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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

fallen flora III - pacific americas i first met jet in london in 2024, when she invited me to a private showing called Auric. we immediately hit it off. not only did she make me feel incredibly welcome, but i was also completely blown away by the beauty, symbolism and attention to detail in her work. based in london, jet creates jewels that blend tradition with a fresh, contemporary spirit, drawing on history, memory and the natural world to tell deeply personal stories. we stayed in touch after that first meeting and last year i had the pleasure of interviewing her for my dedicated column in Salut les Garçons magazine. it gave us another opportunity to talk at length — not only about jewellery, but also about life, travels, children, people and the intricate realities of this industry we both navigate in different ways. we met again this year in paris, where jet showed both with Nouvelle Box and as part of The Jewellery Cast, a group of exceptionally talented emerging designers. apart from her obvious talent and deep respect for her craft, what i appreciate most about jet is her honesty and transparency. there is something incredibly thoughtful and sincere about the way she approaches both her work and the people around her. she is very special to me and it is truly an honour to share more about her and her work here. JET McQUISTON I am an artist and designer from London of Sri Lankan and Scottish heritage, creating jewels that eternalise personal histories and commemorate relationships, ideas, and moments of significance. Given that jewellery is an artefact that can endure for thousands of years, I see it as a powerful setting for preserving and celebrating meaningful information. My work explores the many dimensions of jewellery: its ability to commemorate, communicate personal and collective stories, and reflect the cultural values of its time. I am drawn to the way jewellery can embody symbolic and emotional significance beyond its material form and particularly enjoy exploring its cultural and mnemonic roles. Through bespoke commissions, family histories and love stories are memorialised, while my commercial collections are designed to hold evocative narratives and information. Jewellery’s capacity to act as a vessel for storing information is a particular area of interest to me. This is explored allegorically through the incorporation of iconography from cultures across the world, an area of study during my MA in Jewellery Design at Central Saint Martins. Exploring the earliest forms of creativity as seen in prehistoric art revealed the fundamental human urge to communicate and leave traces of ourselves, as well as the connection between this impulse and jewellery being one of the earliest artistic forms of human expression. In this vein, I like to use these ancient traditions of leaving symbolic traces within jewels. I also enjoy other jewellery traditions that worked with similar ideas, notably Victorian mourning jewellery, and therefore created my first contemporary jewellery collection, Fallen Flora. The collection was researched alongside specialists at Royal Botanic Gardens, Kew, and eternalises 75 iconic vanished plants and flowers from around the world. jet mcquiston vital signs- love bomb mini egg pendant eternal worlds ring - comission for emma eternal worlds ring - comission for laura and stelle fallen flora perfume bottle fallen flora ring I - africa europa @jetmcquiston photos - anna pors and dover street market

one of my favorite movies has a line that became a classic, quoted by so many over the years: “life is like a box of chocolates. you never know what you’re gonna get.” and that couldn’t be more true in this case. whenever i go to jewelry shows, i try not to have expectations, only a positive outlook. this time, i won the lottery of chocolates, one might say. meeting sarah and joy at Nouvelle Box last march was one of the highlights of my year. and what a difficult year it had been. we immediately connected (and i must thank you, duvall, for this). we laughed, talked about jewelry, our families, life… we cried. and we found in each other something very special: a friend. our scandinavian backgrounds, our love for my beautiful brazil, my admiration for their iranian culture - one could say this was written in the stars. even our impromptu dinner was simply the best. they are talented, committed, incredible entrepreneurs, driven by passion. their work is impeccable: pieces filled with depth, meaning, culture, and most important of all, stories. it is my honor and privilege to call them my friends. i’m sure we’ll meet again, either here in france or wherever the wind may take us. here is a bit of their story: the lovely sisters, sarah and joy, founders of lionheart. https://lionheartjewelry.com/ How Lionheart Began (Joy’s Answer) Lionheart grew out of our shared experiences, from our upbringing in Denmark, shaped by