not simply that mining would disturb these ecosystems, but that we don’t yet know enough to understand the full consequences of that disturbance — or how long affected ecosystems might take to recover.

Research into deep-sea mining has identified several potential impacts, including the disturbance of the seabed, sediment plumes, underwater noise and the release or redistribution of particles and potentially toxic substances. Sediment plumes could extend beyond the immediate mining area and affect organisms that rely on the surrounding water column or seabed. Scientists are particularly concerned about organisms that are poorly understood and ecosystems that may recover extremely slowly.

Some deep-sea habitats are also home to organisms that grow and reproduce very slowly. This means that recovery from significant physical disturbance may take decades or longer, and in some cases the extent to which an ecosystem can recover remains uncertain.

That uncertainty is one of the reasons I personally oppose deep-sea mining. I don’t believe we know enough about these ecosystems, their functions or their capacity to recover to justify introducing large-scale industrial extraction into them.

Do We Really Need to Mine the Deep Sea?

And there is another question I keep coming back to: do we actually need to? Gold is already in circulation. Much of the gold mined throughout history still exists in some form, and gold can be recovered, refined and used again.

For me, that raises a fundamental question. If we already have gold above ground, why would we need to open up an entirely new and poorly understood environment to extract more? That is why, personally, I would rather see the gold already in circulation used, recovered and traced, and existing mining systems improved, before we consider opening the deep ocean to commercial mineral extraction.

A brief comparison

Which brings me to the subject of emissions. But you can’t compare apples and pears.

When comparing the carbon emissions associated with different sources of gold, we need to look at the specific mining operation and the conditions in which it operates. The scale of the mine is one factor, but it is certainly not the only one.

For example, an artisanal and small-scale mine using a 20-year-old diesel generator in the middle of the Peruvian desert will have a very different emissions profile from a mine of a similar scale that has access to an electricity grid supplied largely by hydropower in Colombia.

The same applies within ASM. A Fairmined-certified mining organisation operates under the Fairmined Standard, which includes requirements relating to environmental practices and energy use. But that doesn’t mean that every Fairmined mine has the same carbon footprint, or that we can assign one emissions figure to all ASM.

And we also have to remember that informal mining is extremely difficult to quantify. We don’t have reliable global data for the number of informal mining operations, let alone comparable emissions data for all of them.

The same principle applies to Large-Scale Mining.

A deep underground mine in South Africa, operating at around 4,000 metres and using electricity generated from a coal-intensive grid, will have a very different emissions profile from a large-scale mine in Nevada supplied by a grid with a different electricity mix.

So when we compare the emissions of mined gold, “ASM versus LSM” isn’t enough information.

We need to ask:

Which mine?
Which mining method?
How deep?
What is the ore grade?
What energy is being used?
How is the ore processed?
And what boundary are we using to measure the emissions?

Only then can we make a meaningful comparison.

The importance of supporting responsible ASM

As I mentioned earlier, Artisanal and Small-Scale Mining (ASM) supports around 45 million people working directly in mining worldwide, with many more people depending on the sector indirectly through families, local businesses and wider community economies.

So I find myself asking: what happens to these communities if we only promote recycled gold as the solution?

Many ASM communities are located in remote areas where mining is an important part of the local economy. Simply turning away from newly mined gold does not make these communities disappear, nor does it address the challenges they face.

Initiatives such as Fairmined and programmes working to reduce mercury use do not exist to encourage people to mine more gold. They exist because mining is already taking place, and because there is an opportunity to work with mining communities to improve practices, strengthen working conditions, reduce harmful impacts and create access to more formal markets.

For me, supporting these initiatives is not about promoting mining for its own sake. It is about recognising the people who are already part of the gold supply chain — and asking what role we can play in supporting positive change within the systems that already exist.

Environmental Protection

Environmental protection is another important part of the work being done with mining communities. This can include protecting biodiversity, restoring areas affected by mining and reducing pressures on local ecosystems.

Biodiversity and reforestation
Both Fairmined and Diamonds for Peace support projects that include tree planting and reforestation. I have contributed to this work myself by donating orange trees to Diamonds for Peace.

Energy
Reducing reliance on fossil fuels and using renewable energy, such as solar power, can also be part of improving the environmental practices of mining operations. The possibilities depend on the location and infrastructure available to each mining community.

Water stewardship
Protecting water resources is particularly important in mining, where poorly managed operations can create risks to water quality.

This is something I have seen first-hand during my visits to Fairmined mining organisations in Peru, including Oro Puno, CECOMIP and Cruz Pata. At Cruz Pata, the water reservoir is home to trout — a fish that is also an important part of the local Peruvian diet.

I remember being struck by the number of trout in the reservoir. Seeing them there gave me a very tangible connection to the importance of protecting the water surrounding the mining community. I wouldn’t use the presence of fish as scientific proof of water quality, but it was a memorable reminder that mining and the surrounding ecosystem are not separate things. What happens at a mine can matter to the water, wildlife and communities around it.

For me, this is one of the reasons it is important to look beyond the simple label of “mined” gold. The question is not only whether gold has been mined, but how it was mined, what practices were in place, and what information we have about those practices.

Social and Economic Growth

Responsible mining is not only about what happens to the land and the materials that are extracted. It is also about the people who depend on mining for their livelihoods and the communities in which they live.

Working conditions and opportunities
Fairmined certification includes requirements relating to working conditions, health and safety, and the rights of workers and mining organisations. Beyond mining itself, some initiatives also support opportunities for people within mining communities to develop additional skills and sources of income.

At CECOMIP in Peru, I saw an example of this first-hand. The organisation supported a group of women miners in establishing a jewellery workshop and helped them develop opportunities to sell their jewellery in nearby towns. The women call themselves “Las Divinas”

Investing in communities
The Fairmined Premium provides certified mining organisations with an additional payment that is invested collectively according to their own priorities and the Fairmined requirements. This can support community projects and improvements in areas such as education, healthcare and infrastructure.

This is particularly significant for remote mining communities, where access to services and infrastructure can be more limited.

Fair trade and community relationships
For me, fair trade is also about recognising that miners are not simply suppliers of a raw material. They are people participating in a supply chain, with their own communities, priorities and aspirations.

I saw another example of this at Oro Puno in Peru. The Fairmined mining organisation had identified an informal mining area within its territory. Rather than continuing to excavate simply because there might still be gold present, they cleared the area of waste and abandoned equipment, rehabilitated the site and planned to return it to a green area.

That stayed with me.

The presence of gold does not automatically mean that it should be extracted. In this case, the miners made a conscious decision about what to do with an area affected by informal mining, even though gold may still have remained underground.

For me, this is an important part of the conversation around mining: the value of gold cannot be separated entirely from the people, communities and decisions surrounding its extraction.

The Fairmined Premium

The Fairmined Premium is an additional payment received by certified mining organisations when they sell Fairmined gold. It is separate from the price paid for the gold itself and is intended to support the continued development of the mining organisation and its community.

The mining organisation decides how the Premium is invested through a participatory process, with investments directed towards areas such as workers’ welfare, strengthening the organisation, community development and environmental protection.

This can mean very different things from one mining community to another, because the priorities are determined locally. It may support improvements to mining practices, education, healthcare, infrastructure, environmental projects or other community needs.

For me, this is one of the important differences between simply buying a raw material and participating in a supply chain that creates an additional financial mechanism for investment in the mining organisation and its community.

The Premium doesn’t mean that every Fairmined mining community will use the money in the same way. What matters to me is that the mechanism exists, that its use is governed within the Fairmined system, and that the benefits can extend beyond the individual transaction of buying gold.

A Call for Informed Choices

Giving consumers meaningful information is important if we want them to be able to make informed choices about the jewellery they buy. The customer deserves to know where their gold comes from, what can be traced about its journey, and what information is available about its original source. They deserve to understand whether the material is newly mined, recycled or remodelled from an existing piece. Where information is available, to understand the people, communities and systems behind it.

For me, informed choice means looking beyond a single label and asking better questions. Not simply “Is this gold recycled?” or “Is this gold mined?”, but “What do we actually know about this gold?”

Slow Mining

When we talk about sustainability in fashion, we often talk about slow fashion. Buying less, valuing craftsmanship, extending the life of what we already have and questioning the systems behind production.

I believe we should start asking similar questions about the way we extract precious metals. Perhaps we need to talk about slow mining.

By this, I mean questioning the assumption that we should continually increase the extraction of finite resources simply because the resources are there and there is a market for them.

I would like to see greater consideration given to the scale and pace of extraction, alongside stronger scrutiny of the environmental and social impacts of individual mining operations. This is particularly important for large-scale mining, where the physical footprint of an operation can be substantial and extraction can involve significant infrastructure, energy use, waste and land disturbance.

I recognise that placing limits on large-scale mining production is a much bigger and more complicated proposition than simply suggesting that it should happen. Mining provides employment, generates tax and royalty revenues and supplies materials that are used throughout the global economy. The benefits and impacts vary considerably between operations and locations.

But I believe it is still a question worth asking: do we need to extract every deposit that can technically and economically be mined?

Gold is different from many other raw materials because it does not disappear when we use it. Much of the gold ever mined still exists in some form, and gold can be recovered, refined, remodelled and used again.

For me, slow mining would mean taking that fact seriously.

It would mean looking not only at how efficiently we can extract more gold, but also at how we can make better use of the gold already in circulation, support mining operations where extraction continues, understand the impacts of individual mines, and ask whether every new source of extraction is necessary.

Perhaps the jewellery industry needs to move beyond the simple question of “mined or recycled?” and start asking a bigger one:

How much new gold do we really need — and how should we decide where it comes from?

For me, this is where the importance of supporting Artisanal and Small-Scale Mining (ASM) comes in. I believe that working with small mining communities, rather than simply turning away from newly mined gold, offers an opportunity to support longer-term change within communities that already depend on mining.

My hope is that by working alongside mining communities, supporting better working practices, environmental protection, skills, livelihoods and opportunities for future generations, we can help create mining communities where people can build a future while caring for the places in which they live and work.

This is something I have heard directly from the Fairmined certified miners and the Diamonds for Peace mining communities I have met. They have spoken to me about their pride in being part of efforts to improve their communities and the way mining is carried out.

That sense of pride and ownership is something I find very powerful. It reminds me that this conversation is not simply about the gold we buy. It is also about the people who mine it, the communities they build and the future they want for the generations who come after them.

Responsible Artisanal and Small-scale Gold Mining

For me, Fairmined gold and similar initiatives are an important expression of the idea of slow mining. They are not about encouraging more extraction simply for the sake of producing more gold. They are about working with mining communities that already exist, and supporting specific changes in the way mining is carried out.

One of the most important examples is the reduction and elimination of mercury use in artisanal and small-scale gold mining.

Mercury is a neurotoxic substance that can cause serious harm to people and ecosystems. In artisanal and small-scale gold mining, mercury can be mixed with gold-bearing material to form an amalgam. When that amalgam is heated, mercury is released and can enter the air, soil and water. Mercury can also accumulate in food chains, including in fish.

This is why reducing mercury use matters not only to miners and their families, but also to the wider environment and communities that depend on local ecosystems and food sources.

Governments have also recognised the problem. In Colombia, the use of mercury in mining was prohibited from July 2018 under legislation introduced to eliminate its use in the mining sector. However, a legal prohibition does not necessarily mean that mercury use disappears immediately. Informal and illegal mining can be difficult to regulate, particularly in remote areas.

This is one of the challenges that I believe is important not to overlook when we talk about ASM. Artisanal and small-scale mining is not synonymous with informal or illegal mining. There are certified, formal mining organisations working within recognised standards, alongside mining operations that may operate outside formal systems. The challenges faced by each can be very different.

I have seen some of this complexity first-hand in Colombia. At the Chede mine, a Fairmined-certified mining organisation outside Medellín, the miners purchased a large area of Amazonian forest with the intention of preserving it. Yet informal miners subsequently entered part of that land and cleared forest to extract gold. The Chede miners could not simply prevent this from happening.

I was told that some informal mining in the region operates within a wider context involving armed groups, including guerrilla organisations. This is not my area of expertise, so I don’t want to make claims beyond what I have personally learned and what can be properly documented.

