Loren Nicole Jewelry

I vividly recall when I was scrolling through my Instagram feed, and a carved rock crystal and gold bracelet stopped me in my tracks. Was it an antiquity from some museum collection? Was it a newly created piece? I honestly couldn’t tell, so I had to investigate…and that led me right to Loren Nicole Jewelry. Loren Teetelli, the designer behind the collection, was going to be making an appearance at the Couture show in Las Vegas. Meeting her and seeing her work was at the top of my list!

I got to see the bracelets in person!!

Not only is her jewelry simply stunning with it’s ancient feel, but Loren is a veritable font of information. With her extensive background in art history and anthropology, combined with her talent as a goldsmith, she has created a singular line rife with history. Sit back, relax, and enjoy the following interview with Nicole.

After seeing your work, I was SO not surprised to learn you have a background in archaeology. Can you please share how this prepared you for your career as a jewelry designer?

I have degrees in art history and anthropology, with a focus in archaeology, one of the 4 branches of anthropology. I have had a lot of practical experience as an archaeologist, having worked as a field archaeologist in Peru, Mexico and Vermont, and as a lab technician in the North American Archaeology Lab in the Anthropology Department of the American Museum of Natural History in New York City (it’s a mouthful). I later worked as a conservator in the Objects Conservation Lab at the American Museum of Natural History and Conservation Lab in Africa Oceana and the Americas department at the Metropolitan Museum of Art.

Art history has provided me the advantage of an extensive depth of knowledge of civilizations throughout history focused on many mediums, while archaeology trained me to think about the material culture, both art and domestic objects, from a practical viewpoint. Studying both disciplines has allowed me to recognize pattern, to the point where I can look at a selection of mixed objects and at the very least divide them up geographically. Aside from my academic interests, I have always been drawn to craft. I have been painting and illustrating for as long as I can recall and have studied pottery, weaving, glass blowing, printmaking and so on. My natural inclination towards making tied into my archaeological interest because it’s all about the objects we made and left behind. Understanding how they were constructed, the technology used to make them, the sources for their materials (trade), and eventually how they were then used.

Now, working as a goldsmith, my interests in understanding the science of an object is the foundation of my design process. Studying and working in the original technologies used to make the pieces I am representing, allows the collection to “feel” ancient. When beginning a new collection, I am fortunate to have a large mental library of different civilizations to pull on. I typically begin with one or a few key visual elements (like the “heart” and oval shapes of the Silla collection), and recognize what technology was used to build those pieces. If the goal is to replicate the feeling of ancient jewelry, it is not possible to do so by only copying the patterns or symbols, it needs to be constructed using the same methods. Since I am currently working on an Egyptian collection, I will give this example; a lot of Egyptian revival jewelry is enamel usually depicting King Tut’s Scarab, the Eye of Horus, etc. While many of these pieces are fun and beautiful in their own right, we understand the reference, but they don’t have the feeling of something that emerged from an ancient Egyptian tomb. They haven’t gotten to the core of ancient Egyptian Jewelry. If instead of enamel, those colors were inlaid stone (cloisonné), then they would be doing something interesting, something more true to the history of the design and using a technique contemporary to the original source.

How outstanding is this charm necklace?!

Is there a certain period in history that most influences your work?

My love for art history lies with anything pre-dating the Northern Baroque period, with a particular interest in civilizations that we refer to as “ancient”, for example, Greek, Egyptian, Scythian (Eurasian Nomadic Peoples), Moche, Chimu, etc. I also love a few outliers, such as Agnes Martin, Axel Vervoordt (not necessarily an artist) and Mark Rothko. I would say that my designs are a combination of these two interests, as is my favorite ancient period. Cycladic art, while having been made as far back as 5000 years ago, is so contemporary in its design. Civilizations of archaeology are in my heart. There is so much mystery still surrounding them and there is always a scavenger hunt when discovering a new piece. These civilizations worked in 22k yellow gold, my preferred medium, and the technologies I have studied from them, such as granulation and chasing and repousse, are my favorite to work in. I love jewelry where you can see the hand of its creator — it is more warm for me than something that has been machined using electric steel tools. That being said, there is a power in minimalism and being able to convey an emotion with as few elements as possible. Agnes Martin has been my greatest teacher of this. Applying what I have learned from studying her work to my jewelry design by taking the time to edit out what is unnecessary, while still retaining the core feeling of the civilization I am representing, has been the greatest challenge and most rewarding. While I am replicating the past, I am not creating replicas.

a variety of gold necklaces

I am a huge fan of the pieces I saw from your new Silla Collection. Can you please tell me a bit about this collection?

