Jacquie Starr is a Melbourne based jewellery practice rooted in the Scandinavian modernist silversmithing tradition the belief that the form of the metal itself is the source of beauty, not what is applied to its surface.

Drawing on the legacy of mid-century Danish and Swedish masters the sculptural minimalism of Hans Hansen, Vivianna Torun’s conviction that jewellery should move with the body and be worn every day, Astrid Fog’s bold unadorned silver surfaces, and Elsa Peretti’s proof that organic form and material honesty can speak to the widest possible audience each piece begins with a single question: what does this metal want to become?

The answer is found through folding, shaping, carving and wrapping. Working in recycled sterling silver and 18k gold vermeil, Jacquie creates sculptural forms that amplify the language of art in the everyday. The Tear Drop collection draws on the organic geometry of water caught mid-fall. The Folded Hearts collection translates an intimate gesture the folding of something precious, something held close into wearable form. The Venus collection takes its form from an unexpected detail in Botticelli’s Birth of Venus the cornflower pattern on Hora’s dress reimagined as a repeating sculptural motif that also echoes the rhythmic patterning Jacquie first encountered working at Georg Jensen.

This is jewellery for being, not for appearing to be. Designed in Melbourne, handcrafted from recycled metals, and made to be worn now and kept for decades.

Jacquie Starr studied Jewellery and Object Design at Enmore Design Centre, where a Scandinavian-trained teacher first introduced her to the mid-century Danish and Swedish silversmiths whose work would come to define her design philosophy the sculptural restraint of Hans Hansen, the intimate wearability of Vivianna Torun, the bold simplicity of Astrid Fog, Bent Knudsen’s ability to build an unmistakable signature within a minimalist framework, and Regitze Overgaard’s proof that this tradition remains vital and contemporary.

That foundation deepened when Jacquie went on to work at Georg Jensen the house that had produced and championed the work of Torun, Fog, Overgaard and so many of the designers she admired. Working within that tradition gave her an intimate understanding of how Scandinavian modernist jewellery is conceived, constructed and refined: the primacy of form over decoration, the way silver catches and holds light, the insistence that a piece must feel as considered on the back as it does on the front. It also left a lasting impression in the rhythmic, repeating patterns that characterise Georg Jensen’s design language an influence that surfaces directly in her own Venus collection.

Jacquie’s own work carries this lineage forward while finding its own voice. Her design process is rooted in extended observation the shapes encountered on long walks, the geometry of a teardrop, the way a leaf folds in on itself translated through drawing, research and careful refinement into forms that feel both new and inevitable. She is equally influenced by Elsa Peretti’s demonstration that organic, sculptural silver jewellery can resonate far beyond the design world, and by Torun’s quiet insistence that jewellery should be 

“pour être, pas pour paraître” — for being, not for appearing to be.

As Creative Director, Jacquie leads the development of each collection and shapes the brand’s overall vision and aesthetic a practice built on the conviction that the curve of the metal, the weight of silver in the hand, and the way a piece moves with its wearer are the only things that matter.