The designer Nigel O’Reilly has paved an unconventional path to a career in jewelry. From construction to woodworking, and even engineering heart valves, his professional life was enlivened by his partner, who encouraged him to work with metals. It was then that O’Reilly began exploring the landscape of jewelry and the work of a Goldsmith, training under esteemed names like Rudolf Heltzel and Erwin Springbrunn, as well as at haute joaillerie houses like Van Cleef & Arpels, Stephen Webster, Boodles, Garrard, and Fabergé.
Nigel O’Reilly Jewelry Design
Today, the Ireland-based jewelry designer embraces a distinctive aesthetic, centered not on mass production but handcrafted pieces featuring one-of-a-kind gemstones. Bold colors and shapes provide ample inspiration, allowing O’Reilly to push the boundaries of jewelry design and let his passion shine. Beyond the striking materials used to create his pieces, the designer is known for his unique gold lattice style, sculpted to seamlessly host a swath of precious gems.
Most recently, O’Reilly collaborated with the whisky brand Aberfeldy on a collection of seven pieces. Featuring cufflinks and rings, each can be purchased alongside a limited-edition bottle of 25-year-old Aberfeldy whisky. Whitewall spoke with O’Reilly about the importance of craftsmanship in his life, his latest partnership, and where you can see his creations on view next.
Nigel O’Reilly, courtesy of Aberfeldy.
A Jewelry Practice Dedicated to Craftsmanship
WHITEWALL: You’re a goldsmith and a high jeweler—a rare combination these days. What does this professional duality give you and your practice?
NIGEL O’REILLY: Because I am making every part of all the pieces myself, it gives me control over every aspect of the design and the quality of work. I found there was always a piece of something lost if you were outsourcing your designs to a different maker, so I embarked to ensure the highest of excellence by creating and forging all aspects of my designs from the drawings to the final piece.
WW: Of what importance is craftsmanship and an artisanal way of working to your practice?
NO: Craftsmanship lies at the heart of my practice, intertwining with my background in engineering to create pieces that not only exude beauty but also serve a functional purpose. My journey in engineering has instilled a deep appreciation for technical precision and meticulous attention to detail. Just as in engineering, where functionality precedes aesthetics, in jewelry-making, the design must be both visually appealing and structurally sound.
Collaborating with Aberfeldy Scotch Whisky on a collection celebrating its 125th anniversary underscored our shared value of fine craftsmanship. Despite apparent differences between an Irish jeweler and a Scottish whisky brand, we both share a commitment to producing high-quality, artisanal products. This collaboration presented unique challenges, such as sourcing gems that perfectly complemented the whisky’s distinct characteristics. Countless hours were dedicated to finding the right gemstone, eventually settling on Madeira citrine for its resemblance to the unique hue of the Aberfeldy 25-Year-Old and its ability to reflect light akin to the whisky in a glass.
Craftsmanship isn’t merely about creating beautiful objects; it’s about the dedication to excellence, the pursuit of perfection, and the willingness to invest time and effort into every detail. In my practice, craftsmanship is not just a technique; it’s a philosophy—a guiding principle that ensures each creation is a testament to skill, passion, and artistry.
Nigel O’Reilly’s De Ville ring, courtesy of Aberfeldy.
WW: Rumor has it that love brought you into the jewelry world, inspired by your now-wife— an art student then—who encouraged you to work with metal and create jewelry. Can you tell us about this?
NO: While working as an engineer, I met an art student—now my wife—who ignited my creativity. I began making rings to impress her, eventually leaving engineering for jewelry full-time with her encouragement.
Before then, I never considered getting into the professional world of jewelry. My mom is a teacher and my dad is a farmer. Due to a lifelong struggle with severe dyslexia during my childhood, I was never interested in pursuing a college degree and instead found interest in joining the workforce as a medical engineer. But I signed up for a jewelry-making class through Design & Crafts Council Ireland, and suddenly I was one of the best in the room, as opposed to the worst. It’s important to know that there are several paths one can take through life and avenues you might not even consider.
Nigel O’Reilly x Aberfeldy, courtesy of Aberfeldy.
Nigel O’Reilly’s Move From Engineering to Luxury Jewelry
WW: Your creative journey has not been linear, though, as you’ve moved from construction and woodworking to engineering high-precision heart valves. Can you tell us a bit about your professional evolution, and why when you worked with metal, it stuck?
NO: Due to a lifelong struggle with severe dyslexia during my childhood, I was never interested in pursuing a college degree. Instead, I opted to go straight into the workforce where I apprenticed as an engineer, specializing in crafting molds for vascular surgery. It ended up being the love that brought me to jewelry. I feel fortunate that I was able to train as an engineer before making the jump to luxury jewelry. Because of this background, I approach jewelry making from a unique point of view and creative style. When I approach a piece, I tend to consider function first, and then make it look beautiful. When I was training, I loved to explore what would happen if I incorporated some of the engineering equipment into the process, so we could really push the boundaries of what was possible. I use laser welders and 3D printers to mix goldsmith traditions with modern technology.
