But brands like Super Smalls, which was founded in 2019 by Maria Dueñas Jacobs, are changing that. With jewelry and accessories intended for ages 3–13, Super Smalls gives kids the opportunity to express themselves like any jewelry lover would—and as a jewelry editor with two super small girls, might I just say they couldn’t have come at a better time.

Jeweler Emily P. Wheeler has made the line even more covetable by bringing her signature design to the children’s accessories. Wheeler’s collaboration with Super Smalls offers the ultimate mama-and-me family matching opportunity: a popular Super Smalls piece for the little one, and a full-size unique fine jewelry version for the grown-up, to complement the mini.

JCK had a few questions for Wheeler about her work with Super Smalls, how becoming a mom has affected her business, and her plans for Jewelry Week in Las Vegas.

How did the collaboration come about? 

Super Smalls and my own brand share the same whimsy-meets-luxury perspective. The only difference is our target audiences—though we both have very keen admirers on the opposite end of the age spectrum. I’ve been a follower of Super Smalls since they launched in 2019, and when I first saw their Magic Unicorn pendant, I knew we had to make something out of our joint philosophies. I reached out to Maria, and it all came together very naturally.

The pieces I created for the collaboration were based on Super Smalls’ best sellers but elevated with precious materials. The integrity of each design is still Super Smalls at its core, but I added my own signature touches like ombré sapphires and hard stones like tiger’s eye, agate, and turquoise.

What has been the reactions to the new releases?

The reception has been amazing! We celebrated the launch with a Mother’s Day event in L.A., and it was so fun to see moms and kids together enjoying and twinning in our pieces. We’ve also had an enthusiastic response on social. I mean, how can you see bejeweled four-leaf clovers and unicorns, and not smile?

You welcomed a little one not too long ago (congratulations and happy belated Mother’s Day!). Has designing jewelry changed for you since becoming a mom?

My Bernadette collection is dedicated to my daughter, Byrdie—it debuted at Couture last year, just after she was born. The collection is a celebration of female empowerment, so it was particularly fitting and important for it to come into the world at the same time as my daughter. In true Emily P. Wheeler fashion, the pieces are unapologetically feminine, and I hope that my work teaches her to embrace her identity.

Beyond designing, the impact of our work has become even more important. Since I started the brand, it’s been my mission to create jewelry that is as responsible and sustainable as possible. I’ve always felt we have a responsibility to do our part to better our industry and the planet, and it’s all for the generation my daughter is a part of and those that follow.

I’m a sucker for anything mama-and-me, especially when the kids are still too small to be embarrassed by me. Do you design any jewelry with your child in mind?

Byrdie is so little that I haven’t created anything for her to wear right now (I leave that to Super Smalls), but I definitely design pieces with the hope that she’ll want to wear them when she’s older.

What are you most looking forward at Las Vegas Jewelry Week?

I’m excited to debut my new Rebels collection at Couture this year. It’s a throwback to my teens in the ’90s—think: black silk cord chokers, pink and green color blocking, and of course more ombré.

Top: Super Smalls’ Lucky Streak four-leaf clover necklace (left, $34) and Emily P. Wheeler’s fine jewelry version (right), a clover necklace in 18k yellow gold with 3.48 cts. t.w. sapphire and crystal quartz, $9,800

The other version of Sadoughi is a practical old soul whose prowess in math, marketing, and business has built a wildly successful accessories company, also named Lele Sadoughi, that just opened its fourth retail location within two years. The Houston store opened in April in Sadoughi’s home state of Texas, and she plans to add as many as four stores per year going forward.

Her life has often been a balancing act, Sadoughi says. The girl who always wore a bow on her head that matched her clothing grew up to be a woman with an eye for products people love to wear, and the ability to analyze costs and determines value.

“I’ve always had a point of view. I’m not a trend follower. I know what I like, and I’ve known it since a young age,” Sadoughi says. “Our brand champions color and maximalism—that’s our DNA, and it spreads across every category.”

