Flash

Spend five minutes sparkle-scrolling on Instagram and you’re bound to encounter more than a few vendeuses specializing in vintage charm jewelry, many of them 20- and 30-somethings. But just as Julia Child paved the way for Martha Stewart, and Stewart paved the way for legions of “lifestyle experts,” there is an OG purveyor of vintage charm jewelry that has been specializing in this category for 20 years.

In 2002, the mother-and-daughter team of Leslie Slutsky and Lisa Feldkamp launched their business, originally called C.H.A.R.M.—an acronym for Charms Have a Real Meaning—sourcing and selling vintage charms on a dinky Y2K-era website.

By 2004, they’d established a build-your-own charm bar at Bergdorf Goodman in New York City.

And in 2005 the “charmtrepreneurs” appeared in a book published by Harry Abrams titled The Charm of Charms. (Fun fact: I was a kind of unofficial research/editorial assistant on that book, working in coauthor Ki Hackney’s home on the Upper East Side every day after my full-time job as a young editor at Bridal Guide magazine—six months of double-shifting, but I learned so much and still recognize some of my turns of phrase that made the final cut!)

Bergdorf hosted the book launch party. By then, the company, now known as Charmco, was regularly helping the posh department store’s clients curate beguiling charm assortments to affix to bracelets—extravagant jumbles of mid-century glamazons and droll little trinkets in the shapes of elephants, padlock hearts, and cuckoo clocks.

Soon a global fan base began to emerge and online sales took off. “Clients downloaded a questionnaire about themselves to fax back to us, so we were able to reach people all over the world looking to build something that honored their or their loved ones’ life journeys,” says Feldkamp.

The early-2000s timing plays a role in their success story, according to Feldkamp. There was definitely something in the ether that revived the culture’s fascination with charms and charm bracelets: “It was in the wake of Sept. 11, 2001—in New York City—and people were really taking account of what was important to them and focusing on the most meaningful connections,” she says. “Since charms carry so much personal significance and celebrate life in such a specific way, it was the perfect time to make bespoke charm bracelets for people.”

The mother-and-daughter team behind Charmco (née C.H.A.R.M.) in the company’s infancy 

In honor of its 20th anniversary, I explore the “charmed life” of this unique brand in a conversation with Feldkamp below.

Charms, whether vintage or new, are hotter than ever right now. Do you see any parallels between where the culture was in 2002 and where it is in 2022?

Yes, absolutely. Things have changed over the past 20 years and yet we are in another time of great turmoil and reflection. Jewelry has always reflected its time in history, and the popularity of charms fits into the current drive to be expressive and personal. We feel very lucky to have survived and thrived throughout the pandemic. The spring of 2020, we made more graduation gifts than ever before. During the holiday season we could barely keep up with gift orders. People want to invest in something meaningful and built to last. Ask someone about each and every charm they wear and the joy of these little talismans becomes clear. Nothing tells your story like a charm bracelet.

There are so many newbie vintage charm sellers in your lane right now—what do you think makes you stand out as a brand in a sector that currently seems somewhat saturated?

Instagram is a charm wonderland with so many vendors selling select groupings of vintage and antique charms. However, our company is built to last: Not only do we have a huge vintage vault, which has been lovingly collected over these past 20 years, but we design new gold charms with the same eye to detail and movement of our vintage collection and add new styles every month. We wanted to create a brand that clients could rely on to buy a gift for their loved one every holiday, birthday, or just because—and always be able to find that next perfect charm to add to their collection.

Is there a charm type that has been a constant best seller for you all these years?

If we can engrave it, it’s a best seller. People love the bespoke nature of the engravables in our collection. Whether it’s a heart, a classic boy or girl profile, or a dog bone, people want to celebrate that loved one and mark their name in gold. Our COVID mask charm has definitely proved to be a winner over the past two years—people have engraved some hilarious and non-print-worthy things on the back!

Face mask charm in 14k gold, $195

Have you had to adjust your curation strategy/sourcing channels at all in recent years? Is it easier or harder to find goods right now?

Honestly, many dealers and people looking to divest of their personal pieces find us through our website or Instagram to sell their charms. We have an office on 47th Street right in the jewelry district, and many dealers refer to us as “the charm ladies” when we walk by. We do have to be disciplined about buying vintage, as prices have skyrocketed both with the price of gold and the popularity of charms.

Over the years, how have you had to adjust your marketing strategy to accommodate the needs of your customers?

Instagram and Facebook have done much of the heavy lifting for us. Our customers have gotten younger and now span a great age range. We make gifts for bat mitzvahs and gifts for 80th birthdays. I think the trend to layer charm necklaces has made buying charms more relatable for younger clients, who maybe wouldn’t go in for a full bracelet but love the ease and casualness of a waterfall of charm necklaces. We currently sell charm bracelets and charm necklaces in equal measure.

Charmed I’m sure: Within the Charmco collection, 14k gold bracelets are $495–$,3500; 14k gold necklaces are $175–$2,250; and the charms themselves are $125–$3,250 each

Roses and thorns! I’d love to know some of the triumphs and some of the missteps you have encountered along your path to success.

Rose: We’re a mother/daughter business and we still get along (most of the time!). Thorn: We should have moved from a home office to a proper work space sooner than we did. I take enough work home mentally, it’s really nice to have the divide and keep most of the work where it belongs.

Do you think consumer enthusiasm for the charm category will plateau?

