There’s something so wonderfully tactile and genuine about wobbly, imperfect forms. I get why we strive for perfection, but perfection feels a bit cold and untouchable, no? I like it better when you can sense the person behind an object. From an off-center shape or the marks of a sanding file or a scratchy finish, it just feels like it has more soul.
Inspiration
Porto Collection Inspiration
Inspiration, Travel, Behind the ScenesCommentYears ago I traveled to Portugal and Spain, a part of the world I’ve always felt drawn to thanks to my Puerto Rican roots. One of my stops was the Portuguese coastal town of Porto, and some of my favorite memories include a home-cooked meal of seafood caught earlier that day, ancient houses stacked endlessly on top of each along the hillside, and the azulejos —hand-painted blue and white tiles— decorating the facade of every building.
Luna Collection Inspiration
Inspiration, Behind the ScenesCommentI’m obsessed with celestial anything-and-everything. I feel a natural pull towards watching the stars and catching the moon whenever she’s out, in the same way that I’m hypnotized by waves at the beach or a crackling fire.
When I was younger, my love of the moon and stars overlapped perfectly with my interest in Roman and Greek mythology, and when you mixed in my love of stories with female heroes, it’s little surprise that I was obsessed with the TV show “Sailor Moon.”
Queen of the Nile
Inspiration, Behind the ScenesCommentFinding inspiration for a new collection never seems to be straightforward. Instead, my brain quietly logs away bits of information it comes across — a beautiful photograph, an unusual color combination, a scene from a movie that I can’t stop thinking about — until some of those seemingly random bits find each other and click together, suddenly forming a clear idea for a new jewelry.
Top to bottom, left to right: Beauty editorial from Harper’s Bazaar; Cleopatra’s cartouche (her name spelled in an enclosed oval shape) carved in a temple wall, photo by Trevor Lowe; Wall painting with the goddess Hathor, The Metropolitan Museum of Art; Fashion editorial from Harper’s Bazaar shot by Txema Yeste; “Egypt painted and described” by Robert Talbot Kelly, 1902; Necklace of pendants and beads from 1330 B.C., British Museum; Finger Ring depicting King Akhenaten and Queen Nefertiti, Metropolitan Museum of Art
Last January a few of those moments my brain had been storing away came together: a recent trip to The Met’s Temple of Dendur; thumbing through an issue of Harper’s Bazaar and seeing an image of woman in a long, flowing dress flanked by the columns of temple ruins; the saturated blues and greens of a new stone I’d just discovered; a passage in “Stoned” by Aja Raden about Egypt’s emerald mines. They all melded together into the idea of Cleopatra, the last queen of Egypt, and how she would adorn herself.
“Queen of the Nile” imagines Cleopatra having escaped to her desert palace where she can forget about her royal responsibilities for a moment. There she doesn’t need ceremonial necklaces or over-the-top headdresses, but more casual jewelry that’s artfully crafted from luxurious materials.
Left (the inspiration): Ancient Egyptian glass and electrum necklace, The Museum of Fine Arts, Boston; Ancient Roman ring from 1-200 A.D. in gold, pearl, and emerald, Bibliothèque nationale de France; Lapis scarab carving, source unknown; Right (the new designs): Hathor Ring; Aten Necklace with pearls; Khepri Scarab Necklace in brass
With that idea in my head, I wanted to feature stones found in Cleopatra’s Egypt, like peridot, emerald, and carnelian, and wanted to use pearls which were incredibly rare during her time. There’s an apocryphal story I love about Cleopatra showing off her power and wealth to Marc Anthony by dissolving a pearl in a glass of wine, as if to say, “I could get a dozen more of these if I felt like it.”
I was inspired by the Egyptian jewelry found at The Met, featuring golden amulets strung between beautiful stone beads. I wanted to blend Egyptian motifs like the scarab, symbolizing renewal and rebirth, with Roman elements like metal beading. And carving these new pieces in wax gave everything a hand-wrought feel, like it was just discovered after centuries buried in the sand.
Left (the inspiration): Shell and carnelian necklace from 1802–1640 B.C., The Metropolitan Museum of Art; Etruscan finger ring from 525 - 330 B.C., Thorvaldsens Museum; Right (the new designs): Selene Studs in spiny oyster with copper; Selene Bracelet with pearls and carnelian
My hope is that this collection is a new, wearable take on a rich and ancient past. But most importantly, I hope you fall in love with it like I have, and that it brings you a little bit of joy every time you wear one of these pieces.
Birthstone Star Necklace Inspiration
Inspiration, Behind the ScenesComment
Image credits, clockwise from top left: sketch from from Galileo's Sidereus Nuncius; found image of an antique plate via Pinterest; detail of Gucci gown from Spring 2017; "Stars of the Ocean," photo by Marit Hettinga via Flickr; personal photo taken in upstate New York; detail of ceiling fresco by Giotto.
I’m so happy to share that I just added upgrades to the Birthstone Star Necklaces — in addition to solid sterling silver, you can now also choose from brass with gold-fill chain, or solid 14k gold.
In honor of these new materials, I wanted to revisit the inspiration behind the Star Signet Rings and Birthstone Star Necklace: a single, slightly off-kilter star that might have been found in Galileo’s notebooks, or hidden in the sparkle of warm sunlight hitting the water.
Want to see how this inspiration became the final pieces? Check out the newly upgraded Birthstone Star Necklaces, and the Star Signet Rings in aquamarine or pearl.