 who have helped us continue this ongoing series. In my new position at Cooper Hewitt, I'll be focusing on projects that will raise awareness of the impact Latino designers have had on the creative fabric of this country. Now more than ever, it's important that public institutions focus on the varied experiences and contributions of diverse US citizens. And I'm proud to say that Cooper Hewitt is committed to building its collection and public programming to reflect the abundance of our collective influences. I wanna thank Daniela for accepting this invitation to take part in this disainter event. I've been following her work for some time and was immediately captivated by not only the whimsicality of her jewelry design, but her innovative and inspiring approach which transpires in each of her pieces. The enthusiasm and passion she holds is palpable. And I am certain her presentation this evening will provide us all with wonderful insight into her process. Following Daniela's presentation, she will engage in conversation with Micaela Dos Amantes, a fashion and jewelry editor, stylist and consultant. Micaela began her career at Vogue Paris participating in iconic shoots with photographers such as Mario Testino, Mario Sorrenti, Terry Richardson, and Bruce Weber, among others. And in 2016, she co-founded the magazine Solar, the first Spanish language independently published lifestyle magazine with a strong focus on art and fashion. So thanks so much, Micaela, for being with us tonight. And following their discussion, we'll open up the conversation for questions for the audience. So thank you all for being with us tonight, Daniela. Thank you, Christina, very much for inviting me to the Cooper Hewitt for also making me part of these incredible projects. I also want to thank you, Susana, and all the Cooper Hewitt team. And I want to thank you all for making the time and listen a little bit of what I wanna say. Daniela Villegas, I'm a Mexican designer. I'm based in Los Angeles, California. I moved there almost 10 years ago. And I feel like living in between Mexico and now, the US has been giving me I feel like the best of both worlds, having all this culture and fiesta and all this celebration of the Latino, plus all the discipline and structure of the American culture has been very helpful in my work. And as you saw before, it was, you know, like. Like my family, I grew up with like very strong women. And, okay, perfect thing. So I, you know, like I was raised with like very strong women and, you know, like my great-grandmother that I was very lucky to have her until I was, you know, like 21 year old. So she was, you know, like the typical woman, very glamorous, full of like jewelry and life for her. She was, you know, like a fiesta. She was hosting like beautiful parties and always very, you know, like, she was always very kind and giving you advice, but in a very, you know, like, glamorous, like, hey, Mejita, you know, like, very, you know, like super nice. And then my grandmother, like when I was born, like she was living in San Diego. She lived, you know, like in San Diego for like 30 years. So she was, you know, like a California girl, like very casual and chic and flexible and nothing was, you know, like a difficult for her. And then my mom was, you know, it's, you know, she made the decision to make, you know, like to be a mom, like as a full-time job. And she was very, you know, like, for her, like, for her discipline was very important, but she was always supporting us and taking classes in that class and helping us with homework. And also I'm a twin. I have a twin sister. So also, you know, like born with like someone, like a best friend that I was playing, like, you know, like to wear like tiaras and crowns, you know, like all the time. So I was like very lucky. So, you know, like it was, I feel like the mix of all these different, you know, like personality and woman in my life shape a little bit of, you know, like who I am now. So it's important, my dog again. But, you know, like the business, you know, like the business, there's certain part that is, you know, like very glamorous and it's, you know, like very beautiful and like celebration party, but also it's important to be flexible with certain situation and, you know, like work hard and disciplinated and you have deadlines. So I feel a little bit of, you know, like the combination of all these, like of this woman. They're, you know, like this has been important for me. So I'm gonna, you know, like talk about a little bit, you know, like my studies, I study in Mexico city and, you know, when you're 18, you need to decide your future. So I always wanted to be a jewelry designer, but it was not, you know, like a bachelor degree. So I decided like, okay, it was not, you know, like, look good, you know, if I was like planning to be a jewelry designer. So I started studying business for like two years and helped me a lot, but it was really not my passion. And then after two years, my dad told us, it's like, hey girls, I feel it's time for you, you know, like to finish paying your education. So it was like a shock, you know, like a shock to say like, okay, so it's like, if I'm gonna need