Hi everyone,
This year has been an incredibly meaningful one for me, as I’ve taken on the role of industry sponsor for the British Academy of Jewellery (BAJ) in London. Our partnership brings together two worlds I care deeply about: the craft of jewellery making and the extraordinary history of Australian opal — especially ancient opalised fossils from Lightning Ridge.
For this live project, I introduced BAJ students to something very few jewellers ever get the chance to work with: real opalised fossils formed over millions of years. These fossils began life as shells, bones, and marine creatures before being replaced by precious opal through a rare geological process. Each one is completely unique, and I personally cut and prepared every specimen here in the UK specifically for the students.
As I explained to the students during our first session, “These fossils aren’t just gemstones — they’re pieces of deep time. When you design with them, you’re not just making jewellery; you’re continuing a story that started millions of years ago.”
What makes this project so special is that the students aren’t working with standard calibrated stones. Instead, they’re designing directly from the natural form — adapting to irregular shapes, unusual structures, and the subtle colour play that only ancient opal can offer. It pushes them to think like true makers, letting the stone guide the design rather than forcing the stone into a predetermined idea.
One BAJ student shared with me, “I’d never worked with anything like this before. Every fossil feels alive in its own way. You can’t force a design onto it — you have to listen to it. It’s challenging, but it’s also inspiring.”
Another student told me, “I didn’t know much about opals before this project. Hearing about how they form, the mining communities, and the science behind the colour really opened my eyes. It’s made me appreciate gemstones in a completely new way.”
BAJ’s Manufacture Lead, Bekkie Ora Cheeseman, also highlighted the value of this collaboration, saying, “Working directly with a practising cutter gives students a real understanding of sourcing, material decisions, and professional standards. These fossils challenge them to design with intention — to let the stone’s history and structure shape the final piece.”
For me, this is exactly why the partnership matters. As I told the group during our workshop, “I have a soft spot for freeform jewellery. When you let the stone lead, you create something honest — something that respects the material. I’m excited to see how each of you interprets these fossils in your own way.”
Later this year, BAJ will host a dedicated exhibition showcasing the students’ finished designs. I’ve also donated three cut and polished Australian opals as prizes for standout pieces, and selected works will be featured in BAJ’s end‑of‑year show.
This collaboration brings together the full journey of opal — from mining communities in Lightning Ridge, to my cutting bench here in the UK, to the hands of emerging designers who will shape the future of jewellery. I’m proud to play a part in that story.
If you’d like to read BAJ’s official announcement, you can find it below:
Thanks for reading, and I can’t wait to share more from this collaboration as the students’ designs come to life.
William McMellin
W.M OPALS