For me, this example illustrates why simply saying “stop mining” is not an adequate answer. There are already communities and mining organisations operating within these landscapes, alongside complex social, economic and legal realities.

The challenge is how we support mining communities that are trying to work within better systems, while also addressing the environmental and social problems associated with informal and illegal mining.

That, to me, is where initiatives such as Fairmined and mercury-reduction programmes have an important role to play.

Look Beyond the Label

Giving consumers meaningful information is essential if we want them to make genuinely informed choices.

A customer deserves to know where their gold comes from, what can be traced about its journey, and what information is available about its original source.

Is it newly mined gold? Recycled material? Gold that has been remodelled from an existing piece? And, where the information exists, can we understand something about the people and communities behind it?

For me, this is what informed choice should mean: not simply choosing between a label that says “mined” or “recycled”, but having enough information to understand what that label actually represents.

The more we know about the material we buy, the better questions we can ask — and the more meaningful our choices can become.

How Much Gold Do We Really Need?

When we talk about slow fashion, we question a system based on producing more, selling more and consuming more. I believe we should ask similar questions about precious metals.

Do we really need to continually increase the amount of newly mined gold entering the market?

This is where my idea of slow mining comes in. I would like us to think more carefully about the pace and scale at which we extract finite resources, particularly through large-scale mining operations.

Large-scale mining can involve enormous infrastructure, substantial energy use, significant land disturbance and the movement of vast quantities of rock and waste. The benefits of mining can include employment, investment, taxes, royalties and local procurement, but how these benefits are distributed — and how the environmental and social costs are managed — varies considerably from one operation to another.

That is why I find myself questioning the assumption that every economically viable deposit needs to be extracted, and whether the scale and pace of extraction always need to increase. But questioning the scale of extraction does not mean that I believe we should stop mining.

Quite the opposite.

As a Fairmined jeweller, I believe in the value of mining because I have seen the human value behind it. I have met miners whose livelihoods depend on mining, spoken with their families and visited communities where gold provides an important source of income and economic activity.

For me, the question is therefore not simply “How can we mine less?” It is “How can we support mining that creates meaningful livelihoods while paying greater attention to the people, communities and environments involved?”

And alongside that, I believe we should make thoughtful use of the gold that is already in circulation — through remodelling, reuse and recovery — rather than treating newly mined gold and existing gold as if they were the only two sides of a simple choice.

That, for me, is the idea behind slow mining: not turning away from mining, but questioning the pace and scale of extraction, supporting mining communities, understanding the consequences of individual operations, and making thoughtful choices about the gold we use.

I believe that focusing on ASM for longevity in a sustainable world is the key to a better and more harmonious future. Working with small mining communities to create a better environment for living and work for future generations is what I believe we need to aspire to. And from talking to the Fairmined certified gold miners and the Diamonds for Peace miners, all say how proud they are to be part of the change.

For me, Fairmined gold and similar initiatives are the embodiment of slow mining. It’s respectful, thoughtful, and deliberate. Empowering communities. Creating change.

Mercury in informal gold mining

One of the most serious challenges associated with informal gold mining is the continued use of mercury.

Reducing and ultimately eliminating mercury use is important to me — not only because of the risks to miners and their communities, but also because mercury can enter the wider environment and food chain. In artisanal and small-scale gold mining, mercury is used to form an amalgam with gold. When the amalgam is heated, mercury can be released as vapour, while mercury can also enter soil and water and accumulate in organisms such as fish. UNEP identifies artisanal and small-scale gold mining as the largest source of anthropogenic mercury emissions globally.

Colombia prohibited the use of mercury in mining from July 2018. Peru is also a party to the Minamata Convention, which requires measures to reduce and, where appropriate, eliminate mercury use in artisanal and small-scale gold mining. Yet legislation alone does not mean that mercury use disappears, particularly where mining takes place informally and outside effective regulatory systems.

This is why mercury reduction programmes matter to me. The challenge is not simply to tell miners to stop using mercury, but to support practical alternatives and help create the knowledge, technology and conditions that make those alternatives possible.

For me, this is another example of why I believe in working with mining communities rather than simply turning away from mining. If we want change to happen on the ground, we need to engage with the people who are actually doing the mining.

My Conclusion

Recycled gold certainly has an important place within our industry. Recovering precious metal that is already in circulation makes sense, and I believe recycling has a role to play in the future of jewellery.

But I also believe we need to be precise about what we mean by “recycled”. Recycling and remodelling are not the same thing. When a client brings me their old gold jewellery, teeth or coins, I remodel that material into something new. The gold remains connected to the person who brought it to me and, often, to the story attached to it.

At the same time, I choose to work with Fairmined gold and silver. I believe there is value in mining because there is human value behind it: miners, their families and communities whose livelihoods depend on mining. For me, supporting Fairmined mining organisations is a way of recognising that value while supporting a system with defined requirements around areas such as working conditions, environmental practices and traceability.

These choices are not contradictory.

We can make use of the precious metals already in circulation and recognise the continued role of newly mined gold and silver. We can remodel a client’s heirloom gold, recover precious metals through recycling, and choose newly mined Fairmined metals for new commissions.

Gold will continue to be mined. For me, the question is therefore not whether mining should exist, but what kind of mining we choose to support, and what we can know about the gold we buy.

As jewellers, our purchasing decisions connect us to the supply chains behind our materials. We can ask where our materials come from, how they have entered the supply chain, what can be traced about them, and who is involved along the way.

That is ultimately what this article has made me question: not whether one category of gold is automatically better than another, but whether we are asking enough questions about the materials we choose.

For me, the story of a piece of jewellery begins long before it reaches my workbench. I want to understand that story and, wherever possible, the people behind it. As a jeweller, I have the privilege of connecting those stories. From the people who mine and produce the materials to the person for whom I create the finished piece. I choose my materials consciously because I believe that understanding where they come from, and the people behind them, gives the jewellery a deeper story to tell.

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Bespoke Cufflinks: Refined Expression

Saskia Shutt — Mon, 22 Jun 2026 19:43:28 +0000

Jewellery comes in countless forms. Rings, necklaces, earrings and bracelets have long held a prominent place in our wardrobes and our imaginations. Yet among these familiar objects sits a piece of jewellery that often goes unnoticed: the cufflink.

For centuries, cufflinks have occupied a unique position between adornment and function. They fasten the cuffs of a shirt, yet they also offer an opportunity for self-expression, craftsmanship and individuality. Despite this, cufflinks are often overlooked in contemporary jewellery conversations.

As a designer and goldsmith, bespoke cufflinks are among the pieces I most enjoy creating. When I worked in the United Kingdom, I made them regularly. Since moving to Belgium, however, commissions have become far less frequent. Here, cufflinks often seem confined to two worlds: the boardroom and the wedding ceremony. They are associated with high-end business suits, formal occasions and traditional dress codes.

While there is certainly a place for that, I believe cufflinks deserve a far broader audience.

For those who do not typically wear jewellery, cufflinks can be the perfect introduction to personal adornment. They offer a subtle way to express character without the visibility of a necklace or the permanence of a ring. A carefully chosen pair can transform an outfit, adding a detail that reveals personality, taste and confidence.

What fascinates me most is how cufflinks challenge our assumptions about jewellery itself. Many people still view them primarily as something for men. I have never shared that view, and I love wearing them myself.

Cufflinks are wonderfully gender-fluid. They can be worn by anyone who wishes to elevate an outfit, make a statement or simply enjoy the pleasure of wearing beautifully crafted objects. Jewellery has always evolved alongside fashion, and today’s approach to personal style is more fluid and individual than ever before.

Jewellery That Reflects Values

Today, many people associate cufflinks exclusively with formalwear. I see them differently. I see them as miniature works of art, capable of telling stories about the people who wear them and the values they choose to support.

For me, creating bespoke cufflinks begins long before I sit at the workbench. It begins with a conscious choice about materials.

Every precious metal carries a story. Too often, that story remains invisible to the person wearing the finished piece. Yet behind every gram of gold or silver are landscapes, communities and human lives.

This is why I choose to work with Fairmined precious metals wherever possible. Fairmined certification supports artisanal and small-scale mining communities that are committed to responsible environmental practices, safe working conditions and fair economic opportunities. It creates a direct connection between the wearer and the people whose skill and labour brought the metal into existence.

When a client commissions a pair of bespoke cufflinks, they are not simply choosing a pair of cufflinks. They are choosing values. They are choosing a piece that connects different stages of the material’s journey, from mining and refining to the goldsmith’s work at the bench.

A pair of cufflinks may seem like a small object, yet the materials and craftsmanship behind them can tell a much larger story. For me, that story includes knowing where my precious metals come from, understanding more about the people and places connected to them, and giving those materials a new form through craftsmanship.

Breaking the Rules of How Cufflinks Are Worn

I regularly wear a large pair of four-leaf clover cufflinks myself. The story of the design began with a commission from VIAGE Brussels, for whom I created a four-leaf clover brooch as the main prize for winners of the VIAGE Clover Club.

The cufflinks I made for myself are inspired by that original clover design, but they are not identical. I adapted the motif to create a larger, more sculptural version for cufflinks, with a sea-green sapphire from the Ilakaka mining community in Madagascar set in the centre of the leaf. These are my own handmade cufflinks, crafted in Fairmined silver.

I loved the original clover motif so much that I wanted to explore what it could become as a piece of jewellery for myself. For me, they bring together several things I love about jewellery: beauty, craftsmanship, storytelling and the opportunity to work with materials that have a known origin.

Some people are surprised to see cufflinks worn outside formal settings. Yet I happily wear mine with a white double-cuff blouse, even in summer. In fact, I specifically chose a short-sleeved blouse with double cuffs because I wanted to challenge the notion that cufflinks belong exclusively on traditional long-sleeved shirts. Most cufflink shirts available today are designed with long sleeves, but why should they?

To me, cufflinks deserve to be seen and enjoyed throughout the year. Wearing oversized four-leaf clover cufflinks on a short-sleeved blouse may seem unconventional, but that is precisely the point. Jewellery should invite creativity, not conformity.

Fashion is becoming increasingly individual and expressive. The rules that once dictated who could wear certain pieces and how they should be styled are rapidly disappearing. I believe cufflinks deserve to evolve alongside that movement.

A Rich History Waiting to Be Rediscovered

Interestingly, brooches have enjoyed a remarkable revival on red carpets in recent years. During the 2025 and 2026 awards seasons, actors and celebrities embraced brooches at major events such as the Oscars and Golden Globes, transforming them from historical curiosities into contemporary statements of style.

Watching this resurgence unfold, I often wondered why cufflinks were not enjoying a similar moment.

Both brooches and cufflinks share a fascinating history. They have moved in and out of fashion for centuries, adapting to changing tastes and cultural expectations. According to an article on Tailors World, the birth of the cufflink probably dates back to the time of Louis XIV in France, when decorative fastenings began replacing ribbons and ties used to secure shirt cuffs. By the eighteenth century, cufflinks had become symbols of refinement among royalty and the aristocracy. Later, the Industrial Revolution made them more widely accessible, allowing their popularity to spread far beyond noble circles and into everyday wardrobes.

Yet somewhere along the way, cufflinks became trapped by convention.

Their rich heritage became overshadowed by assumptions that they belonged only in formal settings. I believe it is time to rediscover them—not as relics of the past, but as contemporary jewellery with limitless creative potential.

Craftsmanship in Every Detail

Perhaps my perspective comes from the way I make them.

When I create a pair of bespoke cufflinks, I do not simply focus on the visible front. Every element matters. The mechanism itself deserves as much attention as the decorative design.

Unlike mass-produced cufflinks, where ready-made fittings are often soldered onto a decorative face, I handcraft the fittings myself. Some swivel. Others remain fixed. Some provide greater mobility, while others create a firmer, more sculptural connection. Each fitting is individually formed and finished, becoming an integral part of the design rather than an afterthought.

In many ways, this reflects my broader philosophy as a maker. In an era defined by automation and mass production, I find meaning in creating objects that bear the subtle evidence of human hands. Tiny differences emerge from one pair to the next. These nuances are not imperfections. They are signs of craftsmanship.