Sadoughi was born and raised in Dallas, the middle of three sisters—her older sibling was sporty, and the youngest was the family comedian, she says. Their parents supported Lele’s creativity: Her mother recognized her ability to draw and made sure she could take art classes, explore the arts, and feel free to be that kid who loved to dress up when everyone else was wearing sweatshirts and bike shorts.

At the University of Texas at Austin, Sadoughi majored in advertising but kept up her interest in fashion. She thrifted, went to weekend flea markets, searched eBay for the costume jewelry she adored. Her jewelry blossomed into a collection, and she enjoyed researching a piece’s provenance as much as wearing it.

“Advertising seemed practical; I was never forced into it,” Sadoughi says. “But I am practical about how I do things. I know what things should cost. I know how to get things done.… My best advice [for young designers] is to learn on someone else’s dime. Absorb everything—production, planning, copywriting.”

Her first job after college was at a small fashion brand in Los Angeles. She later moved to New York, working at Rebecca Taylor as an associate trim designer and then at Ippolita as an associate jewelry designer, creating pieces for accounts including Banana Republic, Club Monaco, and Neiman Marcus. In 2005, Sadoughi joined J. Crew, where she started its jewelry selection and grew it into a $60 million department.

In 2012, Sadoughi made the decision to establish her own brand of jewelry and a wider range of accessories. Lele Sadoughi‘s categories now include its beloved headbands, belts, handbags, home goods, and more.

Sadoughi’s office today shows off her feminine style—her chair is hot pink, and her bookcases are filled with hundreds of headbands—and her desk is covered at all times with fabric, gemstones, and trim. Though she spends more time on the business side, Sadoughi pursues creative opportunities when she can, developing new product and designing her stores.

“I felt very prepared and had a lot of confidence. When you’ve done something long enough, you mitigate the risk of not knowing what you’re doing,” Sadoughi says. “But even with your own company, you have to be agile. I’m learning new things all the time.”

Top: Lisa “Lele” Sadoughi just opened her fourth retail store and plans to open dozens more in the coming years. (Photos courtesy of Lele Sadoughi) 

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Knot Life, which debuted May 23, is a design partnership between Chien and Cast, the San Francisco-based collective cofounded by Rachel Skelly and Eric Ryan. In earrings and pendants, Chien’s knots are elegantly wrapped in 14k gold and sterling silver around charcoal jade, gold, or silver hoops.

For Chien, art is a third career—she formerly worked in the music industry and then joined Apple, where she focused on iTunes. When she quit that job, Chien says she wanted to use her hands to craft something. She tried ceramics and woodworking, but knotting proved the best art form for her.

“My mother taught me in the 1970s when macramé was everywhere—we were all making plant hangers,” Chien says. “I took a refresher class after Apple, and I fell deeply in love. I started small with little rope necklaces and hanging pendant lights. Then, I took it into the realm of fine art.”

Chien is now known for her room-size installations, which she says are meant to show the importance of domestic arts done by women, especially those of a mature age.

“It became about taking up space,” Chien says. “Domestic crafts are often seen as hobbies. But all of that work is valid in our world. When I make [knots] at a massive scale, I feel a sense of awe at it. The work becomes bigger than myself.”

Skelly’s husband worked with Chien at Apple, and she has long followed Chien’s artistic journey. As a former graphic designer, Skelly says was eager to bring Chien into Cast to see what she could do in a new medium.

“The collaboration was interesting because we wanted an artist who didn’t come from jewelry. We knew jewelry and the materials, and Windy knows art and her materials. It was such a fun partnership because of that,” Skelly says.

“We always knew at Cast that we wanted a knot collection, and Windy was at the top of my list, so I sat down and pitched her the idea,” she says. “Knots have been traditionally used in many industries, and they’re a language. For Cast, I wanted a modern take on knots as a symbol.”

At that first meeting, Chien astonished Skelly by weaving a necklace as they talked. She gave it to Skelly as a gift when they completed their conversation.

Chien says there are more than 4,000 kinds of knots, and translating knots into jewelry using different gauges of gold and silver mesh was a challenge she enjoyed. The collaborators selected charcoal jade for some of the pendants because it symbolizes protection, connecting the knot and the stone.

