Necklaces – Jewelry Fashion Tips

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!

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.

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.

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.

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.

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.

WHITE bIRD in Paris

WHITE bIRD was on my must-visit list when I was in Paris. I’d heard it mentioned for quite a few years by several jewelry designers I know here in the States, so I was excited to finally visit in person! They opened in 2010, and represent 50 different designers. Needless to say, I knew I’d have to spend some quality time here.

Located just a block off the famous shopping street Rue Saint Honore in the 1st Arrondissement, this charming store is on Rue Du Mont Thabor. Though it’s near the hustle and bustle of many of the big design houses, this street has a much more intimate feel. When you walk in the shop, it has a very light, airy feel. There are three main areas. Here’s the middle part of the store, where you enter.

Here’s a view from the far left of the store. The painted exposed beams really add to the ambience of the shop.

And off to the right, there’s a section with an inviting couch where you can really get serious about your jewelry selections.

The store houses many of my favorite designers, as well as quite a few that were new to me. Showcased in the window were various pieces from Dorette. I was drawn to the designer’s use of color, as well as that “eye” in earring on the right. I wasn’t surprised to find out that the designer, Catherine Levy, was inspired by her extensive travel in India. That “feel” definitely comes through in her designs.

I’ve been a big fan of Pascale Monvoisin for quite some time, but this was my first time getting to try on her work. Out of the big tray of pieces, I decided this black ring was my favorite.

I was also unfamiliar with the work of Orit Elhanati. How fabulous are these opal rings?!

Having spent weeks traveling and seeing exquisite jewelry in museums (and wanting to wear a lot of what I saw in the glass cases!), I saw these Karen Liberman necklaces, with their ancient coins and thought voila! — how to get the historical look in a modern way.

I want to thank Isabelle and Jennifer for all their time and expertise while I explored the store. It was a real treat! And for my readers, should you find yourself in Paris, definitely make a point to stop in. I dare you to leave empty-handed. I know I couldn’t!

Jennifer’s Jewelry Lust List

Enjoy this article from guest blogger, Jennifer Bressie. I certainly see a theme among her picks, do you?

Every May/June, when I attend the Couture show with Amy, after drooling over all of the jewels, I come up with my lust list, which is the list of pieces that would actually fit into my lifestyle and wardrobe. I have determined there are five main reasons to buy me jewelry throughout the year. First comes my birthday in February. (This year I’ll be turning fifty which means I think I deserve a pretty exceptional piece!) This is quickly followed by Valentine’s Day, then Mother’s Day, our anniversary is in August, and finally Christmas. Here’s what I can’t stop dreaming about from this past show.

These earrings from Dana Bromfman were one of the first things we stumbled upon this year. Made of 18k gold, rutilated quartz and diamonds, these earrings can easily be worn with jeans and a t-shirt or a ball gown!

I am totally obsessed with these earrings from TAP by Todd Pownell. I think they are such cool and fresh take on the standard diamond hoop. These stunners consist of over 11 carats of marquis cut diamonds set on 14k white gold and sheet backed with 18k yellow gold. They sparkle like crazy!

The next piece, the Devi Ring from ARK Fine Jewelry, is so special. Made of 18k yellow gold, white mother of pearl, moonstone and diamonds, the ring is inspired by ancient Tantric Goddess temples. Each piece in this line, with the initials of designer Ann Korman and a reference to protection, safety and constant forward movement, has thoughtful meaning. The moonstones in the Devi Ring run north and south and symbolize intelligence, energy and inertia; the mother of pearl helps the wearer feel centered. If you are not familiar with this line, I highly recommend taking a trip over to her website where you will not only be tempted by the beauty of the pieces, but you will be inspired by the beautiful meaning and energy infused within.

I went crazy for this pearl necklace from Lene Vibe! The South Sea pearls, combined with the 18k gold and the intricate details make for a spectacular piece! I would also dress this necklace up or down.

The last piece is a small obsession of mine. Full disclosure, I encouraged my husband to purchase this for me for our recent anniversary! It’s a gorgeous Grandfather Compass from Retrouvai made of rose gold, pink opal, pink lotus garnet and diamond. In a note from designer Kirsty Stone she wrote, “Wear this pendant as a reminder to let your intuition guide you as your inner compass.” I absolutely adore this necklace and wear it all the time.

