It was a degree in Art History that filled Cece Fein-Hughes' head with big ideas of symbolism and storytelling, yet her subsequent career in the auction houses of London stunted her search for creativity. She wanted to create, to craft, and after a chance encounter with a rather precious enamelled ring at the V&A, she knew jewellery had to be her output. Now via Cece Jewellery, she turns fantasy and folklore into fine jewellery, with a collection of hand-painted enamel artworks, each reciting tales of mythology and mysticism. Here, the visionary sits down with curator Leith Clark, sharing how she got her start, why her father’s tattoos remain a forever inspiration and why Liberty is the perfect home for her wearable art.

You work out of your parents house – how did you get them to agree to this?

They’re incredibly supportive and incredibly creative, so at every stage they’ve helped Cece Jewellery evolve. They’re the ones that suggested we build a workshop in the kitchen, and change the sitting room into an office. Really, it’s because of them.

How did you get started in jewellery in the first place?

It started eight years ago. I was fresh out of university having studied the history of Art. I had this passion to work in the auction houses of Christie’s and Sotheby's – that was my dream. I did two internships but I found myself being jealous of the artists, and that’s when I dived headfirst into the jewellery world.

It wasn't creative enough for you?

I wanted to do something with my hands rather than working behind the screen. Creativity has always been in my soul. When I discovered a French Renaissance enamel ring at the V&A, that was pivotal. That’s when Cece Jewellery was born. In a way, I’ve come back to the history of Art. My rings are canvases made of 18 karat gold instead of paper, and instead of paint, I use enamel.

Who inspired you when you studied Art History?

I wrote my dissertation on Rothko. I don't think it was a very good dissertation, but I was very inspired; I just love symbolism and paintings and stories. That’s what I’d like to say I work with now, just in miniature. Our customers come to us to tell a story through jewellery.

So clients can create pieces directly with you?

Yes! We produce two collections a year, each inspired by different things, with a story built around them, and then we have our bespoke service. It’s a personal and emotional process, I feel like a therapist a lot of the time. Customers tell me their beautiful stories about things like a birth or a marriage, and then we get to create a beautiful piece together.

How does that bespoke design process work?

I usually ask them what they’re drawn towards: the sea, the land or the sky. The land is quite grounding, the sea is adventurous and the sky is sort of dreamlike and celestial. Then we find a design through our conversation.

What inspires your design and iconography now? How has that evolved?

I started with snakes and clowns and roses. I guess my designs have always stayed quite true. I’m inspired by the sort of witchy, whimsical landscape of Dartmoor in Devon where I grew up, where my granny lived and old school sailor tattoos. My dad has a lot of tattoos; he used to be a deep sea diver.

That's fascinating. But your parents are in construction now, right? Did they think that you were mad wanting to go into jewellery?

Weirdly, no. I think they're quite mad as well. They’re very involved with the business. My dad is the Managing Director and my mum designs with me. She’s very creative. She once had her own baby clothing line, so I come from a strong line of creative women. Also they may be in construction, but I like to say that building a ring is like building a house. You have your plumber and your electrician and your carpenter. In jewellery, you have your stone setter, your enameller, your goldsmith.

Are all of your craftspeople in-house?

I wish. That’s the goal. We have our wonderful goldsmith in-house, and we go to Hatton Garden every single day to source all of our gold and have our diamonds set.

How much trial and error is there when working with such expensive materials?

Luckily, we work with such fantastic craftsmen that there are very few mistakes. But when we're creating a new collection, there's a lot of trial and error and that's why it takes almost six months to a year to create something new. When we create new signet rings, we know exactly what we're doing. But the lockets, that was a whole new adventure for us, or working with bigger diamonds and settings. It feels like I'm actually learning every day on the job, which I hope never ends.

What was the very first piece you made?

The very first piece I made was The Snake ring, alongside The Clam and Pearl, which is actually one of our best sellers at Liberty and the design found in the 150 Anniversary window display.

So you launched with only a small collection?

We launched with only four designs, all the same size, and the same signet ring shape. It’s very intricate for an early design, very whimsical and romantic, which I feel runs through all of our designs – and all of the good things in life.

How special is it for your brand to be sold in Liberty?

The first shop that let me through its doors was Liberty. They opened so many doors for me. They took a punt on a small business, and it was honestly pure magic. My granny used to dress windows at Liberty in the ‘60s. She’s my inspiration for everything, so I feel incredibly lucky that we’re in the windows now. Every time she came to London we would take a trip to Liberty. It’s like a temple, a treasure trove. They discover new brands that you've never seen before; it feels magical.

Liberty 150 by Leith Clark.