To realize the designs, Chien and Cast had to innovate how the knots work around these materials and how to put the pieces together, Skelly says. As a result, the jewelry is not only a statement in terms of texture and luxury, it also has a sense of lively movement.

“Windy’s work is not a hard, structural thing. It flows and moves,” Skelly says. “If you look at the earrings we created, they spin. They move. They’ll never look the same way twice.”

Top: Windy Chien, known as the knot queen within the fine art world, has applied her specialty to a collaboration with Cast, a jewelry collective that showcases women designers. (Photos courtesy of Cast)

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Since his death, Castro’s family—his son Sir King Castro, in particular—has been at work to preserve the self-taught jewelry designer’s legacy. The result is three large projects: a newly updated website, a Castro NYC Certified Program to authenticate jewelry for owners, and a soon-to-be-announced acquisition by a major museum.

“Castro NYC is open for business, and pieces are available through email and private messages on Instagram,” Sir King Castro tells JCK in an email interview.

Castro, who serves as the company’s creative director, updates JCK on the steps the family is taking to ensure his father is honored for his achievements and Castro NYC continues.

The news of your father’s death struck the jewelry industry hard as it was a surprise to many. How are you doing? 

My father’s passing came as a shock to all of us. I think we will always feel like a part of us is missing. Those who knew Castro closely know that family and community were extremely important to him. I called him the Connector. In many ways he was the glue that held us together, and he challenged us to connect even when it was hard. He was always full of energy, he really lit up any room he was in, he could always improve your mood, and he always challenged you to expand your mind. So to lose him has been challenging for us. My uncle and grandmother and I are still grieving for Castro. We know he’s in our hearts and still lives on through us. It doesn’t make it easy, though.

Why was it important to you to make sure his legacy was protected and recognized?

As a Black man in this industry, I know how much my father went through to carve this lane in the industry. And I know how much he put into his work for years with almost no recognition. The last three years or so, Castro was beginning to get mainstream attention, with collaborations with De Beers and Sotheby’s, among others. I truly believe if he had stayed with us a few more years, we would have seen Castro NYC break through to the highest level of jewelry. He made his name on Instagram “Museum Pieces” shortly before he died, so I knew where he wanted to go. I now have the option to maintain a legacy, which is something many Black people and people of color never have the privilege of doing.

What can we find on the Castro NYC website now?

On the new site you can read about the story of Castro and the evolution of Castro NYC, leading up to some very big news this year. We also have a small archive with high-resolution photos that you can browse. I wanted to create a sort of virtual gallery so that anyone unfamiliar can get an introduction to the world of Castro.

Tell me about verifying ownership in Castro’s work—I appreciate that you are doing this for collectors.

What I’m most excited for with the website is our Castro NYC Certified program. The purpose of the program is to provide official documentation to collectors. We request that collectors upload photos of their pieces along with other key information. We then assess the piece based on the info provided and send a certificate of authenticity with a permanent serial number. There is a fee of $180 for the entire process. We hope to work with our collectors to increase the value of their acquisitions. Whether they decide keep their piece or sell, we aim to create a healthy secondary market where Castro enthusiasts can trade with confidence.

When might info about the museum be available?

The papers haven’t been signed yet so I can’t share details, but I can say that Castro will be acquired by a very major world museum this year.

Top: Terry Castro, the late founder of Castro NYC jewelry, is being honored through a variety of new projects. (Photo: Simon Groneberg/courtesy of Sotheby’s)

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The 92nd Street Y has doubled the number of participants and added instructors in its Teen Gems program, which provides New York City public high school students with jewelry industry education and experience, including internships and classes with jewelry artists and professionals. The 2023 program is sponsored by the De Beers Group and an anonymous donor, and internships are arranged in partnership with the NYC Department of Education.

Students who have an interest in art and design but may not have access to key aspects of a jewelry career, like studio equipment or comprehensive training, are recruited for Teen Gems, says Jonathan Wahl, director of the 92nd Street Y’s Jewelry Center. It is free of charge for participants.