The attention devoted to the hidden details is every bit as important as the design visible on the surface.

Stories Worn on the Cuff

That attention to detail allows every commission to become deeply personal.

One particularly memorable project involved a gentleman who commissioned a white gold ring and matching cufflinks. The ring was made using white gold remodelled from his own jewellery and featured a heart-cut garnet, along with tiny rubies and diamonds belonging to the client, incorporated into the design.

To complement the ring, I created a pair of cufflinks in Fairmined silver, each topped with a heart-cut garnet set in Fairmined gold. The garnets were chosen to echo the heart-shaped stone in the ring, creating a visual connection between the two pieces.

The finished jewellery brought together the client’s own precious metals and gemstones with newly selected Fairmined precious metals and gemstones. For me, this is one of the things that makes bespoke jewellery so special: materials with an existing personal history can be transformed and combined with new materials to create something entirely individual.

The cufflinks became more than adornment. They became a reflection of identity, memory and personal meaning.

Another commission took a very different direction.

For Guberna, I created bespoke corporate gifts in the form of cufflinks, presented to retiring and departing CEOs as a gesture of appreciation for their years of leadership and dedication. Rather than engraving a logo onto an existing design, I transformed the company logo itself into a pair of cufflinks. Crafted in Fairmined silver, the logo became a wearable symbol of the organisation and the individual’s contribution to it.

Rather than offering a generic corporate gift, Guberna chose to commission a piece designed specifically for the occasion. The cufflinks were made in Fairmined silver, giving the material a specific certification and documented standard behind it.

For me, this is one of the strengths of bespoke corporate gifts: the object can be created around the identity of the organisation and the person receiving it, rather than being selected from a catalogue.

These cufflinks carried a story far richer than their elegant appearance might initially suggest.

The Future of Bespoke Cufflinks

Stories like these remind me why bespoke jewellery remains relevant.

We live in a world saturated with products. Yet people continue to seek objects that feel personal, authentic and meaningful. A bespoke cufflink offers all of these qualities. It can commemorate a milestone, celebrate a relationship, acknowledge an achievement or simply express an aspect of one’s personality.

The possibilities are endless.

Double cuffs need not remain confined to traditional shirts. Contemporary fashion offers exciting opportunities to reinterpret them. Long sleeves can feature exaggerated cuffs that draw attention to elaborate cufflinks. Short-sleeved garments can incorporate double-cuff details in unexpected ways. Cufflinks can be paired with matching brooches, tie pins or lapel pins to create a cohesive and distinctive personal style.

The beauty of bespoke design lies precisely in that freedom. There are no rules dictating what a cufflink should look like or who should wear it.

As jewellery continues to evolve, I believe cufflinks deserve to reclaim their place within contemporary design. They possess many of the qualities that make bespoke jewellery so appealing: individuality, craftsmanship, storytelling and the freedom to create something entirely personal.

A Small Object With a Powerful Story

Perhaps the greatest luxury today is not simply owning something beautiful. It is owning something meaningful.

A pair of bespoke cufflinks may appear to be a small detail, but often it is the smallest details that leave the strongest impression. They accompany gestures, conversations and celebrations. They quietly reveal something about the person wearing them.

For those willing to look beyond convention, cufflinks offer far more than a refined finishing touch. They become an opportunity to wear a story. A story shaped by craftsmanship, the materials chosen and the hands that transform them.

From the people who mine and process the precious metal to the goldsmith who shapes every detail by hand, each pair reflects the different skills involved in bringing a piece of jewellery into being.

Perhaps that is the future of luxury: not simply owning something beautiful, but choosing something beautiful with a story, made with skill and intended to last. And perhaps it is time for cufflinks to step back into the spotlight.

The post Bespoke Cufflinks: Refined Expression appeared first on Saskia Shutt.

Mourning Jewellery: Love and Remembrance

Saskia Shutt — Sat, 16 May 2026 12:13:19 +0000

Grief changes us. It arrives quietly for some, suddenly for others, but when we lose someone we love, life never quite returns to the way it was before. The world continues moving, while a part of us stands still, holding memories, conversations, gestures and moments that suddenly become precious beyond words. Throughout history, people search for ways to keep the memory of a loved one close. Photographs, letters, heirlooms and rituals all become vessels for remembrance. Jewellery holds a special place amongst these objects because it is intimate.

Jewellery rests against the skin, is worn daily, touched absentmindedly, held during difficult moments and carried through life. Mourning jewellery exists within this deeply human need to remember. Creating bespoke mourning jewellery pieces for clients wishing to carry the ashes of a loved one — or sometimes the ashes of a beloved pet — is part of my work. Each commission is profoundly moving for me as a maker. These are not simply decorative objects. They are deeply personal pieces created out of love, grief, memory and connection. There is something incredibly powerful about transforming sorrow into something tangible and beautiful. A ring, pendant or small vessel becomes more than jewellery. It becomes a companion through grief.

Jewellery as a Companion Through Grief

We all experience grief differently. There is no correct way to mourn and no timeline that truly defines bereavement. Some people speak openly about loss, while others carry their grief quietly and privately. Some find comfort in rituals and traditions. Others seek solace in objects, places or gestures that help them feel connected to the person they have lost. People often say that time heals. I believe time softens certain edges of grief, but love does not disappear. Memories remain with us and often continue shaping our lives long after someone has gone.

This is one reason mourning jewellery can hold such emotional significance. A piece of jewellery containing ashes allows someone to carry a physical connection to the person or animal they love. It offers closeness. Comfort. Presence. Many clients who contact me want something discreet, personal and meaningful. A small hidden compartment. A subtle vessel close to the heart. Something intimate that belongs only to them.There is great tenderness in this.

When I create these pieces, I am always aware that I am being entrusted with something sacred. Ashes are not merely a material. They represent a relationship, a life, a shared history. Often, the conversations surrounding these commissions are emotional. Clients speak about a parent, partner, child, friend or cherished pet. They speak about memories, habits, humour, companionship and absence. Through these conversations, the jewellery slowly becomes a portrait of love. In many ways, the making process itself becomes part of the grieving process.

A Memorial Pendant Carrying Ashes

One of the mourning jewellery commissions that has stayed with me most deeply was a minimalist white gold pendant designed to contain the ashes of a loved one.

At first glance, the pendant appears simple: a clean square tube pendant suspended from a chain. Yet behind that simplicity lies extraordinary symbolism and craftsmanship.

I first created the square tube in white gold and soldered it shut at one end. I then carefully sawed 15mm from the top section to create the lid. After drilling the piece so the chain could pass directly through the tube, I soldered both the top and bottom closed.

At this stage, the pendant vessel was ready to receive the ashes.

Once the ashes had been carefully placed inside, I soldered the lid permanently onto the body of the pendant. I then polished and textured the finish by hand in order to obscure the solder seam completely, allowing the piece to feel seamless and whole.

The reverse of the pendant carries a personal engraving honouring the loved one whose ashes rest inside.

What moves me about pieces like this is their quiet intimacy.

Nobody looking at the pendant would immediately know what it contains. Yet for the wearer, it becomes profoundly meaningful — a discreet memorial pendant carrying memory, grief, love and presence close to the body every day.

When Did People Start Putting Ashes Into Jewellery?

The tradition of placing ashes into jewellery is actually relatively modern when compared to older forms of mourning jewellery.

Historically, cremation itself was less common in many Western societies for centuries, particularly throughout Christian Europe where burial was traditionally preferred. Because of this, earlier mourning jewellery usually incorporated other forms of remembrance, such as miniature portraits, woven hair, inscriptions or lockets containing fabric, photographs or tiny keepsakes.

It was only during the late 19th and especially the 20th century that cremation gradually became more widely accepted across Europe and North America. As cremation became increasingly common, memorial jewellery naturally evolved alongside changing funeral and remembrance practices.

The modern practice of incorporating ashes into jewellery began gaining visibility during the late 20th century and became far more widespread during the early 2000s.

In many ways, however, the emotional intention behind ashes in jewellery is not modern at all.

Although historical mourning jewellery did not usually contain ashes, people have long sought ways to preserve a physical connection to those they love. Victorian hair jewellery, for example, served a remarkably similar emotional purpose: creating intimacy, remembrance and closeness through a tangible element of the person who had passed away.

Today, ashes have become a contemporary continuation of this deeply human desire.

Modern mourning jewellery may look more minimalist and discreet than its Victorian predecessors, but the emotional thread remains the same.

We still long to keep our loved ones close.

Wedding Rings as Mourning Jewellery

One of the most touching memorial jewellery commissions I ever created involves a couple renewing their wedding vows for their 25th wedding anniversary.

Rather than buying entirely new wedding rings, they chose to remodel their original rings and incorporate the memory of their daughter, who had passed away several years earlier.

The symbolism behind these rings is deeply moving. Her wedding ring is a celebration of family connection and enduring love through their birthstones. The centre stone, an opal, is her own birthstone. White sapphires, their daughter’s birthstone. And green garnets on the outer edges, her husband’s birthstone.

His ring carries a more discreet form of remembrance. The ring itself is hollow and designed to contain a small amount of their daughter’s ashes. Placing the ashes inside the ring, I soldered it shut beneath an engraved star.

Both rings carry the same engraved star motif. For the couple, the star symbolised their daughter.

I often think about these rings because they beautifully demonstrate how mourning jewellery can become integrated into everyday life and ongoing love stories. These were not pieces created only to mourn loss. They were also created to celebrate marriage, family, continuity and remembrance.

The Symbolism of Ashes in Jewellery

Ashes carry profound symbolism. Representing continuity rather than finality. A physical trace of someone who is deeply loved. Incorporating ashes into jewellery can therefore feel comforting and grounding. The act itself is often incredibly emotional. Many clients experience this moment for the very first time when we carefully open the urn together to transfer a small amount of ashes into the jewellery. Often, there is uncertainty beforehand. People do not know what to expect. I gently describe the ashes as resembling a coral beach. Fine grey sand interspersed with pale fragments that remind me of dried white coral.

Hopefully, this description helps create calmness and serenity around a moment that can initially feel overwhelming.

Handeling these moments with immense care, sensitivity and respect is important. Although, not all clients want to be present during the transferring of the ashes. Sometimes, preferring to open the urn in the privacy of their own home and given me a tiny box with a little of the ashes for me to insert into the jewel.

Clients sometimes arrive feeling uncertain about whether they should proceed with a commission. They may have held onto ashes for years without knowing what to do with them. The jewellery becomes a place for remembrance. Rather than ashes remaining hidden away in an urn or cupboard, they become integrated into everyday life. A pendant is touched while walking. A ring catches the light during ordinary moments. A necklace is worn during significant milestones and quiet days alike.

In this way, mourning jewellery can create continuity between past and present. I also believe there is something beautiful in creating jewellery from love rather than from loss alone. Although these pieces emerge from grief, they are ultimately about connection.

Mourning Jewellery for Beloved Pets

Only recently did I receive my very first commission to create mourning jewellery containing the ashes of a beloved pet. The piece was commissioned in memory of a puppy who passed away at only three months old due to a genetic illness.

Even writing these words still move me. The grief surrounding the loss of an animal companion is often deeply underestimated, especially when that life feels heartbreakingly short. Anyone who loves a pet understands that these relationships are real, profound and emotionally significant. Animals become part of our daily rituals, our homes and our emotional world. Their companionship is quiet, loyal and unconditional.

When they are gone, the absence can feel enormous. Creating this memorial pendant reminds me once again that mourning jewellery is ultimately about love and attachment, regardless of whether that bond is with a partner, parent, child, friend or animal companion.

For the owner, this small pendant becomes a way to keep her puppy close to her. A gentle and discreet reminder of a life that, although brief, carries immense love.

I believe memorial jewellery for pets will become increasingly meaningful for many people because our relationships with animals are often deeply intertwined with comfort, companionship and emotional support.

The Emotional Responsibility of the Maker

Creating mourning jewellery carries a particular emotional responsibility. Every commission requires trust. Clients are sharing vulnerable stories and entrusting me with deeply personal materials connected to someone they love. This means the process must be approached with sensitivity, care and respect.

