THE ART DECO COLLECTION

Art Deco emerged in the years between the wars — a movement born of contradiction. The world had just survived catastrophic violence, and yet Paris, New York, and Berlin erupted in geometric ornament, lacquered surfaces, and an almost defiant elegance. The style drew from ancient Egypt, from Cubism, from the machine age and the jazz club in equal measure. It was simultaneously modern and mythic.

The women who inhabited this era were not its backdrop. They were its architects. They ran salons, published literary journals, performed on international stages, and redefined what a woman's life could look like — intellectually, artistically, and sartorially. Their aesthetic choices were not vanity. They were argument.

Each piece in this collection is named for one of them — not as tribute, but as conversation.

Les Femmes

Kiki
She was the sun of Montparnasse. Model, painter, cabaret performer — and the gravitational center of an entire artistic world. Citrine, dragon vein blue agate, sunstone, white quartz, and 18k gold plated sterling silver. Concentric oval pendant. A tribute to Kiki's light and depth.
Josephine
She electrified Paris in a way the city never forgot — and never quite recovered from. The chevron chain is handmade, each link a deliberate echo of snakeskin. Silver shimmer obsidian, hematite, and lampwork glass in 18k gold plated sterling silver. The snake pendant is glass; its bail, 24k gold. Pure voodoo.
Zelda
She trained as a ballerina before the world knew her name — convinced that discipline and wildness were never meant to be opposites. Lampwork glass, amethyst, and red enamel in 18k gold plated sterling silver. A dance between structure and flow, containment and abandon.

Djuna
She wrote in shadows and lived without apology — a novelist, journalist, and playwright who refused every category the world offered her. The winged pendant is handmade: three irregular labradorite nuggets, raw and deliberate. Milk quartz, mother of pearl, and black Preciosa crystals in sterling silver with sea shell accents. Severe. Luminous. Entirely her own.
Coco
She dismantled the corset and handed women their freedom—one clean line at a time. For Chanel, style was not decoration — it was position. Every choice deliberate, every line considered. All black Preciosa crystals with gold accents, a handmade hexagon pendant in 18k gold plated sterling silver. Precise. Unapologetic. Exactly enough.
Tamara
Tamara de Lempicka painted herself into immortality and dared the world to look away — a portraitist of the Jazz Age whose subjects were power, beauty, and herself. When Tutankhamun's tomb opened in 1922, all of Paris went Egyptian, and Tamara went with it. This bib is her answer: six articulated pieces graduating in size, black and orange enamel inlay, black Preciosa crystal, orange aventurine, vintage open barrel beads. Commanding. Ceremonial. Bold.

The Art Nouveau Trio

Anaïs
Art Nouveau never quite surrendered to the Deco age — it retreated inward, into gardens, into interiors, into the self. Anaïs Nin lived entirely in that interior. Her diaries are a world unto themselves — vast, sensory, ungovernable — yet held within the discipline of the page. This pendant works the same way. En ronde bosse, finished identically on both sides: a cloisonné world of butterfly and flower, honey and warm orange, royal blue Czech glass, warm gold — rich, contained, complete.
Misia
Bonnard painted her half-reclined on a velvet sofa, a dark fur slipping from one shoulder — a woman with nowhere to be and no intention of leaving. The most celebrated salon hostess of the Belle Époque, the woman Coco Chanel called her closest friend. Warm where Chanel was angular. Intuitive where Chanel was disciplined. This strand moves the same way she did: smoky purple lampwork glass with silver foil interiors, light purple tourmaline, peach aventurine, carnelian, powder blue celestite — warmth and cool restraint, oscillating. At the center, a vintage Art Nouveau botanical pendant. Found. Lifted. Reframed.
Loie
She was a dancer who couldn't really dance — and she invented herself completely anyway. Loie Fuller performed with 100 yards of silk on long wands, under colored electric lights she designed and patented herself. She was Art Nouveau's living muse: color as sensation, joy as art. This strand holds both worlds — rose quartz and Indian jasper at the center, botanical and luminous; a handmade chain of gold hematite and teal glass, architectural and precise. At the center, a double gold orbit pendant — a diagram of her famous Fire Dance — with a hand-placed moss agate stone suspended at its heart. The garden inside the geometry.

Era's End

Belle
Belle Kogan called herself "the lady with the hammer" — and her work spoke pure Art Deco: strict geometry, repetition as principle, decoration inseparable from structure. She was the second woman ever to receive the Industrial Designers Society of America award. Most people have never heard her name. This collar speaks her language: estate-sourced white gold-toned arch components, alternating baguette drops in smoky grey crystal and blush enamel, dark and light, dark and light, uniform across the full sweep. The same form, modulated. She thought exactly this way. Rigorous. Geometric. Uninterested in your approval.

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ARRIVES JUNE 7TH, 2026