simplicity and intention, to New York, which opened us up creatively and gave us the freedom to be more expressive and bold. That contrast came to define the brand. For me, it started with a deep connection to gemstones and storytelling, creating pieces that carry meaning, like modern talismans. After working on the corporate side of the jewelry industry, I felt a strong pull to create something more personal. I became drawn to gemstones, their individuality, their color, and the way they transform — a quiet realization that jewelry is where storytelling, craftsmanship, and emotion come together. Our grandmother had a lasting influence. Her pieces carried memory and individuality, and she believed jewelry was meant to be worn, not kept. It became something deeply personal, something that lives with you every day. That became the foundation of Lionheart — creating modern heirlooms that carry meaning over time. The brand had been forming for years, but there was a moment when it truly began. My first call was to Sarah. I gave her the code word “Lionheart,” and she immediately understood we were building something meaningful together. Challenges We’ve Faced (Joy’s Answer) As with any growing brand, we’ve learned how to expand while staying true to the emotional depth and intention Lionheart was built on. Because the brand is rooted in meaning, every decision carries weight, and we remain mindful of maintaining that sense of intimacy as we grow. As the brand evolves, I think about how to grow in a way that preserves that connection. Growth only matters if it deepens the emotional experience rather than detracts from it. Another part of the journey has been balancing the creative process with building a business — the tension between moving slowly and intentionally in design, and the realities of growing a brand. Learning to navigate that while staying true to our values has been essential. At the same time, building this together as sisters has meant growing in how we communicate and collaborate, strengthening both the brand and our relationship. Our Aspirations for the Future (Sarah & Joy) Looking ahead, our hope is to continue building something lasting, not just in presence, but in meaning. We hope Lionheart becomes something people keep close over time — pieces that hold memory, reflect identity, and become part of their lives. We want to grow in a way that feels intentional, creating pieces that resonate on a personal level while preserving the intimacy and emotion that define the brand. joy and sarah haugaard instagram LIONHEART

Jessica and I started talking about four years ago… about knots! I had been following her account (her rings completely knocked my socks off), and one day, she shared an image in her Stories of tangled chains. I absolutely love undoing knots—yes, I know, a bit weird! That moment sparked our connection. :) Since then, I’ve shared many of her stunning rings, and we’ve stayed in touch, exchanging thoughts on jewelry, life, and the challenges of navigating an often unfair world. I deeply admire Jessica’s work—her extensive studies, her relentless pursuit of beauty, and her unwavering dedication to her craft. But beyond that, it’s her powerful and determined attitude that truly sets her apart. To me, that’s what defines a successful and noteworthy artist. It’s not easy, but it is  completely possible—and Jessica is living proof of that! JESSICA PASS Since launching my business in 2018, I have become known for my bold statement pieces inspired by the natural world. My work draws on the Victorian era and its many fascinations. The Victorians had a penchant for intricate trinkets and jewelry with hidden meaning. They collected insect specimens and other natural treasures, displaying them in Curios Cabinets—ornate showcases of the rare and unusual. This avocation extended to jewelry, particularly after Napoleon’s conquest of Egypt in 1798, which sparked the Egyptian Revival. The trend saw an influx of scarab-set jewels, intricate Egyptian motifs, and the use of richly colored yellow gold. A renewed fascination followed the discovery of Tutankhamun’s tomb in the 1920s. Echoes of these influences can be seen throughout my collections - articulated pieces, scarab rings, and the striking contrast of rich gold against deep blue sapphires. The concept of Curios Cabinets remains central to my work, most recently reflected in my ‘Creatures of the Deep’ collection, which draws on the fascination with rare shells and coral specimens seen in early Curios Cabinets. Even the way I photograph my pieces is inspired by these historical displays. Over the years, I have refined my techniques and expanded my collections. My journey into jewelry making was driven by a deep love for hands-on craftsmanship rather than commercial ambitions. As a result, I have focused on private commissions and limited-edition designs rather than mass production. I currently work from my quiet studio in Fulham, accompanied by my dog Otto, where I can fully immerse myself