SOLDERED: A New Intention
SARAH & SEBASTIAN pioneered the SOLDERED experience in Australia, originating the concept of permanent jewellery through fine craftsmanship, using traditional tools with modern design. Guided by this philosophy, SOLDERED celebrates the union of permanence, sentiment and artistry.
Within our architecturally designed spaces, each solid 18-karat gold soldered chain is fitted with precision and sealed in flame, an intimate gesture of connection and design. The ritual is both personal and enduring, transforming jewellery into something lived, lasting and deeply felt.
To deepen the experience, we are excited to introduce SOLDERED Stories. Here, every soldered bracelet is a keepsake of memory and meaning, a symbol of the moment or intention it was created to honour.
To celebrate the intention of the experience, each client receives a SOLDERED Story Card, an artefact of the moment they were Soldered and a reflection of the meaning behind their piece. Displayed in designer Studio Henry Wilson’s Aluminium Vide Poche, the wearer may choose to inscribe a date, word, or initials. a personal memento of the ritual.
Each Story Card represents an intention: Connection, Milestone, Transformation and Legacy.
Connection
Celebrating love, friendship, and bonds that feel like home.
Milestone
Marking what matters, another lap around the sun, a moment that endures.
Transformation
Embracing change, a beginning, a shift, a gentle evolution.
Legacy
Honouring what lasts, memories, connections and moments carried forward in gold.
Mark your moment. Book your SOLDERED appointment here.
Recommended
Unveiling SARAH & SEBASTIAN’s New Mosman Home
We are proud to celebrate the reopening of our Mosman store on Sydney’s north shore. Reimagined in collaboration with architecture firm Richards Stanisich, the space preserves its original framework while unveiling a more immersive environment. Alongside our fine jewellery collections, the store offers a full suite of services, including bridal consultations, soldered bracelets, and for the first time in Mosman, our signature Ear Alchemy piercing experience. The new design is defined by sepia-green cork and seagrass green glass panelling, natural materials selected for their unique materiality and connection to the ocean. Extending the design language first established by Richards Stanisich in our Armadale flagship, Mosman evolves these defining characteristics into signature motifs that connect the two spaces. The result strikes a balance of domesticity and luxury, transforming the boutiques into intimate sanctuaries that feel both elevated and welcoming, as if inviting clients into our home. “THE VISION FOR MOSMAN WAS TO CREATE A SPACE THAT FEELS ELEVATED YET HOMELY. MUCH LIKE STEPPING INTO A PRIVATE RESIDENCE, IT ENCOURAGES YOU TO STAY, EXPLORE AND EXPERIENCE THE FULL OFFERINGS OF OUR SERVICES.” — SARAH & SEBASTIAN Co-Founder and Creative Director, Sarah Gittoes. On the design, interior architect and Richards Stanisich co-founder, Kirsten Stanisich, explains her focus was on creating a refined, immersive atmosphere through natural textures. Sepia-toned cork recalls the gentle drift of ocean kelp, silver gilding shimmers with light, and rippled glass adds depth and movement to the space. The store unfolds with a sense of discovery. A linear display stretches the length of the interior, presenting our curated seasonal and signature collections, while bespoke details reveal subtle shifts in texture, form, and finish as you move through the space. We invite you to experience the new Mosman store and explore our world of fine jewellery and signature services here.
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ONDINE: A Feat of Craftsmanship
A masterwork of artistry and meticulous craftsmanship, our new collection Ondine is a meditation on the natural choreography of the sea — a balance of stillness and motion. In the vastness of the ocean, life moves in ritual. Each night, illuminated by moonlight, a silent procession begins. Billions of sea creatures ascend from the abyss, drawn to the surface in search of sustenance. With first light, they retreat to the deep. This daily pulse, known as vertical migration, is the largest movement of life on Earth. A natural choreography of instinct and transformation, it is the rhythm that shaped the ONDINE collection. The collection named after the mythical sea nymph, ONDINE echoes the ocean’s silent momentum. Meticulously crafted in 18-karat yellow gold and platinum, each piece awakens through motion, its presence revealed by shifting light. Intricately woven natural diamonds trace the rise of bioluminescent life, a fleeting shimmer before the return to darkness. “EACH PIECE AWAKENS THROUGH MOTION, IT’S PRESENCE REVEALED BY SHIFTING LIGHT.” At the centre of the collection lies the Ondine Bracelet, a masterwork of design and refined craftsmanship. More than 108 hours of expert labour and 730 hand-set diamonds are woven into a kinetic lattice that drapes across the wrist like silk armour — moving with the body, catching light in passing, and echoing the ocean’s ephemeral brilliance. Its construction speaks to rare technical skill: precious metal is shaped to flow like fabric while retaining architectural strength. Fluid folds are balanced by geometric precision, as the chequered interplay of 18-karat yellow gold and platinum enriches the silhouette with sculptural depth. “PRECIOUS METAL IS SHAPED TO FLOW LIKE FABRIC WHILE RETAINING ARCHITECTURAL STRENGTH.” A specially engineered 6cm spring clasp completes the piece — ensuring security while standing as a bold design statement, emblematic of the structural foundations of the ONDINE collection. Your browser does not support the video tag. ONDINE embodies movement refined by mastery. Precious metal flows with fluidity, diamonds capture fleeting light, and the ocean’s eternal rhythm is brought to life through craft. In every detail, the collection reflects a considered harmony — shaped by nature, perfected by artistry. All pieces are handcrafted in our Sydney studio, using 18-karat solid gold and ethically sourced natural diamonds
