In the remote New Zealand countryside, Alice Herald has discovered independent miners who source gold without using cyanide or mercury-all the better to make her punky yet refined jewellery with, says Annabel Davidson

DIGGING DEEPER by Annabel Davidson

VANITY FAIR On Jewellery – July/August 2025

“THINK OF NEW ZEALAND, and most likely you’ll envisage sheep, bungee jumping, the All Blacks, and Hobbiton, the movie set where some of the Lord of the Rings series was filmed. Very few people think of gold, but for jeweller Alice Herald, Aotearoa, the Māori word for New Zealand, and gold go hand in hand.

“Traceability and responsible luxury are hugely important to me,” the Wanaka-based, British-born jeweller says. “And being in a small country like New Zealand, when you’re very far away from the industry, you have the luxury of being more in control, as you’re not that far from the source.”

Herald’s work, which ranges from ultra-wearable gold hoops striped with diamond rows, to dramatic, punkish bangles studded with diamonds and set with an oversized pink cabochon tourmaline, is now all made in traceable New Zealand gold-which wasn’t possible until she pushed for it. “We have gold in New Zealand, and I’ve been badgering a foundry here for two years to keep it separate from other sources, such as recycled gold or scrap metal,” she says. “Surely we must be able to make gold that is mined right here traceable? But it’s down to volume.

It’s not worth a foundry’s time and effort to keep newly mined New Zealand gold separate from everything else.”

That everything else is mainly lemel, the dust and tiny bits of gold from a jeweller’s bench; scrap, old, broken or unwanted jewellery, watches, silverware or anything containing precious metal; and sweep, the dust and other accrued material from any space that uses precious metal. It’s also newly mined gold from small-scale mines across Australia and New Zealand.

New Zealand has only a couple of large-scale mines, but on the West Coast of the South Island, private, small-scale contractors can mine for alluvial gold (which has been naturally eroded from mountains by melting glaciers), often using nothing more than gravity and magnets to separate the gold from the black sand and silt it is found in.

“A representative for the foundry that is now supplying me with pure New Zealand gold literally goes around these private miners and collects their gold in glass jam jars,” Herald laughs. “And then it goes to the refinery in Auckland where it’s kept completely segregated, locked in its own vault, and only cast on certain days when they don’t cast any other type of gold.”

Last year, in a bid to sate her curiosity and see for herself first-hand how the gold is mined, Herald travelled to meet one contractor, who mines a claim on a bit of farmland near the West Coast town of Hokitika as a side gig to his contracting business. Earlier this year, she returned to learn more. “He has been mining since he was 15, and he’d be in his early Gos now,” Herald says.

“He drove me out to his claim past lots of exhausted ones, some of which haven’t been touched since the 186Os.” (New Zealand experienced a gold rush for about 20 years from the 186os.)

“There were old sites that were just holes, and mounds of debris and rocks, and he could tell me what era they were from because of their condition.”

When they reached one particular stretch of farmland, consisting of beautiful green grass mounds, like small hills, the miner announced that he had mined that site, and as per Department of Conservation regulations, returned it to beautiful grazing land. “A year earlier, it had been this big water pit being mined, and now it’s back to being lush green pasture,” Herald says.

“What makes the way he mines so environmentally friendly is that he’s working with the water table, so there’s no transporting of water or dirty water run-off. They work within the pit, take the silt back to his big shed where they just separate the gold from the black sand by spinning it centrifugally and using water and gravity. There’s no cyanide or mercury. It’s just so incredibly simple.” Simple, maybe, but if it wasn’t for Herald spending years campaigning for her miner contact’s gold-and others like it-to be segregated from the rest, New Zealand gold as a precious, traceable, responsibly mined product wouldn’t exist. It’s proof that the actions of one person can make a huge difference. May the industry as a whole follow suit.”

I am very pleased to announce that we have ‘earned the Fern’ and are now a FernMark licensee.

DESIGN: All my jewels are designed by me here, in Wanaka New Zealand.

CRAFTSMANSHIP: My crafting team, with over 120 combined years of skill and knowledge, is based in Auckland, New Zealand, and the cherry on top is that my jewels are produced using mainly alluvial gold from the West Coast of the South Island of New Zealand.

UNIQUELY BEAUTIFUL: As my jewels expand their presence overseas, we have been telling our New Zealand designed and made story loud and proud.