in the creative process. Looking ahead, I aim to release a new collection each year while continuing to take on bespoke commissions. Commissioned work gives me the privilege of working with exquisite, high-end materials, which I deeply appreciate. In working with solid gold, I know I’m creating heirlooms that can be passed down for generations, often re working a client’s inherited stones so the sentimentality can live on. My recent trip to Jordan, and the breathtaking rock formations of Wadi Rum, left a lasting impression on me - I suspect these landscapes will influence my upcoming designs. What excites me most is large-scale, sculptural jewelry with a strong narrative. I love designing with a character in mind, bringing stories to life through form and texture. One of my future aspirations is to collaborate with the film industry in costume design. Cinematic projects allow for unrestrained creativity and dramatic, boundary-pushing designs. @erykahbadu wearing jessica pass jewelry photo by @sophographylondon for @i_d link to full article: HERE ON ID MAGAZINE

the thorn ring The first message Ian ever sent me dates back to 2021, when he wrote: “One day, I’ll make a ring that will get shown on your page.”  (he did! I shared his “Thorns” ring) And from that moment on, we never looked back! Over the years, I’ve had the privilege of sharing his incredible work and engaging in countless conversations. Ian has always been a steadfast supporter of my page, never missing a milestone. Beyond that, he has generously shared his unpublished creations, thoughts, aspirations, sketches, and designs with me—a true honor. This humble genius is a two-time AGTA Award winner and a finalist in the Tiffany & Co. Design Award. And, as fate would have it, our similar last names connect us even more—despite the small distinction of an extra ‘c’ in his! It’s a small world, indeed. I appreciate you, Ian! IAN DELUCCA I first sat at a jeweler’s bench when I was eight years old, but it wasn’t until my mid-twenties that I felt the true call to design. Since then, jewelry has become the pursuit of my life—an obsession that occupies every corner of my mind, every moment of the day. Through it, I will leave my mark on the world. Jewelry is how I express love. How I search for beauty. Like opera, painting, or poetry, it is both archaic and essential—a craft that predates the Internet, Instagram, and the modern world, yet endures because of its power to move us. But, for jewelry to live on, it must evolve. Carrying it into the future requires capturing new hearts and minds, building bridges through time, and breathing a new generation’s language into an enduring tradition. My journey took an unexpected turn when the first inquiry about my work came from Kim Jones at Dior. I had just released my debut piece—a tongue-in-cheek homage to Apple AirPods—when he reached out, asking to feature it in Harper’s Bazaar . From there, I found myself immersed in the fashion world, creating for Balenciaga, crafting models for Jean Paul Gaultier, and refining my voice. In 2023, my Thorns  ring—my first high jewelry piece—caught the attention of the traditional jewelry world, leading to collaborations with Sotheby’s and major houses. Now, as I develop two new collections, I find myself breathless at the possibilities. To bring these visions to life, I seek patronage—those who believe in jewelry as an art form and want to help carry this tradition forward for generations to come. I’ve learned that true innovation is never a solo endeavor. It is born from collaboration, shared passion, and unwavering dedication—the forces that transform something beautiful into something extraordinary. the original sketch - thorn ring the finished piece in all its glory the thorn ring - (diamonds—copper—gold) Study of a rose cutting, brooch (patinated copper, gold, tsavorite, brown diamond) the finished piece @iandelucca

My first conversations with Zanny began a few years ago when she started sharing her beautiful work with me. One of the first things she mentioned—and something I would later realize runs deeply through her artistry—was Aulë, a character from J.R.R. Tolkien’s Lord of the Rings . Zanny’s work is not only stunning but also rich with meaning, reflecting a profound connection to the earth, its metals, and its stones. She is deeply devoted to her family, proud of her heritage, and unafraid to stand firmly for what she believes in. Beyond jewelry, her creativity knows no bounds—she is also a weaver, an accomplished equestrian, and, quite enthusiastically, a face-taper (something I just might have to try myself!). Over the past four years, I have been truly inspired by her journey of self-awareness and growth, so much so that I recommended her work for the Discover program at NYC Jewelry Week (which is still live if you’d like to check it out!). More than just sharing jewelry, we’ve exchanged deep-rooted opinions, laughter, and even tears over issues that impact women around the world. It’s an honor to share her incredible story with all of you. ZANNY COX My journey into jewelry making began with gemstones. My family owned a gem and lapidary business, and I fondly remember visiting my great-grandfather’s home as a child, where the yard was filled with crystal specimens, dinosaur bones, and turquoise. He specialized in making jewelry, particularly bolo ties, using the stones he faceted. I was fortunate to grow up surrounded by the gem and mineral knowledge he shared with me, and although he lived to the age of 98, I only had the privilege of learning from him until I was 18.   