Objectives of the program include exploring a student’s abilities, creating confidence in art, and setting up leadership opportunities, Wahl says. Students are given the time and space to explore whether a career in jewelry may be right for them—and interacting with jewelry industry professionals could spark them onto this path.

“There is little to no access to jewelry studios for teens in NYC with or without resources. Learning the skills of soldering and fabrication, learning to master fire—these are life-changing experiences,” Wahl says.

The Teen Gems program is also conducted in collaboration with New York City Jewelry Week, which helps coordinate visiting artist talks and arrange internships.

“The jewelry industry has a responsibility to open doors and create opportunities for the next generation of talent,” Sally Morrison, director of the natural diamond initiative at De Beers, said in an email interview. “We love Teen Gems because the program offers not just support and education but community for aspiring young creators curious about exploring a career in the craft of jewelry-making.”

In April, the 92nd Street Y hosted an event with De Beers that celebrated Teen Gems as well as the book Ice Cold: A Hip-Hop Jewelry History. Author Vikki Tobak, artist and producer Slick Rick, and stylist June Ambrose participated in a discussion about the past, present, and future of jewelry through the lens of hip-hop, moderated by Janelle Okwodu, Vogue’s senior fashion and culture editor.

The conversation touched on collaborations between hip-hop musicians and jewelry businesses, like Pharrell joining Louis Vuitton as its men’s creative director and Beyoncé and Jay-Z’s work with Tiffany. Students had the opportunity to speak with the event’s guests, says Wahl, who adds that he hopes to continue to grow Teen Gems with De Beers and other support.

Top: The book Ice Cold: A Hip-Hop Jewelry History was featured in a recent event where the 92nd Street Y and its partners, including De Beers, celebrated the expanded Teen Gems program. (Photos: Madison McGaw/BFA.com/courtesy of the 92nd Street Y)

These “wearable sculptures,” as the designer aptly calls them—jewelry versions of her own acclaimed sculptures—were only created in the past year, Mia’s introduction to the jewelry industry. She will be bringing them to the Design Collective on the show floor at JCK Las Vegas, an event we’re eagerly awaiting.

With two weeks to go before JCK, we spoke with Mia about her expectations for the show, her target clientele, storytelling through art and jewelry, and more.

What sparked your interest in the jewelry industry?

I’ve been a sculptor for several decades, working to reveal enchanting nuances of character in the smallest details of each piece I create.

The development of children—their physical transformation and their emotional growth—is my work’s greatest inspiration, never ceasing to fascinate me and drive me to attempt to capture their vibrancy and radiance.

The first and most honest depiction of my heart, a sculpted response to life around me, was of my daughter, my first child, shortly after she was born. The sculpture was such a creation of love that I made every effort to sculpt her exactly as I saw her, how she felt under my fingertips, and how she made my soul feel. This expression of profound love was so fulfilling that ever since, I have been sculpting similar love stories—stories that belong to so many of us.

So as a sculptor, I am also a storyteller speaking not through linguistics but through raw emotion, recognizing and cherishing any glimpses of individual stories in their purest form.

I decided to create jewelry to keep the uplifting stories of the sculptures ever vibrant, proactive, and at the front of mind. My jewelry is designed and created using only components of my sculptures. This compositional re-creation allows the story of each sculpture to be continued, worn, and thus shared more freely than its stationary sculpture counterpart.

What do you like best about designing jewelry? 

My favorite part of designing the jewelry is seeing my sculptures in an entirely new way, allowing the original stories of the sculptures to be retold in an exquisitely intimate composition. I love seeing a sculpture in a new environment, a setting so small that it becomes a storyboard—for example, within a cuff bracelet or a story detail in an earring.

What has been the reception to your jewels so far?  

I have been delighted with a wonderfully enthusiastic response to the jewelry. People tell me that they’ve never seen jewelry quite like it before, and that the look and feel of it speaks to original art.

I have two daughters in their late 20s with opposite and very particular tastes. They both love the jewelry, fashioning their daily outfits around their jewelry choice of the day. Their friends and coworkers are excited about it too. We as parents secretly strive to be “cool” with our kids; I’m thrilled that the jewelry has helped me make the cut!