The FernMark is a New Zealand trademark and symbol that represents the story of who we are and where we’re from:

“The Silver Fern is one of New Zealand’s most recognised, long-standing, and respected national symbols.

…the FernMark gives us the opportunity to represent New Zealand on the world stage and bring consumers on a journey to our shores through our New Zealand Story.”

All in all, a very special and more importantly, unique story to tell.

Alice x

Read Our New Zealand Story HERE

An artist’s process is a deeply personal and transformative journey, driven by passion, imagination, and an unwavering commitment to self-expression. From the initial spark of inspiration to the final touch, artists navigate a path filled with experimentation, introspection, and growth. Each artist’s process is unique, shaped by their individual experiences, influences, and artistic vision. 

The second part to this journal entry delves into the inspiration for the Once Upon a Time Collection. As we examine the origins of the classic fairytale we begin to  unveil the intricate layers of Alice’s process and as such, we gain a deeper appreciation for the beauty and significance of her creations, and a greater understanding of the profound impact art has on our world.

The Brothers Grimm, Jacob and Wilhelm Grimm, made an indelible mark on the world of literature with their collection of fairy tales in Kinder und Hausmärchen (Children’s Household Tales). The publication of their first edition in 1812 marked a historic moment as it was the first systemic compilation of folktales in Europe and represented the first scholarly documentation of such a tradition. In 2005, UNESCO recognised the significance of their work by including it in its Memory of World Registry. This acknowledgement highlighted the immense impact the Grimm Brothers’ fairytales have had on modern culture and what is commonly regarded as the most widely distributed books that has emerged in the course of German cultural history

The Grimm Brothers’ unique contribution to folklore studies inspired folklorists across Europe and Great Britain to undertake similar efforts, gathering tales from their own oral traditions to preserve their cultural heritage.

The origin of the classic fairy tale lie in the rich tradition of oral folklore. Unlike the written form of fairy tales, folktales were told amongst the ‘folk’; ordinary people. The stories often delved into the darker more challenging aspects of life, particularly struggles faced by children as they navigate the uncertain and perilous world of adulthood. For centuries these tales were passed down from generation to generation as a means of imparting wisdom and life lessons resulting in leaving an oral trail as a vital part of cultural heritage.

It wasn’t until the seventeenth century that these stories began to be recorded in written form. However, it was much later in the early nineteenth century that Jacob and Wilhelm Grimm, two German academics and linguists, embarked on a mission to  preserve these tales and the moral lessons embedded within them. They believed that the oral tradition represented the most natural and pure forms of culture, deeply rooted in history, and essential for community cohesion. A form of poetry for the people.

Over the course of several editions, from the first in 1812 to the seventh in 1857, the Grimm Brothers’ fairy tales gained immense popularity. The stories were adapted and refined to cater to a wide audience, evolving to shape modern society. Initially, the collection was never intended to be read by children. Only after some public disapproval of the subjects and dark tone, changes were made to make the folktales more palatable to children tales. The shift from a traditional folktale dealing with ordinary human characters, realistic settings and characteristically anonymous, timeless and placeless tale evolved into a literary framework with fantastic forces and beings, supernatural powers and imaginary characters ending with the hero or heroines’ transformative journey. Their enduring appeal lies in their ability to capture timeless themes and morals that continue to resonate with readers and viewers across the world.

Creating art is a journey that requires a willingness to embrace the unknown. Artists often face uncertainties and challenges along their creative path. They navigate through self-doubt, creative blocks, and the fear of failure. It is in these moments of vulnerability that true artistic breakthroughs can occur. Artists learn to trust their instincts, push beyond their comfort zones, and embrace the unexpected, allowing their art to evolve organically. 

Art, in all its forms, is a powerful medium for exploring and expressing beauty. Paintings, sculptures, music, literature, and dance enable us to capture and appreciate the essence of beauty beyond what is observable. Through artistic creations, we can delve into the depths of human emotions, challenge conventions, and convey profound messages. 

Today, the legacy of the Brothers Grimm lives on through the arts, music, theatre, film, new digitised media, and for Alice, the artistic medium of fine jewellery.

Through artists like Alice, their stories continue to evolve, inspire and captivate audiences, proving that their impact on cultural and storytelling remains as ubiquitous as ever.

View Once Upon a Time Collection

Notes from Abroad

A few snippets for you from my recent trip to the USA and UK where I attended the largest industry show and made some fantastic connections for future projects. Precious also to reconnect with current and new suppliers whilst hearing the latest first hand from the top voices in the diamond and jewellery world.