One memorial jewellery commission that remains especially personal to me was the creation of a heart pendant containing the hair of a young woman named Nathalie, whose fight against cancer ended in November 2018.

Nathalie was not only the person being remembered — she had also been one of my clients.

Over the years, I had remodelled a few jewellery pieces for her. The final commission I created for Nathalie herself was a pair of gold ginkgo leaf earrings.

She had commissioned them in celebration of the nomination of her beloved “Snuiterboom” — the Ginkgo Biloba tree in Egmont Park in Brussels — for the “Tree of the Year” awards in 2016.

The commission now feels especially poignant to me because the ginkgo tree itself symbolises resilience, endurance and memory.

The leftover gold from creating the earrings later become part of the memorial heart pendant containing some of Nathalie’s hair. That continuity makes the piece especially emotional to create.

The pendant was commissioned by Nathalie’s parents as a Christmas gift for Nathalie’s daughter — a deeply personal gesture of love, remembrance and family connection across generations.

Nathalie was also the founder of Talismanneke, a charity supporting children and families affected by cancer. Including this part of her story feels important to me because the pendant is not only about grief, but also about honouring the kindness, generosity and legacy she leaves behind.

What matters most to me when creating mourning jewellery is that the final piece feels authentic to the person being remembered and meaningful to the person wearing it.

Mourning jewellery should never feel generic. The emotional connection is what gives the piece its value. I often think about how jewellery accompanies people through the most important moments of life: celebrations, commitments, milestones, family histories and memories. Mourning jewellery is part of this continuum.

Becoming an heirloom not because of financial value, but because of emotional significance.

Creating Beauty For Memory

Whenever I create mourning jewellery, I am reminded of how powerful jewellery can be.

Across cultures and throughout history, rituals surrounding death and remembrance have helped people process grief. Funerals, ceremonies, memorial objects and acts of remembrance all create space for mourning and reflection. Jewellery can become part of these rituals.

There is comfort in wearing something intentionally created to honour someone.

Some people wear mourning jewellery every day. Others reserve it for moments when they particularly need closeness or comfort. Some eventually pass these pieces down through generations, carrying stories and memories forward.

I find it fascinating that jewellery can hold both permanence and emotion in such a quiet way.

Unlike photographs displayed publicly, mourning jewellery is often private. It may not be recognisable to others. The meaning is usually carried silently by the wearer. There is something deeply intimate about that. A hidden vessel. A secret memory. A quiet act of remembrance.

It becomes a quiet reminder that although someone may no longer be physically present, they remain woven into our lives. And perhaps that is what mourning jewellery has always represented throughout history.

Every mourning jewellery commission begins with a conversation. If you would like to discuss creating a bespoke memorial piece for someone close to your heart, you are welcome to book an appointment or contact me directly.

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Custom Wedding Rings with Meaning

Saskia Shutt — Sun, 15 Mar 2026 12:17:22 +0000

Handmade wedding rings in platinum – hers is set with seven rubies – photograph: Saskia Shutt

Fairmined Gold, Remodelling Heirlooms, and the Provenance of Love

Spring is often described as a season of renewal. In nature, dormant plants begin to grow again, trees form new buds, slowly shifting the landscape from winter stillness to movement and life. It is a quiet but powerful reminder that growth rarely happens suddenly. Instead, it unfolds through patience, care, and the right conditions.

This rhythm of renewal offers a meaningful parallel to the symbolism of marriage and to the way I think about the materials I use. Both are rooted in continuity and a long-term view. A marriage begins with a promise that grows over time, while choosing Fairmined gold means choosing gold that comes with a defined certification standard and documented requirements for participating mining organisations.

When couples begin planning their wedding, they often focus on the visible elements of the day: the celebration, the location, the gathering of family and friends. Yet the wedding rings they exchange become something much more enduring. Long after the wedding day itself has passed, these small circles of gold remain present in daily life, quietly accompanying every shared experience.

For this reason, many couples today are looking beyond the surface of their jewellery. They want to know where the gold comes from, who has worked with it, and what values it represents. Choosing custom-made wedding rings allows them to engage with these questions in a meaningful way.

The Importance of Provenance in Wedding Jewellery

In an industry where supply chains can easily become invisible, provenance can provide more information about a material’s journey. It can help connect the finished object with the places and people involved in its creation.

For wedding rings, this awareness adds another dimension to the symbolism already present in the circular form. The ring no longer represents only the union between two individuals; it also reflects the network of relationships that made the piece possible.

Working directly with a goldsmith allows couples to experience this process in a tangible way. Instead of selecting a ring that has appeared anonymously in a display case, they become part of the creation itself. The design develops through conversation, sketches, and careful decisions about materials and form.

Each ring therefore begins long before the wedding ceremony. Its story unfolds in the workshop, at the bench, through the transformation of gold into a finished piece of jewellery.

Fairmined Gold and the Value of Provenance

For couples who want to know more about the origin of the gold in their wedding rings, Fairmined gold offers a defined certification standard.

Fairmined certification was created for artisanal and small-scale mining organisations that meet the requirements of the Fairmined Standard. The Standard covers areas including working conditions, environmental practices, economic conditions and traceability within participating mining organisations.

Fairmined gold has documented provenance through the certified supply chain. Information about its journey from the mining organisation through the supply chain is recorded as part of the certification system.

In this context, a wedding ring made from Fairmined gold becomes more than a beautiful object. It becomes part of a story that begins with a certified mining organisation and continues through the supply chain to the goldsmith’s workshop.

There is something particularly fitting about linking these ideas to the symbolism of marriage. Just as a partnership between two people is built over time through trust and commitment, choosing Fairmined gold gives the material in a wedding ring a documented story and a defined certification standard behind it.

Couples who choose this path often appreciate knowing more about where the gold in their rings comes from and the certification standard behind it. The ring can therefore become a tangible expression of the couple’s shared values.

For those interested in understanding the process more deeply, it can be fascinating to explore how Fairmined gold travels from mining organisation to workshop, and how its provenance is documented through the supply chain.

Crafting Wedding Rings in the Workshop

Creating custom wedding rings is a very different experience from buying ready-made jewellery.

The process usually begins with a conversation. Couples describe the rings they imagine wearing every day: sometimes minimal and understated, sometimes textured or gemset. Often inspired by personal stories.

From these conversations, designs begin to take shape. Small adjustments to the curve of a ring, the width of the band, or the surface finish can dramatically change how the piece feels when worn. These decisions may seem subtle, yet they define the personality of the final object.

The transformation from raw metal to finished ring unfolds gradually in the workshop. Gold is alloyed, rolled, shaped, soldered, filed, and polished by hand. Each step leaves a trace of the maker’s work.

When couples visit during this process, they often gain a new appreciation for the craftsmanship involved. The rings are not anonymous products but carefully constructed pieces that require patience and precision.

This connection between maker and wearer becomes part of the ring’s identity. The object carries the memory of its creation as well as the promise it symbolises.

For couples who choose Fairmined gold, this moment of transformation also connects the workbench to the certified mining organisation from which the material originated. The journey from mining organisation to workshop to wedding ceremony becomes part of a single narrative.

Remodelling Family Gold: Preserving Memory Through Jewellery

Another path toward meaningful wedding rings begins not in a mine but within a family. Many people possess pieces of jewellery that are rarely worn but impossible to discard. An inherited ring, a damaged bracelet, or a chain tucked away in a jewellery box may carry emotional significance even if its design no longer suits contemporary taste.

Remodelling offers a way to transform these objects while preserving their sentimental value.

The process begins by examining the existing pieces and discussing their stories. Sometimes the gold comes from a grandparent’s ring. Sometimes several small items belonging to different relatives are brought together. Each fragment holds a memory, a moment in a family’s history. The gold is then melted and prepared for its new form. From this point onward, it can be shaped into entirely new forms: wedding rings that reflect the style and preferences of the couple who will wear them.

Although the design changes, the material itself remains the same. The atoms of gold that once formed an earlier piece of jewellery continue their journey in a new shape. There is something deeply moving in this transformation. The past does not disappear; it becomes part of a new beginning.

Gold and the Continuity of Generations

Gold is uniquely suited to this kind of transformation. It can be melted, reused and repurposed without losing the inherent properties of gold.

This physical property mirrors the emotional continuity that jewellery often represents. Family pieces can be passed down, altered and even reinvented as they move through generations.

Remodelling old gold into wedding rings therefore creates something that connects past and present.

The ring may carry the memory of a grandmother’s jewellery or fragments of different family histories brought together in one form. Over time, it may itself become an heirloom, eventually passed to another generation with new stories attached.

In this sense, jewellery does not remain static. It evolves with the people who wear it.

Remodelling allows couples to honour that continuity while still creating something that feels entirely their own.

Two Forms of Provenance

At first glance, Fairmined gold and remodelled gold may appear to represent two very different approaches to jewellery making. Yet both share a common principle: the importance of knowing where materials come from.

With Fairmined gold, provenance refers to the documented origin of the material and the requirements of the Fairmined Standard. The story of the material begins with a certified mining organisation in a specific landscape and community.

With remodelled gold, provenance becomes personal and familial. The story of the material begins in a jewellery box, a memory, or a piece that has travelled quietly through generations.

Both forms of provenance create connection. They anchor the finished ring in a history that extends beyond the moment of purchase.

For couples preparing to marry, this awareness can make their rings feel deeply meaningful. The gold they exchange does not exist in isolation; it carries stories, relationships, and a history that extends beyond the wedding day.

Wedding Rings That Reflect Shared Values

The choice of wedding rings often becomes one of the most personal decisions within the entire wedding process.

Some couples feel drawn to the documented provenance of Fairmined gold. Others are moved by the emotional resonance of transforming family jewellery. Many discover that these two paths reflect similar values: an interest in where materials come from, an appreciation for the people connected to them, and a desire to preserve something with personal or family history.

Bespoke jewellery allows these values to shape the final piece. The rings become expressions of the couple’s identity as much as symbols of their partnership.

They also become objects that will accompany daily life for decades. Over time, the gold will gather small marks and traces of wear, subtle reminders of the experiences shared while wearing it.

These quiet changes only deepen the meaning of the ring.

A Beginning That Continues

Choosing wedding rings is often one of the quieter moments in the journey toward a wedding. It happens away from the larger celebrations and planning lists, usually during a conversation that allows a couple to reflect on what truly matters to them.

For some, that conversation leads to the discovery of materials such as Fairmined gold. For others, it begins with a small box of inherited jewellery that has been resting in a drawer for many years. Sometimes it is simply the desire to create rings that feel personal rather than chosen from a display.

Whatever the starting point may be, the process of designing wedding rings can become a meaningful experience in itself. It offers the opportunity to reflect on values, on origins, and on the stories that materials carry.

Working together during the consultation allows those ideas to gradually take shape. Rings evolve through sketches, discussions, and the careful transformation of gold into objects that will accompany everyday life for many years.

If you are beginning to think about your own wedding rings and feel drawn to Fairmined gold or the possibility of remodelling family jewellery, you are always welcome to explore these possibilities further. Sometimes it begins simply with a conversation and the curiosity to see what a ring with a story might look like.

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Valentine’s Day: Love, Giving, and Jewellery with a Story

Saskia Shutt — Tue, 20 Jan 2026 10:52:58 +0000

Where Valentine’s Day Comes From: Love Rooted in Courage and Commitment

The origins of Valentine’s Day are complex, layered and, in places, uncertain. Yet this uncertainty is part of what makes the story so human. Long before Valentine’s Day became associated with romance, mid-February was a time of transition. In ancient Rome, the festival of Lupercalia was celebrated in February, although its precise relationship to the later traditions surrounding Valentine’s Day remains uncertain. The period was associated with rituals connected to fertility and purification, adding another layer to the long history of February celebrations.

The name Valentine is most often associated with Saint Valentine, or possibly several figures who shared that name. One of the most enduring legends tells of a priest who secretly married couples despite a ban imposed by the Roman emperor. Whether legend or fact, the story has survived because of what it represents: a belief in love, commitment and personal freedom, even when these come at a cost.