What kind of customer do you create for—who do you expect would be most interested in your jewelry? 

Currently I create for women of all ages. I think that older teens to great-grandmothers will identify with at least one of the stories of the jewelry. Some pieces have narratives of boldness, confidence, and bravery like in the Vigor collection, and others are romantic and tender like those of Harmony. The Soaring collection delivers a universal message of empowerment, and Arise, with birds from every continent of the globe, celebrates solidarity and equality. She Moves the Stars, Lift Her With Butterflies, and Sunshine Every Day all cherish the exuberance, light, and pure joy of childhood.

I hope that my customers will see my jewelry as keepsakes, with stories to be shared with those near and dear to them.

What are you most looking forward to at the JCK show?

I have heard that the show is extremely busy, with jewelry devotees from all over the world. I am excited to step into this new arena, which is sure to be a departure from the leisurely and contemplative settings of the fine art exhibitions where I show my sculptures.

I am looking forward to thoughtful, constructive feedback on my jewelry, especially from retailers who know their clientele well and are looking for something new and different to offer them.

Are you preparing anything new to showcase at JCK (and, if so, are we allowed a sneak peek)? 

My entire jewelry line is new—I’m thrilled to share it with you.

Top: Harmony cuff in 18k gold-plated bronze and hand-painted ivory, $500; Angela Mia

On a recent call with JCK, she spoke about the general trends that all diamond jewelry retailers should capitalize on, the specific product trends poised to perform well in the second half of 2023, and what younger diamond consumers care about most.

What was the impetus for the report NDC recently published, “Diamond Facts: Addressing Myths & Misconceptions About the Diamond Industry”?

It’s something we constantly do, addressing the myths of the industry and busting them with facts. Especially with the boom we’ve seen in the industry, with demand being up, it also means confusion and misleading information is more prevalent. The objective was twofold: to protect the integrity of the industry overall and to protect the consumer, make sure they’re equipped with data that’s best for them.

It’s about providing an arsenal of tools that the industry can use that’s very consumer-friendly. We really focused on 11 facts or myths—the ones that come up the most and have a lot of confusion around them. We created an article on our website with a four-page summary that independent jewelers love and have been using for internal training. And then we have the full 40-plus-page report that backs up all of the facts.

Let’s shift gears: What’s your read on the diamond jewelry marketplace in 2023?

A bit mixed, but overall very positive. We hear a lot from official retail partners. We are not seeing a slowdown in fashion jewelry and the self-purchasing trend, which is still growing at a pace that’s exceeding that of bridal. (Signet had forecasted a slowdown in bridal because of the peak in engagements last year.) Overall we’re hearing things are good—demand is there despite inflation, recession, all the things you hear about.

We’re also seeing the tech implosion, like when Silicon Valley Bank collapsed, as just another opportunity for people to appreciate the value of natural diamonds. When something like that happens and creates a feeling of uncertainty in the marketplace—and we saw this at the height of the pandemic—we see people investing in things that have tangible, lasting value. It’s good for our category.

Can you talk a little about diamond trends this year?

There are general trends and more specific product trends. First, the general trends: One that keeps growing and not slowing down is self-purchase. All data is pointing to the fact that it’s outpacing bridal, especially in terms of volume. Yes, self-purchase is pegged to milestone events, but also “just because.” There’s a frequency of purchase opportunities. And coupled with that, men’s jewelry is not slowing down either. Men are donning diamonds.

Interestingly, quiet luxury—this move against disposable fast fashion and toward more conscious consumerism—natural diamonds, I think, have a central place there. Their generational value, their uniqueness, their personalized expressions. The long-lasting value of diamonds, the recycling of diamonds generationally—it’s all in direct opposition to disposable fast fashion. And with quiet luxury, you can make a more subtle statement about your style, your story, and your status.

Another general trend: On the frontier of innovation are the contemporary designers, who are doing inventive, original things with diamond jewelry, showing us how they should be worn and styled. When you think about it, the Tiffanys and Cartiers are really looking to heritage, whereas contemporary designers are looking to their own stories and the future. We know Gen Z is now at the getting-engaged phase. We also know they are buying diamond jewelry before getting engaged. Tennis necklaces and tennis bracelets are among the most searched terms and the most requested graduation gifts.