A dash of art and inspirational tourist exploring was enjoyed also.

Alice x

Part One: Vegas – the Shows

Me having a virtual tour of one of my diamond suppliers cutting factories, a state of the art holographic machine to “try on your diamond” and meeting one of the brothers from the Italian family boxing firm who have made all my gorgeous leather and suede displays and boxing for over 12 years.  

Part Two: LA – French 75’s

LA was about catching up on some design work and creating new connections. A client and now wonderful friend as many of you become, hosted a fantastic evening at her house to celebrate women and fine jewels. Hilariously one had studied fashion at Central St Martins and another a similar close connection so the world really isn’t that big is it? I look forward to returning next year to create some special pieces for some of the women.

Part Three: New York – Art and the Art of Diamond Cutting

I essentially absorbed myself in art for 3 days with some meetings dotted in-between. Whilst we do have art and some fantastic architecture in New Zealand, there’s nothing quite like MoMa, The Met and the Guggenheim to spark inspiration for a designer, go and see some classics as well as some new movers and shakers.

Such a highlight was standing alongside some significant diamonds being cut in one of the longest established family sight holder companies in New York. Being able to meet these incredibly skilled craftsmen and see them in action was a true privilege and one I will remember for a long time to come.

Whilst the industry is supporting the African communities from where the diamonds originate in keeping the diamond cutting there before the material is exported, it is lessening the need to maintain skilled cutters in the destinations, so it is sadly becoming a dying art closer to home. That said, really special stones and ones being re-purposed and cut are kept ‘in-house’ and some final facets are saved for when they arrive on our shores closer to their final destination. A very special experience.

A large heart diamond in the process of being cut – waiting to have its cleave and final facets cut. A stunning emerald I found and a very beautiful 20 carat emerald diamond.

Part Four: England – Meetings and a dash of competitive golf

A couple of days with work in London then some blissful time in the beautiful sun drenched British countryside with family and friends to finish off the world tour.

I stopped by the place where it all started – Central Saint Martins – the original buildings now empty as the university has moved to the very modern Kings Cross.

Quite special to sit and contemplate on my return train to the country on quite how busy I’ve been, the jewels I’ve designed and gems I’ve worked with since those days at St Martins. I could never have imagined it. 20 years on and it’s important recognise the journey and to acknowledge the steps taken as well as some of the brilliant people who’ve come along with me.

]]> https://aliceherald.com/finding-that-flow-state/ Tue, 18 Apr 2023 00:59:14 +0000 https://aliceherald.com/?p=5225

Getting into that creative mess that is the design flow on a recent design week away.

Flow State

Designing a new collection can be a double edged sword….you’ve researched for days, read, watched documentaries and movies and now you’re amped to start putting the words into forms. Then that very blank, very white paper stares back at you longingly….

I have learnt over the years that this will pass and I just have to start mark making. So my go to is the human form – I start drawing feet, ears, curvaceous forms and in doing so distract my mind from the task in hand and trick it into the simple practice of drawing. Quite quickly forms start appearing on the page that bring together my research and the design brief in hand and BOOM, hello flow state.

The next few days fly by, long hours and at times my hand cannot move as fast as my mind. Before you know it, there’s the start of a pretty fantastic, solid collection forming. Listening to music can even be a distraction as the concentration is real. I think we sometimes have this romantic idea of creatives peacefully listening to music and dabbing away with their brush in perfect harmony. It is however, like writing a novel or biking down a steep technical descent where the deepest level of concentration is needed and you don’t want any distraction to break that flow.

Creating beautiful jewellery is essentially problem solving: It has to be aesthetically pleasing and sing from all angles as well as function practically for a lifetime of love and wear. One has to accommodate the other so hello self critiquing and refinement to achieve the ultimate. My drive to create each jewel to be uniquely beautiful is at the forefront of my brief, so once a form is drawn, I push, pull, flip and rotate to ensure the end result is just so. 

I break my design time with beach walks or runs and a surf or two. I find the coast the most regenerative place to be. It has both a calming affect as well as energising the soul. 

Self tattoo-ing is a thing – trying out a new pinky. 

Whilst I’m soon to release a stunning new collection this Winter, I am recently back from designing the following Couture Collection which we will start to move into 3D form. I start sourcing the delicious gemstones for the pieces too. Stay tuned as I drop some more imagery of these delights.

In the meantime, love the unique, the good things in life take time.

Alice x