I don’t see any reason for the enthusiasm to die down. No matter what’s on trend or what influencers are wearing, charms are personal storybooks. They are more than fine jewelry— although they bear a value in gold—they have emotional value, and it’s hard to beat that.

Are there any customer stories that have stayed with you through the years?

There have been so many great stories! We really get to know our clients and enjoy helping them curate the perfect necklace or bracelet. It’s moving to work with someone who has inherited a meaningful charm bracelet and help them rework it so it can be cherished all over again. A few years ago, we did a project for a mother who was celebrating her daughter’s news that she was in remission for breast cancer. That bracelet carried a lot of joy.

 Looking ahead, what are your goals for the future of your business?

Honestly, more of the same! I think we will eventually include 18k gold charms in our collection and maybe even platinum one day. We are always editing and always adding styles. We want to bring the best-quality charms at a reasonable price, and I think we are succeeding.

Top: Lisa Feldkamp (left) and Leslie Slutsky in 2004 as seen in The Charm of Charms (photo courtesy of Jade Albert); this vintage gold bracelet and charms have all sold, but see similar items here and here.

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When you don’t have a yacht, you have a yacht rock playlist to make you feel like you’re living an endless, gin-and-tonic-soaked summer at sea (in your best one-shouldered Halston to show off that tan).

And when you can’t get to Nantucket, the famously posh island off the coast of Massachusetts, you hit up designer and retailer Katherine Jetter, owner of the Vault Nantucket, to find out what the season is turning up in terms of trends.

I’ve checked in with Jetter every summer for at least the last few years for: 1) a little luxury contact high such that my own New England surroundings don’t really approximate, and 2) a sense of any trends to watch this fall and holiday.

“Color is everywhere this summer,” Jetter tells JCK. “Neon yellow is a big hit and it is making us all so happy! Cadar feather earrings always sell well during the summer. Floating diamond necklaces by Graziela are another great beachy item. Other brands that are doing particularly well are Melissa Kaye, Robinson Pelham, Fernando Jorge, and a new one for us, Ondyn.”

Katherine Jetter’s own opal and electric enamel pieces are getting a “great response,” according to the designer/retailer.

“The trend continues to be a lot of layering, a lot of stackable bracelets, stackable rings, tennis necklaces—they are a thing of the ’80s that have suddenly come back and everyone wants them. And people continue to want to put more and more holes in their ears,” she says.

Hot summer seller at the Vault: Rainbow gemstone chokers by Diane Kordas

“Moritz Glik’s collection has been exceptional this season,” says Jetter.

Cadar feather earrings

Graziela floating diamond necklace

Despite the onset of the high season on Nantucket, in June Jetter was able to get away to the Las Vegas jewelry shows, showing her own work with ViewPoint showroom and scouting for new talent to carry in her store. “I really enjoyed discovering some new collections in Vegas, like Anna Maccieri Rossi, and I am also in love with from Vram—the movement and workmanship of his pieces is exceptional.”

Vram cocktail ring

Other new additions to the store include Dru and Walters Faith.

“I think Dru has a really deep meaning with her collection, and I love all the different messages, and I love what the designer is all about,” says Jetter.

“Walters Faith are two sisters who when we all started out in the business, we used to do at-home trunk shows together,” says Jetter. “We rediscovered each other this year, and it was fun to bring my friends back into the mix.”

But perhaps the most exciting “happening” on island this summer is the debut of Jetter’s new Lady of the Rings line, a seven-piece signet ring collection crafted in 18k yellow gold, etched with a unique symbol, and bordered with baguette diamonds. “Never before has my work felt so personal, and I am so excited to introduce this collection to the world,” says Jetter.

Silvia Furmanovich created a custom marquetry box to house the Lady of the Rings collection in its entirety. Priced at $2,500–$3,800, a portion of the proceeds will be donated to the Nantucket Historical Society.

To celebrate the launch of Lady of the Rings—and to welcome designer Fernando Jorge, who flew in from London for a trunk show at the Vault—in July, Jetter organized a special event and trunk show for select friends and clients. The luncheon featured historical jewelry artifacts that were specially brought in by the Nantucket Historical Association’s chief curator, Michael Harrison; Jetter and Jorge joined him and Moda Operandi’s director of fine jewelry Abby Huhtanen in a panel discussion that focused on the historical significance of gifting jewelry to loved ones and how travel—and global perspectives—can spark creativity in innumerable forms.

The Vault Nantucket luncheon was held in the gardens of historic venue the Greater Light and showcased a selection of Jorge’s jewels as well as pieces from Jetter’s own collection.  

And there’s more merriment to come. Jetter will maintain a bustling schedule of in-store events through August with a trunk show scheduled for this week (Hoorsenbuhs) and next (Silvia Furmanovich).

“We are big fans of Silvia Furmanovich [whose earrings are shown above],” says Jetter.  Now all I need is a yacht to zip me up the coast. But for now, this dazzling ACK dispatch will have to do.

Top: Designer Fernando Jorge and designer/retailer Katherine Jetter at a special event on Nantucket, Mass., in July.

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One of the many surprises awaiting me when I moved to coastal Connecticut is that when I turned on the FM radio a few Hamptons stations would come in loud and clear, a reminder that I was not so far from my previous home of New York after all (at least as the crow flies). And on very clear days, when I’m biking along Knollwood Beach, I can even make out the North Fork of Long Island across the sound.