What about specific product trends?

What we hear from retailers is there’s no slowdown in diamond classics, driven by the self-purchase phenomenon. “I’ve got to get my foundation. I need my studs, my hoops, my tennis necklace.”

We’ll be launching at JCK a report identifying trends for the year. We’re looking at statement or choker necklaces, this idea of “second skin” bangles, a return to the ’90s. We’re also seeing a return to the ’70s—bold but still very free, a reflection of where we are culturally, with bold shapes and color and individuality.

Demand for unusual engagement rings is not slowing down. The classic diamond solitaire will always be popular, but we’re seeing more demand for something unique, like the “akimbo” setting, where the stones are askew. These rings are so playful and elegant. They’re changing things up.

It really ties into what the younger consumer is looking for. They want originality, less conventional things—natural diamonds that are not as perfect, might have a little salt-and-pepper. They are embracing inclusions, a reflection of how we present ourselves. There are no boundaries. They see beauty in imperfection. People are really feeling connected to that.

Top: Calamari earrings in 18k white gold with 2.36 cts. t.w. diamonds, price on request; Martin Katz

Verragio Fine Jewelry debuts May 16 with three collections, extending the brand’s recognizable style to earrings, necklaces, bracelets, and rings that offer Verragio’s signature qualities, including diamonds, detail, and beading.

Founder and CEO Barry Verragio says the new collections—Veritage, Reverie, and Devotion—were created because of the changing industry—with more women self-purchasing fine jewelry for themselves—and customer demand for wearable yet luxurious pieces.

“Our goal with bridal was always to be identifiable to the consumer. This is an expansion based on that. When you pick up a Verragio, you know it’s a Verragio,” he says. “We have a huge following, and our customer has been asking for this extension for a while now. But it had to have what drew them to the brand initially—uniqueness, elegance, workmanship.”

Verragio creative director Sophia Macris developed the fine jewelry collections and says more will be added.

“Verragio Fine Jewelry lets you tell your story and combine pieces in a way that’s very personal,” Macris says. “Maybe you wear a stack of rings or bracelets. Maybe you have multiple piercings. There are so many ways to wear jewelry now that we could present the same five people with a tray of our pieces and each one would wear them differently.… We want to be your favorite piece of jewelry, and we want it to be the first thing you put on every day and the last thing you take off.”

Macris says the first three collections connect to Verragio’s engagement and wedding jewelry, using those beloved designs as inspiration for new looks.

For example, Veritage diamond pendants and hoops use the iconic Verragio crest, signature beading, and classic settings like the halo from the brand’s bridal collections. The Veritage pieces come in a variety of sizes and with different levels of diamonds, so the customer can select how dressy or casual they wish to be.

“These are the essentials that give a woman a jewelry wardrobe to choose from,” Macris says. “Think of it as the perfect red lipstick of your jewelry box. There is something here for everyone, whether you’re going out to dinner or heading to the beach.”

The Reverie collection focuses on pearls and offers a soft, feminine look, Macris says. “Pearls have always been this amazing gift from the sea,” she says. “We feel like we’re using them in a way that feels wearable and in line with how people are living their lives right now. They’re for special days, like a wedding, or for giving as gifts on a special occasion.”

The Devotion line features diamonds, colored gemstones, and richly detailed pieces that only Verragio’s New York–based craftspeople could achieve, Macris says.

“It’s spectacular. They’re like magic,” Macris says. “We created pieces that when you mix and match them allow you to express your personality. You can pick up the colors that are meaningful to you, like a birthstone of the people you love.

“Fine jewelry is about celebrating the small things,” she adds. “Nothing feels better than putting on a piece of jewelry in the morning and remembering the moment when you received it.

“And it doesn’t have to be a big moment. It’s about celebration and joy.”