By the Middle Ages, particularly in Europe, Valentine’s Day had evolved into a celebration of romantic love. Written notes, poems and symbolic objects were exchanged as expressions of affection. What touches me about these early traditions is their intimacy. They were not about excess or spectacle, but about intention, choosing words or objects that carried meaning for one specific person.

Where Valentine’s Day Comes From: Love Rooted in Courage and Commitment

The origins of Valentine’s Day are complex, layered and, in places, uncertain. Yet this uncertainty is part of what makes the story so human. Long before Valentine’s Day became associated with romance, mid-February was a time of transition. In ancient Rome, the festival of Lupercalia was celebrated around this period, marking fertility, renewal and the slow return of light after winter. It reminds us that this time of year has always been linked to life, hope and continuity.

By the Middle Ages, particularly in Europe, Valentine’s Day had evolved into a celebration of romantic love. Written notes, poems and symbolic objects were exchanged as expressions of affection. What touches me about these early traditions is their intimacy. They were not about excess or spectacle, but about intention — choosing words or objects that carried meaning for one specific person.

The Tradition of Giving: A Universal Human Gesture

Giving is one of the oldest human rituals. Across cultures and throughout history, gifts have been offered to mark important moments, to express gratitude, to strengthen bonds and to show care. In its truest form, giving is not about price or status. It is about recognition.

A meaningful gift says: I see you. Value you. I have taken time to choose something that reflects who you are. This is why certain objects, simple, thoughtful and carefully chosen, can hold so much emotional weight.

Valentine’s Day sits at the intersection of love and giving. It invites us to reflect on our relationships and to express affection through gestures that feel personal. When giving becomes automatic or purely symbolic, it loses its power. When it is intentional, it becomes a form of dialogue, a way of speaking without words.

Jewellery as a Symbol of Love and Memory

Valentine Jewellery Love

Underwater proposal with a ring in Fairmined rose gold

Jewellery has accompanied humanity for thousands of years. Long before it was decorative, it was symbolic. Rings, amulets and talismans were created to protect, to signify belonging, to mark transitions and to carry meaning across generations.

Even today, jewellery remains one of the most powerful ways to express love. A piece of jewellery is worn close to the body. It becomes part of everyday life, absorbing gestures, memories and emotions. Over time, it can become a quiet witness to a relationship.

This is why jewellery is so often chosen to mark moments of commitment, engagements, anniversaries and Valentine’s Day. A jewel does not shout. It stays. Accompanies. Lasts.

For me, this permanence is part of what makes the choice of materials so important. When I create a piece of jewellery, I want to know as much as possible about the materials I work with, including their origin and, where applicable, the certification standards behind them.

Jewellery: Looking Beneath the Beauty

When we look at a finished piece of jewellery, we see its surface: the glow of gold, the brilliance of a stone. What we do not always see is the journey behind the materials from which it is made. Gold and precious stones have geological origins and pass through different stages of extraction, processing, trading and craftsmanship before becoming jewellery.

The jewellery industry involves complex supply chains, and questions about working conditions, environmental practices and the origin of materials form part of the wider conversation around mining. For me, working as a goldsmith means taking an interest in those questions and learning more about the materials I choose to work with.

Information about provenance can help make some of that journey more visible. This is one reason I work with Fairmined gold. Fairmined is a certification standard for participating artisanal and small-scale mining organisations, with defined requirements covering areas including working conditions, environmental practices, economic conditions and traceability.

For me, the story also continues in the workshop. I work to order, repair and remodel existing jewellery, and create pieces designed to be worn and kept over time. Craftsmanship, individual design and the possibility of giving existing materials a new form are all important parts of my practice.

Mining Communities and the People Behind the Gold

Behind every gram of gold are people, including miners, their families and the communities connected to mining. Artisanal and small-scale mining organisations often operate in rural areas and form part of local economies and livelihoods.

This is one reason I am interested in the systems through which gold is sourced and traded. Fairmined provides a defined certification standard for participating artisanal and small-scale mining organisations. The Fairmined Standard includes requirements relating to working conditions, health and safety, environmental practices, economic conditions and traceability.

During my visits to Fairmined mining organisations in Peru and Colombia, I had the opportunity to meet people working in these organisations and to see some of the practices covered by the certification standard. These experiences gave me a much deeper understanding of the people and places connected to the gold I work with.

For me, this is part of the story behind a piece of jewellery. Choosing Fairmined gold means choosing gold covered by a defined certification standard, while the finished piece carries its own story of craftsmanship, design and personal meaning.

Honouring the Person Who Receives the Gift

At the heart of every Valentine’s gift is a person. Honouring them means more than choosing something beautiful. It means paying attention. What do they value? How do they live? What objects feel aligned with who they are?

A thoughtfully chosen piece of jewellery reflects not only love, but respect. It says: I see your individuality. I honour your values. Offering a gift that reflects these concerns about sustainability, ethics and environmental impact are deeply personal. Offering a gift that reflects these concerns can be a powerful expression of care.

Jewellery chosen with intention becomes more than an accessory. It becomes a companion, something that carries meaning rather than noise.

Reimagining Value: Craftsmanship, Materials and Time

Handmade Fairmined silver earrings set with pink sapphire

Our culture often defines value in terms of speed, novelty and volume. Yet jewellery can be approached differently, with attention to design, craftsmanship, materials and the time involved in making each piece.

I work to order rather than producing collections or holding stock. Each piece is individually designed and made in my Brussels workshop, with the materials forming an important part of its story.

For me, giving a piece of jewellery on Valentine’s Day can therefore be about more than the object itself. It can be a way of choosing something made with time and attention, selected for a particular person and intended to become part of their story.

Valentine’s Day as a Thoughtful Choice

For me, Valentine’s Day is not about grand gestures or perfection. It is about alignment, between what we feel, what we give and what matters to us.

A piece of jewellery can hold many layers at once: the story of the person who receives it, the craftsmanship involved in making it, and the materials from which it is created.

As Valentine’s Day approaches, I invite you to look beyond the surface. Ask where the materials come from. Ask about the craftsmanship. Ask what makes a particular piece meaningful to the person who will wear it. Choose a gift that carries meaning, intention and a story.

If this way of giving resonates with you, take a moment to explore, to ask questions, and to imagine jewellery not just as an object, but as something connected to a particular person, a particular moment and the story behind its materials. Let this Valentine’s Day be an invitation to give with both heart and thought.

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A Year of Transformation and Recognition

Saskia Shutt — Sun, 07 Dec 2025 21:11:33 +0000

As the year draws to a close, I find myself pausing for a moment to take in everything that 2025 has brought. The turbulence, the surprises, the opportunities, the challenges, and the many moments of gratitude. The world of precious metals is unpredictable. With gold prices rising steadily and uncertainty shaping the broader landscape, I stepped into the year with intention and conviction. Promising myself that I would embrace change, chase new possibilities, and continue to focus on the values that guide my work. The way I choose my materials, the people I work with, and the craftsmanship at the heart of my practice.

Looking back now, I realise I did exactly that.

This year became one of profound professional growth. Recognition from unexpected places. Meaningful connections with like-minded creators who believe in a future where luxury can be personal, thoughtful and rooted in craftsmanship. So, sharing my reflections allows me to extend my warmest seasonal greetings to you. Invite you into the journey that made 2025 so unforgettable.

Honoured with the Ecodynamic Label; A Sustainable Milestone

Recognition of My Workshop Practices

I began the year with extraordinary news. Receiving the Ecodynamic Label from Brussels Environment. The label was presented by Alain Maron, Minister for the Cabinet of the Brussels-Capital Region, and Barbara Trachte, Secretary of State.

Before receiving the label, my workshop underwent a detailed assessment carried out by 21 Solutions. Examining my workshop practices, processes and the changes I had made over the years. Their assessment recognised the work I had undertaken to review and improve the way my atelier operates. I felt genuinely proud when the final approval came through.

The label reflects a journey that spans more than two decades. Over the years, I have gradually changed many of the products and processes I use in my workshop. Including replacing traditional chemical products with bio-based alternatives. Reviewing my workshop routines and looking for practical ways to reduce the use of certain materials.

These changes have developed gradually alongside my business and continue to evolve. For anyone curious, I share more about this journey at the bottom of the My Story page on my website.

For me, the way I work in my workshop is just as important as the materials I choose.

Why This Label Matters

My workshop was awarded the full three-star Ecodynamic Label. The highest level of the Brussels-Capital Region’s Ecodynamic Label.

The label has three levels. One, two and three stars, and receiving the full three stars was a particularly proud moment for me. It followed the detailed assessment of my workshop practices carried out by 21 Solutions.

For me, this recognition is significant. It reflects changes I have made to the way my atelier operates over more than two decades. From the products and chemicals I use to the way I handle materials and workshop processes. I have continually reviewed how I work and looked for practical improvements.

Receiving the three-star Ecodynamic Label was therefore more than simply receiving a certificate. It was an acknowledgement of the work that has gone into developing and reviewing my workshop practices over many years.

A customer commission: A bespoke bracelet

In May I received a commission from a client who wanted to surprise her husband with a bracelet for his birthday. She arrived with ideas she had seen online. Together we honed them into a design that felt personal and meaningful.

This project allowed me to collaborate with Niyona. A talented leather designer whose expertise brought a beautiful dimension to the final piece. One of the challenges was determining the correct wrist size without spoiling the surprise. Despite our careful detective work, the bracelet returned for resizing and alterations. That is entirely part of the joy of bespoke jewellery. Custom-made work adapts to the wearer, not the other way around.

Sharing My Voice in London — Fair Luxury Conference at the Goldsmiths’ Centre

June brings another meaningful milestone. Speaking at the Fair Luxury Conference, held at The Goldsmiths’ Centre in London. Returning to Fair Luxury as a guest speaker felt both grounding and energising. The conference gathers jewellers, designers, educators and industry professionals from across the jewellery sector. Being part of that conversation is an honour.

Sharing my perspectives on workshop practices and short supply chains, two subjects that have been an important part of my professional conversations. Themes sitting at the heart of my practice. The room brought together jewellers, designers, educators and industry professionals from across the field. The exchanges that followed are rich, supportive and full of momentum.

I’ve already written a dedicated blog post with my deeper reflections from the day. It felt important to mention it here as well. The Fair Luxury community has accompanied my journey for many years. Speaking at this year’s event gave me new conversations and connections that continued to influence my work in the months that followed.

A Summer of Surprises — Awards and International Recognition

A Double Nomination that Left Me Speechless

In July, I received what I can only describe as a double whammy of joy and disbelief.

Nomination for the Trends Impact Award in the category Equity and Inclusion.
Finalist for the Sustainability Award at the Jewellery World Award – in the category Environmental Stewardship

I was stunned. As an independent jeweller, walking my own path and working on a small-scale, artisanal rhythm. Never taking recognition for granted. For me, these nominations were recognition of the work I have been developing as an independent jeweller, particularly my focus on material choices, craftsmanship and the way I work with people and suppliers throughout my business.

A Journey to Hong Kong — And a Seat at the Table

To my great delight, being a finalist allowed me to travel to Hong Kong in September for the official award ceremony. It was a whirlwind experience that I will treasure for years. Also having the honour of joining a panel discussion titled “Luxury Meets Responsibility: Evolving Consumer Values in Fine Jewellery.”

As the only independent jeweller on the panel, I felt proud. And admittedly a little emotional. Sharing my voice among large corporate representatives. Their global reach is impressive, and many of them are driving important industry changes. Standing shoulder-to-shoulder with them. Offering the perspective of an independent artisan goldsmith who works directly with her materials and suppliers felt truly empowering.

Luxury and the Future, is a Future We Must Shape Together

During the discussion, emphasising something I wholeheartedly believe:
One point I emphasised during the discussion is something I wholeheartedly believe: the future of luxury should be shaped by the choices we make about materials, craftsmanship and the people involved in bringing jewellery into being. But as a structural foundation.

Artisanal and Small-Scale Mining (ASM), when operating within frameworks such as the Fairmined Standard, can provide a defined set of requirements for participating mining organisations, covering areas including working conditions, environmental practices and economic conditions. The Standard also includes a Fairmined Premium paid to certified mining organisations and sets requirements relating to the use of mercury.

