Alice and CAD-Man’s founder Theo Ioannou have collaborated on the production of her work for over a decade. CAD-Man has its foundations in the history of the Hatton Garden area and the fine bespoke jewellery skills of its past. Theo first stared working in the area over fifty years ago as an apprentice mounter when the trade extended as far as St Pauls – where the Goldsmiths Company is still based – with workshops going down to The Angel, Islington and in London’s West End. All around were the allied trades: silversmiths, glass workers, watch and clock makers amongst others. Today the company is located in the Goldsmiths Centre in the heart of Clerkenwell, established by The Goldsmiths Company to create a skilled workforce and to promote craftsmanship in the UK. An award winning team, most recently winning the Graff award for excellence, Theo’s dedication to ensuring the survival of skill within his industry has lead him to sustain a strong apprenticeship programme. Jessica Bates, one of his most talented apprentices, has been working alongside Alice for 8 years, bringing her textile design prowess to the evolution and application of pattern to 3D form. Theo and his team of young female jewellers bring high level traditional skills (Theo is one of the few remaining pattern makers in Hatton Garden trained to make masters by hand, as well as a highly skilled haute joaillerie diamond mounter) to bear on some of the most advanced technology application in the UK industry, seamlessly blending the past with the present. This combination of master craft and production knowledge, Theo believes, is the competitive edge that will see London’s jewellery centre thrive in the 21st century.

Tucked away in residential South London, Stanislav Reymer is the UK’s scientist magician of enamel, constantly developing and creating new applications and production methods to keep innovation alive in his chosen craft. The result is a workshop that is thriving as enamel sees a huge revival across the industry. Producing for houses such as Asprey, Elizabeth Gage, Solange Azagury, Stephen Webster and Boodles, Stanislav brings high jewellery production standards to all his projects. His background in mechanical engineering allows him to develop innovative techniques in his work, focusing on quality and respecting the materials he is working with. His excitement at being set new challenges and ideas to explore makes him the perfect mastercraft partner for Alice’s work here in the UK. Together they seek to reimagine the role of lacquer enamel as a high jewellery material, exploring its potential to achieve results that vitreous enamel cannot, reminding us that the most humble materials can be transformed through the mercurial skills of a mastercraftsman.

Alice’s Meenakari collection is handmade in India in the studio of Kamal Kumar Meenakar, one of the last Jaipuri meenakari mastercraftsmen trained in the enamel traditions of Persia, passed down through family generations over 250 years. A family whose work is owned by the Maharajas of Patiala and Jaipur, and exhibited the world over, their craftsmanship remains of the highest quality. Miniature painters on gold, India’s meenakari masters are both artists and artisans. Unlike many traditional mastercraftsmen in India, meenakari could document their work by creating paper rubbings of the engravings they had created, preserving the level of skill into the twenty-first century through the availability of direct references to the work of their forefathers. Kamal Kumar Meenakar has now been working in the enamelling tradition for generations and his father, Munna Lal, was a celebrated mastercraftsman whose work was regularly selected to represent Indian craftsmanship internationally. Meenakar can claim some of the pieces in books such as Jaipur Enamel and Dance of the Peacock as having been made within his family. The tradition of fine meenakari work is, however, almost at an end; previously commissioned on a large scale, plates, bowls and cups were all finely decorated in rich colour, vines and birds traced around their edges. Objects on this scale are now a thing of the past. Alice’s work aims to go some way towards providing a large-scale platform of expression for this extraordinary tradition – a magical combination of artistry and craftsmanship at the highest level.

For generations, the family of Kamal Kumar Meenkar has commissioned handcarved ebony as a template or maquette for clients at the beginning of the process of commissioning 22ct gold and meenakari jewellery. Later discarded, these maquettes are usually created by a master-craftsman in Jaipur, known to us as Bablu-ji and his father (pictured), whose traditional practice is furniture. Whilst there is a tradition of ebony jewellery in India, it occupies the disposable end of the market despite the fine quality of the carving and ebony’s status as an endangered wood. Alice’s early Temple collection re-evaluated these maquettes by creating lasting, fine quality pieces, combining the carving with gold and precious stones. In recent months, Bablu’s father sadly passed, leaving Bablu and his brothers to helm the next generation of this thriving business, which now claims international brands such as Sara Beltran’s celebrated Dezso as clients.

“I like to think of myself as a 21st century East London jewellery designer, transforming matter into what you’d wish you were wearing,” says Alice’s design lead Coline Assade. An award winning graduate from Central Saint Martins (Coline won the Winterson prize for experimentation with pearls), she is also an alumni of Sarabande, The Lee Alexander McQueen foundation. Being both French and Egyptian, coming from a tiny town in France but living in a giant city, in her own work Coline creates legions of forest spirits and tropical creatures to protect and empower, deploying the spirit of Titania and Oberon’s league of faeiries across her client’s ears and fingers. A fellow traveller in the world of colour, Coline is also an enamel enthusiast and brings her joyful spirit to bear as Alice’s wing-woman.

Undeniably one of London’s chicest jewellery collectors, Rossella was one of Alice’s first clients. Starting her daily wardrobe styling with her jewellery, letting it lead and define the rest of her selection, there is a freedom in Rossella’s taste that is distinctive and unique. It is a testament to her love of Alice’s work that she has extended their collaboration to be her main spokesperson for the brand for all of our private client relationships. Rossella handles bespoke and made to measure projects from the outset, guiding and supporting clients in their choices and on the progress of their jewels; to this she brings the intimate experience and knowledge of wearing the work of some of independent jewelry’s finest contemporary brands, including Alice who has created some of her most exciting and experimental projects for Rossella over the years. She can be found at rossella@alicecicolini.com ready to support you in realizing your own heirloom piece.

The creative protagonist of Visual Marvelry™. A generator of visual stories, Agenda is an artist, a storyteller, and a creator. In his own practice, he tells the stories of extraordinary ordinary people, hoping to inspire each of us to reach for the characteristics inside us all that are the foundations of a successful life. Focusing on fostering and capturing transformative moments in the lives of clients and brands, you will find Agenda at the centre of artists, creatives, and social entrepreneurs. Capturing individuals with a cinematic scale, a lens set at the macro and the micro, people to Agenda are dynamic, rich, and layered in personality, and the work he creates is a deep dive into personal stories to evolve and refine the unique narrative behind the person or the brand. Agenda’s ongoing collaboration with Alice began in 2019, with portraits, her first STILL STORY and a series of lifestyle and still life images of her work that have reimagined and distilled her unique voice.