The first pieces of handmade jewelry I owned were crafted by my great-grandfather, using stones from our family collection. At the time, I didn’t fully appreciate the skill and craftsmanship involved—until I picked up the tools he left me to begin my own metalsmithing journey. I started with the basics: sawing, hammering, and soldering, through an apprenticeship under an experienced jeweler. Through trial and error, I taught myself stone setting, casting, and forging. I’ve always been someone who learns best on my own, rather than in a classroom setting.   Over the years, I’ve noticed a preference for an ancient, artisanal aesthetic in my work. This inclination likely stems from my lifelong love of history—particularly the treasures of Ancient Egypt and Mexico, which I’ve poured over in books since childhood and still reference today.   I feel that I’m finally developing my signature aesthetic for my jewelry collection, one that integrates ancient techniques (which I’ve studied and taught myself), moody gemstones, and an organic, unearthed feel in each piece. My goal is to form meaningful connections with a select group of retail shops to showcase my work. I don’t envision myself building a massive brand; my true joy lies in the act of creation, and I never want to stray too far from the bench.   A quote by J.R.R. Tolkien perfectly captures my passion for jewelry making. He writes of the greatest metalsmith in the world of Arda: “But the delight and pride of Aulë is in the deed of making and in the thing made, and neither in possession nor in his own mastery; wherefore he gives and hoards not, and is free from care, passing ever on to some new work.” This sentiment resonates deeply with me and reflects my own approach to jewelry making: it’s about the joy of the craft and the process of creation. @estudiozanny

Julian’s work is truly out of this world, but the moment I saw his heart ring (pictured above), I was absolutely blown away. It’s easily in my top ten most unforgettable pieces! Over the years, we’ve exchanged thoughts on jewelry, bats (because, well—Halloween and bats are awesome), and life itself. I’ve shared many of his rings, as they perfectly align with my aesthetic, and his craftsmanship is nothing short of extraordinary. The balance of strength and sensitivity in his work is something to admire. We both love rings, cookies, and skulls—and we wholeheartedly agree that people can be hilariously silly online. I always look forward to seeing his latest creations, his generously shared processes, and, of course, his gym updates - someone has to work out, and that someone is definitely not me! :) JULIAN DE LA GARZA My name is Julian De La Garza, and I am a jewelry artist inspired by the occult and mythology. My journey into metalsmithing began unexpectedly—while studying art history in college, I stumbled into a jewelry class and was immediately captivated by working in three dimensions. Rings, in particular, became an obsession. To me, they are more than adornments; they are extensions of identity, tangible expressions of the self. I see a deep connection between art and magic, and I infuse my jewelry with both intention and power. Just as a talisman or spell gains strength from the energy invested in it, my designs carry the essence of creation. Rings intrigue me most because they remain in constant contact with the skin, forging an intimate bond with the wearer. Over time, they become an extension of the self — providing a sense of presence when worn and a quiet absence when missing. Looking ahead, I am eager to share my work with more people while staying true to my artistic roots. I plan to collaborate with select stockists to offer limited-edition collections and one-of-a-kind pieces, ensuring each creation finds its rightful owner. Whether through direct craftsmanship or a broader reach, my goal remains the same: to craft meaningful, powerful objects that resonate with those who wear them. julian de la garza @julianthe2nd

