Paz Sintes

Ultra light textile jewelry handmade in New York out of High End European embroideries, vintage laces and laser cut materials. 
Based on the European tradition, these fashionably and modern crafted pieces are very versatile and look beautiful with both casual and dressy outfits.

Katrin Zimmerman

With Lucent, my new line of acrylic jewelry, I have expanded my design practice within the field of art jewelry.  The sculptural quality of acrylic makes it an exciting and immediate material to work with, and its material properties allow my designs to be more process-based.  The sheer abundance of colors give me, a traditionally very monochromatic designer, a jolt of energy and joie de vivre.  This breakout into color, which is very new to my design repertoire, does not diminish the clean simplicity of the finished piece, but rather enhances it. 

Francesca Vitali

My work aims to achieve body adornment through folded and woven paper rather than relying on gemstones or precious materials. This concept strives to link the humble nature of paper with notions of preciousness.

Emma Villedrouin

The materials in my work are fine (18k gold, sterling silver, gemstones and pearls) but the approach is not "precious". I draw directly and intuitively onto metal sheets and construct by layering simple shapes. Because I fabricate and do not rely on casting, there is variation. This keeps the work fresh and fits the loosely botanical inspiration.

Fred Tate

Designs are fabricated of sterling and gold to be a collision of nature and architecture and worn as sculpture.

Meghan Patrice Riley

Finding the Extraordinary in the Ordinary:

Contemporary work that straddles design, fashion, and art fields. I experiment with quotidian materials like miniature stainless steel flexible, woven cable with fine metals to reinterpret them to create collections that are industrial but feminine and wearable. I continue my experimentation to create beautiful and wearable, sculptural collections that find the extraordinary in the ordinary. 

Holly Anne Mitchell

I have an endless fascination with newspaper because I love to push the boundaries of it's text, color and content. For example, The New York Times, Wall Street Journal and USA Today have very different fonts. I love to juxtapose them to create wonderful rich textural patterns. I use Expired Coupons because they contain bold, bright and powerful colors. Their UPC Bar Codes are reminiscent of the linear patterns found in African Kente cloth. I strive to bring out these aesthetic strengths to create jewelry which is equally interesting both on and off the body.

Ayesha Mayadas

I work gold like clay; pushing, pulling and sculpting, not with fingers, but with hammers and stakes. The end result? The transformation of unyielding metal into the softer contours of natural life: small, tactile sculptures that provide little glimpses into nature; the ripple of water, the fragility of a petal, the broken edge of a dried leaf..." The hammer is the most frequently utilized tool in my studio. A range of hammers and steel stakes help to create fluid forms via techniques such as raising, sinking, forging, and sculpting.

Lauren Markley

I utilize a variety of materials including sterling silver, brass, reclaimed wood, and textile to create sculptural jewelry.  I explore themes of architecture, structural disintegration, and decay through use of surface treatments such as painting, burning, scratching, mark making, and stitching.

Patricia Madeja

My design inspiration derives from geometric forms and architectural structures with movement as an integral component of each piece.  Craftsmanship and function is of the utmost importance to me.  I thoughtfully engineer and fabricate each element and the mechanisms that enable motion within the work.  Clasps are carefully constructed and built into each piece to provide a continuous, uninterrupted visual flow.  A high-polished surface treatment is applied to the metal to enhance the beauty of the gemstones and highlight the facets of each geometric structure.


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