I first discovered the Silla while working at the MET. They hosted a temporary exhibit of their work primarily showing pottery and jewelry. I have always been fascinated by trade in the ancient world, because in the structure that we are taught, we usually don’t think of these ancient civilizations trading, learning and adopting practices from each other. What originally struck me was the quality and large scale of their granulation, a technique that originated with the Etruscans in present day Sicily and made its way across the Silk Road with the Greeks stationed in Bactria and then spreading to India and further east, where it is still practiced. When approaching this lesser known civilization to develop a collection, I resisted the instinct to include granulation because that is something that was learned, I needed to identify what was unique to them and their history.

Fish necklace from the Silla collection

There were two elements that stood out; the application of gold discs and key shapes, such as the oval, “heart” and trapezoid. There were two key jewelry styles that needed to be represented to honor their history as nomadic peoples, the belt and the crown. Several belts in a style similar to our Nomad Belt were discovered in burials, adorned with charms representing both domestic and spiritual purposes. For example, the cut-out piece is a scissor and the fish may have been an amulet to avert evil. The belt is also a nod to this civilization’s history as nomadic peoples, where wealth needed to be portable and rank needed to be easily identifiable. Since there has has been so much interest in the fish, it is actually a personal joke, my version of uniting the ends of the Silk Road. I took the Silla design for a fish and married it with the idea of Rock Crystal fish that the Ancient Greeks occasionally made and then suspended them all from a modified Ancient Greek woven chain (present-day). I still can’t believe this is the most popular piece from June, it was the only design I was super unsure of. Both this necklace and the belt are available at Stanley Korshak.

Nomad belt from the Silla collection

I’m completely obsessed with all the charms you make. How do you envision clients styling them?

It is a joyful part of our collection that encourages interaction. People love color! Few people don’t love rummaging through a pile of candy-like gems and arranging their favorites to carry with them everyday. We can change them with our mood, layer them up, put them on different chains. They are so versatile. There is something for everyone. It is all about wearing layers of color stories that are meaningful to the wearer. I personally like to wear 5 on long leather cord and change the color story with the seasons.

How to choose?!

They were designed to be a fun way to incorporate color and offer a more accessible entry point into my collection. What I had hoped and what my clients are doing is starting with one or two pieces and slowly adding more to their set, typically wearing them all together. They fit on all of our necklaces, most of our bracelets and new leather cords that will be released soon. All of our charms are either cabochons or carved stones that have been ethically sourced and are set in our signature 22k yellow gold brushed finish (We use recycled and Fairmined gold), so they inherently have that ancient look to it, but I choose more playful colors to make it modern. They have also been a really fun education point between me and my clients. It is opportunity to share a deeper story about the history of a gem, its origin, what gives it is color, who cut it and the amazing history of Idar Oberstein represented in our carved gems.

What sort of woman do you see wearing your jewelry?

Be it young or more mature, the woman that purchases my jewelry is a collector. She loves art and history. She is not interested in trends. She is confident in her own style and has her own criteria for recognizing quality of craftsmanship.

Loren shared this special project on her Instagram — an 18ct Paraiba tourmaline in 22kt gold. Wow!

What do you find is the most rewarding aspect(s) of being a jewelry designer?

I have been given the opportunity to share my love of ancient history with people that may not necessarily have been exposed to it or haven’t previously shown an interest in it. I absolutely love when I have opportunity to speak with men, whether they are shopping for themselves or their significant other, because I have found that they are typically interested in the science/more geeky specifics of my jewelry, which gets them excited and offers a connection to jewelry that they don’t always have available. The women tend to be more perceptive to the aesthetics and art history of the piece. If they connect with that aesthetic, they get it immediately. What is universal, is when people discover my chains and once they learn that many of them have been made for over 3000 years and then can find them on display at world renowned museums, they are immediately hooked. Then they feel the weight of a solid gold chain, usually for the first time, and they see how it moves and suddenly they discover a new relationship towards jewelry. It is so much fun to watch that moment in a person’s face transform from a slight interest into complete wonder. I also really love when my jewelry is mistaken for an antique. I feel like I have done my job as a designer and a goldsmith when that occurs.

Can you share one of your most recent pieces?

I am currently working on our new collection, Nebu, which will launch at Couture next summer. Nebu is the the ancient Egyptian word for gold. They are the only civilization I am aware of that believed gold had divine power. They had over 30 types of gold, which is amazing considering how rudimentary their tools were. I am finally going to be showing off my skills as a goldsmith with this collection. There will be a lot of granulation and chasing and repousse.

Here is a photo of a chaising and repousse crocodile cuff bracelet that is currently on my bench.

I cannot wait to see the finished product…

And here’s an oversized hoop that was completed last week. The hoop has a small granulation halo around the Mandarin Garnet with Cats Eye Pink Tourmaline and Morganite (one from Brazil and the other from Mozambique) decorating the bottom edge. The design originated from an Egyptian wall painting. I have yet to discover a jewelry example of this design; however, that doesn’t mean that it was not used. With some of the earliest styles, there aren’t always actual objects discovered representing what was depicted. I have another one-of-a-kind version of this hoop on the bench next week!