I suppose whether you’re in the Hamptons or New England at this precise moment, we’re all doing a version of the same thing—summering as a verb for the most part, unless you’re a local. Take fashion designer Cynthia Rowley, who has been one of Montauk’s most famous residents since 1999. Her connection to the eastern tip of the area’s South Fork doesn’t just give her new collaboration with the jewelry brand Loquet London context but a whole lot of credibility to boot.

The collection features six different charms in 18k gold and diamonds and colored gemstones, all corresponding to a marine life theme. Each is meant to be added to one of Loquet’s signature crystal lockets as part of a curated jumble of words, trinkets, and stones (see photo at top).

“Being an avid surfer and having a home in Montauk for decades, the ocean has inspired countless of my designs, from our popular wet suits to many of our sea-themed prints,” said Rowley in a prepared statement accompanying the official announcement. “I have the fondest memories of living at the beach and being with my daughters, and I wanted to incorporate that nostalgic part of my life into the charms, hoping they spark a bit of joy and are reminiscent of cherished times for all that wear them.”

From left: 18k gold turtle with tsavorite; 18k gold lobster with diamonds; 18k gold seashell with rainbow sapphires; 18k gold palm tree with tsavorite and a single brown diamond; and 18k white gold dolphin with diamonds, all $330 each. (Not pictured is an 18k white gold seahorse with blue sapphires.)

Sheherazade Goldsmith, founder of Loquet London, says she approached Rowley with an opportunity to collaborate because “I am a massive admirer of hers. It was a dream come true that she said yes. Cynthia had complete creative control and designed all aspects of the charms, including what gemstones we used.”

Goldsmith also has a personal affinity for the chosen motifs because prior to starting Loquet London, she was an environmental journalist and continues to have a deep respect for oceans, beaches, and the life that inhabits them.

As such, Loquet London will donate a percentage of proceeds from the collection to the Surfrider Foundation, a nonprofit organization dedicated to the protection and enjoyment of the world’s oceans and beaches through a powerful activist network.

Top: “Every charm we create is sentimental and has meaning, and Cynthia’s collection evokes a mix of wanderlust, serenity, and wistfulness,” said Loquet London founder Sheherazade Goldsmith in a statement. Crystal locket and chain in 18k gold with assorted charms, $3,085

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Greetings from Las Vegas! Fam, I have it on very good authority that malachite and turquoise are going to be a very big deal in the coming months. I probably should have told you after I interviewed a bunch of industry pros to find out what they bought at the Tucson gem shows. (You can find that story in the current issue of JCK, copies of which are in abundance here at the show.)

But knowing that between Luxury and JCK Las Vegas you will have access to quite of a bit of the material, now seems like a good time to bring it up  (don’t worry, I’ll tell you where to find it).

Danielle Miele of Gem Gossip told me that in Tucson she bought all the malachite bowls she could carry, and that “they sold out within three minutes of offering them for sale” on her e-comm platform @shopgemgossip.

Nan Lung Palmer of LuxeRox was also hunting Tucson for lifestyle objets and her business’s signature palm-size specimens, but she and partner Kelly Selcer were also seeking “something more substantial with a wow factor” for retailers looking to enliven their display cases. That came in the form of velveteen malachite from the Democratic Republic of Congo “which has a striking emerald-green color with high chatoyancy and beautiful banding, similar to gem-quality malachite jewelry,” she said.

Laura Kitsos owner of Gem Jewelry Boutique in Oak Park, Ill., observed that turquoise and malachite were front and center at the many shows she attended, and she has an interesting theory as to why: Remember this winter when we were all watching And Just Like That (the Sex and the City reboot) and trying to decide if we liked it? Carrie wore a necklace composed of both turquoise and malachite beads (by Fry Powers) in many of the episodes. The jewel, surmised The New York Times, could be a front-runner for the 2020s version of her wildly influential “Carrie” nameplate necklace. And now that the show has been confirmed for a second season, we will have to see.

I say be ready with some options. Besides, it’s not like turquoise and malachite have been out of the spotlight or anything. We’ve been telling you about the “blues and greens” trend for awhile now.

Buyers, you know what to do. Here’s where to go and what to see.

Snake bracelet in 14k gold and silver with turquoise and diamonds, $9,350; Aspendos (booth 14024)

Donut pendant 14k gold with malachite and white diamond, $1,475; Vittorio B. (booth 21019)

Nina Mariner choker in 18k gold with turquoise, $612; Al Zain (booth 48013)

Neutra Aztec earrings in 18k rose gold with malachite and diamonds, EUR4,400 ($4,686); Terzihan  (booth 9039)

Compass symbol medallion ring in 18k yellow gold with turquoise, $2,295; Doves by Doron Paloma (Lux 823)

Malachite pendant with diamonds in 18k gold, $7,420 (includes chain) and earrings with malachite, green tourmaline, and diamonds in 18k gold, $4,490; Lauren K (LUX601)

Sonoran Sunshine necklace with Sonoran turquoise beads in 24k gold, $4,880; Lika Behar (LUX201)

Earrings in 18k gold with turquoise and diamonds, $10,302; Yael Designs (LUX412)

Top: Egyptian turquoise scarab brooches in 18k gold, prices on request; Parlé Gems (LUX730); photo: @aelliott718

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JCK recently reported on the reemergence of the jewels of antiquity serving as an inspiration point for independent designers. As editor-in-chief Victoria Gomelsky notes, “The combination of genuine antiquities—be they Roman coins, Phoenician beads, or antique amulets—with karat gold sends a powerful message about jewelry’s ability to protect, inspire, communicate and, above all, endure.”