During my visits to Fairmined mining organisations, I saw first-hand how some of these practices can work in reality. At the mines I visited, disused mining areas were being refilled and replanted, creating new green areas. Water was being reclaimed and reused rather than discharged as waste, with losses occurring primarily through natural evaporation. Solar panels had also been installed to generate electricity. Seeing these practices first-hand gave me a very different understanding of what circularity can look like in a mining environment.

Reusing, repurposing and recuperating materials are also important parts of the wider conversation around precious metals.

Seeing the interest and engagement from the audience reminded me how important these conversations have become. As makers, we have a role to play in continuing to question how jewellery is made, where its materials come from, and the choices we make along the way.

A transformation commission: from old gold into a gemstone ring

One of the most technically demanding pieces this year was a ring I remodelled in September. The original 14ct gold was exceptionally tough to work with, and the new opal settings required extremely delicate soldering onto a large chunky ring. It was a project that tested patience, heat control and precision.

Working closely with my setter, we brought the ring to life. The final piece has a striking character — colourful, vibrant and full of movement — and it stands as one of my favourite transformations of the year.

Trends Impact Awards — an inspiring evening at Maison de la Poste

Later in the year, in November, I attended the Trends Impact Awards at the elegant Maison de la Poste in Tour & Taxis.

Although I wasn’t selected as a finalist, the ceremony was a nourishing experience: a day full of interesting speakers, thoughtful discussions about equity and inclusion, and plenty of opportunities to connect. After the eleven winners were announced we enjoyed a walking dinner — a relaxed, convivial moment that became a valuable networking opportunity. I met other contestants, exchanged ideas and left feeling energised by the generosity and curiosity in the room.

Championing Mercury-Free Gold — Reciprocity Jewels in Chicago

A Trunk Show with Purpose

As the year moved into autumn, another beautiful opportunity came my way: participating in the Reciprocity Jewels trunk show in Chicago.
The event coincides each year with the Chicago Responsible Jewelry Conference, bringing together jewellers and others working to explore different approaches to sourcing and producing jewellery.

The participating jewellers, myself included, worked exclusively with gold and silver extracted mercury-free by artisanal miners in Peru. Mercury is used in some forms of artisanal and small-scale gold mining, and its use can have serious consequences for people and the environment. Working with metals extracted without mercury therefore gives these pieces a very specific story about the way the material was produced.

A Collaboration with a Story to Tell

I was truly delighted to join the fourth edition of Reciprocity Jewels, alongside a group of international designers. For the show, which was first exhibited during New York Jewelry Week in November 2024, each of us created a capsule collection using mercury-free precious metals supplied through a network of Peruvian artisanal miners.

These miners, working in the Amazon region, are using mercury-free extraction practices at the Fairtrade Sotrami mine

To honour their work by transforming these materials into jewellery felt incredibly meaningful to me.

A Celebration of Craftsmanship, Exchange and Connection

This year’s exhibition opened on 18 September at Gallery 2052 in Chicago and continued for six weeks. It was a beautiful moment of exchange. A place where designers, miners, activists, and clients came together to share experiences and discuss the materials and practices behind their jewellery.

For me, understanding more about the people and places connected to the materials gives the finished jewellery another layer of meaning.

A November commission — an engagement ring with a twist

In November, I received a commission that warmed my heart. Someone reached out for a bespoke engagement ring, and only later did I discover that the recipient was one of the judges on my Trends Impact Award panel. This added such a personal layer to the project — a gentle reminder that craftsmanship creates connections in the most unexpected ways.

Designing engagement rings is always emotional, but this one carried a sense of circularity, as though the year folded in on itself. This makes me smile.

Reflecting on 2025 — What This Year Has Taught Me

The Power of Independent Voices

One of the recurring themes of 2025 for me was the strength of independent artisans.
It can sometimes feel as if larger players dominate the conversation in the jewellery world. This year proved that independent makers not only have a voice, but one that is sought after and valued.

Continuing to Learn, Improve and Experiment

Receiving the Ecodynamic Label reminded me that there is always more to learn, improve and explore in the way I work.

Every time I adjust a method, change a product, shift a workflow, or deepen my understanding of the people and places connected to my materials, I take another small step forward. Those steps add up over years and decades, but they also happen through the personal relationships I build with my clients. Every commission brings a conversation, a story and a new opportunity to create something meaningful together. It is this connection with the people who entrust me with their jewellery that continues to inspire and shape my work.

While awards and travels add visible highlights to a year, the heart of my work lies in the quiet, intimate world of bespoke commissions. These pieces anchor me and remind me why I care so deeply about materials, craftsmanship and the people connected to them.

Thank you, to all of you for being part of my 2025, for reading, supporting, sharing and choosing craftsmanship with a story behind it.

Wishing you a peaceful festive season and a bright, hopeful 2026.

Warm creative greetings,
Saskia

The post A Year of Transformation and Recognition appeared first on Saskia Shutt.

What Really Happens When You Invest in Gold?

Saskia Shutt — Mon, 24 Nov 2025 09:31:06 +0000

image: courtesy of the Fairmined website

My Reflections on Rising Prices, Gold, and the Future of Jewellery

Have you ever stopped to consider what truly happens when you invest in gold? I ask myself this question often—more than most, perhaps—because gold is not only my material of work but also a living thread that connects miners, artisans, investors, and the planet itself. Recently, this question has become even more urgent. Gold is rising in leaps and bounds, and at the time of writing, on 24 November 2025, it sits at just over €3,500 per ounce (31.1 grams).

In uncertain times, people often turn to gold because it has historically been regarded as a store of value. And doing so for centuries. Yet what I see, from my vantage point as both a goldsmith and a Fairmined licensee, is that the rising price of gold has implications far beyond the financial markets. It can influence supply chains, mining communities and the wider jewellery sector. It ripples outward; into supply chains, communities, ecosystems, and and the choices we make when deciding where to invest.

In this article, I explore what rising gold prices mean for the jewellery sector, why the origin of gold matters, and what Fairmined certification tells us about the material we choose to work with.

Why Gold Prices Rise—and Why It Matters

Gold is famously resilient. When global politics wobble, when currencies fluctuate, when markets lose their shine, gold becomes the safe harbour. And so, as uncertainty grows, so does demand. Yet the dramatic rise to €3,500 per ounce brings more than financial comfort to investors. It can also affect the gold supply chain, particularly where mining and trading activities are less regulated or less transparent.

As a Fairmined licensee, this is the question I keep returning to: How does the rising price of gold affect the supply chain behind my materials, and how can I know more about the origin and certification of the gold I work with?

The uncomfortable truth is that rising prices create powerful incentives—not only for legitimate mining but also for illegal operations.

Rising Gold Prices: A Double-Edged Sword

On the one hand, a high gold price can increase the value of gold produced by mining organisations operating within certified systems. Depending on the certification and the organisation involved, this can be connected to specific requirements and benefits defined by the applicable standard.

But there is another side to the story. When gold prices rise sharply, illegal mining can become more attractive. Illegal mining can be associated with environmental damage, social and labour concerns, criminal activity and, in some regions, serious risks to people working in or living near mining areas. It becomes a vicious circle: Rising prices can create additional pressure within the gold supply chain.

But I want to be clear: this is not an inevitable outcome everywhere. Much depends on regulation, transparency and the systems through which gold is sourced and traded. Fairmined provides a defined certification standard for participating artisanal and small-scale mining organisations, with requirements covering areas such as working conditions, environmental practices, economic conditions and traceability.

The Environmental Toll of Illegal Gold Mining

Illegal mining is devastating to the environment, and its harm reaches far beyond the mined sites themselves.

The hidden poison behind “cheap” gold

Mercury is used in some forms of artisanal and small-scale gold mining to separate gold from ore or sediment. Mercury released during these processes can enter soil, water and the atmosphere. It can also accumulate in organisms and move through food chains.

Mercury contamination can affect communities downstream and can have consequences for wildlife and aquatic ecosystems. Mercury can persist in the environment and accumulate in food chains.

In these circumstances, gold extraction can be associated with risks to human health and the environment.

Deforestation and water contamination

According to research from the UNODC and environmental organisations across the world, illegal mining operates outside the applicable regulatory framework. Illegal mining can involve forest clearance, habitat loss and changes to water systems. Wildlife habitats are destroyed. Water sources become contaminated by sediment, chemicals, and waste.

The World Resources Institute has reported a relationship between rising gold prices and increased illegal mining in parts of the Amazon, resulting in both ecological destruction and social harm. People working in or living near these mining areas can face exposure to toxic substances, difficult labour conditions and, in some regions, criminal activity.

The Human Cost: What Price Do We Put on Life?

When we talk about investing in gold bars, beautiful, heavy, perfectly stamped, it can be easy to forget the human beings at the other end of the chain. People working in illegal mining operations may work without appropriate protective equipment or access to the safety measures and support available within regulated mining systems.

So I find myself asking:

What is the true price of a 100g or 200g gold bar?
What human and environmental questions should we ask about the origin of the gold we invest in?

And if we stockpile gold bars for the future, shouldn’t we also ask where that gold came from and what happened along the way?

This is why information about the origin of gold matters to me. It is also why certification systems such as Fairmined exist. The Fairmined Standard sets defined requirements for participating artisanal and small-scale mining organisations and provides a framework for certified gold to be traced through the supply chain.

Criminal Networks and the Domino Effect

Illegal gold can enter wider criminal networks and may become connected with activities such as money laundering, corruption and organised crime. These issues are explored in detail by Mark Pieth in his book Gold Laundering: The Dirty Secrets of the Gold Trade and How to Clean Up (2019). The high value of gold can make it attractive to criminal networks seeking to profit from the trade.

These activities can have consequences for communities and regions where illegal mining and associated criminal activity take place.

By contrast, certification systems such as Fairmined establish defined requirements for participating mining organisations and provide mechanisms for documenting certified gold through the supply chain.

How Rising Gold Prices Affect Jewellers

Jewellers are feeling the impact of rising gold prices. The cost of materials increases, margins can become tighter, and customers may reconsider the timing or scope of a commission. But what if we look at this from a positive viewpoint?

What if rising gold prices became an opportunity instead of an obstacle?

What if consumers chose to put their money into jewellery rather than gold bars locked away in safes, choosing pieces that carry both personal and material value? Bespoke jewellery that carries an emotional story as well as a story about its materials. Handmade pieces where information about provenance and, where applicable, certification can form part of the story behind the jewellery.

Investing in Gold Jewellery with a Story

When you choose jewellery made with Fairmined gold, you are choosing gold that comes with a defined certification standard and documented requirements.

Your jewellery retains material value: Gold jewellery contains a precious metal with an established material value. It can be worn, cherished and passed down while retaining the value of the gold it contains.
You choose gold covered by a defined standard: Fairmined certification sets requirements for participating artisanal and small-scale mining organisations, including requirements relating to working conditions, health and safety, economic conditions and the use of mercury. Mining organisations must meet the requirements of the Fairmined Standard to maintain their certification.
You choose gold covered by environmental requirements: The Fairmined Standard includes requirements relating to environmental practices and the use of mercury in participating mining organisations. These requirements form part of the certification process.

You preserve craftsmanship: Commissioning a jeweller means choosing a piece made through individual design and skilled handcraft rather than a mass-produced object. The result is a piece made specifically for you.
You get to wear what you own: A gold bar sits in a vault. Gold jewellery can be worn, enjoyed and associated with the stories and milestones of your life.

As someone who has visited Fairmined mines in Peru and Colombia, seen the work, the care, the social impact, and the sense of pride within each community, I can tell you: the difference is profound. Fairmined gold is not a luxury—it is a responsibility, a promise, and a partnership.

Imagining a Different Future for Gold

Imagine a future where rising gold prices are accompanied by greater attention to the people, places and practices behind the gold we buy.

In that future, more gold jewellery could carry documented information about its origin and, where applicable, certification.

Mining organisations could work within defined standards for working conditions and environmental practices, with clear requirements relating to the use of mercury. Buyers could also have greater access to information about the origins of the gold in their jewellery.