Élina and I first connected about three years ago when I discovered her account and instantly fell in love with her unique rings. To me, her designs feel like a mesmerizing fusion of origami and architecture—pure magic. Over the years, I’ve shared her stunning work, and I was over the moon when she gifted me one of her unicorn rings! I wear it often, and without fail, it always draws the most wonderful compliments. Élina is truly devoted to her craft, constantly challenging herself and generously sharing her creative process through her Stories. A fun coincidence we recently discovered—her dog, Jack, is the exact same breed as my daughter’s dog, Pessoa! Both are Australian Shepherds, making this connection even more special. ÉLINA GLEIZER I’m Elina Gleizer, a 38-year-old jewelry artist, mother to Liv, and dog mom to Jack. In 2014, my husband, Pavel, and I turned our passion into a family business, creating animal-inspired jewelry that has since reached customers around the world. Pavel, our marketing manager, plays a vital role in sharing our creations with a wider audience. For me, jewelry is more than just design—it’s about meaning and connection. I’m deeply moved by the stories people share, whether they wear a piece to feel empowered, honor a loved one, or celebrate a special moment. Looking ahead, I dream of expanding House of Ozz , our wall sculpture collection, and continuing to create designs that bring beauty, emotion, and personal significance into people’s lives. The bond I share with my customers is incredibly special, and their stories remain my greatest source of inspiration—whether in jewelry, home decor, or beyond. élina and pavel @elina_gleizer_studio

I discovered Taia’s work online a year ago, and to this day, I remain deeply impressed by her stunning creations. From the very beginning, it was clear how dedicated and passionate she is about her art. She has always been transparent about her use of AI, even when many chose to remain silent on the subject. The integration of AI in art continues to spark debate, yet Taia has consistently demonstrated both her expertise and undeniable talent. With confidence and clarity, she explains the technology to those who struggle—or refuse—to understand it. As someone just beginning to explore this field, I look forward to learning more. Art takes many forms, and creativity knows no boundaries—why should AI be any different? The key is honesty and education, helping others understand rather than fear innovation. What stands out most about Taia is her impeccable taste, her distinctive style, and her relentless work ethic. Not even the hardships of war have dampened her determination to create, despite the immense challenges she faces. It is an absolute pleasure to support her and to share her breathtaking work with others. TAIA TASMAN Eliane says: “Write about yourself in the jewelry business.” Haha. Turns out it’s much harder to talk about yourself than about someone else. But okay, I’ll give it a try — no fairy-tale philosophy this time, and no résumé. In 2016, I decided to create handmade jewelry. Naturally, I have to mention that creativity has been with me my whole life — otherwise, how else could I justify my amateurism? That’s it, all the romance ends here. For now, this journey still feels like swimming against the current. Jewelry as a business grew from my personal search for pieces I couldn’t find on the Ukrainian market. So, I started working with jewelers to bring my sketches and ideas to life, initially just for myself. Over time, I began offering some of my pieces for sale. I had no capital, no heirloom jewelry box from grandma, no special advantages or signs telling me it was the right time to start. On the contrary, I had a job in a completely different field and could only focus on jewelry when I switched to freelancing. In the beginning, my jewelry projects were funded by my salary and felt more like a hobby than a serious career path. That went on for several years. In 2019, I fully committed to jewelry. It became a time of careful experimentation in a minimalist, modern style. By 2021, my creative preferences were gradually evolving. But instead of blindly experimenting, I decided to pursue an arts education — I felt I needed a stronger foundation. While researching European universities with distance learning options and figuring out how to restructure my life around it, 2022 happened. And those plans never came to life. AI. If not for the circumstances, I probably wouldn’t have become so deeply invested in AI. A surge of new opportunities and tools appeared precisely during the war, at the same time I was struggling with worsening joint issues. Exploring new forms became both a psychological escape and the only creative process that didn’t cause me pain or discomfort. Since I couldn’t engage in other activities like drawing or hands-on design work, I spent a lot of time experimenting with AI-generated concepts — and I truly enjoyed it. My clients reinforced this new approach. As priorities shifted, and the overall mood of design changed, I let go of my old brand name, ivi jewellery, and embraced Tasman Jewelry Design. Instead of traditional sketches or collages, I started creating 3D jewelry designs using AI. This made the process faster and more effective. Not everyone understands raw sketches or technical drawings, and many clients feel more confident when they see a detailed visual representation of their idea