For Victoria Strigini, a French, London-based jewelry designer, intaglios—precious or semiprecious gemstones that have been incised with portraits, anima motifs, mythological figures, or scenes—are the thing she’s into at this precise moment, having built her line around on the adornments and artifacts of the ancient world, from Greek and Roman coins to Medusa-head signet rings.

Marriage ring in 18k gold with a Roman jasper intaglio depicting opposed male and female busts from the 2nd–3rd century A.D., $ 16,687. The gemstone would originally have been set in a marriage ring. The featured couple possibly represents Emperor Marcus Aurelius and Empress Faustina.

“Classical gemstones have been around for more than 2,000 years—that alone is magical,” she says. “Imagining all of the hands that they have passed through and then owning one of these treasures essentially inserts you into its history, which again is truly wonderful. It’s like a never-ending story.”

To create the intaglios, gemstone engravers used simple mechanical hand tools with abrasive powders such as emery to carve into the stones. The quality of the carving, as well as the type and size of the gemstones, were key factors in determining their worth (and still are).

And as Strigini explains, intaglios were not simply decorative—in their day, they served a very practical function. For example, they were set into rings for use as seals to authenticate important documents. “The design was carved in a mirror image, to produce an impression the correct way when pressing the ring into wax or clay,” she says.

The designer sources the intaglios she uses from specialty gem dealers and through auction houses. “I like the hunt, it’s the most exciting part,” she says. “I’m kind of addicted. It’s like constantly discovering new artists, just in a different form.… Each stone also invites a different [design] treatment [in jewelry] too, so I enjoy the experimentation phase that comes with a new antiquity acquisition.”

Reverence for the stone’s original creation process and unique provenance is always top of mind when she’s working.

Oval slice pendant in 18k gold with a Roman carnelian intaglio depicting a female bust holding a rose by the stem, dating from the 1st century B.C.–1st century A.D., $7,301 (Photo courtesy of Victoria Strigini)

“I don’t alter intaglios or gemstones in any way; in my opinion, to do anything to them would be disrespectful to the artists who carved them so I treat them with integrity,” says Strigini. “Unfortunately—but luckily rarely—gemstones can always crack or chip when they are set, whether they’re classical carved intaglios or faceted gemstones. This is usually because there is a weakness in the crystal structure. This is always heartbreaking…it doesn’t happen often but you have to just accept that it’s a part of its history. And there are solutions such as filling the chip with melted gold, which can then be engraved to complete the carving.”

Meanwhile, her passion for intaglios has built the groundwork for other designs that embrace a modern antiquities theme, including a new online program that allows customers to choose a pre-sourced Greek and Roman coin from a catalogue and have it set in a silver signet ring. Sounds pretty money to me!

Top: L’Oeuf au Plat ring in 18k gold with a Roman carnelian intaglio depicting a winged cupid riding a dolphin, dating from the 2nd–3rd century A.D., $7,300

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In 1968, a writer for the Washington Post dubbed Seaman Schepps “America’s court jeweler.” Having founded his atelier in 1904, the designer had been around for decades but had reached the pinnacle of name recognition in the 1950s and 1960s, when Doris Duke, Jacqueline Kennedy Onassis, Blanche Knopf, and other members of the stylish elite were spotted wearing Schepps’ whimsical designs. Andy Warhol was also a noted collector.

Many of the jewels were defined by organic elements such as seashells and wood or heaps of candy-colored stones incorporated into bold, sculptural silhouettes. Think jumbo beaded necklaces, dimensional button earrings the size of sea urchins, and exaggerated link bracelets looping lapis or incandescent blue chalcedony with polished gold.

Turbo Shell earrings in 18k gold with pearls, $4,350

Mousetrap bracelet in 18 gold with rubies and diamonds, price on request

The iconic pieces—those turbo shell earrings and mousetrap bracelet (both pictured above)—continue to captivate jewelry collectors. But today, Seaman Schepps joins fellow New York–based heritage brands including Verdura and Tiffany & Co. on a mission to reinvigorate itself for a modern audience.

An important step in any such trajectory often involves reimagining the in-store look and experience, and earlier this summer the brand opened a new flagship at 824 Madison Ave. near 69th Street.

Having closed the doors in 2020 at its previous location on Park Avenue and 58th Street—its home for 60 years—due to challenges associated with the pandemic, the opening of the new location heralds a fresh start.

The new, bi-level store was designed by Penny Drue Baird of Dessins LLC and houses classic pieces alongside new designs.

In its new digs, “America’s court jeweler” gets a dose of French-inspired esprit, with a warm powder blue and beige color palette that acts as a neutral backdrop for the colorful jewelry.

“It is vital, as time passes, to look around, be receptive to the times, and to be open to changes in the marketplace and potential clients,” says Anthony Hopenhajm, who assumed ownership of Seaman Schepps in 1992. “At the time we came into the picture, this grand dowager of a brand was being shepherded by Seaman Schepps’ daughter and granddaughter. They no longer had their own workshop.”

Hopenhajm and his business partner had been the owners of Trianon, a jeweler with its own New York City workshop just a stone’s throw away from Seaman Schepps’ on Park Avenue. One of the first innovations Hopenhajm and his team introduced was to begin producing the Seaman Schepps line in 18k and 22k gold (in Schepps’ heyday, the standard in the United States was 14k, according to Hopenhajm).

“We were able pick up the baton by making Seaman Schepps pieces in the cutting-edge, innovative, and unexpected combinations that could only be properly done when the jewelry is created in its own in-house workshop,” he says.

