worked with it as a designer for other brands’ projects. Since its debut, her wooden disk bead necklace has become popular, especially when paired with the Carpe Diem pendants, she says. TRADING CHAINS FOR LEATHER Leather is another alternative material that many designers have been featuring in recent collections. The use of the material fits into not only the alternative material trend but also the Western wear trend that gained traction last year during Beyonce’s “Cowboy Carter” tour and again in 2026 for the year of the Fire Horse. “It’s nice to have an option that doesn’t cost as much as a gold chain. It’s also become cool fashion-wise because designers have moved more towards detachable pendants than when everything used to come as a necklace with a chain,” Molofsky says. “I think leather is here to stay and that’s one thing we’ve seen grow- ing; people want that option for their expensive, gold-heavy pieces.” As the price of gold kept rising, designer Marie Lichtenberg ele- vated her brand from 14- to 18-karat gold and quit using silk cord, a signature component of her locket and scapular necklaces. Instead, the designer has been embracing leather with her “Lasso” baby locket bracelets, which debuted in January, featuring Italian calf leather and 18-karat gold accented by a diamond, ruby, or emerald. “It’s a little step into the leather world that we’re going to explore a bit more,” Lichtenberg says. However, she notes that using leather won’t bring down the cost of her pieces because the price of production drives it up. “Whatever pieces we’re doing are a pain in the ass, meaning that everything is complicated, intricate, difficult to make, difficult to produce. The baby locket is 18-karat gold, intricate opening and closing, heavy, [and] expensive. “The ‘Lasso’ necklace that we are making, the clasp on everything, they are handmade in heavy gold. It’s not inexpensive. This is very expensive,” says Lichtenberg. At the 2025 Couture show, she debuted a khaki-colored suede leather bandana featuring 18-karat yellow gold, rubies, and diamonds. It was crafted at a workshop in Bologna, Italy, by the same craftsmen who have done the embellishment work and embroidery for Prada for the last 14 years. The high jewelry bandana retails for $282,840. “Whatever we’re going to use, we want to use it in the best and most luxurious way,” Lichtenberg says. “Now it’s leather but maybe it’s going to be cashmere in two years. I don’t know.” Lichtenberg also is playing with the idea of using glass, resin, and wood—with the latter an already existing offering—in future designs. Nanis Italian Jewels also debuted an 18-karat gold and leather col- lection of bracelets, necklaces, and rings in January. The “Duo” pieces feature leather straps in three colors with the brand’s “boule” motif in 18-karat gold as the clasp, set with stones like onyx, turquoise, malachite, or pavé tsavorites and green sapphires, diamonds, and blue topaz. In a press release, Nanis President and Creative Director Laura Bicego explained that the Duo collection belongs to neither gender; it is the meeting of “softness and structure, technique and instinct.” Its name is a metaphor for a balance of two materials, leather and gold. THE ONLY WAY OUT IS UP Pricing has been an issue because the cost of gold has rapidly increased, causing many to home in on the intrinsic value of their pieces. Molofsky explains that a piece’s intrinsic and investment value has vali- dated her designers’ decision to continue using precious metals, diamonds, and colored gemstones. “How it stands the test of time, how these pieces don’t go down in value. In fact, we’ve only seen them go up. It’s sparked a conversation NATIONAL JEWELER 57 Marie Lichtenberg’s “Love You” spinning scapular with sapphires, diamonds, and blue enamel on 18-karat yellow gold is styled on a “Lasso” cord using black calf leather with 18-karat yellow gold findings ($28,920). Nanis’ large “Duo” ring featuring blue topaz and Swiss blue topaz pavé in 18-karat rose gold on a leather band ($5,130).
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