Top: Longtime engagement and bridal brand Verragio is introducing its first fine jewelry line with three collections that feature its signature beading, diamonds, and pearls. (Photos courtesy of Verragio)

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That was one of the takeaways from our informal poll of three jewelry tastemakers, including L.A.-based designer Octavia Zamagias, whose Octavia Elizabeth is stocked by Just One Eye in Los Angeles and ModaOperandi.com, among other high-end retailers; Laura Freedman, founder of Broken English Jewelry, with boutiques in L.A. and New York City; and Elizabeth Gibson, founder of Eliza Page in Austin, Texas.

“The whole lab-grown thing has perplexed and confused everyone,” Zamagias tells JCK. There’s less desire for that 4 carat round brilliant.”

The other trends our tastemakers noted include an emphasis on elongated diamond cuts, such as ovals; statement styles, especially long earrings (think shoulder dusters!); and unusual settings—in short, the opposite of basic!

We’ve collected specific trend highlights below.

Laura Freedman

Founder, Broken English Jewelry, Los Angeles and New York City

“When it comes to this classic stone, I’m seeing shoppers much more focused on originality rather than something super-traditional. They’re not afraid of something with a twist and are actually asking for it with interesting stone placements, reworked versions of classic settings, and very bold proportions. We’re in a total diamond renaissance right now and it excites me that people really want to have fun with their investment pieces instead of playing it safe.”

“Off-set diamonds, such as round diamonds with pears to the side. Everything askew.”

“Reimagined Georgian-style settings”

“White gold settings”

“Collars and larger cuffs”

Octavia Zamagias

Founder, Octavia Elizabeth, Los Angeles

“We are seeing more people interested in colored diamonds, especially yellow. And three-stones are back. Two years ago, everyone wanted a solitaire.”

“We’re getting a lot more requests for bezel settings.”

“So many clients are wanting an eternity band as an engagement ring. And the wedding band ends up being a simple 18k gold stacking band that goes beneath it.”

Elizabeth Gibson

Founder, Eliza Page, Austin, Texas

“Diamond ear climbers are back!”

“In engagement, we are seeing more fancy shapes, specifically pears and more elongated shapes (elongated radiant and movals).”

“Tennis is still huge. We are setting more and more variations in various sizes, diamond combos, shapes, colors, including three-prong-set tennis necklaces and earrings.”

“Long dangling diamonds in earrings, dangles, and drops.”

Top: Champagne Dome ring in 18k gold with 13.17 cts. t.w. champagne diamonds, $30,000 Octavia Elizabeth

One of the favorites is Brenda Smith. The Atlanta-based designer will leave your mouth agape with her offerings on display, and she has plenty to share about them. A visit with Brenda—abundant with creativity and expertise—is an exciting (and educational) experience. I can’t wait to see what she’s showing this year.

One piece I’m longing to try on is this lavender Laguna agate necklace, like a winged fairy floating on 18k gold. It’s pure art, and its purple gem fixture is spellbinding.

“I commissioned Glenn Lehrer to do the body carving,” Brenda tells JCK. “He sent photos of several stone options. Ultimately I decided on this—you can see the mapping marks to take the most advantage of striations and markings in the mineral, which is lavender Laguna agate from Mexico.

“Since I enjoy working with pearls,” she continues, “I have a nice selection from which to choose, and this natural metallic-colored pearl was the perfect solution to coordinate with the rich 18k yellow gold setting and the lavender agate. VVS diamonds encompass the image, enhancing the figure and protecting the agate. The reverse side features a flower filigree motif in gold, accented with diamonds, to support and protect the overall piece.

“Finally, the whimsical figure was given life by the application of the red tourmaline heart set in platinum and attached to the filigree on the reverse side,” Brenda says. “The inspiration came from the final laguna agate carving that just wanted to be a fairy, a whimsical figure.”

Whimsy was an entry in the American Gemstone Trade Association’s (AGTA) 2022 Spectrum Awards (Brenda’s designs won and placed second in two other categories). I hope to get my hands on this in Vegas!

Top: Special Stones collection pendant in 18k yellow gold with 61.59 ct. lavender Laguna agate, freshwater cultured pearl, 0.3 ct. tourmaline heart cabochon, and 1.5 cts. t.w. diamonds, $39,660; Brenda Smith