On that note, I want to thank Loren for all the incredible information. I cannot WAIT to see the Nebu collection in Las Vegas next year!! You can check out more of Loren’s work on her website and Instagram.

Bell and Bird: A Gem in Austin, Texas

One of the things I love about being a wardrobe stylist is that it has me traveling all over the country to work with clients. I recently had the opportunity to work in Austin, Texas, for the first time. Not only was it inspiring to visit somewhere new, but I was also psyched I’d finally be able to visit Bell and Bird, an antique jewelry store (specializing in 18th and 19th century pieces) that I’d been following on Instagram for quite some time. After enjoying a delicious gelato at Teo, right around the corner from them, I eagerly entered the store. Rhianna, the owner, could not have been kinder. As soon as we got talking about my jewelry blog, she started pulling out trays and trays of delectable jewels from their vault. Her wealth of expertise was mind blowing.

So many pieces are in their original boxes!

Not knowing what to try on first, I decided to don this incredible Victorian snake bracelet from the Netherlands. It dates to the 1860’s and is made from 18K gold and old mine cut diamonds.

This pair of matched Victorian gold buckle bracelets also caught my eye.

If this Victorian gold necklace with a rock crystal locket had fit, I may very well have gone home with it….

I couldn’t get over the trays of charms, fobs, lockets, and other adornments.

This enamel and gold necklace is most definitely fit for a princess. It’s made of 18K gold, enamel and old mine cut diamonds. The locket can be removed, leaving you with a chic collar.

And how about this early Victorian bow brooch? It’s articulated at the joints, so it moves when worn. Too cool.

I could have spent the entire afternoon here, but I unfortunately had more stores to explore. I have to say, Bell and Bird is a must see when you’re in Austin!

Page Sargisson: Designer

As is often the case, I first came across the intriguing designs of New York-based jewelry designer, Page Sargisson, on Instagram. I was at once taken by the texture of the gold, and the wearability of this fine jewelry line. I could easily envision wearing it every day and then dressing it up for a special occasion. I was so thrilled to finally meet her in person at the Couture show in Las Vegas. I hope you enjoy learning more about the line from Page herself.

 

I had to try on this statement cuff!

Can you tell me a bit about how you transitioned from a corporate job to jewelry making?

I grew up always making things – knitting my dolls clothes, wood carving with my grandfather and I’ve always made jewelry. After college I worked in corporate communications at a biotech company and at night I’d craft or make jewelry. People at my company started asking if they could buy the necklaces that I made, and before I knew it, I had a full-on side business. Sometimes I felt like a drug dealer when people would come into my office and I’d open my desk drawer full of necklaces. I ended up taking classes in wax carving and metalsmithing, and the wax carving brought me back to working in my grandfather’s basement studio carving ducks and dovetailed boxes.

 

Tools of the craft…

The aesthetic of your line is so unique. How would you describe it to someone seeing your work for the first time?

I want the end customer to think of the person who created the piece. I think of my file marks as brushstrokes in a painting – it gives a connection to the process of making the piece that you’re wearing. It is raw and rough – it’s not everyone’s aesthetic but it makes the sapphires a little more casual, which I think allows people to wear it everyday. I wouldn’t wear a traditional round, brilliant cut sapphire ring set in gold prongs everyday, but I do wear my rose cut sapphire bands set in 18KT gold everyday with jeans or a dress.

I know being a jeweler with ethically sourced materials is important to you. Would you please you elaborate on this?

I make a lot of engagement rings using old Euro and old mine cut diamonds – my clientele seems to respond to the idea that it was mined ages ago rather than recently. I also re-do a lot of client’s inherited jewelry. It’s so sad how much jewelry just sits in a safe. Change it, melt the old gold and re-make for your style. It’s just another way of recycling.

Do you have a favorite piece or two in your collection?

I have been wearing this signet ring on my pinky for a year now – I get so many compliments on it. It’s basically a new take on a classic.

And then I’ve really been loving these opal and ruby earrings.

What do you like best about being a jeweler? And biggest challenge?

I love creating pieces, I love working at the bench – I could be there all night carving (and sometimes I am!). The longer I’m in business, the more I realize that I’m more of an artist than a business person. I’m more excited about creating a piece that I love than hitting a sales target. And that would also be my challenge; it’s really hard to run a small business. I have to deal with accounting, inventory management and everything else while also creating pieces that I love but will also sell. It’s really hard!

Page, thank you so much for your time and insight into your luxe jewelry collection. I cannot wait to see what you’re up to next!