Fairmined certification offers one framework for putting some of these principles into practice. As a consumer, choosing Fairmined gold is one way to choose gold covered by a defined certification standard. This is the direction I have chosen to pursue in my own work as a goldsmith and designer.

Choosing Gold with a Documented Story

Whether you choose Fairmined-certified gold bars from wholesalers such as Fairever, or commission a piece of jewellery from me using Fairmined gold, you are choosing gold covered by a defined certification standard, with requirements relating to working conditions, environmental practices and traceability.

Your gold can carry more than material value. It can also carry information about its origin, the certification standard behind it, and the people and places connected to its journey.

Choose Gold with a Story, And Let’s Create Something Meaningful Together

If you’re thinking about investing in gold, I invite you to consider the origin of the gold you choose, alongside its material value and the craftsmanship involved. Fairmined gold comes with a defined certification standard and documented requirements for participating mining organisations. Jewellery also offers the pleasure of owning and wearing something made especially for you.

If you feel inspired to explore a bespoke piece, something handcrafted, meaningful and made with Fairmined gold, I’d love to welcome you into my workshop.

Book your appointment with me, and together we’ll design a piece that reflects your personal story, your style and the material story of the gold from which it is made.

The post What Really Happens When You Invest in Gold? appeared first on Saskia Shutt.

Lost wax casting in jewellery

Saskia Shutt — Fri, 22 Aug 2025 09:25:16 +0000

Lost wax casting is one of the oldest jewellery-making techniques known to humanity. It dates back around 6,400 years, and remarkably, the fundamentals of the process have hardly changed. Ancient goldsmiths worked with beeswax and clay, while today we benefit from modern tools and rubber moulds. Yet, the soul of the technique remains the same: wax is transformed into precious metal through fire, skill, and precision.

Although I rarely use lost wax casting in my everyday work, the technique plays a vital role in certain areas of my jewellery practice. My approach as a goldsmith is usually to build my pieces up from scratch, carefully shaping and fabricating metal by hand. However, when I work on larger statement pieces or on certain remodelling projects, lost wax casting becomes the perfect solution.

In this article, I want to share the fascinating history of lost wax casting, how I learned it during my own training, how it is used in modern jewellery workshops, and why I still use it today for certain bespoke projects.

What Is Lost Wax Casting?

The process of lost wax casting, also known as cire perdue, has been around for millennia. From Mesopotamia to Egypt, from the Indus Valley to Africa, artisans discovered that wax could be used as a temporary model for objects in metal. The technique is simple in principle: create a model in wax, encase it in a mould, melt the wax away, and replace it with molten metal.

Even though tools and materials have evolved over time, the method has remained strikingly consistent. Today we may use investment powder instead of clay, and rubber moulds instead of carved stone, but the idea is exactly the same as it was thousands of years ago.

This continuity across time is what makes lost wax casting so special. When I work with this technique, I feel connected to generations of craftspeople who came before me. It’s a reminder that jewellery-making is both ancient and ever-evolving.

The Timeless History of Lost Wax Casting

Lost wax casting has been uncovered in ancient artefacts from civilisations across the world. Egyptian gold amulets, Mesopotamian figurines, and early Indian ornaments all reveal the marks of this process. The technique spread widely because of its versatility: it allowed artisans to create complex shapes and intricate details that were impossible with direct hammering or fabrication.

The technique’s endurance over 6,000 years proves its brilliance. It is a process that adapts effortlessly to time while keeping its essential nature unchanged.

My First Experience with Lost Wax Casting

My first introduction to lost wax casting came during my degree at Duncan of Jordanstone School of Art and Design between 1994 and 1997. The course gave me a taste of the technique, more of a teaser than a deep dive. At that stage, it was just one of many methods to explore as a student jeweller.

Two decades later, in 2020, I felt a strong pull to return to wax work. I enrolled in a wax techniques course at Syntra Brussel, under the expert tuition of Alain Roggeman and Nico Delaide.

With Alain, my fellow students and I discovered the different types of wax and their specific uses. Some waxes are soft and pliable, perfect for modelling, while others are hard and crisp, ideal for detailed carving. Each wax demands a different approach and has its own quirks. For me, the joy lies in carving in wax—shaping a form with deliberate precision, knowing that it will one day become metal. That is the part of lost wax casting I cherish most, and it is the technique I still use regularly in my workshop today.

With Nico, we turned to the subject of mould-making. His focus was on reproduction—using rubber moulds to create multiple identical pieces. This area of lost wax casting sits in contrast with my own work, but it gave me valuable insight into the world of small-scale jewellery production.

Wax Types and the Art of Wax Carving

Wax carving is both meditative and exacting. A block of wax becomes a canvas. I remove slivers, file surfaces, and build tiny details. Unlike working directly with metal, wax is forgiving. If I carve too deeply, I can melt a little wax and repair the surface. If I want to test proportions, I can adjust them before committing to metal.

This stage of jewellery-making feels intimate. I hold the piece in my hands in a way I cannot once it is metal. I can see the future form emerging, and yet it still feels alive and flexible.

Once carved, the wax is transformed into metal through casting. The fragility of wax is replaced by the permanence of gold or silver. The transition is always magical. What was once soft and ephemeral becomes solid and enduring.

Lost Wax Casting and Rubber Moulds in Jewellery Production

Rubber moulds are an essential part of lost wax casting when jewellers want to reproduce designs. A rubber mould captures every detail of an original piece. It can then be used to create wax copies, which are in turn cast into metal.

These moulds can last 10 to 20 years, depending on how often they are used. They are particularly useful for jewellers who need to produce collections in volume. Instead of carving each wax model from scratch, they can produce hundreds or even thousands of identical waxes from a single mould.

This method is efficient. It reduces manual labour, shortens production time, and lowers costs. It allows jewellery businesses to offer consistent designs at accessible prices.

In some cases, jewellers will cast the main body of a piece using moulds and then hand-finish each one. This hybrid method balances efficiency with artistry: the core design is replicated, but the finishing touches are still shaped by hand. It creates jewellery that is uniform in structure but still retains a unique character.

Why I Rarely Use Moulds in My Bespoke Jewellery Practice

In my own workshop, I very rarely use rubber moulds. My work is rooted in the philosophy of bespoke craftsmanship. Each piece I create is designed and made for one individual. It reflects their story, their gemstones, and their vision.

Carving each wax model by hand allows me to tailor the design precisely. When I carve a wax for a bespoke piece, I am not just shaping a model; I am shaping the foundation of a future heirloom. Every curve, every angle, and every recess is designed with intention.

This is particularly important when gemstones are involved. Gemstones are not uniform. They vary in shape, size, and cut. A hand-carved wax can be tailored perfectly to cradle the chosen stones. This level of precision simply cannot be achieved with standardised moulds.

Bespoke jewellery thrives on individuality. No two pieces should be the same. That is why I carve each wax fresh, with my client and their story in mind. No mould is made after casting in the desired precious metal.

Sand Casting vs. Lost Wax Casting

In my workshop, I also use another traditional casting method: sand casting. This is especially valuable when I remodel customers’ old jewellery. It is a technique for one-of-a-kind casting.

Sand casting requires more material than lost wax casting. To succeed, I need at least twice the amount of gold than the final piece will require. This is because the process relies on gravity. The molten metal must push itself into every crevice of the sand mould, and without the extra weight, the casting can fail. The result would be incomplete or misshapen.

Once the new piece is finished, I return any unused gold to my customer. This way, nothing is lost, and the sentimental value of their original material is preserved.

Sand casting has a different aesthetic from lost wax casting. It produces a rawer, more organic surface texture, which many clients find appealing. It also offers a sustainable way of giving old jewellery a new life.

Why Lost Wax Casting Still Matters Today

Lost wax casting continues to be an essential technique for jewellers worldwide. From mass production to bespoke artistry, it adapts to different needs. For some, it is about efficiency and reproducibility. For others, like me, it is about expression, carving, and storytelling.

What strikes me most is that this method has endured for thousands of years because it works so well. The fundamentals have not needed to change. Fire, wax, and metal come together in a process that still feels almost alchemical.

Conclusion: The Magic of Lost Wax Casting in Bespoke Jewellery

Although fabrication remains my primary method of working, lost wax casting has its place in my practice. For larger pieces, it provides strength and structure that would be laborious to achieve by hand. For remodelling projects, it allows me to give old gold new life. And for bespoke creations, it allows me to carve designs directly tailored to my clients’ gemstones and stories.

Every time I use the technique, I am reminded of its history. I imagine the goldsmiths of ancient civilisations carving wax in the flicker of lamplight. I imagine their awe as molten metal took shape. And I feel grateful that I can continue this lineage of craftsmanship in my own contemporary practice.

Lost wax casting is more than just a technique. It is a bridge between past and present. It connects me to ancient traditions while allowing me to create jewellery that is relevant today. Whether it is carving a bespoke wax for a client, remodelling old gold in sand, or exploring the versatility of different wax types, the technique offers endless possibilities.

Every piece of jewellery tells a story. And when that story begins in wax, the journey feels even more profound. If you are ready to begin your own journey and create your dream piece of bespoke jewellery, I warmly invite you to book an appointment with me and let’s bring your vision to life.

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The Meaning Behind Birthstones: August – Exploring Peridot

Saskia Shutt — Sat, 02 Aug 2025 16:34:35 +0000

As summer shifts from July to August, one gemstone shines with the season’s vitality: Peridot. With its radiant green hue, Peridot is the perfect gift to celebrate August birthdays and the vibrant energy of high summer. This unique birthstone boasts a rich history, deep spiritual symbolism, and a personal significance that has stayed with me since I launched my first jewellery collection in 1999.

Origins and Ancient History of Peridot

Peridot is the gem-quality variety of the mineral olivine. It forms deep within the Earth’s mantle and surfaces through volcanic activity. Its vibrant olive-green hue, sometimes with a golden undertone, depends on its iron content.

This mesmerising gemstone has been cherished for over 4,000 years. The earliest known Peridot mines were located on St John’s Island (Zabargad) in the Egyptian Red Sea. In antiquity, the island was known as Topazios. The Ancient Egyptians revered Peridot, calling it the “gem of the sun”. They believed it offered protection from evil spirits and night terrors—especially when set in gold.

Over time, Peridot deposits have been discovered in several regions across the globe, including Arizona (USA), Pakistan, China, Burma, Brazil, and Kenya. One notable source is the San Carlos Apache Reservation in Arizona, which remains a leading supplier of high-quality Peridot today.

Why Peridot Means So Much to Me

In August 1999, I launched my very first jewellery collection. I chose to work with silver and yellow gold, setting each piece with Peridots. At that time, I focused on designing complete collections—a different rhythm from the bespoke commissions I now specialise in. That first collection felt like a creative awakening.

Peridot quickly became more than a gemstone to me. It symbolised the excitement and possibility of those early years. Even now, when I work with Peridot, I’m transported back to the buzz of designing, the flow of ideas, and the glow of those green gems catching the light on my bench.

Although I now pour my heart into bespoke commissions, Peridot still holds a very special place in my heart. It represents the start of my journey as a designer-goldsmith and the path that led me to where I am today.

Bespoke Peridot Creations Over the Years

Reciprocity Exhibition – New York Jewellery Week 2024

In 2024, I was honoured to participate in the Reciprocity exhibition during New York Jewellery Week. My piece for the show was a ring created in mercury-free silver, sourced from artisanal miners in Madre de Dios. The centre stone? A Peridot from Arizona, flanked by pink sapphires from Ilakaka, Madagascar. The ring itself is hand-carved in wax and cast in silver using the lost wax casting technique.

The exhibition highlighted responsible mining and aimed to create positive change for mining communities. I loved contributing to such a meaningful project that aligned with my core values: sustainability, traceability, and ethical craftsmanship.

Sentimental Symbolism in an Engagement Ring

One of the most heartfelt commissions I’ve received was for an engagement ring inspired by the wedding tradition: “Something old, something new, something borrowed, something blue”.

This client wanted the ring to reflect both his and his partner’s heritage. The diamonds, once set in his grandmother’s ring, served as the “something old and borrowed”. The white gold was new—Fairmined eco gold. The final touch: a green Peridot, representing Ireland (his partner’s homeland), sourced from Arizona, his home state. A perfect blend of tradition, love, and storytelling. I treasure projects like this—they’re not only creative but deeply meaningful.