One of my favorite things about attending the show is meeting the amazingly talented designers and hearing their stories — how their life and experience influences their designs makes each piece so unique, and I feel a real connection to them when I eventually do make a purchase!

Esther Assouline at Galerie Elsa Vanier in Paris

Have I told you before how much I love being a jewelry blogger and a wardrobe stylist?? It makes it all the more fun when I travel, as I get to scour new cities for the best stores and unique merchandise. Case in point was when I was in Paris this summer, and I visited Galerie Elsa Vanier on the recommendation of a couple friends. This contemporary jewelry gallery features over twenty artists, and I lucked out by visiting during the Esther Assouline exhibition. My jaw pretty much hit the floor when I saw her work. Was it ancient? New? It looked like it could be in a museum, yet it was so modern at the same time!

This necklace is perfectly imperfect, with its ancient Etruscan metal from the 6-8th Century BC, combined with woven gold and rubies. Spectacular.

And take a look at this one — a true work of art, combining old and new. The way Esther can create a perfect balance of materials so that it hangs effortlessly demonstrates that she has some mechanical engineering talents as well.

These two smaller necklaces utilize earthenware pendants with gold and gems. I can see them easily worn on their own or layered with other necklaces.

Esther doesn’t limit herself to just neck adornments. This bold 18K ring with diamonds and pearls is a showstopper.

This pair of 22k and pink tourmaline earrings are a bit more refined, yet they’re still true to her style with the texture of the gold, the irregular edges and the differing lengths. I’d wear them in a heartbeat. How about you?

Although this exhibition only ran through the end of July, I highly encourage you to stop by the gallery if you find yourself wandering the delightful streets of the 6th. (one of my favorite areas to shop in Paris for unique boutiques)

Marlene Juhl Jorgensen Fine Jewelry, Copenhagen

Hello!! I know it’s been quite some time since you’ve heard from me, but if you’ve been following me on Instagram, then you know I’ve spent most of the summer in Europe. Now it’s home and back to reality, which includes going through the hundreds and hundreds of photos from my adventures. No surprise, one of my favorite things about travel is discovering new boutiques and designers that have never crossed my path before.

Case and point happened the second day of my trip, as I was very jet-lagged and ambling along the quaint streets of Copenhagen, Denmark. I walked by a window filled with jewelry, walked a few more steps, and then had to backtrack to really take a good look. Holy moly — there was a necklace that absolutely took my breath away! I had to investigate.

The designer is Marlene Juhl Jorgensen, a veteran jewelry designer from the city. As I entered her cozy boutique, my jet-lag suddenly seemed to disappear. There was a whole case of signet rings, with a wide range of vibes, from contemporary to more vintage.

Interspersed were pieces with coral (which floats my boat!), including this huge object d’arts hanging on the wall.

But let’s get back to the necklace… it’s part of her Nairobi Punk collection, which she launched in 2013. The collection, “encapsulates the underground atmosphere and the contrasts that prevail in Nairobi….(it) balances between the classic and the modern — cool elegance with an edge.” It’s hand made in her shop, as is all the jewelry. It’s made of gold-plated silver with champagne rose cut diamonds. I completely resonate with the feel of it. It’s almost like you can’t put a date stamp on it, and its style is so singular.

Speaking of style, I couldn’t help but admire what she herself was donning around her neck.

Even on a super creative day, I don’t think I’d have ever put this combination together. And on her, it’s completely awesome and in harmony with her personal style; eclectic in all ways — color, texture, old and new. Style notes taken!

I’m thrilled that my wandering took me by the shop. I guarantee I’ll be back one day. And if you find yourself in Copenhagen, you must stop by. So many of her pieces are one of a kind, so you really have to visit in person to get a full perspective of her work.

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!

Alberian & Aulde

They say that when you own five or more pieces by a particular designer, then you’re officially a “collector” of that line. If that is indeed the definition, then I certainly qualify as a collector of Alberian & Aulde, the unique line created by creative duo, Warren Alberian and Mary Aulde. While I’ve spent many years getting to know their jewelry in stores such as Gallery of Jewels and Fragments, I finally had the pleasure of meeting them in person. I had to feed my parking meter twice, as I was so enthralled hearing about their work and trying on all the pieces they brought for the trunk show. In this interview, they’re sharing their latest collection, Moments. Read on for a glimpse inside the designers’ minds.