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Enamored with Enamel Jewelry

What do you think of enamel jewelry? Personally, until a couple years ago, I hadn’t given it much thought. But with its resurgence in popularity, I’m becoming a big fan!! Certainly enamel is nothing new, as it dates back to the 13th Century BC! (If you want to read more about the history, Lang Antiques has an amazing article about enamel jewelry.) Basically enamel is when a certain type of glass, called an allochromatic, is fused to the metal below. You may be familiar with Closionee and Champleve, which are two popular types of enamel.

Today, some jewelers are really taking this tricky technique to new heights, mixing enamel with jewels and themes that really make what’s old new again. Foundrae is one company that really has melded enamel, gold and meaningful talismans together. Here’s their Dark Blossom cuff.

Erica Molinari combines my love of momento mori and enamel in a new type of heirloom ring.

Just about a month ago I visited August in Los Angeles, and tried on this incredible emerald ring from Alice Cicolini. Not only is the peacock pattern on the side of the ring fab, but the red rim of enamel around the emerald really makes it pop!

Brooke Gregson adds a whole new dimension to enamel work with hand engraving. She said, “It is really tough to create an enamel that also can enhance the engraving and I feel this piece was successful in doing so!” Agreed, Brooke — it’s awesome!

When I first met Marc Alary back in 2015, I wrote all about his jewelry featuring animals. Now, I’m a bit obsessed with his rings with accents of enamel and diamonds. I can’t decide which design is my favorite!

Through For Future Reference, Sarah Hendler’s earrings are now on my radar. Love the touch of violet enamel on these one-of-a-kind peridot earrings.

Buddha Mama has really been expanding their enamel collection. Personally, I dig this evil eye ring. How about you?

Enamel can even play into an engagement ring, as seen in this spectacular diamond ring from Selim Mouzannar.

But let’s not forget that enamel was quite popular during the Georgian era as well. This past summer I picked up this white enamel mourning ring from Lucy Verity. She taught me that the white enamel signifies that the person died young and/or unmarried. The inscription inside is still very clear, so I must research who this man was who perished too soon.

As you can see, there’s an extremely wide array of enamel jewelry out there. Have you been noticing it where you live? Or perhaps you already have some in your jewelry box? I’d love to hear from you in the comment section below.

Elie Top: Designer

I’ve been a fan of Elie Top long before he launched his own collection in 2015. Before that, he designed the jewelry for Lanvin, under Alber Elbaz. Countless pieces from the runway shows made it onto my “I want it!” list. Elie designed for Lanvin for 15 years, after working with Loulou de la Falaise at Yves Saint Laurent. Talk about a pedigree! Though he originally thought he’d be a wardrobe designer, I couldn’t be more thrilled that his path led him down the road to jewelry.

Elie is a truly unique designer, seemingly with the mind of a mechanical engineer and architect with the soul of an artist. Only one with this combination of talents could produce a ring like this…

A still image doesn’t do the complexity of its design justice, so while at the Couture show in Vegas, I took this short video showing how the ring moves and changes, revealing as little or as much as the wearer chooses to show.

This is one of the clever aspects of Elie’s jewelry; things flip, turn, and morph. With one piece of jewelry, you can either be showing bling or toning it down with just metal. Elie has three different collections. The first one he launched is the Mecaniques Celestes, which draws inspiration from astronomical tools from centuries ago. One can see his love of Baroque as well as architectural elements in his work. I was completely mesmerized when I tried on this Aqualung Cuff, with distressed silver, gold, and diamonds.

I would wear the heck out of this necklace, also part of the same collection. I took a couple photos, so you can see it both open, revealing the inner workings of the pendant, and closed, which shows the distressed silver and gold. If you wore it this way, it would be like wearing a special secret around your neck. While speaking with Elie about his inspirations, he told me, with a grin and a glint in his eye, that the little sugar pots at the cafes in Paris helped with his design. I love that little nugget! It will give me all new appreciation when I’m in a cafe in Paris this summer.

The Cosmogonie Secrete is another of the three collections, otherwise known as Cosmo Element. One of my favorite things in this group are the rings, which flip to show two different stories. Here’s the two sides of two of these rings. On one side, you get your element (earth, water, etc.), and on the other side, your astrological symbol. This is most definitely not your average take on a signet ring!

I couldn’t help but snap a photo of the necklace that Elie’s sales and operations manager, Jehanne, was wearing. Talk about a statement necklace!

Another showstopper necklace is this one, from the Mecanique Celeste collection, crafted from ebony with amethyst, lapis, turquoise and diamonds. Once again, you can flip the components to show the jewels or keep it a little more discreet.

Elie’s Etoile Mysterious is his third collection, which has such a powerful vibe! It’s the ideal intersection of a futuristic look with nods to the past.

I could have stayed in Elie’s booth for hours, investigating the intricacies of each piece. Thanks to Elie and Jehanne for all your time and education!

