Jenny Deans Jewellery

17/06/2026

The second piece from the new gold collection.

An oval frame in 18ct gold, with an S-shaped scroll running through the centre and graduated granules along the outer edges. The bail is filigree, with granule detail.

It is just over 3cm. Small enough to wear every day. Detailed enough to stop people in their tracks.

Available as a pendant alone, or with a chain.

More pieces to come this week.

Thanks again to Stacey Bentley Photography for the fantastic images.

15/06/2026

The first piece from the new gold collection.

Formed from fine 18ct gold wire, each petal shaped by hand. Granules sit around the central ring and nestle between the petals, all fused in a single firing using the ancient technique of granulation.

They gently swing from the ear as you wear them.

This is what the last few months in the studio have been building towards.

More to come this week.

PS. A huge thank you to Stacey Bentley Photography for these beautiful images ❤️

10/06/2026

There is a particular kind of quiet concentration that comes with certain making processes, and granulation is one of the deepest I have found. Each wire and granule is placed individually, by hand, one at a time, and that kind of focused, unhurried attention feels genuinely rare in everyday life.

My parents became Buddhists when I was at secondary school, and through that I was introduced to mindfulness and meditation at a young age. I did not fully appreciate it at the time, but I think it shaped the way I relate to making more than I realised. I have always been drawn to mandalas too, particularly the geometric, repetitive ones where pattern builds on pattern in a way that is both precise and deeply calming. During lockdown, colouring them in became one of those quiet, grounding things we did together as a family.

There is something that happens when you are deeply engrossed in a process like this, where your mind simply cannot fly off in a million different directions because the work will not allow it. I find it genuinely calming, and I think that finds its way into the finished piece somehow.

08/06/2026

05/06/2026

Sometimes people ask me to make them something and have it plated. I always say no.

Not because I can’t. Because I won’t.

I’ll be honest, I’ve done it myself. I bought a plated neckwire to go with a gold pendant because the solid gold version felt like too much to spend at the time, and even though it was just for me, I still regret it. A few months in, the plating is wearing away and now I’m faced with buying the solid gold one I should have bought in the first place. I’ll end up spending more in the long run than if I’d just made the investment once. But the solid gold one will last, and one day it will be handed down along with the pendant it carries.

I get wanting to keep the cost down. I really do. But it’s exactly why I won’t make plated pieces for my clients.

Plating is just a surface finish that wears away over time, and what’s underneath is a different metal entirely, so eventually that’s what you’re left with.

I think about longevity differently. The ancient Egyptians and Etruscans were creating granulation work thousands of years ago, and when archaeologists find those pieces today, they are still breathtaking. That is something I aim towards with every piece I make.

I want what I make to still be beautiful in a hundred years. If it gets dug up as an archaeological find in a thousand, I want it to still look right.

Sterling silver, argentium silver, 18ct gold, metals that are exactly what they say they are all the way through, with nothing added to the surface and nothing hidden underneath.

That’s just how I think about making.

02/06/2026

The Melting Story

It took weeks to make.

It was gone in 15 seconds.

A few months ago I made a decision I’d been sitting with for a while.

I had a piece in my collection that I loved. My Gold Graduated Curve Neckpiece. A showstopper, honestly. But it had never found its perfect client, and I’d been holding onto it, waiting.

Then I started thinking seriously about taking my work into solid gold. It had been on my mind for a long time, and I knew it was the direction I wanted to go. Gold prices right now are extraordinary, and buying new metal to experiment with felt like a big ask. But I already had this beautiful piece sitting there, waiting for a purpose.

So I made the decision. I drove up to Dunblane to visit my friend Jo at the Central Scotland School of Jewellery (), and we melted it down together.

Nothing was lost. Just transformed.

That gold is now becoming something completely new. My first ever gold collection, and I honestly can’t wait to share it with you.

If you’ve ever made something and had to let it go, I’d love to hear about it in the comments.

23/04/2026

Caption: The Meditative Process (Honest Version)

There's something deeply meditative about repetition in jewellery making.

Each tiny unit. Each careful placement. Each moment of focus.

This is granulation work—one of the oldest goldsmithing techniques, dating back thousands of years. It requires patience, precision, and a kind of quiet presence that I've come to love.

But here's the truth: it doesn't always work.

I'm currently trying to master 18ct gold granulation, and let's just say there have been more mishaps than I'd like to admit. Pieces that didn't quite come together. Moments where I had to step back, breathe, and start again.

But that's the nature of true craftsmanship. It's not about perfection on the first try. It's about the dedication to keep going until it's right.

When this collection finally comes together, each piece will carry all of those hours, all of that focus, and all of that determination. That's what makes it meaningful.

What draws you to handmade jewellery? Is it the story, the craftsmanship, or something else entirely?

13/04/2026

Join me at Coburg House Art Studios for a 10-week block of inspiring, hands-on jewellery making. This friendly and supportive class runs every Monday morning from 10am - 1pm.

You’ll have the opportunity to learn and practice a range of techniques, including saw-piercing, soldering, texturing, forming, and chain making.

Whether you are a complete beginner or a more experienced maker wanting to develop your skills or work on a specific project, this class is designed to meet you where you are.

Together, we’ll develop ideas for your own personal project, and I’ll show you any additional techniques you need to bring your vision to life.

With a maximum of just five students, you’ll benefit from plenty of one-to-one tuition, guidance, and practical tips. I bring almost 20 years of teaching experience and a genuine love for problem-solving to help you create a piece you’re truly proud of.

You can sign up on my website or drop me a message here to save the last space for yourself.

30/03/2026

Here are some questions I get asked regularly:

Do you take commissions? Yes! I love working with clients to create bespoke pieces or adapt existing designs. Whether it's adjusting size, length, metal type, or creating something entirely new, I work closely with you to ensure your jewellery feels exactly right.

What metals do you use? I work primarily with recycled sterling silver, Argentium silver, and gold (18ct and 22ct). I source metals from UK companies that refine recycled metals, avoiding newly mined metals due to ethical and environmental concerns.

How long does a commission take? It depends on the complexity of the piece and my current workload, but I'll always give you a realistic timeframe when we discuss your project.

Can you adjust the size or length of a piece? Absolutely. I want every piece to fit perfectly, so I offer personal consultations in person or by correspondence for adjustments. And if you need something tweaked later, just get in touch.

Do you offer repairs? If something happens to a piece I've made for you, I'm happy to help. My pieces are built to last, so repairs are rare, but I'm always here if you need me.

Where can I see your work in person? I usually have a small section of work in the Coburg House shop in Edinburgh, which is open every weekend. I also have a collection of work in the Craft Central shop in Dunblane. Otherwise, you can always find all of my work online on my website.

What other questions do you have? Drop them in the comments!

28/03/2026

Looking back through my work, I can see how each collection has evolved from the one before.

My main degree show piece from 2002, "220 Squares 8760 Circles," was made from tapering square jump rings in oxidised copper, hammered flat and threaded up into a scarf piece with small hole-punched pieces of cartridge paper in between each layer. Even then, I was exploring rhythmical repetition and sculptural form.

Since then, my work has moved through different materials and techniques, but the core ideas remain: repeated elements, fine details, and sculptural qualities that tie each collection together.

Revisiting earlier work reminds me of where I've been and helps me see where I'm going. Some techniques I've refined over decades. Others I'm still exploring and developing.

The through-line is always there: timeless elegance, sculptural design, and a love of intricate, tactile forms.

What draws you to pieces with history and evolution behind them?