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Amrita Hepi: In Rhythm with ONDINE
There is a certain gravity to Amrita Hepi. A choreographer and dancer of Bundjalung (Australia) and Ngāpuhi (New Zealand) heritage, she is an artist whose practice stretches across dance, performance, video, and installation. Her work, often shifting between intimacy and spectacle, investigates the body’s role as a vessel for memory, identity, and cultural narratives. It is this blend of intellectual rigor and instinctual grace that made Amrita the perfect muse for our ONDINE collection campaign. Against the raw beauty of Aotearoa’s west coast, Amrita translates ONDINE’s sculptural forms into a living movement and grounds the campaign with a meditative body-scan, an invitation to catch our breath. ONDINE explores themes of ritual and rhythm, our relationship to the natural world, and the transcendent. It was with these ideas in mind that we sat down with Amrita, in the midst of a schedule that spans continents, collaborations, and constant creation, to talk about her creative practice, relationship to ritual, and the elemental pull of nature. Hi Amrita, can you start by telling us about your creative practice and your history with movement and choreography. I’m an artist who works with choreography and performance, mostly with liveness. My history with this is long and constantly changing and evolving. One of the things we’ve thought a lot about as part of ONDINE is the idea of ritual. What practices in your life feel ritualistic, whether through the body, breath, or the way you prepare to move or create? My rituals tend to be quite mundane, like finding where the water is in a new place, resetting my wardrobe or chucking things out if I’m feeling stressed, eating the same thing every morning in a new place when I’m in a kind of mini routine. And then in regards to preparing to move or make something, I don’t know if it’s a ritual but I have to get myself into a zone whereby I am kind of tricking myself into thinking: “I am just taking notes, I am just moving to sense things out, this is just a few small words, moves, a sketch,” in order to get myself to begin with lots of options and an intimacy without creating a pressure cooker of an environment. It’s simultaneously focused and also can look like dithering or distraction in the beginning. And miraculously I repeat this focused/distracted dance a lot, hence maybe it’s now a ritual. “I AM JUST TAKING NOTES, I AM JUST MOVING TO SENSE THINGS OUT” How do you create moments of stillness or presence in your daily life? With great effort, with repetition, without trying to do too much. How does nature influence your creativity or sense of self? By giving it the attention and the respect it deserves. By trying not to project myself into every part of it. By knowing that there is Vā [the sacred, relational space that binds people, nature, and spirit] between myself and it. [featured_images1] What aspects of filming the campaign and wearing the collection resonated with you, and how did they connect to your sense of movement and style? Being in Aotearoa, one of my homes, and taking part in a Karakia [a traditional Māori prayer to invoke spiritual guidance and protection] at the start of shooting, and of course, I loved the earrings I got to wear. They felt like they would stay put even if I was moving a lot. I always think dancers have great style, and I have always said my own style is lazy with elegant aspirations (or fast and relaxed), so I love jewellery that can stick with me, that I can forget about until I put it on in the morning and it makes me smile. That doesn’t get stuck in my hair, that I can swim in, run in, and that lives on me and with me. “I LOVE JEWELLERY THAT CAN STICK WITH ME, THAT I CAN FORGET ABOUT UNTIL I PUT IT ON IN THE MORNING AND IT MAKES ME SMILE.” [featured_images2]Which piece from the collection resonates with you most, and why? All of the earrings. Every single pair. The campaign was filmed on the west coast of Aotearoa, a place rich in elemental energy and connected to your heritage. How did being in that landscape shape your experience of movement and creation during the filming? There was a great reverence with shooting there. I thought a lot about Taniwha and Whenua. And I really loved having Rae, the makeup artist who was local, and Matt who works at Sarah & Sebastian, on the shoot with me, two people that understood the complexity of the Tangata Whenua. What do you hope others feel after experiencing your movement or being present with your work? Every work is very different, and I’m not in the business of dictating hope to a room or an audience. I am however in the business of ideas, experiences, rigour and movement. I hope that no one ever says: Amrita’s works all look the same, and that’s why I am here. [featured_images3]Looking forward, are there any new works, performances, or collaborations on the horizon? Many. But at present I have just finished a full and happy few months of making a new work called The Act for Rising Festival, working with my sister on a new show at Passage, and beginning the European tour leg of Rinse at Avignon Festival. The thing I am looking forward to is sleeping and swimming. But also, if Sophie Calle or Michelle de Kretser are reading this, let’s have a drink and talk about collaboration. On me!
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