to pay for my things, I'm gonna pay for something that I like. So I moved to fashion and jewelry design and I was working, you know, like in the mornings and studies in the afternoon. And also, you know, like I feel that was the first big lesson that is kind of, you know, like at the first moment I was taking for granted because he was free. I was really like my decisions, they were like not that, you know, like important, but I feel like now I see it, you know, like those two year in business, they were like really, I use them a lot in my, you know, like in my business now, but I started, you know, like a working in downtown that is where all the workshops are. So I was learning from all these artisans and you know, like in charge of production and designing for other companies. And then in 2008, you know, like, I met my husband like in 2007, we were dating because he was living in the US, like in Los Angeles, like he's been living there for like many years. So after a year dating, he told me I feel it's like, are you move or, you know, like it's over. So that's why I moved to LA and I felt it was time to, you know, like to start, you know, like a new family, a new life. Like I feel I had like so many ideas that I wanted to express. So it was time to start like the company. And at that moment, you know, like, I don't like to be in depth. I feel like everybody's like, you know, like the same. So I said like, I'm gonna use my resources and, you know, like focus in quality rather than quantity. So at that moment with the money that I had, I only, I was allowed only to make like seven pieces. So now, you know, like every time I'm creating a new collection, I always make seven and presentation of seven. And then, you know, like I, you know, like create more. But, so, you know, like I, you know, start creating all these pieces. And then while I was, you know, like doing it, you know, like my best friend saw what I was doing and she said, so I would love to support you and, you know, like connect you with a store because, you know, I was like the new girl in LA. So I was like, I will help you, you know, like to introduce you with like some people. So she introduced me to a store. And, you know, like they immediately took my pieces and, you know, like it was great. And she told me, if you want, I can help you, you know, to connect you with other stores. So it was, you know, like, it was great to, you know, like I still work with her. Like she still works for the company. And it was great that since the beginning I had someone that was helping me with all these, you know, like invoices and, you know, like have someone to coordinate that part that, you know, like it's important for the business but I was like very focused about, you know, like production and design. And I still do, you know, like all the pieces, combination of colors, you know, like I'm in charge in, you know, like of the whole studio. Now at the beginning also we were, you know, like a very small team of jewelers. We were like five and now we have like 13. And, you know, like between like jewelers, polishers, satyrs and people, you know, like, you know, like I have a sister that I shared also with my friend. Sharifa, so, you know, it's a little bit about like a family business. And, you know, like every day is different. I try to go almost every day to downtown. That is where I have the studio. And, you know, like some pieces, you know, like, some pieces I fabricate them in silver. Some of them directly in gold. I only use 18K gold with precious and semi-precious stones. And the concept is that 99% of the pieces are one of a kind. And, you know, like I fabricate some of them in silver to check if the weight is right, if the mechanism it's working, you know, like, if, you know, at the end, sometimes, you know, like the ideas they can sing for your jewelry very well, then you can see in the face is like, this is not gonna work, Daniel, it's too crazy. Like it's like you adapt. And that's what I'm saying, you know, a little bit of the personality of all these women in my family, sometimes it's like, and I'm very stubborn in certain things, but, you know, like sometimes it's kind of like, if I see it in my head, I feel it's possible. I'm never rushing the process. I, and I, even though I work with, you know, like the, you know, like fashion, seasonal turns for like the buying, you know, like of the stores, you know, when I'm trading pieces, I'm really like, it takes, you know, like a year to make like one piece. I will spend, you know, like that amount until it's, you know, like perfect for my eyes. And, you know, like some of the techniques that I use for, you know, like for, you know, like to create, it's, you know, like I love to take a nap almost every day. And, you know, like I feel in that, you know, like 15 minutes I put my alarm and I go, you know, like I'm completely relaxed and I start like dreaming without, you know, like my head is completely clear and thoughts, you know, like they're kind of like coming, you know, like coming. And the most of the inspiration comes from nature. That's where I feel like protected and grounded. And when I feel a little like anxious or like mad