The 2-step stud earrings and Alchemy Tower pendant, both in 18K yellow gold with white topaz

What was the inspiration for the Moments collection?

We wanted to envision a modern aesthetic that was in the rhythm of today. The baguette and square shaped gemstones spoke to that with a myriad of parallel step facets and hard angles. Our intention was to integrate and control the flow of light leading from stone to stone enabling us to capture an urban, cosmopolitan, architectural spirit…the experience you may have with constructivist cubist artwork but through the interplay of light — a fresh take on the spirit of modernity. The idea is to excite the present moment. In fact to create moments with unexpected engaging flashes of light reminiscent of shafts of light piercing the corridors of buildings in a cityscape…

The Alchemy Tower pendant necklace paired with the Space Station lariat

As you begin creating pieces for a collection, what’s the driving force? Are you driven by the shapes? The materials?

There are certain principles of light excitation on the eye that underpin any design…that is what drives all of our designs. It is the shapes and it is the materials, but it’s something more than that, the relationship of the parts to the whole which creates a special subtle effect.

We want to make pieces that make people feel something…by the shapes, the way the light from the gem reflects, flashes and then goes dark; by the spontaneity of movement.

So, our intent is to make shapes of light that move with you….ones that are different enough for everyone to self style with in their own way, shape-wise and that compliments your vibration/aura.

The 3:33 earrings in 14k rose gold with white topaz and diamond accents

You can wear the 3:33 earrings in any direction that suits you.

The Deja Vu earrings are just gorgeous. Please tell me a bit about how they developed.

As the Deja Vu piece was in process, we called it the Mondrian. It felt like art… Warren sculpts the original pieces from wax using sketches that Mary makes…as he was sculpting, rather than making it a flat piece, he worked the stones into angles to make it dimensional on the piece so that the light reflects from many directions. A friend who saw the earring calls it holographic, which we think fits the idea for us.

Deja Vu earrings in 14K rose gold, white topaz and diamond accents

The “nugget”, a cube shaped dangle that hangs from the top, is an element we made to hang from several of the pieces. The sculpture also works as a stud earring. We have made the Deja Vu earring both with and without the nugget dangle, we like it best with but some do not like a dangle.

Is there any particular symbolism in the Castle earrings?

The beauty of a piece like the Castle earring is that everyone can put their own story on it! It is designed to be open to interpretation.

Castle earrings in blackened sterling silver and white topaz

We started to see the resemblance of the Moments collection to one of the first collections we ever made — one that was all one-of-a-kind pieces using baguettes, squares, triangles and other fancy shaped gemstones…that collection included our first ever Hoopla piece (interlocking rings of gemstones) and some pieces very similar to the Castle earring and Tower earrings and pendants; little sculptures of shapes, color and light attached together to create evocative jewels. We went with it …and we copied ourselves but make everything producible!

Here’s a peek into the archives — the original versions of the Tower and Castle earrings.

I don’t know about you, but hearing such detailed insights into this jewelry makes me appreciate it all the more. I want to thank Mary and Warren for their time and talent. It was a delight meeting you both, and I can’t wait to see what you create next!

ANZA Gems with Monica Stephenson

One of the highlights from my recent trip to Seattle was seeing Monica Stephenson, a dear friend and the founder of ANZA Gems, a truly unique jewelry company. I first met Monica when I was a newbie jewelry blogger. She was a fellow (though very experienced) jewelry blogger, among many other roles in the jewelry industry. Her passion for gems and her philanthropic heart melded in a perfect way when she founded ANZA Gems. Read the interview with Monica below to find out more about this exciting company.

Here I am trying on two rings designed by Wendy Brandes. The three-stone two-finger ring contains, from left to right: green garnet, spessartite garnet, and pink Mahenge spinel. The bypass ring contains a green and golden tourmaline, both from Kenya.

I know you have an extensive background in the jewelry industry the past 20 years. What drew you to East Africa and developing your own jewelry business?

It started with reading a tweet about a documentary film about tracing the journey of a gem beginning in the mines of East Africa, called Sharing the Rough. I was completely intrigued and couldn’t stop thinking about going to Africa for the filming. I have been involved in the jewelry business for many years, but had never visited a mine–this was an opportunity to truly see where these sparkly gems come from. I went on that film trip (and ended up in the film, somehow!), and there was something so captivating about being there and meeting the people involved there.

