DEW RING setenay and i first came into contact about four years ago when i shared one of her gorgeous rings. we stayed in touch on instagram over the years, and last august i shared yet another one of her pieces: a dreamy, bubbly, beautiful ring that i absolutely loved (seen above!). little did i know that only a few months later we’d actually meet at nouvelle box! she immediately recognized me, and my eyes went straight to the very ring i had admired so much. she was incredibly sweet. we spoke about her work, she showed me her pieces, and of course i tried everything on. it felt like heaven! only recently did i discover that she too has roots in sweden and previously worked in PR and communications, just like me. the world really is an oyster, and i feel incredibly privileged to meet people like setenay through this page. it’s my pleasure to share her story today, along with her unique and beautiful rings. SETENAY ORMAN I come from a background in PR and communications, so storytelling was a central part of my everyday work. But I’ve never considered myself particularly good at writing openly about my own thoughts and feelings. When I discovered jewelry-making, it became a more personal outlet — a way to process emotion and observation through form rather than words. Over time, that has naturally become the foundation of my creative process and the way I approach my collections. Since founding ORMAN in 2018, I’ve approached jewelry less as ornament and more as a way of preserving emotion in physical form. I’m drawn to pieces that hold presence quietly — sculptural yet restrained, expressive without needing to announce themselves loudly. Rather than following trends or fixed visual codes, each collection develops from its own emotional and conceptual starting point, resulting in forms that are distinct in silhouette yet connected by the same underlying sensibility. Jewelry is inherently three-dimensional, but with my pieces, that quality often becomes more pronounced. They often invite people to touch and turn them to fully understand the form. I like to play with details and angles — whether through stone setting, proportion, or structure — to create silhouettes that feel distinctive from every perspective. I was raised between Stockholm and Istanbul, and I think both cities continue to shape the way I see design. Stockholm taught me clarity, restraint, and the beauty of simplicity. Istanbul introduced me to texture, contrast, and movement. ORMAN exists somewhere between those two worlds — balancing clean architectural lines with organic forms and emotional depth. I’m generally less drawn to jewelry as mass production or trend-driven consumption. While my designs are often bold and substantial, they’re intentionally not loud or overly literal in the stories they tell. I prefer subtle references to inspiration, leaving space for the wearer to attach their own memories and meaning to a piece. The idea of an object becoming part of someone’s personal history is far more appealing to me — pieces worn daily, carrying traces of life as they evolve alongside the person wearing them. What I truly appreciate about jewelry is its permanence. Unlike many other forms of design, it moves through generations while absorbing traces of human experience. A ring or necklace can quietly witness entire chapters of a life. I think that’s why I continue to return to this medium — it allows emotion, memory, and identity to take physical form in a way that feels both intimate and enduring. ANCHOR DIAMOND TRIPLE BAND RING DEW BLUE TOPAZ RING ALL WET CALM SEAS SAPPHIRE RING ALL WET WAVE BREAK CHAMPAGNE DIAMOND RING ORMAN AFLOAT ANCHOR AQUAMARINE WIDE RING SETENAY ORMAN @atelierorman

MAAR SPIKED RING i love it when i meet someone and we immediately click. not necessarily in person, either. these days, with all the ways we can connect, it is entirely possible to build a meaningful friendship without ever meeting face to face. of course, that is always the cherry on top, but sometimes it simply isn’t possible, so we continue nurturing these digital friendships, which can be surprisingly fulfilling. i had the pleasure of meeting hugo a little over a year ago, and we have stayed in touch ever since. beyond our shared love of jewelry (yes, rings), we speak portuguese, exchange thoughts about life, people, artists, and all the things that move us. dividing his time between london and lisbon, hugo brings a sense of elegance and curiosity to everything he does. it is my pleasure to share his story and his impeccable work. he is a gentleman, a generous soul, and someone i am very glad to have met. i hope we finally manage that lunch in lisbon one of these days. HUGO CAHILL My entry into jewelry came through proximity to making. My grandfather and uncle were goldsmiths, and my father was a hand engraver. I grew up around workshops, drawings, tools, and the strange seriousness that surrounds objects made by hand. Long before I understood what I wanted to do, I was already observing how things were constructed. Years later, after studying Art across Portugal and elsewhere in Europe, I moved to London and worked across different ateliers in costume and fine jewelry. It was an important period for me, not only technically, but personally. I realized I was not searching for a place within someone else’s vision, but for the freedom to construct one of my own. The House began in 2020. Most pieces begin quite instinctively, usually with an idea or form that refuses to leave my mind. From there, the structure, proportion, and materials gradually reveal themselves. I often return to the same obsessions: celestial bodies, architecture, geological formations, couture, tension, light moving through stone. At the end, though, everything settles on the body. That is where jewelry finally becomes complete. AQUARELLE ELLIPSE RING EPHYRA RING HAUMEA CHROMA RING OUMUAMUA RING @hugocahilljewels