with someone or myself, I go, you know, like go hiking or go to the beach or, you know, like just kind of like go to Trader Joe's and buy flowers and just kind of like, or also I collect tea. And, you know, like when I'm feeling also the same way I kind of like setting the mood, I, you know, like just boiling the water, it takes, you know, like being patient, you know, like putting, you know, like the fire, the water, picking if it's like green, I want more energy or if, you know, like black in the morning with a little bit of milk, you know, like it's about like the whole process, the whole process. Also I just, I believe I have like this philosophy in life that, you know, like, you know, like, kind of like what you are, what you eat and you are the conversations you're in and you're like, I like to transform in my pieces and I like to have, you know, like that congruency and saying that I don't mean like I'm perfect but I'm really trying like every moment to give the best that I can. And, you know, like to really enjoy like even, you know, like I take my job very seriously but at the same time I'm enjoying it very time and so when I'm waking up in the morning, I'm not thinking like, oh, I have like these so many emails or I need to go to, you know, it's, I feel very blessed that I have the opportunity to do what I love the most. And, you know, like that I'm working with these incredible people. I have the chances to travel because I sell in different stores around the world. Sometimes I travel, you know, like for stones. Sometimes I travel, I use a lot of like natural elements so I travel sometimes to have like a specific insect or, you know, like they show me, you know, like to a specific mine or, you know, having, you know, for example, one project with Peru, the country, like the government invite me to get inspired, you know, by its country. So, you know, I went to Machu Picchu, Cusco, I invited my twin sister and we went, you know, like for two weeks, you know, like eating all these Peruvian food and, you know, like meeting all these people, even like with the locals. So it was a mix of about, you know, like high-end and not, and, you know, like about like simple life and about, you know, like creating this dream and then I made a collection that at the beginning was planned to be a capsule collection and then, you know, like I was like, so people start thinking like this Peruvian girl and it's like not Mexican. But I was, you know, like start like growing the collection. And as I said, I really love to travel and, you know, like, you know, create pieces with like new ideas and concepts. And, you know, also I love to read is one of my favorite things. And sometimes, you know, I get, you know, inspired by certain books or, you know, like a character for other books. I love that when you're reading, you're traveling in kind of like another dimension and, you know, like transforming yourself. And so, you know, like mine of my pieces, as you can see, are about, you know, like nature. I have like six different collections that is like the first one was Freedom, that it was, you know, like I'm in LA, I'm free, you know, like, I don't know, anybody can do whatever I want. It was about like Dream Big. And then I made the Baguerre collection that is, you know, like the one made of like with all the insects and earthworms and, you know, like ants and spiders. And then I made the Into the Deep because, you know, like I grew up in Mexico City, but like in California, you know, like I was like at the beach a lot and I was like, wanted to create all because of the books, all these like monsters and, you know, like dragons and kind of like going a little bit more, you know, like, I don't know, like wild in the concepts. And then I made Rebirth that it's about the skeletons of the, of different animals and the symbolism, it's about, you know, like every day is a new opportunity to reinvent yourself. And if you have like a, you know, like a good structure and good values and good things, you can always, you know, like start, you know, like any day. And then also the Peru that I explained and then the last one that I launched like a few months ago, it's Chromatic Paradise that it's inspired a little bit about, you know, like my Mexican heritage and, you know, like all these, you know, like, you know, like different elements because I'm Mexican, I didn't wanna do the cliche type of thing. So I did, you know, like an ajo-lote that is like an amphibious that lives in Chasochimilco that is like this like lake with these trajineras that is like these colorful boats that everybody goes to have, you know, like tequila and mariachi and this animal that has been living there, you know, like for many, many years, it's kind of like the, you know, like some same era as the dinosaurs and it was like a delicacy for the Aztecs and has, you know, like this power about, they call it the immortal animal because he's the only animal can grow, you know, like, you know, like not only a tail, but, you know, like if you chop half of the face, you know, like he can grow up. So I love that symbolism about, you know, like, you know, like we all make mistakes and we are all evolving