For months after the trip in 2014, I literally couldn’t stop thinking about how hard people were working, and how little they directly participate in the global gem business. I created ANZA Gems to support artisans, from the miners who dig for gems, to the cutters and designers responsible for the finished jewelry. All of my experience working in various capacities in the industry, plus my relationships from writing about jewelry designers as a blogger, combined to create this circle of development.

Holding rough tsavorite garnets from Kenya

I love how you have a very philanthropic aspect to your business. Would you please tell us a bit about that?

From the beginning, I wanted this endeavor to benefit the communities that supply the gems. I was not interested in being a typical gem dealer. I had heard about “triple bottom line” businesses and wanted ANZA Gems to do a greater good. First, I pay fair prices for the rough gems that I purchase directly from licensed miners and dealers in Tanzania and Kenya. Visiting the mines and meeting the people is my favorite part of the business, and ensures I see what people need in the mining communities. When I pay for gems there, the money goes directly to those families and communities. The rough gems that I bring back are faceted by US cutters, which is kind of a rarity. The faceted gems are set into capsule collections by incredible studio jewelers like Jennifer Dawes, Rebecca Overmann, Wendy Brandes, Alexis Kletjian, Erika Winters, Lika Behar, Vicente Agor, and we’re adding more all the time! The final part of the journey is that we contribute 10% back to schools in Tanzania and Kenya at the primary and trade level. We are reinvesting in the people where the gems originate…

When you go to Africa in search of gems, do you go looking for a certain type? Or do you just play it by ear when you get there?

On my first gem buying trip after the documentary and my epiphany, I naively made a list of gems beforehand of gems I wanted to buy. Ha! East Africa is nothing if not humbling! I quickly had to recalibrate and adjust on the fly, purchasing the gem quality rough I could find, with sweaty palms! It can be such a risk to buy rough–you never know what it’s going to actually yield! The next trip, I found very different gems available. Bottom line, I never truly know what I’m going to see or purchase. It’s a great lesson that this is artisanal mining and you never know what is going to come out of the ground there.

On my ring finger, the rhodolite garnet (deep red/violet) is by Alexis Kletjian, the ring higher up on my ring finger is a zircon by Rebecca Overmann. On my middle finger is a yellow chrysoberyl by Jennifer Dawes Design, and on my index is a kiwi green garnet ring by Jennifer Dawes Design.

When you have a stone all cut and ready to be made into jewelry, how does that process work? Do you and the designer collaborate?

I have to say that I love ALL of the jewelry that has been created so far for ANZA Gems. I give the cutters autonomy to coax the ultimate beauty from each rough gem, even though that means that every gem is truly one-of-a-kind. I give similar freedom to the jewelry designers, though I may give some general guidance on whether it should be a ring, pendant or earrings, or if we need something in rose gold or platinum, or maybe general price range. I might tweak a detail here or there. But I think the beauty of this is how organic the process is and the truly gorgeous finished pieces.

Almandine garnet shield pendant by Erika Winters

Rhodolite garnet brooch by Wendy Brandes

When I was at your studio, I noticed you had a lovely collection featuring rough stones. Please tell us about this group.

I am so excited about the new rough collection, ANZA PURE! Wendy Brandes of Wendy Brandes Jewelry had often played with examples of rough when we have our design meetings over lunch at our favorite cafe in NYC. We both agreed that the rough gems are beautiful straight out of the ground, and she figured out a way to set them simply in 18k gold. The result is a collection of green garnets and pink spinels set into clean, modern designs that show off the pure gems. It’s relatively affordable (starting at $345 for a single stud earring), one-of-a-kind jewelry made in NYC! I love that it’s accessible, and each purchase supports a gem cutting school in Arusha, TZ.

ANZA Pure necklaces and earrings by Wendy Brandes

So, my readers, how excited are you about this company?! So amazing, right? I cannot wait to see the latest and greatest pieces that come to fruition. If you’re looking to keep up too, then I highly recommend you follow the ANZA Gems Instagram account.

Even the packaging makes a contribution!

Monica, thank you for your time, your fierce passion and your entrepreneurship. You are definitely helping make the world a better, and more sparkly, place!

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.

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.

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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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!