Decades later, that baton is continuing its journey—and has landed in the the uptowniest of uptown jewelry destinations.

“I believe we are aspirational as a brand with clients eager to acquire the classic link bracelets or shell earrings,” says Hopenhajm. “Our reputation for producing interesting, original, and wearable jewels that hold their value in the secondary market is part of the Seaman Schepps cachet. The ease and wearability of the pieces rounds out their multigenerational appeal.”

Meanwhile, the new store will straddle the brand’s past and future with a modern, vaguely beachy elegance. A spiral staircase, hand-painted in a faux steel and warm walnut finish, leads to the lower level, which houses original design sketches and historic pieces. The lower level also serves as a private event space for intimate gatherings. The nearly 50 feet of window displays will change seasonally and feature original watercolor backdrops by artist Diana Heimann and curated selections of jewels arranged amid objects like stone, wood, and shells.

The secret to reinvigorating a heritage brand, says Anthony Hopenhajm (pictured above), involves “being true to [its] core DNA and keeping your eyes and ears open to what is happening in the world around you, while keeping an emphasis on strong historical designs such as our iconic link bracelets.”

 Antibes earrings in 18k gold with white topaz, $5,700

Classic medium link bracelet in 18k gold and wood, $12,750

 Giro earrings in 18k gold with in blue chalcedony and sapphires, $9,500

Looking ahead, Hopenhajm says the plan is to “uphold the values of the Seaman Schepps DNA while we continue to develop new items in the iconic Schepps style. Our new Boat Link bracelets and Giro and Antibes earrings, among many other pieces, are based on our historical archives of over 5,000 jewelry renderings that go back to the 1920s.

“The mounting of natural shell with precious stones and the mixing of precious gold and wood was not only appreciated and desired seven decades ago when the concept was first introduced, but continue to be a must-have for today’s generation.”

Top: Inside the new Seaman Schepps flagship, there’s an an Italian rococo mirror from the 1850s and an angled vitrine in walnut that were both installed in the original Park Avenue store, along with a Baccarat steel and crystal chandelier (all interior photos: Kris Tamburello). 

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On Sept. 19, the famed American jeweler David Webb will open its first-ever in-house exhibition at its boutique on Madison Avenue. Entitled A Walk in the Woods: David Webb’s Artful Animals, it’s a many-splendored salute to one of the founding designer’s most enduringly chic inspirations: the animal kingdom.

The iconic David Webb zebra is, of course, at the center of this gathering of sexy beasts and is joined by frogs, cats, snakes, horses, and monkeys, most sporting some combination of precious metals, exquisite gems, and gleaming enamel.

Originally slated for spring 2020 but delayed due to the pandemic, the exhibition will run through Oct. 2 and be by appointment only. It will showcase over 40 jewels and objets alongside curated archival materials and multimedia.

Zebra bracelet, brooch, and ring in black and white enamel, 18k gold, and platinum with cabochon rubies and brilliant-cut diamonds, prices on request

Giraffe bracelet in black and white enamel, 18k gold, and platinum with cabochon rubies and brilliant-cut diamonds, price on request

Founded by Asheville, N.C.–born jeweler David Webb in 1948, the house has been steadily reenergizing since 2010, when Mark Emanuel, a former estate jewelry dealer, acquired the company. An encyclopedic archive of design sketches is a defining part of the legacy that Webb left behind upon his death in 1975. Since 2013, Levi Higgs, a key hire for the brand, has made those archival works his playground on social media and beyond and now heads the archives as David Webb’s director of brand heritage.

Which may be how Higgs became aware of a film that is being reimagined for the exhibition: In 1964, when David Webb received the prestigious Coty American Fashion Critics’ Award for his groundbreaking animals, the committee showed a film by fashion photographer Milton Greene and fashion illustrator Joe Eula called A Walk in the Woods, depicting Webb’s zebras, horses, frogs, and giraffes in enamel, diamonds, and gemstones. The Coty award affirmed Webb’s  status as one of America’s preeminent jewelry designers.

The new film was created by photographer and videographer Noah Kalina, known for his viral work Everyday and his photography book Cabin Porn, and set to music by cellist Patrick Belaga.

Archival images are interspersed among the jewelry exhibits. Left: Sketch of an owl brooch (1969) designed in 18k gold and platinum and white and green enamel, with briolette-cut amethyst and brilliant-cut diamonds; sketch of frog brooch (year 1964) that led to a final piece made in 18k gold and platinum, green enamel, and brilliant-cut diamonds (photos courtesy of David Webb).

Another exhibition highlight: two owl jewels, plucked from the archives and created especially for the exhibition from original David Webb sketches.

Winking Owl brooch in black enamel, textured 18k gold, and platinum with tumbled and cabochon turquoise and brilliant-cut diamonds, price on request

“After reviewing the archives and discovering the two owls, which had never been seen before, it was a fitting opportunity to introduce them as finished works during the exhibition,” says Higgs, who revealed a personal fondness for owls in this story he wrote for The Adventurine on a custom “pandemic jewel.”

He writes, “I have always liked owls…. If I had to pinpoint events that lead to this being so, I’d say perhaps the interest stems from spotting one huge barn owl out my window one snowy morning in Wyoming growing up, sitting high atop a telephone pole. To me, they represent the forest. I’m a Virgo, an earth sign, and I feel most at peace while hiking through a mountain path, the mist retreating in my wake.”