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Taru Jewelry by Sefik Kabas

I was enjoying the opening night party at the Couture show in Las Vegas — sipping my cocktail while sitting on a poolside tuffet, and I caught a glimpse of something quite fabulous out of the corner of my eye. Hopping up to inspect more closely, I met Sefik Kabas, the designer of Taru Jewelry, who was donning one of his own designs. I made a point to visit this Istanbul-based designer in the showroom the next day to see more of his work.

 

First up, I had to try on this ram’s head bracelet, encrusted with champagne, brown and rough white diamonds!

Sefik gave me a tour of his collection and answered some questions for me.

Your artistic background has included jewelry, glass blowing, interior design, and more. How did you end up launching your own jewelry line, Taru Jewelry, in 2015?

I studied fine arts majoring in sculpture and glass blowing. I designed and produced furniture with bronze sculptural details from ancient civilizations.

 

large mirror designed by Sefik

Jewelry was our family business from 1976 till 1990. I spent a lot of time in our jewelry workshop during those times. Going back to the roots, in 2015 I decided to get back to jewelry design and created the Taru brand.

 

Taru falcon bracelet

Your line is full of brilliant animals — how do you select which ones to focus on?

I have an interest in archeology. I focus on the animals of power with mythical symbols.

I was just amazed by the Queen Bee necklace at Couture, and you told me that it took three and a half months to make. What was the driving force behind this piece?

I wanted to create a one of a kind queen bee showpiece — all handmade, everything made from scratch. Not starting with a drawing, but working freestyle. I also wanted to show the movements of the bees as in real life.

details on the back side of the necklace

Can you share a recent creation with us, and tell us a bit about it?

My recent creation is the ceremonial horse bracelet for women. The earliest archaeological evidence for the domestication of the horse dates back to approximately 3500 BC. The mythologies of many cultures include references to horses. Horses were used to preserve cultural traditions and for ceremonial purposes to convey royalty. I created this ceremonial horse with a gold chamfron decorated with precious stones.

Who do you see as the Taru customer?

My customer is looking for uniqueness — one who appreciates handwork and wants to wear bold statement jewelry with a story. The Taru customer is both men and women.

 

This earring only takes one piercing, if you can believe it!

For an amazing look at Sefik’s work, take a minute to watch this beautiful video:

I’m so happy to have met Sefik at the show and see his line, full of extraordinary detail and archeological flavor.

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Brandon Holschuh: Designer

My fascination with Brandon Holschuh began when I spied an incredibly unique bead he made on Instagram. I vividly remember I was sitting in my hotel room in Edinburgh, Scotland, and my jaw about hit the floor. I was thrilled when I found out he was showing in San Francisco in August when I returned to California, and I got to meet him in person and check out a similar bead. I love everything about it, from the clearly hand-fabricated texture to the diamonds and variation in metal colors.

I hope you enjoy my interview with Brandon where you’ll find out more about this talented Ohio-based designer.

You told me that you’ve had a life long fascination with beads. Is this what got you going in jewelry design?

Yes, I began collecting ancient and ethnic beads as a teenager. Everything started as a collection. I began collecting beads, artifacts, coins, bones, parts, gemstones, rocks and any small object that had a story. I love learning about the history of the object, the provenance and I equally love the retelling the [object] story as well.

I learned to work with metal as a vehicle to help present the object or artifact. So making a metal armature or a mount to hold the objects began the evolution to jewelry. Copper turned to silver… silver turned to gold… and little by little diamonds creeped in. Our current work still pays homage to beads, but they are diamond beads. They are still strung on wire, but it’s now platinum. The forms are still present but they are also raised in platinum, gold and palladium. We have stayed consistent with the aesthetic throughout the evolution, but the materials are precious, the designs more complex and the whole feel is more refined.

 

Sculptural Herkimer diamond pin with flame set stones, 24K gold and oxidized silver

Your pieces have such a raw, organic, yet luxe aesthetic. What’s your inspiration for your designs?

It seems to silly to even say this, but it’s the absolute truth — we honestly let the metal tell us what it wants to be. We process the material in such a way that we have a unique and intimate understanding of its properties, its working capacity and its ability to change shape. This working relationship is how we push the metal to its limits. We get asked a lot about our process and it’s sometimes shocking to hear that our forms, shapes and designs are entirely hand-fabricated. We do not carve wax or cast anything. Each piece incorporates so many processes and various techniques it’s entirely a product of process. We do a lot of fusing, reticulation, forming, raising and sinking. We experiment a lot and we welcome unexpected results. We integrate those into the designs. We make a lot of parts. With those parts we make small objects. With those objects, we decide if it’s going to be a brooch or a ring or a necklace. Once in a while we stumble upon two parts that are similar. Those usually become earrings or cufflinks. The whole design process is organic, as is the work.

