Mim Best’s creative career began with an unexpected twist of fate - a chance discovery of a magazine ad, a swift phone call from a public phone box, and the offer of her first jewellery job. This serendipitous start working for Bristol jewellery designer Diana Porter paved the way for a rich and varied career spanning over 25 years, encompassing roles as diverse as crafting models, props, and backdrops for Aardman Animation’s “Curse of the Were-Rabbit” film, as well as making accessories for Mercury Music Prize winner PJ Harvey.
Despite these wide-ranging creative explorations, jewellery has always remained Mim’s true passion. This enduring love is at the heart of her new collection, The Finishing Touch, set to debut at Shine 2024. The collection captures the timeless elegance of family heirlooms and ancient treasures, with pieces that feature warm golds, vibrant gemstones, and eye-catching diamonds. Each piece is meticulously handcrafted using traditional techniques like wax carving and casting, with intricate textures that play with light.
A Passion from the Start: Mim Best's Early Days in Jewellery
I knew I wanted to make jewellery, from the age of around six or seven. By the time I was fifteen and still in school, I was doing work experience with a silversmith in Birmingham’s Jewellery Quarter. I was learning how to use a lathe at fifteen - I still can’t believe they had me doing that! We were making things like candelabras and napkin rings. I was always really focused and always knew this was what I wanted to do.
I studied applied arts at Derby University, where I specialised in mixed media jewellery, incorporating precious metals with non-precious materials such as concrete, Perspex, and wood.
In 1998, after graduating, I moved to Bristol because I had friends living there. The day after I arrived, I came across an advert in a local magazine for a junior jewellery maker, Diana Porter - though I can't quite remember the exact wording, something like "college leaver." I called them from a phone box, as I didn’t have a mobile at the time, and the next day, I went in for a trial session. I got the job! Back then, I worked from Diana’s home before her business grew, and that's where I learned a lot - mainly manufacturing techniques and how to set stones.
We used to supply galleries and do direct retail, focusing mostly on silver work in the early days, with gold etching and diamonds. I was incredibly lucky to get that job. I learned so much, and the people were fantastic. I ended up staying there, on and off, for about twenty years, really honing my skills. As Diana’s business grew, we moved to different premises and expanded.
Crafting for the Big Screen
While I was working there, I was offered a short-term job as a model maker for Aardman Animations, working on a feature film “Wallace and Gromit: The Curse of the Were-Rabbit”. Aardman are known for Morph, Wallace and Gromit, and Creature Comforts. Diana was very supportive and let me go for the project. It was a completely different experience. I made clothes, sculpted, painted backdrops, created props, and moving parts like mouths and hands. I even created many of the little clothes - printing and sewing them. It was a really interesting job, but it takes about five years to make a single film. It wasn’t always as exciting as it might seem on the surface, but it was an incredible experience. The contrast between working predominantly with silver and then working with soft and colourful materials like plasticine was striking. These puppets were full of colour and expression, and I loved it.
After that, my work started to evolve, incorporating colour with more precious materials, moving beyond just silver, which had been my comfort zone. Jewellery has always been my first love, without a doubt. I just didn’t want to close any doors. I’ve always been really interested in making things in general, so I wanted to learn about incorporating other materials and keep my options open.
Launching a Business
After having kids, I worked as a freelancer for various people. But eventually, I went back to Diana's and stayed there until about six years ago. That's when I decided to start my own business and design my own collection.
I’m able to apply some of the different creative fields I’ve explored to jewellery making. Working for Aardman was actually the first time I’d really worked with any colour, and it just brought everything to life. I’ve always loved colour, and it’s become a really important part of my work. But it wasn’t just the colour - I loved how those clay puppets had visible marks that showed they were made by hand, with so much care and attention. The movement of the puppets also stood out to me. Instead of working with a predominantly grey and dull metal like silver before it’s finished, I now incorporate both movement and colour into my jewellery. I think movement adds a bit of life, and combined with colour, it creates something really interesting.
As for being chosen for Shine, I just feel so excited! I’ve always worked behind the scenes for other people, so a lot of my work has never really got direct recognition. Being chosen for Shine means that not only is my craftsmanship up to standard, but my design skills are being recognised too. I’m really excited to showcase this new, elevated collection of work. It features diamonds, gold, and other precious gemstones in 9 and 14 karat, and I can’t wait to present these pieces to a new audience. I feel like Shine is the perfect platform for me to do that.
Modern-Day Heirlooms
I would describe my pieces as modern-day heirlooms with a blend of both modern and ancient aesthetics - something that feels both old and new. I like the idea of my jewellery being elegant and timeless, with a sense of longevity. They’re designed for everyday wear with comfort in mind, but also perfect for special, memorable occasions. Lately, my focus has shifted more towards bespoke and bridal jewellery because that’s what I truly enjoy - meeting customers, working closely with them, and creating something unique together. It feels like a collaboration, but I also love when people trust me with their ideas and have confidence in my judgment.
A lot of my work focuses on embellishment, pattern, and texture. I use a variety of beads and gemstones to create different layers of interest. I also like to spark curiosity, making people wonder, "What is that stone?" or "How did you create that texture?" I aim to invite people to take a closer look and appreciate all the details and craftsmanship that go into each piece.
I love the idea of people treasuring my pieces, holding onto special memories or occasions. I think of my jewellery as something that can be cherished and passed down through generations. For example, I have a Cornish love knot ring from my childhood. It’s not something I wear anymore, but it’s one of my most treasured possessions because it connects me to the time when I first became inspired to make jewellery.