And when Higgs was conducting research for the David Webb exhibition in 2019, he uncovered quite a few owl jewels from David Webb’s archive. It inspired him have a David Webb gold owl ring specially created for him when he and his team finished the catalog.

Here’s a peek at some of the other creatures that will be on display in the exhibition so you know where to look for them. No one likes surprises in the woods!

Horse brooch in 18k gold with natural black pearl, marquise-cut ruby, and brilliant-cut diamonds, price on request

From left: Snake box in 18k gold and enamel with carved sapphire, marquise-cut rubies, and old mine–, brilliant, and single-cut diamonds; Monkey and Turtle obelisk in 18k gold and rock crystal with brilliant-cut diamonds; and Monkey Head box in textured 18k gold and enamel with cabochon cat’s-eye tourmaline, oval-cut emeralds, and pear-shape and brilliant-cut diamonds; prices on request

Leopard bracelet 18k gold, platinum, and enamel with diamonds and emeralds, price on request

Top: Lounging Leopard brooch in 18k gold, platinum, and black enamel with oval cabochon emeralds and brilliant-cut diamonds, price on request (photo: Noah Kalina)

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Where is all the fresh talent hiding out? I’ll tell you this: On Tuesday and Wednesday about 30 jewelry designers that fit this description were all gathered under one roof at the Palais Vivienne in the heart of Paris. They were participating in a special trade show event known as the Precious Room by Muriel Piaser that takes place twice a year to coincide with Paris Haute Couture Week.

There is an international flavor to the collective of emerging names, as well as established designers who are not as well known in the United States and a few high jewelers as well (hello, Harakh).

Many Precious Room participants hail from, and manufacture their product, in France, such as Sophie d’Agon, Vever, and Isabelle Langlois—this alone makes me wish I were there to see and discover. I know that retail buyers are perpetually hunting for the next fresh voice, and this event might be one to make time for (there will be another edition in January 2023). And designers seeking a venue and peers that match their ultrachic, singular, and creative visions might want to look into adding Precious Room to their trade show schedule.

Precious Room by Muriel Piaser launched in 2019, and it functions as a trade show and  design collective in one. But it’s super, super intimate and selective—Piaser told me she curates the presenting designers through “a lot of scouting, personal tastes, and trend watching” and that she is “focused on the mix and match of established and famous brands and young designers.”

At the end of the first day of this most recent edition, Piaser reached out to me via WhatsApp to let me know that the event had “a very good energy” and reported attendance from top buyers from Printemps, Galeries Lafayette, and Bloomingdale’s, as well as the buying offices of international showrooms such as Mint in New York and HP France in Tokyo. Influencers including @laurainghirami were also in attendance.

A great turnout, to be sure. Which may be why designer Alexandra Abramczyk told me, “I believe that it’s an unmissable event in Paris now,” adding that it was the ultimate “rendezvous for brands to connect and exchange in Paris.”

Clockwise, from top left: Bague Energie ring in 18k gold with sapphires, tsavorites, and diamonds, EUR12,500; Soul hoops in 18k gold with sapphires, blue topaz, amethysts, tsavorites, and diamonds, EUR20,900; and heart signet rings in 18k gold with carnelian, turquoise, rutilated quartz, moonstone, tiger’s eye, malachite, and labradorite with colored gemstone and diamond accents, EUR3,600–EUR4,300 each; all Alexandra Abramczyk

Harakh Mehta of Mumbai-based Harakh was drawn in to participate because of the Precious Room’s proximity to the Paris Haute Couture fashion shows. “Previously, we have done events [i.e., Le Bal Paris] where haute couture labels were showcased alongside our signature diamond jewelry, and the response has been terrific,” he says. “We now want to take this a step further and have a stronger presence and association with the haute couture community, and the Precious Room seemed like the perfect opportunity to create awareness of our brand amongst this unique community as well as seek their feedback and apply these learnings so we can continue to evolve and grow.”

Haveli necklace in 18k rose and white gold with 27.45 cts. t.w. diamonds, $211,500; Harakh

And so what did we miss? Here are some more highlights that Piaser shared with me. Maybe next time we’ll all be in the room where it happens!

Ginger, Georgia, and Gaia necklaces, earrings, and rings in 18k gold with sapphires, emeralds, lapis lazuli, rubies, turquoise, onyx, white diamonds, and salt-and-pepper diamonds, EUR875–EUR3,995 each; Sophie d’Agon

Butterfly ring in 18k yellow gold with sapphires, diamonds, rubies, and Roman mosaic, $12,700; Le Sibille

Mundus collection necklaces in sandblasted aluminum with citrine, topaz, amethyst, and spinel, prices on request; Studio C

From left: Fantastic Creatures Nymph necklace in gold with enamel and lab-grown diamonds, EUR19,500; Glorious Flower Gingko ring in gold with lab-grown diamonds, EUR2,890; both Vever

Assorted La Bonne Etoile rings in 18k gold and gemstones,  from EUR680; all Rosa Ma”itea

Emotion Coussin ring in 18k rose gold with green quarts, pink and green tourmalines, pink sapphires, and tsavorites, price on request; Isabelle Langlois

Top: Clockwise, from left: Jewelry by Portuguese brand Fiordy Studio; Fish necklaces in 18k gold with tsavorites, sapphires, amethysts, enamel, and topaz, EUR12,400–EUR20,500; Alexandra Abramczyk; and Haveli motif dangle earrings in 18k white gold with rose-cut and brilliant-cut diamonds, $11,300; Harakh

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I’d already heard so much about the Italian Jewelry Manifesto, and, with the promise of seeing 50 designers and makers from Vicenza, Valenza, Arezzo, Orvieto, and beyond—right in the heart of midtown Manhattan—I decided I had to check it out for myself.