 

Piling on the rings

 

Stacking them up…

What do you find are the most challenging and rewarding things about being a jewelry designer?

I’m an artist. My medium happens to be jewelry. I make small wearable sculptures. Even though I’m a jeweler, I’m still an artist who has a voice. I use jewelry to communicate an idea. Just like a painter makes you feel a certain way when you view their painting, I use jewelry to evoke a certain emotion. More importantly our work still has a conceptual component. Actually, it has three main components that must be met to consider a piece complete. Here they are, in order:

BEAUTIFUL
TECHNICAL
CONCEPTUAL

A finished piece must be immediately beautiful. It must be accepted by the general public as an object of beauty. It must exude luxury, refinement and sheer beauty in design and material. This is for the client, the customer and the collector.

Next, it must be well made. It must gain accolades and admiration from other makers, jewelers and craftspeople who appreciate the vast and dynamic processes that go into each piece. We must trigger the question of how it’s made, what processes were used and what the complexity of the design is. This is for those who make and our counterparts. It’s also for the critics, jurors, judges and masters of the craft.

The final component is conceptual. We make work that communicates an idea. Yes, it’s beautiful. Yes, it’s expertly crafted. But it also has meaning. We excel here. We challenge the design to communicate a concept or to tell a story without words. Sometimes the viewer creates their own connection to the work. This interpretation is personal. Mostly it’s an emotion. Sometimes it’s literal. We have made pieces that are purely conceptual. This is for the sentimental, the heirloom seekers. This is also for academia and those who want a deeper connection with the objects in their lives. We love to tell the stories. Remember, it’s always about the story.

 

Bracelets galore!

If you weren’t a jeweler, what would you be doing?

Nothing. I can’t imagine a life where jewelry isn’t in my thoughts and actions in every minute of every day. My time is spent equally between my loving and supportive family and my studio. I have two amazing daughters and between my duties as a husband and father, there isn’t any time for much else.

 

This brooch features 15 carats of diamonds!!

OK, and now I have something VERY special to share with you. This is the debut of Brandon’s off-the-charts gorgeous emerald and diamond ring.

Did your eyes just go wide with delight? I bet! Here are a few more images of this beauty, which features an 8+ carat emerald, over a carat in diamonds, and all hand fabricated in 18K gold. The emerald just glows from within. I’ve never seen anything like it, have you??

Brandon — you have a true gift.

 

Hanging out with Brandon

If you’d like to contact Brandon about his work, you can reach him at [email protected] or 216-577-6365. There are also links to his website and Instagram at the beginning of this article. I have a feeling there are more than a few future Brandon Holschuh collectors reading this article…

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Adam Foster: Designer

There was a lot of buzz on the show floor about Adam Foster this year. It was the first time this St. Louis jewelry designer was showing at the Couture Show, and as soon as I saw the jewelry in his cases, I knew what the buzz was all about! As a graduate in metalsmithing from the School of the Art Institute of Chicago, Adam started his business from scratch about 15 years ago. He began by making bespoke pieces for private clients. This bespoke collection is one of this three aesthetics in his line. (We’ll get to the other two in a bit.)

I was honestly blown away by the craftsmanship, the attention to detail, and the use of stones in his work. The first ring I want to show you is this one, featuring reverse carved mother of pearl. Have you ever seen anything like it? It’s simply mesmerizing.

The comment in my notebook about this 32 carat sugarloaf moonstone ring is, “Holy shit!” I think that about sums it up.

I felt like royalty when I put on this one…

Surely the person who dons this panther brooch crafted from hand carved obsidian and bedecked with white and black diamonds will be making a personal style statement!

Take note of the feather headdress the panther is wearing. Feathers are in fact the inspiration for “Plume,” another of Adam’s three aesthetics. Spending time in the country on weekends and going pheasant hunting in the winter inspired Adam to create very unique pieces with this motif. He was wearing a fab feather brooch when I met him at the show.

The feather detail on this ring, all hand crafted, takes the piece to a whole new level.

The third aesthetic in Adam’s line is “Constellation,” and it’s in this group that I found something I’d love to have in my personal jewelry collection. Inspired by the ceilings in Italy, Adam translates the celestial heavens into wearable art. I’m pretty obsessed with these Constellation bracelets.

This behind the scenes look at the making of a piece in this collection really gives you an appreciation of the meticulous work that goes into each piece. I think it’s awesome that everything from design to manufacturing all takes place at the same address.

This Constellation band would certainly add some pizazz to one’s jewelry collection. Would you wear it on its own or perhaps stack another band or two with it?

I’m so excited to have met Adam and gotten a first-hand look at his unique line. Take note, readers, as this is a name that you’re going to be hearing more of — I just know it!