and changing and it's about, you know, like getting better. And I feel, I don't know, you know, like it's been an incredible journey and I feel there's so many things, you know, like I feel I'm just starting and there's so many things that I wanna create and do that so far it's been great. And, you know, like I also been doing like projects with other companies kind of, you know, like for Ferragamo that I'm launching a third collection for them like in a few weeks. And it's been great because when I'm working only for me I'm, you know, like designing only my ideas and it's not that it's easy, but it's, you know, like, it's more about, you know, like my concept and what I wanna do when you're working with someone else, it's like a lot of, you know, like flexibility and budget and, you know, like interacting with different people and also it's been, you know, like a very, you know, like enriching to work with a big company like them because it's, you know, like they're great and it's a luxurious company and it's, you know, like it's been giving me a lot of validation and credibility and I feel, you know, like flatter that, you know, like they chose me to work with them and also, you know, like doing jewelry, it's a way, you know, like I feel for me when I started there were like so many angels and people that it was like helping without expecting anything in return. So it's beautiful that now I'm, you know, like, that I'm in a, you know, like a better position, I will say, you know, like it's good to give back and to make you alliances with like different foundations, like one, for example, that I really love that it's in Mexico City that is like Duarte Tranquilo, it's the name of this foundation and they are in church of, you know, like four of the biggest hospitals in Mexico and they provide, you know, like a free services to them. So, you know, like sometimes we organize events kind of like, I remember like a year ago we made something with Bechtorf and part of the sales, they were like for them. So it's good because now, you know, that I'm living in the U.S. and obviously all my taxes and all my things are going to the U.S. and I'm, you know, like hiring like American people. Sometimes you feel about like, hey, you know, like I love, but at the same time, part of, you know, like you still there, so it's good to partner up with, you know, incredible organizations like this ones or like right now I'm working with one organization that is protecting the flamingos. So it's good, you know, like to understand a little bit one of the, about these beautiful animals and, you know, like know that, you know, like in a maybe insignificant way, but you know, like you are helping to change a little bit the situation. So I feel, you know, as I said, very lucky to, you know, like to work in what I love the most and I feel that's it. And thank you. Thank you. Niel, can you hear me? Thank you, Daniela, for that wonderful presentation. Hello everybody and welcome. Just to reintroduce myself, I'm Micaela Dos Amantes. As Christina mentioned, I have Solar Magazine, but before starting Solar, I am also a fine jewelry and fashion editor, having worked as a fine jewelry editor for Vogue Joiello and Vogue France and CR Fashion Book before. Recently launched Solar, Solar is a project that we, we created in order to support Latin American talent across all mediums, Daniela being one of them. I was lucky to meet her on a press trip to Paris where she presented a collection, I don't know how many years ago, but since then we have worked together on many occasions and have become good friends. So I'm very happy to be here with her and you tonight. And I just wanted to start the conversation, maybe going back a little bit to her presentation and to get to know a little bit more about Daniela's background and the women that really inspired her process. I thought it would be nice to start from the beginning also of nature. So, you know, tell us a little bit more about why nature inspires you. I feel, you know, like I always been connected to nature. You know, like even camping in my backyard, our dad, you know, like we were going out, you know, like road trips and visiting like every place in Mexico and you know, like taking the train and you know, like traveling for that. And I don't know, I feel, you know, like gives me peace and I'm always in awe about like the beauty of nature and how it's evolving and how wise is nature. And you know, like I'm learning a lot all the time when I'm there. So it's a place that I go to, to feel protected and you know, like to kind of like to be grounded. And what was your relationship like with nature as a child, more than just the road trips and? I was, you know, like I used to collect insects and you know, like I was very into art and you know, I said, like reading and you know, like planting and you know, like riding horses and even I was, you know, like I'm not the best at sports. I was always surrounded kind of like, hey, let's feed the cows, you know, like go to the horses, go, you know, like with these chickens. So yeah, I always feel, you know, like a deep connection with nature. And what was your, your first experience with fine