I’m so glad I did. The venue, Piazza Italia on Madison Avenue, was light, bright, and spacious. Intimidation factor: low. Energies were high, smiles were abundant. There were super-high heels and well-tailored suits. And so much gold. Piles and piles of it being worn or laid out on velvet-lined trays.

The event was not bustling when I was there last week, but I was told that many retail buyers were in attendance. The pace of my visit was easy and allowed plenty of time for discovery, questions, and conversations.

Let’s get into the pretty things I saw.  I’ll start with what I think will be most helpful to readers planning to attend Las Vegas Jewelry Week next month: three Italian Manifesto designers who will also be exhibiting at Luxury and JCK Las Vegas.

There was the Arezzo, Italy-based brand Neonero (booth 21026B), which has the most beautiful gold pieces inspired by the lacework traditions of Tuscany. Light-as-air openwork unites the many, many SKUs in the collection (I fell madly in love with a pair of swingy chandelier earrings dangling strands of buttery, shimmery fringe that I can confirm are very well priced, especially for 18k).

Forme Preziose bracelet in 18k gold, $5,225; Neonero

Boccadamo (booth 23007) has a massive catalog of options, all heavy on “chic Italian lady” fashion jewelry and statement parures set with colorful cabochons.

Caleida collection necklace and bracelet in rose gold–plated bronze with CZ and pyramidal colored crystals, prices on request; Boccadamo

And I’d heard about Marco Dal Maso (exhibiting with the Gioielli Group, LUX 630) from Reinhold Jewelers, who named them a must-see as far men’s and unisex jewelry when I interviewed one of the store’s executives for this story. Some men’s ranges feel kind of one-note and generic, but the options here are so elevated and diverse: braided leather; tough-luxe links; hard stones such as lapis, onyx, and aventurine; and a million unexpected details worked into the metals that make each piece feel distinctive and special.

Ara ring in 18k vermeil and burnished silver, $317; Marco Dal Maso

My favorite discovery at the show came from Vicenza-based Peruffo Jewelry, where everything was an architectural, innovative, and masterfully executed delight. Maybe I just haven’t seen Italian-made jewelry in a while, but the ring below, in particular, made me giddy. I love when the jewelry is so good I have a visceral reaction!

You can’t tell from the photo below, but it moves with absolute precision as you shake your hand about (see photo at top for a sense of this).

Slide Sunset ring in 18k gold, $ 1,570; Peruffo

Here are some more finds from my little vacanza in jewelry heaven below.

Seed necklace in 18k yellow gold, $11,820; Orogami

One-of-a-kind leather bracelet with circa 1880 shell cameo in an antique 14k yellow gold frame, $5,800; Anna Porcu

Reef Party ring in 18k gold–plated sterling silver with CZ pavé and red coral enamel, $225; Misis

Lightray pendant in 18k gold with white and brown diamonds, and Roman micro mosaics, $21,000; Le Sibille

Sunflower ring in 18k yellow gold set with brown and yellow diamonds and green sapphires, $19,250, and Pink Rose ring in 18k rose gold with pink sapphires, $8,925; both Angry for Vittorio & Co.

Assorted Archetti collection rings in 18k rose gold with diamonds and sapphires, $1,500 to $4,500 each, Fiore Roberta

Top: The Slide Sunset ring from Peruffo has moves to spare (photo by @aelliott718).

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You never know who you’re going to run into at a trade show, especially if it’s open to the public. But between the lookie-loos and chatty Cathys, you could end up making a very fortuitous contact. Maybe it’s a stylist or a member of the press.

In Los Angeles, it very well could be someone from the costume design department of a major TV show. That’s what happened to Bay Area–based vintage jewelry dealer Lisa Kramer of Lisa Kramer Vintage when the assistant to costume designer Hala Bahmet stopped by her booth early last year at the Pickwick Vintage Show. As Kramer soon learned, Bahmet is the costume designer for NBC’s This Is Us. You may have heard of it.

If you’ve been watching season six of the hit show, you may have seen some of Kramer’s jewels in action. “On a show like This Is Us, because it’s a large cast with a storyline that happens over multiple time frames, the costume department needs a lot of stuff, but it can’t be very expensive,” says Kramer, who also explained these pros aren’t borrowing or renting jewels, they’re purchasing them. “The show more or less takes place from the 1950s through the present day, and I had a lot of very affordable costume jewelry inventory that I’ve collected over the years.”

Over the next few months, Kramer would make the drive to L.A. to meet Bahmet for a series of appointments. But not on the Paramount studio lot, which restricted visitors due to the pandemic. “We met in the garden of her house, and she was remarkably fast, choosing the pieces in under an hour,” she says. “Every time, I would bring about 15 to 16 trays, and she would buy about two trays’ worth of of jewelry.”

Mandy Moore of This Is Us
wears an Israeli silver necklace from the 1970s that Lisa Kramer purchased at an antiques show in 2019.

After six seasons, the series finale of This Is Us will air on May 24. So now seemed like the perfect time to get to know Kramer a little better. Check out our conversation below (the responses have been lightly edited for clarity).

It must have been quite something to observe Hala Bahmet curating her This Is Us selects from your piles of jewels. Did you learn anything from the experience?

