Sophie completed both her MA in Design and BA in Jewellery Design at Central Saint Martins. While studying for her degree she completed two internships in Madrid with jewellery designer Anton Heunis, worked on a project as a co-researcher at the V&A museum, as well as winning the Eva London graduation ring competition for University of the Arts London. She has created catwalk looks for Tom Ford and her own collection has been shown in London at the prestigious Aram Gallery, Zaha Hadid Gallery and Mint Galleries. Sophie's work challenges expectations of materiality. Her work in Corian merges the ideas of technological perfection and ‘human generated flaws’ to gain a sensitivity that is not normally recognised in this solid surface material.

Some insight into Sophie's way of thinking...

My work is about contrast. You have to see the flaw to understand the beauty. You have to see the negative to experience the positive.

Collection 0.1

The initial aim of my degree project was to find a way to metaphorically close the distance between people, places and time. I started with the idea that the moon is a constant entity wherever you are in the world. The idea that two people hundreds of miles away from each other can look at the exact same object intrigued me so I used this idea as my linking mechanism by creating pairs within my collection. My materials exploration developed through documenting patterns that happen when heat is applied to silver, brass and corian. I chose to work in these materials because of their contrasting qualities; precious metal versus base metal and metal versus plastic. Controlled burning of the brass and reticulation of the silver have created varying textures which I have then had laser cut into the corian.

Collection 0.2

This innovative jewellery collection embraces the unique opportunities of Corian, a material more usually associated with architecture. The contemporary ‘heritage’ of techniques and forms bridges these two worlds. My collection combines bold forms and soft surfaces demonstrating how perceived ‘imperfections’ are re-conceptualised to striking advantage. By questioning how technology affects the emotional resonance of jewellery these pieces respond to the dynamic digital age.