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Stephanie Said designs unisex jewellery collections and bespoke commissions from a Sydney based studio; a glass house nestled amidst the city’s skyline. From here, simple yet utterly complex forms are engineered with a focus on movement, minimalism and geometry. Light, line, proportion and function are considered to create an unfamiliar futuristic aesthetic that requires the highest quality of work for it to exist.



c o n c e p t —


Stephanie Said pieces are inspired by rhythmic repetitions and geometries; from the organic to inorganic within the realms of architecture and sculpture to dance and music. The pieces embrace movement with the body to harness musicality and light, which push the boundaries of modern jewellery through their sculptural alien forms.


Time is allowed for each design to evolve and be refined to a pureness and strength in its final form. These composed forms allow new motifs to be created; engineered hinges give way to apertures of skin and bold geometries are embedded with diamonds subtley exposed. Obsessed with movement, silver and gold is designed to move in ways it otherwise wouldn’t. Things at first unseen become noticed; secrets the owner unravels through wear.


Each design is crafted with a desire to create meaning, a virtue that the wearer connects with. And yet each remains completely alien and captivating in its own right.



c o l l e c t I o n s —


The morphism range utilizes the repetition of hinged panels of silver and the spaces between them, that appear brutalist and then sculptural in movement, creating a soft sound and unfamiliar contours as they shift on the wearer.

The platelet range comprises flat geometric forms hinged together to mould around the body of the wearer, creating texture with light by allowing the simple shapes to reflect and play on its audience.

The augment collection explores the spaces between shapes, with augmenting parts that reveal and conceal with wear.

The folding range is created with geometries which fold open and closed to shape around the wearer and create new forms. The folding ear cuff begins at the front of the ear and folds under the ear lobe giving the ear new dimensions. The folding ring comprises four expandable parts that fold into one ring, or two connected rings for the wearer to experiment with.

The heavy cuff collection is made with bold strong simple curves which places emphasis on the strength and beauty of the metal. Two simple hinges allow for function and a distinctive industrial aesthetic.

The infinity range comprises of fine lines, and offers diamonds, gold and platinum, which play on perspectives and allow for multiple ways of wearing. The infinity folding ring may be worn over the knuckle revealing the diamonds embedded within, or closed on the finger for more austerity.


t e c h n i q u e s —

Stephanie Said jewellery requires the highest quality traditional gold-smithing techniques which sits alongside new technologies of industrial design. Each piece is invested with time; a prototype can take up to a year to form, as it is a study in proportions, balance and space in the way that it moves and lingers on the body.


h i n g e s —

Precision and quality is required for each piece to work, as complex hinges take on functions not normally considered. These form morphing shapes that must have the right movement for the wearer’s comfort and the jewel’s longevity.


f i n i s h e s —

Finishes in matte yellow and rose gold appear nude against the skin. Oxidised blackened silver sculpts heavier shapes and mirror polished silver demands attention, while matte silver, platinum or white gold harnesses the feel and colour of concrete.


s u s t a i n a b i l i t y —

By using a minimum of fifty percent recycled metal and locally sourced Australian Argyle Diamonds, Stephanie provides an opportunity for her clients to indulge with awareness and support locally made Australian design.



T H E  D E S I G N E R :


s t ɛ f ə n i  - s ɛ d  /

The fluidity of form of Stephanie Said’s geometric jewellery often begins with the movement and folds of a simple piece of paper. She began using this blank slate as a starting point during her Bachelor’s degree in Fashion and Textile Design, after which she worked for Australian fashion luminaries Akira Isogawa, Chronicles of Never and Assin. In 2007, she began to delve into her sub-major of Jewellery Design by creating minimalist pieces for herself and loved ones. Since then, her collections have evolved into the alien sculptural forms seen today which she designs from her glass house studio in Sydney.



i n f l u e n c e s —


·       principles of geometry – shape - space - symmetry - repetition - proportion - balance

·       form – hiroshi sugimoto - tony cragg - tony smith - constantin brâncusi - eduardo chilleda

·       sound – alva noto - bach - ryoji ikeda - philip glass - steve reich - ryuchi sakamoto

·       exploration – rei kawakubo - michael borremans - sol lewitt - azuma makoto - donald judd

·       movement – anne teresea de keersmaeker - william forsythe – masahiko sato - lygia clark

·       light + dark – scott lowe - toshio shibata - jack davison - duane michals - tokujin yoshioka

·       perspective – carlo scarpa - tadao ando - louis kahn - kengo kuma - michael zelehosk