One of the things I learned from Hala is they have to be very careful about high-shine metal. There’s a character who plays the wedding planner in the show, and she’s wearing a big, gorgeous silver necklace. On-screen it looks like it’s an amazing designer piece, but in person the finish was dull, which ended up being to its advantage on camera because you have to be careful of the flare from lights reflecting and also the metal’s surface catching a reflection of the cameraperson or other actors. Sometimes she would look at a necklace, and it would have too many moving, dangling parts, which are a problem because of continuity—if they’re filming a scene and doing a distance shot, and then refilming it for a close-up, you don’t want any elements of the jewel to have moved. Jewelry that moves and dangles can also be too noisy—the mic picks up everything.

Actress Briana Venskus wears a silver necklace that was perfect for the camera thanks to the dull finish it acquired with age.

Let’s talk about your career path. How did you end up in the world of vintage and estate jewelry?

I had a long career working as an architect and construction manager. I’ve loved vintage clothing and jewelry since I was a teenager, and about 20 years ago, shortly after I purchased my house, I started going to a lot of auctions and estate sales, and I started seeing and buying all this great vintage clothing and jewelry. A friend was running a little vintage clothing shop and having monthly sales out of her garage, and she asked me if I wanted to set up card table and sell my goods. I did—and I loved it! So I started buying and selling a bit more, just as a side business. And then in 2012, I got laid off and had to really decide if I wanted to look for another full-time job. My aging parents were in Florida and going back and forth to visit them takes a lot of time. Starting a new job would get me back to two weeks of vacation per year, so I decided to make the vintage jewelry enterprise my primary business. Because, by that point, I had pretty much stopped selling clothing and was focused on jewelry. And now that it’s a full-time job, I’m selling a lot more mid- to higher-end pieces.

What would you say your specialty is as a vintage jewelry dealer? What are you known for?

I think what I am known for is that I love researching the jewelry I sell.  I love learning about and identifying things from different eras. In terms of aesthetics, I tend to like older pieces that have a sleek and modern feel. I spread across a large number of eras and don’t specialize in a time frame. But I like pieces that are design driven and that very much speak to their era. I tend to go for a cleaner aesthetic, although there are things that are very elaborate. For instance, I love archaeological revival jewelry, which also is part of my background. My undergraduate degree [from the University of Pennsylvania] is in anthropology, where I was focusing a good portion of my studies on archaeology. As a work-study job, I assisted one of the faculty members who was an Egyptologist and spent one summer participating in a dig.

“I am particularly fond of antique jewelry that has a surprisingly modern feel, like this late Georgian chain,” says Kramer of this gold chain featuring an impressed pattern of interlocking circles on each link.

Do you make a beeline for signed jewels? What designers are you always theoretically on the hunt for?

I’m more focused on aesthetics. I first go for the visual, and then I see what the marks are and what they tell me. I tend to go for more unusual pieces. After the design, I look to the materials. So, for instance, I love the brutalist work of the sculptor Pal Kepenyes, who worked in bronze. The material has absolutely no intrinsic value, but I love the sculptural quality of his jewelry. I probably differ from a lot of other jewelry sellers in that I actually feel that focusing on intrinsic value can detract from appreciating the artistry in jewelry. It’s nice when it’s made in gold, but I think people should buy a piece because they think it’s beautiful. And makes them feel good.

What are the most treasured pieces in your personal collection?

One is a 1960s bracelet that was my mother’s, and one is a watch bracelet that was my paternal grandmother’s. They’re treasured for sentimental reasons. In terms of what I end up wearing the most, I’m an earring person. I recently acquired an incredible pair of Victorian earrings in gold with fine lines of blue and black enamel. They’re Victorian visually, but there’s something also very modern-looking about them.

I know vintage jewelry doesn’t really lend itself to trend tracking, but have you observed any shifts in consumer tastes that might be helpful to JCK’s audience of jewelry professionals?

I think you’re probably aware that for the past few years it’s been all about gold, and it’s been charms and chains. But I do think I’m beginning to see the start of a trend toward silver jewelry. I can’t tell you any details, but there’s one piece I sold a couple of months ago that ended up on the red carpet at the 2022 Oscars. Silver. That was a real shock and not something I would have expected to see! You can get bigger, more sculptural pieces in silver. To get anything of size in gold—if it’s going to be real gold—it’s just going to be an absolute fortune. I know some people don’t consider silver fine jewelry. But silver is still a precious metal.

What’s on your show calendar this year? Where can we shop with you in person?

 I’ll be in Los Angeles monthly for the Pickwick Vintage Show with the exception of June because I’m finally taking a vacation. I’m thinking about doing the Baltimore Art, Antique & Jewelry show in October, and possibly the Manhattan Vintage Show in October as well. And there’s also the Hillsborough show [in San Mateo, Calif.] in November.

Top (clockwise, from left): Former architect and construction manager Lisa Kramer started her vintage jewelry business out of a friend’s garage. “A massive modernist ring” by Juha Koskela, a Finnish jewelry designer known as a modern master of anticlastic raising, which is a “a metalworking technique in which sheet metal is shaped into complex curves that are at right angles to each other,” according to Kramer. A mid-20th-century brooch by Marsh and Co., “a pioneer in the use of blackened steel in fine jewelry,” says Kramer. Prices on request. (All photos courtesy of Lisa Kramer Vintage; This Is Us screenshots used with permission from the NBC costume department.)

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