before production begins. The current reality, shifting priorities, and a reassessment of values have strongly influenced my style and creative vision. What I thought was important before 2022 may have lost its meaning entirely today, and vice versa. I’ve become bolder in trying new things. Of course, I have personal preferences, like any consumer, but a jewelry atelier is a different story — if I only showcased pieces I would personally wear, my collection would be much more limited. Instead, I present artistic jewelry — forms that resonate with me and that my team of professionals can bring to life. On Instagram, I sometimes share my thoughts and experiences in the jewelry field, emphasizing the diversity of my work and always reminding people that this is a jewelry atelier. To me, that means versatility and creative freedom — no repetition, no routine. I want to create different pieces in different styles. Every client comes with a unique vision, and my job is to help bring it to life. A few facts: Since the war began, all my longtime and regular clients have continued to support me with orders, and new clients keep surprising me. I'm deeply grateful to everyone for their kindness, courage, and trust during these times. So, for now, I just keep going and learning. As for future plans — well, in this country, making plans is nearly impossible. Let’s wait for the war to end. Maybe it’s not too far off. Then we’ll see. this is a render this is a render this is a render this is a render this is a real ring this is also a real ring @tasman_jewelry_design

One of the things I love most about having an Instagram page is the special connections I’ve made over the years. One such connection began about four years ago when I first got to know Rita—I shared one of her stunning creations, and we’ve been chatting online ever since. We almost met in person last year when I traveled to Paris for Goldrush , Tranoï , Curate , and the exhibition dedicated to rings at GalerieSophieetc (La Bague dans tous ses etats) where Rita’s work was on display. Unfortunately, our schedules didn’t align—but I’m sure it’s only a matter of time before we finally get to share a coffee! After a challenging period in which she fractured both wrists, Rita is back, and her new collection is on the way. I have no doubt it will be exceptional, comme d’habitude. Her designs are organic, extremely powerful, and vibrant—I’m a huge fan and proud to own two of her exquisite pieces (from the Rêverie and Divino Inferno Oxymoron collections). I wear them often and always receive so many compliments. It’s an honor! Here you can see just a few of her stunning rings, but I highly encourage you to visit her website and explore her phenomenal collections. RITA MARTÍNEZ Mine is a love story. I arrived in Italy with a suitcase full of books and a child in my arms, ready to embrace a new chapter. I pursued a master’s degree in intercultural conflict resolution with a specialization in journalism. However, upon completing it, I realized it wasn’t truly my calling. As a historian, restarting my academic journey from scratch felt daunting—my previous studies were not recognized. Like many who migrate, I experienced a sense of loss and the challenge of reinventing myself. It was neither easy nor always pleasant, but with perseverance and discipline, I managed to build a life in Italy while preserving the essence of my cultural roots. Becoming a jewelry artist was never part of my plan. Growing up in Latin America, I was taught that education was the key to a woman's freedom and financial independence. As a child, I dreamt of becoming a dancer, but my arrhythmic nature forced me to let go of that dream. I was also drawn to anthropology, yet studying it would have required moving to Mexico—a sacrifice I couldn’t make while supporting my mother and younger siblings. Instead, my love for reading led me to history. Now, through jewelry, I unconsciously channel my training as a historian. Research ignites an indescribable passion in me—it gives me butterflies. Jewelry is not just a medium for artistic expression; it is the crystallization of a personal vision. More than a creative outlet, it is an intense, full-time pursuit. I dedicate 8 to 12 hours a day to my craft—it is anything but a simple hobby. Each piece I create presents a challenge: transforming my research into tangible form, experimenting with diverse materials and techniques while maintaining originality and personal style. Another ongoing challenge is balancing my deep, exploratory research with the practical demands of clients, galleries, museums, and retailers. Currently, I am working on a new collection for Autor 2025  in Bucharest this May and hope to return to Contemporania 2025  in Barcelona this October—this time with a different spirit. Last year’s participation was a personal challenge, as I was recovering from the fracture of both wrists. The journey has been demanding, but every obstacle has reinforced my determination. @ritamartinezjewelry