Myriad Materials: Continuing the Story of Jewellery Artist Austy Lee

Some artist jewellers are so engaging and evocative, and generally complex that a single article isn’t enough to explore their output. This is undoubtedly the case with Hong Kong-born star Austy Lee, who explores psychedelic themes, history, and culture and channels these inspirations into technically ambitious statement pieces that rely upon numerous materials. In fact, it is this choice of materials – gold, antique cameos, lacquer, and titanium, among others – that we will explore in this article. After all, why use what’s readily available when there is a world of fabrications to explore?

You may have landed on this article, having never read about Austy Lee before, but this certainly isn’t the first chapter in his story. Back in November 2023, we wrote about the roots of Austy’s creativity, his inspirations, ideas, scholarly approach to jewels and his colour palette. Then, in 2024, we wrote about the many techniques he uses to bring his ideas off the page and into the realm of the living, including hand-painted lacquer, mother-of-pearl inlay and Shakudō (a Japanese billon of gold and copper). If you go back and read these deep dives into a singular creative mind, you will (hopefully) appreciate Austy Lee’s original voice, his inimitable signature style, and his lack of inhibitions when it comes to jewellery.

“When I encounter gemstones, I feel a surge of inspiration. Their unique shapes and vibrant colours constantly guide me toward fresh creative avenues,” Austy Lee.

With this as your context, let’s begin a new chapter focused on materials. The repertoire of jewellers has been relatively static in recent centuries (with a few exceptions), but historically, jewellery has been awash with diverse materials, including wood, bone, ivory, glass paste, enamel, hardstone cameos and intaglios, coins, beads, and so on. An artist with a big imagination can weave more widely recognised platinum, gold, faceted coloured gemstones and colourless diamonds with things that defy expectations and raise a questioning eyebrow. If they can find an audience that shares their outside-the-box sensibilities, the world is figuratively (and perhaps literally with mother of pearl!) their oyster. This material bravery is yet another thing to be admired about Austy Lee, who shares more insights into his decision-making below…

Sarah Jordan: Is there a material that you use as a ‘foundation’ in all of your designs, almost like an anchor for your creativity and craftsmanship?  

Austy Lee: I have chosen to use 18k gold as the primary material in my design process due to its intrinsic value and widespread acceptance in the market. Gold has long been revered not only for its beauty but also for its significant cultural and economic importance. Advances in smelting and manufacturing techniques have made gold more accessible, and I am eager to incorporate these innovations into my designs. The versatility of gold allows for the creation of stunning metallic surfaces and intricate textures, which can be beautifully enhanced through various techniques such as enamel applications and colour-dyed rhodium. While some may view gold as a traditional choice, it remains a dynamic material that can seamlessly integrate with contemporary design practices.

SJ: Although 18k gold is your primary focus, how have you experimented with other materials to achieve your vision?

AL: I have explored mokume gane [metal with the appearance of natural wood grain] for its unique layered appearance, shakudō [Japanese alloy of copper and gold that can offer a black or indigo finish] for its rich patina, and even non-metallic options like plastic, enamel, and glass. By blending these diverse materials, I hope to push the boundaries of my designs and highlight the collaborative potential of gold with emerging technologies and techniques. Ultimately, my commitment to using 18k gold as a central theme reflects not only my appreciation for its timeless qualities but also my desire to innovate and create pieces that resonate with both tradition and modernity.

SJ: Your pieces are sometimes mistaken for being titanium when, in fact, they are 18k gold. How do you achieve these colourful tones that ‘trick’ even experienced connoisseurs?

AL: The metal colouring technology I use has been on the market for about 20 years and is primarily employed in watchmaking. I recently applied it to 18k gold jewellery. This technology offers enhanced resistance to patterns, durability, waterproofing, and acid resistance. After multiple trials, the results on gold have been exceptional. Compared to titanium’s oxidation method, this approach is more durable and reliable. It also allows for easy colour changes, enabling the achievement of any desired colour depth. The technology supports various metal colours and textures, including aluminium surface textures, iron oxide textures, titanium matte finishes, and gradient colour dyeing, among others.

SJ: When choosing unusual materials like cat’s eye apatite, antique lava cameo, chalcopyrites, and brecciated jaspers, for example, to what extent are you guided by your clients?

AL: Thanks to my diverse clientele, I am able to take bolder risks in my designs, supported by open communication and collaborative spaces. This means that when people like Katerina visit me at exhibitions, I can show them a variety of bold styles, all of which have been created for different customers. I believe that having a creative environment and a receptive market are crucial to my work. Being a designer is incredibly important to me, yet many designers often feel constrained by market expectations. However, I have cultivated a brand that attracts customers who are specifically drawn to my daring designs. I believe that an open market, adventurous clients, and innovative creations are what make my brand truly unique.

SJ: One of your signatures is incorporating historic themes and genuine antiques into your jewellery design process. Can you tell us about any new pieces that have a great story?

AL: I recently created a series of jewels inspired by the intricate decorations found on antique sword hilts, such as the Koiguchi, Kojiri, and Kashira. Each piece is designed to embody the rich historical characteristics of the samurai era. The jewellery features details that pay homage to the esteemed Japanese samurai and their vassal lords, incorporating elements that reflect their valour and artistry. Each item is adorned with carefully selected gems, enhancing the visual narrative and adding a touch of elegance. The overall aesthetic of these pieces transforms them into miniature works of art, reminiscent of a visit to a historical museum. Wearing this jewellery not only showcases exquisite craftsmanship but also invites the wearer to connect with the profound stories and traditions of Japan’s storied past.

I choose to focus on historical story elements because I believe every designed object should carry its own narrative, almost like a fantasy tale. Each piece has the potential to evoke emotions and spark imagination, connecting the past with the present. As I embark on the redesign of selected objects, I hope to foster a fresh exchange of inspiration, blending historical context with contemporary aesthetics.

Expect the unexpected. I suppose that’s the best way to describe creations by Austy Lee, who continues to innovate with nephrite, colourful jade, abalone shells, antique kimono buckles, lava cameos, French glassware and more! This article scratches the surface of his choice of materials, much like our previous two articles only hint at the diversity of techniques he uses and the inspirations he taps into. Who knows? Perhaps there will be a chapter four in the near future to continue this digital book about a great talent who it is impossible to replicate.