Remodelling with Personal Touch

Another favourite commission came from an American client living in Brussels. She discovered my work via Pinterest, realised I was based nearby, and reached out to remodel her old gold jewellery and loose gemstones.

She gave me creative freedom, trusting my design instincts. I cleaned, melted down her gold, and reworked it into a striking new ring, featuring her gemstones and a kite-shaped Peridot from my stock. Although paler than typical Peridots, the stone dazzles with its subtle luminosity.

I love how this piece represents transformation—taking something from the past and giving it new life and meaning.

Cufflinks with Character

Cufflinks remain one of my favourite items to create, though I rarely get requests for them these days. Back when I lived in the UK, both men and women wore cufflinks regularly. I still believe they’re a brilliant way to accessorise—no occasion necessary.

Bespoke handmade cufflinks also make for excellent personal corporate gifts.

One standout pair I created for a jewellery show featured Peridots set in silver. Another commission came from a British client working in Belgium. These cufflinks offered a wonderful way to showcase bold design in a smaller form, perfect for those who like to wear their personality on their sleeves—quite literally!

Every bespoke piece I create embodies my values: craftsmanship, sustainability, and ethical sourcing. Peridot often features in these stories, not just for its beauty but for what it represents. My approach honours age-old goldsmithing techniques and embraces mindful design. I care deeply about every stage of the journey—from sourcing materials to hand-finishing the final piece.

Caring for Your Peridot Jewellery

While Peridot is a captivating stone, it does require some care to maintain its beauty. It ranks around 6.5 to 7 on the Mohs hardness scale, so it’s best to avoid wearing it during heavy manual work.

To clean Peridot, simply use warm, soapy water and a soft cloth. Avoid ultrasonic cleaners and steamers, as these may damage the stone. Store Peridot jewellery separately from harder stones like diamonds or sapphires to prevent scratches.

By treating your Peridot with care, it will continue to radiate warmth and charm for generations.

Styling Peridot: Effortless Elegance

Peridot’s lively green glow pairs effortlessly with both cool and warm metals. I love how it looks in yellow gold, which amplifies its golden undertones. Silver settings create a contemporary contrast, highlighting the gem’s vibrancy.

It suits both minimalist and bold statement pieces. Whether worn in delicate studs, bold cocktail rings, or layered pendants, Peridot adds a fresh burst of colour that lifts every outfit. It transitions beautifully from summer dresses to evening wear, making it a versatile choice year-round.

Legends, Lore and Metaphysical Meaning

Throughout history, cultures across the globe have ascribed mystical powers to Peridot. The Romans called it the “evening emerald” for its ability to glow under lamplight. In Hawaiian legends, Peridot symbolised the tears of Pele, the goddess of volcanoes and fire.

In modern metaphysical circles, Peridot is associated with the heart chakra. It’s said to support emotional balance, reduce stress, and invite compassion and renewal. Many wear it to attract abundance, cleanse negative energy, or strengthen relationships. Whether you resonate with these meanings or simply enjoy the gem’s luminous beauty, Peridot offers a joyful presence.

Final Thoughts

Peridot is far more than a pretty summer gem. It’s a symbol of renewal, emotional healing, protection, and abundance. Its vibrant energy reflects ancient sunlight and deepens the story of every piece it adorns.

It was Peridot that began my journey as a designer-goldsmith in 1999. And it’s Peridot that continues to shine in my bespoke commissions—always carrying meaning, beauty, and ethical integrity.

So, if you’re looking for a meaningful summer gift or a personalised August birthstone creation, Peridot set in silver or yellow gold makes a timeless, thoughtful choice.

The post The Meaning Behind Birthstones: August – Exploring Peridot appeared first on Saskia Shutt.

Something Old, Something New: Transforming Heirloom Jewellery for Your Big Day

Saskia Shutt — Sun, 29 Jun 2025 21:06:09 +0000

Gold is timeless. It’s soft, malleable, and endlessly repurposable. You can melt it down, reshape it, and give it new life. Whether it’s from heirloom pieces, gold coins, or even dental gold, it holds value and stories. Gold never gets thrown away. It carries meaning. It endures across generations. That’s why it’s perfect for wedding rings.

For over 26 years, I’ve been transforming heirloom jewellery into new, bespoke wedding rings and other jewellery pieces. These aren’t just rings. They’re memories made wearable. They celebrate the couple’s future and honour the past. When you wear heirloom gold on your wedding day, you carry family history into your new life. It’s not just sentimental. It’s deeply symbolic.

The Power of Transforming Heirloom Jewellery

A wedding marks a new chapter. It’s about commitment, unity, and shared futures. But when you use heirloom gold, it’s also about roots.

Transforming heirlooms connects the past with the present. You honour loved ones while stepping into a new journey.

I’ve worked with gold that once belonged to grandmothers, great-uncles, and long-lost ancestors. Each piece tells a story. And when remodelled into wedding rings, that story continues.

Transforming heirloom jewellery isn’t just sustainable. It’s profoundly meaningful. It’s a physical link to your lineage. A quiet reminder of the love and strength that came before you.

Gold Coins with a New Purpose

img: Bullion Star website

One of my favourite commissions came from a couple who brought me a 24ct Australian gold coin. It featured a kangaroo, minted in 2009. It was a gift from the groom’s mother. She wanted the couple to use it for their wedding rings.

24ct gold is very soft. So, firstly, milling the coin down to a manageable cutting thickness. From there, I slicing off the exact weight needed for both rings.

To make the gold suitable for everyday wear, I alloy it with fine silver and copper. This reduces the purity from 24ct to 18ct — a perfect balance of strength and beauty.

With the newly created alloy, I begin the process of handmaking two simple, elegant wedding rings. Each stroke of the leather hammer, each pass through the rolling mill, is done with care and precision.

That coin becomes something more than a keepsake. It becomes a symbol of their commitment. And a gift that will last a lifetime.

Another beautiful example of transforming heirloom jewellery into something modern, yet meaningful.

From Grandparents' Rings to New Beginnings

Another deeply touching project involving three wedding bands from the couple’s grandparents. The gold had seen decades of marriage, love, and life.

Together, we decided to melt down the rings and transform them into new ones. The result was stunning — simple bands that look modern but carry decades of family heritage.

The symbolism is powerful. Their rings aren’t just about their love. They are a tribute to the love stories that came before.

Wearing those rings, they feel their grandparents with them — on the day and every day after.

These are the kinds of transformations which makes jewellery more than beautiful. They make it personal. Sacred, even.

It’s another moving example of the beauty in transforming heirlooms.

A Union Forged in Gold

Weddings are about union. Not just between two people — but also two families, two histories, two lifetimes.

Transforming heirloom jewellery into wedding rings is a way of weaving those histories together. It’s a celebration of love that spans generations.

It tells a story. One of continuity, resilience, and deep emotional connection. You’re not just starting a life together. You’re carrying loved ones with you — literally — in the gold you wear.

There is beauty in that. And great comfort.

Leftover Gold, Fresh Start

Sometimes, heirloom gold comes in unexpected forms. One couple brought me a mix: leftover white gold from a previous remodel, plus a few yellow gold pieces.

The white and yellow gold couldn’t just be mixed. Hence, exchanging the yellow gold for white ensures a consistent colour.

Once the alloys match, I melt everything into one solid bar. Then rolling it down into a sheet — just the right thickness and width for their chunky rings.

Next comes texturing. Then shaping. Finally, setting.

Her ring has extra detail — a trio of sparkling diamonds, channel-set for a sleek, modern finish.

What begins as a pile of old fragments becomes two bold, contemporary wedding rings. A perfect story of transforming heirlooms with purpose and vision.

A Grandmother’s Diamonds, A New Love Story

Rose gold always carries a certain warmth. And in this commission, the warmth runs deep.

The couple brought gold from the groom’s mother. It includes diamonds from his grandmother’s engagement ring.

Creating two bands from the rose gold. The soft blush tone is perfect — romantic and rich.

For her ring, they are incorporating the grandmother’s five diamonds. These are set into rubover setting along the top of the ring, catching the light and adding sparkle.

It is emotional. A tribute to a beloved woman. A way to keep her close, not just in memory but in form.

This is transforming heirloom jewellery at its most personal and heartfelt.

Your Rings, Your Story

Your wedding rings should be more than beautiful. They should be meaningful, and speak of your story. Where you come from and where you’re going.

Whether it’s a coin, an old chain, or rings from past generations, I can help you turn it into something truly unique.

Something made just for you. Something old, made new.

This is the essence of transforming heirlooms. I love the process of transforming old jewellery into new desirable pieces.

Planning your wedding and have heirloom gold, let’s talk.

Together, we’ll create wedding rings that are personal, poetic, and full of meaning.

Each transformation is unique. Every ring is handmade in my Brussels workshop, with care and intention.

Let your rings tell your story. A story of love, memory, and new beginnings.

Book your appointment today — and let’s begin the journey of transforming your heirlooms into something timeless.

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Saskia Shutt

Gold choices: recycled or mined

What choices do we have when buying gold?

What do we actually mean by "recycled"?

What makes gold different?

Breakdown into types of gold waste

Manufacturing scrap

Obsolete jewellery

Dental gold

Investment bullion

Unsold jewellery

Electronic waste

Should all of those really sit under one umbrella term?

recycling versus remodelling

Does "recycled" tell us anything about provenance?

Does recycled automatically mean environmentally better?

Refining Gold

Does Recycling Reduce the Need for Mining?

Reusing Gold Is Nothing New

A prime example is The British Crown Jewels

Differentiating between remodelling and recycling

When Does Remodelling Become Recycling?

If Mining Continues, What Kind of Mining Should We Support?

Large-scale mining

Single mine origin and Artisanal and small-scale mining

Why Artisanal and small-scale mining

What does informal mining look like?

Deep sea mining

Do We Really Need to Mine the Deep Sea?

A brief comparison

The importance of supporting responsible ASM

Environmental Protection

Social and Economic Growth

A Call for Informed Choices

Slow Mining

Responsible Artisanal and Small-scale Gold Mining

Look Beyond the Label

How Much Gold Do We Really Need?

Mercury in informal gold mining

My Conclusion

Bespoke Cufflinks: Refined Expression

Jewellery That Reflects Values

Breaking the Rules of How Cufflinks Are Worn

A Rich History Waiting to Be Rediscovered

Craftsmanship in Every Detail

Stories Worn on the Cuff

The Future of Bespoke Cufflinks

A Small Object With a Powerful Story

Mourning Jewellery: Love and Remembrance

Jewellery as a Companion Through Grief

A Memorial Pendant Carrying Ashes

When Did People Start Putting Ashes Into Jewellery?

Wedding Rings as Mourning Jewellery

The Symbolism of Ashes in Jewellery

Mourning Jewellery for Beloved Pets

The Emotional Responsibility of the Maker

Creating Beauty For Memory

Custom Wedding Rings with Meaning

Fairmined Gold, Remodelling Heirlooms, and the Provenance of Love

The Importance of Provenance in Wedding Jewellery

Fairmined Gold and the Value of Provenance

Crafting Wedding Rings in the Workshop

Remodelling Family Gold: Preserving Memory Through Jewellery

Gold and the Continuity of Generations

Two Forms of Provenance

Wedding Rings That Reflect Shared Values

A Beginning That Continues

Valentine’s Day: Love, Giving, and Jewellery with a Story

Where Valentine’s Day Comes From: Love Rooted in Courage and Commitment

Where Valentine’s Day Comes From: Love Rooted in Courage and Commitment

The Tradition of Giving: A Universal Human Gesture

Jewellery as a Symbol of Love and Memory

Jewellery: Looking Beneath the Beauty

Mining Communities and the People Behind the Gold

Honouring the Person Who Receives the Gift

Reimagining Value: Craftsmanship, Materials and Time

Valentine’s Day as a Thoughtful Choice

A Year of Transformation and Recognition

Honoured with the Ecodynamic Label; A Sustainable Milestone

Recognition of My Workshop Practices