Inspiration Unveiled
I don’t really have a shortage of inspiration. Ideas come to me from all over. I’m particularly drawn to ancient, antique, and vintage jewellery, anything with a bit of history, symbolism, or a story behind it. I’m always captivated by interesting details, colour, and decorative elements. I’m also fascinated by how things are made.
I find inspiration just walking down the street, often looking for beauty in less obvious places. I love observing found objects, discarded items, decorative ironwork, and even manhole covers. In the old parts of Bristol, we have these iron curbs from Victorian times designed to help protect the kerbs from metal cart wheels. The linear detail and proportions of these elements always catch my eye.
As a kid, I was a bit of a magpie, always finding bits of broken jewellery, coins, and other treasures on the ground. I still gather pieces like that and have a little box where I collect them. I use these collected items for inspiration sometimes to match colours, shapes, patterns, and techniques when making my jewellery.
I’m mindful that jewellery trends can change, and I consider this carefully when designing. While some of my pieces might be more commercial or safe, I believe that my bespoke and bridal work aligns well with what I’m doing now and provides a good fit for creating timeless pieces that people will treasure.
From Wax to Gold: Design Process and Techniques
Some of my inspiration comes directly from the processes I use. I work with repetitive techniques, often hand-stamping various textures into the metal to create different effects. I keep many test pieces and samples, which I treat almost like a collage, mixing and matching components to see what fits. I enjoy contrasting patterns and details, and sometimes inspiration strikes simply by looking through old samples. Nothing goes to waste. If I don’t use something as it is, I might repurpose it into something new. I like the idea of taking a piece I made years ago and giving it a fresh sense or purpose.
My design process is quite fluid. I don’t always start from scratch. I often have multiple pieces in progress at once. Sometimes I begin with a gemstone or beads that catch my eye, and the design evolves from there. I think about what setting would best showcase the stone, what colours would complement it, and how to enhance it. It’s about creating something that captures attention and sparks curiosity, while also evoking the feel of an heirloom or artefact.
I’ve never worked with Chrysoprase before, which is the bright green stone featured in the statement ring. I really enjoyed working with that colour. It’s one of the most vibrant stones and looks electric, especially in the sunlight. It complements yellow gold perfectly.
Most of my work is hand-fabricated using traditional tools and techniques with sheet and wire. However, what I’ve particularly enjoyed about this collection is creating pieces from wax, which adds a more three-dimensional quality. Wax is a lovely, fluid material. It’s very forgiving and colourful, which is a nice change from working with metal.
I’ve found that incorporating this three-dimensional aspect into my pieces has been one of my favourite parts of this collection. I hope to do more of this in the future, drawing on the sculpture skills I developed while model making. Although wax is a common material for jewellers, I’m excited to explore its potential further in my future work.
Elegance Redefined: The 'Finishing Touch' Collection
My collection is called "The Finishing Touch." There are several ways to interpret this. The most obvious is that the jewellery acts as the finishing touch to an outfit, complementing a colour or enhancing the look. It could also signify the finishing touch for a special occasion, like an engagement ring or an anniversary gift.
Beyond that, "The Finishing Touch" can refer to the intricate details and embellishments that go into making each piece. Some of the designs have multiple layers of detail, and sometimes it can be challenging to determine where the finishing touch should be. I like that it’s a flexible term, allowing people to interpret it in their own way.
Additionally, it reflects the touch of the maker's hands. Each piece is handcrafted and unique, which adds to its specialness and elevates it even further.
It’s tough to choose a favourite piece because there are several I love. The Chrysoprase Ring stands out, but I’m not sure if it’s entirely for me. It’s a piece I’d been envisioning for about three years, from the initial idea to its completion, and it turned out even better than I imagined. It definitely has that pop of colour and wow factor. I also adore the Chandelier Earrings. They’re a show-stopping piece, full of glitter, glitz, and glamour. They’re super sparkly, shimmer in the light, and showcase many of my different techniques. I really like both of the Trilogy Rings because they were made in wax, which made them really fun to create. They each have a different style, and I’m excited to see where this direction takes me.
However, if I were to choose something to wear regularly, it would be the Starburst Pendant. It’s a beautiful, versatile piece that can easily transition from day to night. To me, that would be the keeper if I had to choose just one piece to take with me.
Who Wears Mim Best Jewellery?
I suppose I do and don’t have a specific customer in mind when I’m making jewellery. Many of the pieces I’ve created so far are quite feminine, which was partly due to the materials and designs I was gathering in the beginning. When I’m working on pieces like bridal jewellery or chandelier earrings - items that are meant to be significant and memorable - I try to envision the occasions they’ll be worn and what they might be paired with. I often wish I could be a fly on the wall to see how they’re worn and appreciated. I imagine that my customers have a strong interest in music,, art and design. They’re drawn to understated luxury and value art, craftsmanship, unique gemstones, and the meticulous detail in each piece.
Reflections on Shine and Future Plans
At Shine, I’m really looking forward to introducing myself to a new audience and reconnecting with the audience I already have. Since I sell a lot through galleries, I don’t always get to meet the people who buy my pieces, so I realise how important it is to have a direct connection with my customers. I’m excited about sharing this experience with other makers, learning about their stories, and participating in the exhibition and pop-up at the Goldsmiths' Centre. It’s a significant opportunity for me.
After Shine, I plan to continue working with a few galleries who have been great to me, but I’m hoping to focus more on one-of-a-kind and bespoke pieces. I want to push the boundaries with bolder designs, incorporating more elaborate and colourful elements. I’m also eager to learn hand engraving, which I think would be a fantastic addition to my existing decorative processes.
The most important thing for me is to keep challenging myself as a maker, continually growing, trying new things, and having fun with it. I feel like there are still many avenues to explore and so many pieces I want to create. I’m excited to see where this journey takes me.