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stôn by Latondra

There’s something so exciting about the birth of a brand new jewelry line! stôn launched just this past June, and it’s making a splash in the world of jewelry. I was fortunate to connect with Latondra (Ton), the designer of this line, and explore some of the pieces in person.

First, take a look at the Pulley II necklace — so unique how it moves along the chain.

Tell me a bit about the Pulley necklace. I just love the kinetic movement!

The pulleys were inspired by my three sisters. They’re busy mothers and career women who are always on the go but are rarely frazzled. I wanted to honor them with a design that moves freely but has discipline at the same time (and I have to admit that it also appeals to my engineering background). The four of us have these pulleys in sterling, and I used gemstones from some of our late mother’s fine jewelry. I guess we get that energy from her!

What is your background — have you always been in jewelry?

Jewelry is a relatively new passion for me; I’ve always played around with textiles, small household fixtures, painting and photography, but nothing captured me like jewelry has. I grew up in a large family of artisans — quilt-makers, furniture makers, home builders — so making things is in my blood!

How did you end up creating this line?

We officially launched stôn in June. Before that I made custom pieces for friends’ special occasions, like his and his wedding bands. That experience gave me the confidence to do more.

One of the pieces I had the pleasure of trying on is the Shield ring made from bronze and rose cut grey diamonds. Latondra said, “The Shield ring evolved from an idea, to a sketch, and is brought to life in a powerful, finished piece. Cast in bronze and set with rose cut, natural colored diamonds. You never know when inspiration will hit you. I was heading into a difficult meeting one day, and the idea of armor came to mind. I jotted this design on a scrap of paper. This ultimately became our Shield ring. I hope it empowers women to charge though difficult times with strength, grace and integrity.”

You have four women on your stôn team — what roles do you each play?

Evelyn is a highly talented jeweler. When I knew the demand would exceed my personal capacity, I wanted to find someone who could not only make beautiful things but help me develop my craft as well. Sarah manages our story telling platforms. She introduced me to Evelyn, and she also encouraged me to pursue this work when I had doubts about it. Melissa and Stacey keep the wheels on the operation. They are terrific planners and operations managers who allow me to focus on what I love — creating! All of us are sales ambassadors for stôn, and we have a shared value for quality and sustainability.

I love the way women work together. We uplift each other, juggle so many obligations, and still manage to have a great time.

 

 

Ton in ball + chain cluster necklace and Rick Owens gown; Photographed by Sarah Alexandra Teodorescu

How would you describe the aesthetic of your line?

My designs are inspired by women and nature — both are resilient. I want the patina, textures and heft of the pieces to provoke images of unearthing treasures. Antiquity meets modern.

I think this is perfect description of this line. Here is a diamond bracelet, called the ball+chain III. It’s crafted from oxidized silver and rose cut diamonds, cast in place. It definitely has the feel of something from long ago, yet modern in approach. I could easily see myself wearing this stacked with other bracelets in my jewelry box. (Take a look at yesterday’s Instagram post to see this in action!)

What sort of woman do you envision wearing your jewelry?

I fantasize about a tribe of women out there wearing stôn who are confident, kind and making a difference in their own ways. They don’t need to wear something shiny to know they’re wearing something special.

Do you have a “jewelry uniform” and wear the same pieces every day? Or do you mix it up? Do you ever mix your pieces with other designers?

I mix it up each day. Often, I’ll wear prototypes of new designs so that I can see how they wear over a period of time before fully committing to them. stôn mixes so well with different styles, and I especially enjoy wearing it with my vintage pieces. Layering is such a great way to transform an outfit.

What are your dreams in how the line will evolve and grow?

I’d love to evolve and grow over time, keeping it a bespoke line. Success for me is having the freedom to create when I want, meeting amazing people along the way, while appealing to that growing tribe of women who see the potential this world has. I’m not in a hurry — there’s so much to learn along the way.

Of course, as a stylist, when I see a jewelry collection I immediately start envisioning how I would style it, wondering what clothing lines I could see it effortlessly meshing with. In this case, I pictured an edgy look from Rick Owens.

Or, with a dress such as this maxi from Zero+Maria Cornejo. Perfect backdrop for jewelry, don’t you think?

How would you style the line to suit your own personal style? I want to thank Ton for her time and for letting me explore these pieces in person. I truly appreciate it, and I wish you and your team a very sparkly future!

Aosdana Jewellery on the Isle of Iona, Scotland

When I began planning my adventure in Scotland, I naturally asked all my friends for advice on where to go. A friend of a friend said I HAD to visit the Isle of Iona, as it was a completely magical place. OK…so I got out the map and located it. Hmm…it was part of the Hebrides Islands, a little isle off the coast of the Isle of Mull, off the coast of Oban. It didn’t sound like the easiest place to get to, but I was determined to make it happen. And, it turned out it wasn’t as difficult as I originally thought.

