Meet Ali Alexander: A Melbourne Jewellery Designer with a Story to Tell.
At Gray Reid Gallery, we proudly champion the work of Australian and local Melbourne jewellery artists and designers alike - offering a platform where creativity, craftsmanship, and local artistry come together. As a destination for handcrafted jewellery, our Collins Street showroom gives clients the opportunity to view, try on, and connect with unique, one-of-a-kind pieces.
In this feature, we shine a light on Melbourne jewellery designer, Ali Alexander, whose unconventional path into jewellery design began with a moment of inspiration in London and evolved into a distinctive creative practice defined by storytelling, humour, and individuality.
Ali’s work reflects a deeply personal approach to design - jewellery that isn't driven by trends, but by meaning and memory.
Read on as we dive into Ali’s journey and discover what it really means to create jewellery from the heart.
1. Can you share a bit about your background & upbringing? Did your early life shape your artistic journey? (Was there a specific moment or event during your childhood or teenage years that sparked your interest in art or jewellery design).
I grew up in Melbourne and didn't know what I wanted to do when I left school so I worked in a bookshop then did the Australian thing of going overseas.
When I was living in London I went to the Victoria and Albert Museum, I'm not sure what I was gonna see but there was a big poster in the entrance saying that the jewellery gallery was closed, it had a photo of the Canning Jewel.
1. The Canning Jewel, Circa 1800-1860. Crafted to depict a merman's body. centered around a large baroque pearl forming the torso. Richly detailed with enamelled gold, table-cut diamonds, carved Indian rubies, and additional pearls, it reflects the extravagant artistry of Renaissance jewellery. Measuring around 10 cm in length. The piece is a striking example of how irregular pearls were creatively incorporated into design during the era.
and it was like that scene in the Blues Brothers where the light shines on Jake in church.
I (who had only made polyclay or paper brooches for myself*) was going to come back to Melbourne and learn to make jewellery.
*incorrect see question 2.
2. How did you transition from your initial interest in jewellery to start making? Were there any particular influences or mentors that guided you along the way?
I came back and approached RMIT but as I had absolutely no folio (I hadn't done any art since second form when I had to choose between art and latin) they suggested I do TOP (tertiary orientation programme) ART at Box Hill TAFE
I put together a portfolio with some arty photos, polyclay earrings and a necklace I had made to wear to a "blitz night" in the suburbs made of quail bones on string, the interviewer told me later that it was my sense of humour that got me it. The 𝙑𝙖𝙨𝙚 𝘽𝙧𝙤𝙤𝙘𝙝 was part of my end of year collection at Box Hill.
I didn't get into RMIT the next year but started a BA Craft at Monash; I didn't finish my degree but continued to study at CAE for a while. I am still studying - this year I am doing a repousse workshop in Italy, but I have found people with greater skills than me to finish the pieces that I start in my flat in town.
3. What inspires you?
I see myself as a #SilverPoet, I tell stories and distill them into. The stories are often inspired by my own wants and humour -Oops ring, Don't look back... Pearls of Wisdom.
4. What do you feel sets your jewellery apart from others? How does your personal story and experiences reflect in the pieces you create?
I make jewellery for myself, I’m not looking at what’s fashionable but what I want.
5. Any advice to aspiring jewellery artists?
If you can, learn/practise the basics and things like stone setting. This is a case of #DoAsISayNotAsIDo my skills are much more my ideas.
Left to Right: 1. 'I think the Cat stole my heart' ring. 2. "Propose' ring (let's do this together) 3. 'Pericolodi Morte' ring.
A Story in Every Piece:
- Boutonnierre Vase Brooch : This vase brooch holds water so it can be used to hold real flowers. It was my final piece at Box Hill TAFE in 1987. The first piece I put into 'production' and i still make it. I wanted to make something that was classic and contemporary at the same time. I like that it was plain on the front with room outside for my makers mark.
- String Ring: Cast in gold directly from different types of string. The string in the rings has no beginning or end. Some of the rings have knots, I can use 2 different widths of string and can incorporate stones. These rings are a lovely unique alternative to a traditional wedder.
- Non Mort Oblige: This can be both a pendant and a ring. I made it originally about a good friend. Justine Scott who died from ovarian cancer in 2005. Although I was having a bad year, I felt an obligation to live a good life. After trying to explain it to a friend. One night I came up with the expression NON MORT OBLIGE from the expression 'No blesse Oblige' (the obligation of those with privilege) - A responsibility of those. not dead to live a good and happy life. *A percentage of the price goes to Ovarian Cancer charities.
- Pearl of Wisdom (A Pearl is worthless while still inside the shell): I love this Indian proverb. The pendant is quite large and comes on a long silver chain. I wear mine with some cast shells from beaches around Australia, Broome, Lord Howe Island, Port Melbourne etc. Silver/Pearl
- Pericoldodi Morte: Originally cufflinks based on a warning sign at the Port of Naples and a part of my "A temporary Museum for Permanent Objects from a Foreign excursion and a Quondam Collection". Now a stacking ring.
We have a selection of Ali's work available for purchase in our webstore. Click here to view.
Visit us to view more of Ali Alexander’s work. Contact us directly for enquires on bespoke commissions with Ali Alexander. Ali is always eager to hear your stories and transform them into meaningful, custom-made pieces.
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