WW: Once you decided to work in metal and in jewelry, you trained under esteemed masters—like Rudolf Heltzel and Erwin Springbrunn. What did working under these creators inform you of?
NO: I have been so fortunate to work closely with some of my idols in the jewelry world. Erwin Springbrunn believed in the mystery and potential of each individual gemstone and carried each one on his person until he designed a piece that reflected its inherent qualities. Working under him has helped me let the qualities of the stones I’m working with lead my design, in order to create a piece that most brilliantly showcases the jewel and all the beauty it holds. For me, the cut and color of the stone is the starting point. I consider, understand, and then advance the potential of the gemstone. Each piece is unique, from the stone itself to my treatment of it in design and execution.
Nigel O’Reilly’s Mandarin Garnet ring, courtesy of Aberfeldy.
WW: You also worked at renowned haute joaillerie houses like Stephen Webster, Boodles, Garrard, and Fabergé. How did these experiences shape your understanding of not just creating with your hands, but of the business of jewelry? The endless possibilities?
NO: I think for small craft businesses, we feel that the bigger brands have a secret formula for success. But after years of making their work, they became much less intimidating, and actually pushed me to say to myself “I can make these pieces even better, if they can do it, why can’t I.”
WW: Today, your luxury pieces embrace one-of-a-kind gemstones, and feature a unique gold lattice style for those who value sculpted pieces. How would you describe your design DNA? The brand’s ethos?
NO: Each piece is its own tiny universe, to where the collector can discover its tiny and intricate details over time and fall in love with new aspects of the creation as they wear it. Inspiration is one of the most important things when it comes to any kind of design or creation of art. I always look at the things that I like myself and regularly look at the likes of [Alexander] McQueen as a huge inspiration, [John] Galliano, and Iris Van Herpen. I’m really inspired by nature, but I’m also inspired by the work of David Bowie, Nine Inch Nails, Bob Dylan, The Beatles, and the culture from the ‘60s. Basically, things that get me excited, I try to translate that into my design DNA so other people are excited. I feel like you can’t be looking in cliché places for inspiration.
My brand’s ethos could be described as a fusion of avant-garde creativity, technical precision, and a deep reverence for both natural and cultural inspirations. At the workshop, we blend cutting-edge technology with traditional craftsmanship, ensuring that each piece meets the highest standards of quality and precision. Our meticulous attention to detail and relentless pursuit of perfection speak to our dedication to excellence.
I stay committed to my craft through establishing personal creative relationships with collectors. By fostering these connections, I give myself the opportunity to work with one-of-a-kind materials, giving me space for my creativity to run free while also meeting the taste of my clients.
Nigel O’Reilly’s Talisman ring, courtesy of Aberfeldy.
A Jewelry Collaboration with Aberfeldy
WW: You recently collaborated with Aberfeldy on a seven-piece capsule collection, featuring cufflinks adorned with Madeira citrines and rings embellished with ice-blue diamonds. Why did you create these specific pieces for the collection? Why collaborate with Aberfeldy?
NO: This collection is directly inspired by Aberfeldy Scotch Whisky and celebrates its 125-year history of producing the highest quality single malt whisky. This partnership was born out of our shared commitment to the profound art of meticulous craftsmanship and nature. As a master goldsmith, I was inspired by Aberfeldy’s’ water source – the Pitilie Burn – which is so pure it has deposits of alluvial gold – as well as the brand’s gold standard of whisky-making. When I heard that Aberfeldy has long been affectionately termed the “Golden Dram,” I knew this was the right fit.
When designing the Highland Honeycomb Ring and Pitilie Burn Cufflinks, as well as selecting additional items from my line to fall under the Aberfeldy Collection, I utilized materials such as gold, citrine, and intricate detailing to evoke the golden liquid and the beautiful place in which it’s produced. I looked at each piece as a new opportunity to tell the story of Aberfeldy, ranging from the vessels from which Aberfeldy is enjoyed, to the sparkling waters of the Pitilie Burn. Each piece in this collection is a testament to the art of craftsmanship, meticulously fashioned with a blend of cutting-edge technology and timeless traditions.
Nigel O’Reilly’s Persephone ring, courtesy of Aberfeldy.
WW: What else are you working on this year?
NO: I’m very excited to be working on some new titanium bangles and titanium pendants, which deviate from my signature choice of using rose gold. I think it’s really a fascinating metal, being able to use different colors and textures, as well as how strong and light it is. My goal for the next year is to work on expanding on these titanium pieces.
This year, we have a show lined up with Sotheby’s, Bergdorf Goodman, and another private show—all in the incredible New York City which is all very exciting. We also have in the pipeline an exhibition in Hong Kong, hopefully coming next year as well, so there will be a lot of creating and a lot of exciting things to look forward to next year.
