HOUSE OF COCO

MAY 9, 2024

Welcome to an exclusive interview with Sarah Ruddock, the visionary founder behind Ruddock Jewellery. With a passion for craftsmanship and a commitment to sustainability, Sarah has carved out a niche in the world of jewellery design, creating pieces that seamlessly blend timeless elegance with contemporary flair.

Join us as we delve into Sarah’s journey, exploring the inspirations, challenges, and triumphs that have shaped her brand into the epitome of understated sophistication.

What inspired you to start Ruddock Jewellery, and how has that initial inspiration evolved over the years? 

There wasn’t a big moment; making jewellery was always just something I enjoyed doing, and the ideas came quite naturally. For many years, I worked as a fashion buyer, and I used to make pieces for the girls in the office from leather, brass, and antique chains. This led me to embark on a silversmithing and wax-carving course, and with encouragement from friends, I set up a website, and it grew from there. It was a very slow burn in the first few years. Buying as a career is pretty all-encompassing and not something I could really manage a business alongside, so in 2018, I took the leap to making jewelLEry full-time.

Your designs are known for their simplicity and modernist, sculptural forms. How do you find the balance between timeless and contemporary aesthetics in your creations? 

My designs are never really about fashion, and I think that helps with longevity. I try not to look at trends; obviously, some filter in subconsciously, though, and perhaps that influence works in my favour to keep pieces feeling contemporary. I tend to start with what I want to wear. I’ve always used jewellery to elevate and give interest to my outfits, and that’s what I aim to provide for others… strong pieces that can lift an outfit, making people feel confident and well-dressed.

The lost wax casting technique is fascinating. Can you share a memorable experience or challenge you faced while hand-carving or sculpting a piece in wax form? 

Every time is a challenge! I’ve broken so many pieces; it’s easy to go too fast or apply too much pressure, and a piece you’ve been working on for days snaps in your hands. The real skill comes in fixing a piece!

Handcrafting each piece requires a significant amount of time and effort. How do you stay motivated and find joy in the meticulous process of creating jewellery? 

Fortunately, that’s a side of the business that comes easily. I love working with the wax, and I can happily while away the days playing and experimenting. I really enjoy all parts of the creative process; the most exciting part is probably getting new castings back. It’s when the waxes are transformed into metal that you can really visualise the final piece, and from there, even more ideas usually flow.

London plays a significant role in your brand. How does the city influence your designs, and have you encountered any unexpected sources of inspiration within its diverse culture? 

Yes! One of my very first pieces was a choker with a carved diamond pattern – inspired by the metal footstep as you get on the tube. There is inspiration everywhere in the city; I always try to keep my head out of my phone when I’m traveling; you never know when a detail will catch your eye. There are also so many galleries and museums; we’re spoiled for choice. If I’m ever stuck, I head to an exhibition or library.

Working with local, family-run businesses is a unique aspect of Ruddock Jewellery. Can you share a heartwarming collaboration story or an instance that highlights the importance of these partnerships? 

Having my supply base locally is invaluable for me; I learn so much from being able to visit the workshops and ask for expert advice. It’s also really important mentally as well; while I’m creating, I’m working alone, so it’s great to have that regular interaction and feedback from my suppliers and local stockists.

Sustainability is a core value for Ruddock Jewellery. Could you elaborate on your commitment to creating as little waste as possible and how it aligns with your creative process?

It’s an ongoing project, something that’s at the forefront of every business decision I make now. I’m doing my best to work only with suppliers that are transparent about their processes and supply chain and are also committed to working more sustainably.

Producing locally also means I can help support the community and reduce my carbon footprint. Mining precious metals are terribly harmful to the environment and communities, so I’ve chosen casters and platers that only use recycled metals. All my packaging is FSC forest-approved, and I try to repurpose any waste internally. The ultimate goal is to leave nothing behind but the jewellery.

As a designer, how do you approach the challenge of making each piece both comfortable to wear and substantial in its visual impact? 

It’s hard; I like statement and substantial pieces, but weight is always a concern, especially on earrings. It’s trial and error, really; I wearer-trial all my prototypes for comfort and durability and often have to adjust or remould.

What advice would you give to aspiring jewellery designers who are passionate about creating handmade pieces with a focus on sustainability? 

Ask lots of questions; the jewellery supply world can be a bit intimidating, but the more people inquire into the origins of pieces, the practices, and the ethics, the more the industry recognises it’s in everyone’s interest to produce sustainably. There’s so much changing already for the better, but there’s certainly more that can be done. 

Your affinity for simplicity is evident in your designs. How do you navigate the fine line between minimalism and capturing the essence of a piece? 

I try to deliver the interest in my pieces through the construction and fastenings, the way pieces interlink, and the textures. My favourite designs are the simplest ones where the functional parts provide the interest, like the knotted T-bar where it’s all about the knotting of the chain to hold the bar in place or the Rollo Earrings where the chain link lent itself perfectly to dangle a hoop from.

Can you share a particular piece from the Ruddock Collection that holds a special place in your heart, and what makes it stand out to you? 

I have a pinky signet I made for myself with my son’s fingerprint on it; that’s the one I’m most sentimental about, but it’s not a piece that’s actually in the range. From the collection, I’d say the Saint Malo Chain; it’s my favourite chain and was inspired by the port of Saint Malo in France. I love that town; I’m lucky to visit regularly as my partner’s from the area. 

The port was home to pirates in the 1800s and patrolled at night by dogs; it has this really tough-guy, macho feel about it, lots of stone and big walls and huge nautical chains everywhere, hence the inspiration.

How do you approach the challenge of incorporating recycled materials like gold, silver, and bronze into your designs without compromising on quality? 

The quality of recycled metals and freshly mined metals is exactly the same. They can be melted down, refined, and used multiple times without ever affecting their integrity. As soon as I discovered that I could produce the same quality and protect the environment, they became the obvious choice.

Creativity often requires a balance between discipline and spontaneity. How do you manage this balance in your design process? 

The balance is heavily tipped in spontaneity; I don’t really have a strict process or sit down to design a whole collection, but when I do have an idea, I take lots of time to explore it, tending to go straight to the wax to see if it will work because it tends to be 50/50 once it’s in 3D. It’s quite an intuitive process, and most of the time the initial idea is rarely the end result, just a starting point that evolves along the way.

In the world of jewellery design, trends can come and go. How do you ensure that your creations remain timeless and relevant to different generations? 

I hope that unique design and quality set me apart. I actively avoid looking at trends and other designers as much as I can in the hope that it will keep me producing original and season-less work.

Looking ahead, what exciting projects or new directions do you envision for Ruddock Jewellery in the coming years? 

Well, I’ve actually just got a new book I’m obsessed with, It’s all about chess sets designed by artists; it’s had me dreaming about creating my own set. It’s probably more likely the shapes will inspire a jewellery collection, but I wouldn’t rule out homewares or tableware one day… Or leather goods; my sister is an accessories designer, so a collaboration is always on the cards.

House of coco, may 2024.