MERGEN RING my first contact with assemgul, founder of the brand yelai, took place quite recently, but i immediately sensed her deep commitment to her art, which is firmly rooted in her culture and traditions. i must admit i knew very little about kazakhstan and, as i love to learn, i began reading more about the country and its people. it is fascinating in many aspects: geographically, it is the ninth-largest country in the world, yet it also has one of the lowest population densities. it is a land rich in minerals, most notably iron and silver. from assemgul, i learned that silver is considered a sacred metal, believed to bring protection and well-being. i have also learned that horses are central to kazakhstan's history and identity, symbolizing freedom and the nomadic heritage of the steppe. over the course of many emails, we have shared stories about our love for jewelry and our respective origins. her dream is to visit europe, and more specifically france — i do hope we can meet here one day. it has been a truly enriching experience to glimpse her world through her beautiful and intentional jewelry. assemgul is a true one-woman show, responsible for every aspect of her brand. i am certain we will be hearing much more about both assemgul and yelai in the years to come. one more thing; the story behind the mergen ring (shown above) is so rich and meaningful as it was created with archery in mind - read more about this on her website! YELAI I am a Kazakh artist and jeweller working from my small atelier in Almaty. My practice is rooted in the history of the Kazakh people, nomadic culture, and broader Turkic heritage. I studied fine arts, and for as long as I can remember, art has been the way I understand the world - through painting, sculpture, cinema, and music. Jewellery, however, was never part of a planned path. It appeared unexpectedly during my studies, when I first entered a jewellery workshop. I remember being struck by traditional Kazakh jewellery - its depth, its clarity, and the sense that every element had meaning. Nothing was accidental. Ornament, form, proportion - everything carried a special intention. Jewellery was never just decorative, it reflected a person's status, his story, protection, memory, blessing, and identity. It felt like a language without words. What continues to guide me most is the jewellery tradition of Western Kazakhstan - the region where I come from myself. I feel deeply connected to its strong silhouettes, darker tones combined with silver, sculptural weight, and intricate grain work. There is a sense of monumentality in these pieces that feels almost architectural. In Kazakh culture, silver was also believed to carry protective and healing qualities, which adds another layer of meaning - the idea that material itself can hold symbolism. I started very simply, making pieces for myself. I still remember my first enamel ring - imperfect and uneven, but honest. I wore it every day, and slowly made a few more. Then something shifted. People around me began to notice the pieces I wear and ask about them. At first, I didn’t fully understand why they responded so strongly to something so personal. But their attention encouraged me to continue. What began as a small private experiment gradually turned into something larger than I expected. Soon after, I created a small series and presented it at a local pop-up event. That moment quietly marked the beginning of a different path - one I had not planned, but somehow already belonged to me. Since then, everything has grown step by step. I built my workshop from almost nothing, learned the technical side of jewellery making along the way, and developed my practice independently. Today, I work entirely on my own - from concept and sketch to production and final direction. Every piece passes through my hands at every stage. There is always a moment when I realise that a ring, or any piece I create, will eventually become part of someone’s life and carry meaning far beyond the object itself. I feel this very deeply, and that is why I approach every piece with particular care and attention. Jewellery often becomes tied to memory, identity, emotion, or a personal chapter in someone’s life - and knowing this changes the way I work. Sometimes, I even feel the presence or energy of its future owner before the piece leaves my hands. What moves me most is how jewellery can create a quiet connection for people - to memory, to identity, to something personal and often unspoken. This feeling resonates not only with people in Kazakhstan, but also far beyond it. Through my work, I continue to explore how something so small can still carry an entire world. BOPAI RING DAUREN RING OTAU JUZIK RING UMAI RING @yelai.jwlr

curadoria de anéis, artistas joalheiros novos ou estabelecidos, entrevistas, galeria de anéis fancythisrings welcome, everyone. curatorship this is one of the things I absolutely love to do nyc jewelry week In August 2024, I had the incredible honor of being invited by Bella Neyman and Chantel Gushue to curate the latest round of DISCOVER applications. Artists from all over the world apply for the chance to showcase their work on this amazing platform, and I was absolutely thrilled to be part of the selection process. Curating was both a rewarding and humbling experience—I fully understood the weight of the responsibility, and it was no easy task to make final decisions. One piece of advice for those considering applying: make sure your Instagram is cohesive and professional, your photos are high-quality, your website is engaging and easy to navigate, and most importantly, keep an eye on your inbox for updates. The DISCOVER page, featuring all the selected artists, officially launched on November 18, 2024, in celebration of the first day of NYCJW24. london calling! London was incredible! I’ve shared all about AURIC, the CLUSTERJEWELLERY fair, my visits to the Goldsmiths’ Centre and Kasun—everything’s up on the blog. There are dedicated posts where I dive into the events and visits in detail, with plenty of photos to bring it all to life. an important update: I’m thrilled to share that I’ve been invited by the Head Curator of CLUSTERJEWELLERY to continue our partnership—which means the BAGUE EXTRAORDINAIRE award lives on! I’ll be selecting the next recipients at each upcoming fair, and I couldn’t be happier! salut les garçons magazine rédactrice & brand content interviews with extraordinary artists, connaisseurs, bloggers and, of course, filled with lots of rings. issues #4 is sold out, but you can still find issues #5, #6,and #7 at Palais de Tokyo (among other venues). the latest issue, #8, where i interviewed Teresa Kiplinger and Roy Krejberg is already available! collaboration

gallery a few of my favorite rings...

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