 

 

Enjoying the sunshine at the harbor in Oban, Scotland
Enjoying the sunshine at the harbor in Oban, Scotland

 

 

You can see Iona on the far left, outlined in red, the much larger Isle of Mull in the center, and the town of Oban off to the right on the mainland.
You can see Iona on the far left, outlined in red, the Isle of Mull in the center, and the town of Oban off to the right on the mainland.

To get to Iona, I purchased a full day, round trip tour from West Coast tours. I bought my ticket almost 6 months in advance (not that you have to), and I lucked out big time on the weather — cool and sunny! We departed Oban just before 10 in the morning and enjoyed a scenic 50 minute ferry ride to Craignure on the Isle of Mull. From there, I hopped on a bus and took an hour and half drive across the ruggedly beautiful Isle of Mull. The driver gave an informative and sometimes humorous commentary during the journey.

isle of mull landscape
landscape on isle of mull in scotland
Then it’s just a a 15 minute ferry ride over to Iona. Once I debarked in Iona, I just started walking. I knew the main thing I wanted to see was the Abbey, but you never know what you’ll encounter along the way. And what did I find??? An incredible jewelry gallery, Aosdana! Honestly, this was about the last thing I ever thought I’d find on this remote island.

aosdana jewellery on isle of iona in scotland
Aosdana “derives from an ancient Gaelic word and is the collective term for the bards of old whose role was to record the histories and genealogies of the land, through poetry and music.” It all started with local jewelry designers, Alex and Euphemia Ritchie and Iain McCormick. In 1996, Iain gave a young female relative, Mhairi Killin, the wealth of his expertise and designs. In 2003 Mhairi opened Aosdana, where she showcases this work, as well as the work of many other Scottish artists. I was extremely impressed by the gallery, both in its clean displays and breadth in style of work. Here’s a peek inside the gallery.

aosdana jewellery on isle of iona
insdie aosdana jewellery on isle of iona
I was very drawn to this zoomorphic ring with a dark finish. Its pattern was so much more complex than any Celtic design I’d seen before, and I learned it symbolizes renewal of life and eternity of spirit. Love it even more!

zoomorphic ring from aosdana
zoomorphic ring by mhairi killin of aosdana
I was also intrigued by the green stones in many of the pieces, such as in this charm bangle. I discovered that these stones are often referred to as “St. Columba’s tears” by the locals, and they sometimes carry of piece of it in their pockets to ward off drowning. It’s a mixture of serpentine and white marble, and it naturally occurs in shades from lime to dark green.

iona marble and silver charm bangle from aosdana
As I strolled around the gallery, I couldn’t help but admire a large statement necklace hanging on the wall by Kelly Munro. This “creel” necklace is made of brass, rubber and wood. It could easily function as a piece of art if displayed when you’re not wearing it.

I also think the handcrafted silver work by Susan Macleod is quite lovely. Here’s her Sweet Pea & Pearl necklace.

Another artist who uses wood in her jewelry is Cristina Zani. I think it’s so pretty how she carves the wood and then uses paint and gold leaf to make it an organically beautiful centerpiece.

Grace Girvan uses pebbles from the beaches of Iona in her designs — here’s one featuring two stones with fascinating patterns.

If you find yourself on the Isle of Iona, you definitely have to visit the Abbey. (It’s just up the road from Aosdana.) It was founded back in 565 AD, and it’s still in use today. Can you imagine going to services in such an ancient building? There was moss and ferns sprouting from the interior walls — truly a mystical place!

Iona Abbey

Duke and Duchess of Argyll
Duke and Duchess of Argyll

When walking back to the ferry landing from the Abbey, you’ll pass Aosdana, and shortly thereafter come upon the Iona Heritage Centre. I found this a perfect spot for an alfresco cheese toastie for lunch. (translation: grilled cheese sandwich)

iona heritage centre
iona heritage centre cafe
As I waited for my ferry back to Mull, I couldn’t help but get lost gazing into the crystal clear and frigid waters.

waters on the isle of iona in scotland
I’m so grateful that I followed the advice of my friend of a friend to visit this charming isle. If you find yourself visiting and you’re looking for a great place to stay in Oban, I highly recommend Greystones. This immaculate, modern boutique hotel, run by Mark and Suzanne, has five rooms. It’s the former private home of the director of Kimberley Diamond Mine. (Quite perfect for a jewelry blogger, don’t you think?!) I can’t rave over the views enough — and the yummy breakfast!

 

 

Greystones in Oban
Greystones in Oban

 

 

View from my room -- wow!!!
View from my room — wow!!!

For drinks, enjoy the outdoor area at Oban Inn (established in 1790!), and then have a delicious seafood dinner at Eeusk.

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