Home, work and a life of making.
In 1994 Gill opened her studio in Mumbles. It became a place for making, meeting, experimenting and living with jewellery every day.
The pace changed, but the curiosity did not. Pearls, pewter, found colour and strong shapes continued to gather on the bench.
This is where Gill’s voice should enter the page.
Gill, in her own words
Your film will live here
Made for people, remembered for a lifetime.
Some pieces entered public life. Others marked weddings, friendships and private turning points. Each began in Gill’s hands and went on to carry a story of its own.
A dog collar for Fergie
Gill created the unforgettable collar worn by Fergie in the Welsh film Twin Town. Playful, bold and completely at home on screen.
A cross for Rowan Williams
A pectoral cross made for the Archbishop of Canterbury brought Gill’s distinctive language into a ceremonial and deeply personal object.
Made for Jo Brand
A heart brooch for Jo Brand captures something essential about Gill’s work. Warmth, wit and strength can live in the same piece.
Jewellery for the moment itself
Across decades of bridal work, Gill has made pieces for people including Hannah Stone and Bryn Terfel, Kimberley and James Hook, and many women whose stories remain part of the studio.
The piece leaves the studio. The conversation carries on.
A practice seen, honoured and still evolving.
Recognition arrived in many forms. Museum showcases, civic honours, collaborations and exhibitions all marked the reach of Gill’s work, while the studio remained the place where every idea began.
A bespoke wall mirror was created for actor Amrita Singh, followed in 1993 by mirrors made with Abu Jani, Sandeep Khosla and Lubna Khan for a major exhibition.
An HTV special introduced Gill, her shop and her way of making to a wider audience.
The Master of the Worshipful Company of Pewterers commissioned a necklace for Sue Bonham.
Gill launched the bridal collection that became a defining part of Stephanie Allin’s campaigns and catwalk presentations, returning with a ready to wear collection in 2017.
A collaboration with Joseph Azugary was followed by another Old Bailey exhibition with Sue Bonham.
Gill contributed to Sue Bonham’s charity fashion presentation at the Old Bailey in London.
Gill became a Freeman of the Worshipful Company of Pewterers.
Her work appeared in a three person exhibition at Albany Gallery and at Kooywood Art Gallery in Cardiff.
A dedicated exhibition at the Worshipful Company of Pewterers celebrated her continuing relationship with the material.
Gill received the Freedom of the City of London.
Her work was showcased at the Victoria and Albert Museum in London.
After returning to India in 2025, Gill continues to experiment through one of a kind work and personal commissions.
A life shaped by looking, travelling and returning.
Places enter Gill’s work as colour, rhythm, memory and material. Gill first travelled to India in 1988 and returned in 2025, rediscovering artistic roots that continue to shape the work she makes now.
1988 · 2025
Her return to India in 2025 opened another period of experimentation. Back in the studio, Gill is creating one of a kind pieces and commissions, following materials and ideas wherever they lead.
A life
made by hand.
For more than four decades, Gill Clement has followed pattern, texture and colour. Her story travels from London to Mumbles, through pewter, pearls and journeys back to India.
The beginning of a lifelong conversation.
“Pattern, texture and colour have always fascinated me.”
Gill graduated from Sir John Cass School of Art and began building an independent practice in jewellery.
Her early work entered the Contemporary Art Society collection, preserving the beginning of a distinctive visual language.
Gill began creating jewellery for Jean Muir, starting a relationship between her bold pieces and the world of fashion.
Colour, courage and a world opening up.
Made to be noticed
Gill’s work found its place among designers, stylists and people who understood that jewellery could carry humour, confidence and personality.
London gave Gill a stage, but the voice was always her own. Pearls met unexpected materials. Strong shapes sat beside vivid colour. Each piece invited a second look.
Her NO and YES earrings appeared in i D and The Face in 1985. By 1989 her work was being sold through Harrods and Liberty, with international stockists and appearances during London Fashion Week.
From 1989 to 1992 Gill created jewellery for Jean Muir. It was a meeting of two distinctive women, each with a clear understanding of line, movement and individuality.
“Wearing a piece of Gill Clement jewellery strikes up a conversation between strangers.”