jewelry? Was that something that was in your childhood with your family? Yeah, I grew up, you know, like my great grandmother used to collect the fine jewelry and I grew up kind of like, hey, then if you eat your spinach, you can play with your eat, it was the name of my great grandmother. You can play with your eat those rings and I was like, okay, perfect. So I was always, you know, like, and it's funny that now like my sister has, you know, like a daughter Carlotta and it's exactly the same thing as Carlotta. If you finish, you can play with eat this jewelry. So it's, you know, like, it's the same thing, you know, like we were also, as I said, I have a twin sister and it was always about like dressing up and, you know, like wearing, you know, like all the lipstick and, you know, like playing with, you know, like all the dresses of my great-grandmother. So, yeah. So family is a big part of what you do too? Yeah. And you were telling me earlier that, that your father helped you become more creative. Yeah, you know. Maybe you can tell us about that. Yeah, he's an architect and I remember, you know, like my mom was, you know, like always with us, taking a ballet and art classes and everything. And sometimes he was kind of like, you're gonna stay, you're gonna go to your dad's office and he was like the typical guy kind of like, grab a book from the library and start like making your own house. And I wanna see, you know, use a ruler and I wanna see how it's, you know, like these roommates, you know, like getting together and go and open and pick the fabric. And, you know, like I always love it because he gave us all the, you know, like the freedom to express our individuality. And it was like never a competition about like who made it better. It was like not even if Anna Paola, my sister did it better or my brother is, it was more about, you know, like sharing, you know, like things and even, you know, like the colors. And sometimes, you know, like obviously certain times they were like all the colors over the pencil colors. And sometimes it was only like a black pen and pencil and a ruler and you could spend, you know, like hours and just kind of like dreaming and drawing. So yeah, he's very bohemian and, you know, like very supportive still now. You know, I remember at the beginning that I was doing everything myself. I was, you know, like sewing my poaches for the jewelry. I learned Photoshop to learn how to kind of like, fix the pictures. And, you know, I was creating my website. He was a lot of, you know, like even now sometimes I need certain things like AutoCAD that I don't know how to use. Sometimes it's like, oh, I need to do this thing. Do you mind? It's like, yeah, like call me, you know, like 30 minutes and I will send you an email. And he kind of like already working all the lines. Or, you know, like I remember it was like a difficult situation and, you know, like a complicated situation in my family, like recently, and I needed to make like these, you know, like deliver all these production for like this store and I needed to make, you know, like all the jewelry pouches. So I was like in the living room, like sewing all the pouches, you know, like a few years ago and he was like sewing the tags, you know, like on everything. So it was, you know, I feel it's, you know, like even with my jewelers, you know, like I see them every day almost like if, you know, like their family, you know, like. It becomes a family. Especially when you work together so closely. Yeah. So when, what made you really want to start designing jewelry? Like really say, okay, I'm going to leave business school and this is, this is what I want to do. I feel I always wanted to be a jewelry designer, but, you know, like it was like this social pressure about like you cannot be a jewelry designer, you know, like you need to be a lawyer or like be a business or, you know, like have a real job, exactly. And I felt when I, you know, like they said, hey, you need to pay your thing. I was kind of like, okay, I feel, you know, like not that I'm going to be, I'm, you know, like a bad business woman because like I'm a business woman. Like I own my business and, you know, like it's been very helpful in many ways, but I feel it was not feeling passionate about it. So I feel it was kind of like, I'm going to start again. And, you know, like I don't mind. And so far it's been great. So when did you have that Eureka moment where you thought, okay, I'm going to combine my love of nature and fantasy and, you know, wild things and entomology, your love of bugs and all things that crawl. I feel, I don't know, it came naturally. And I feel, you know, I wanted to create a little, you know, a concurrency of what I like. And I don't know, I wanted to tell a story. I feel at that moment, you know, like I'm not the girl that invented, you know, like how to use like insects in jewelry. It was like something very common in the Art Nouveau era. And, you know, like Lalique, that is one of my idols. It was using it a lot, but also I find out in a lot of research that there were always the same, you know, like type of insects or animals, the green, jewelry, you know, like jewel beetle. And there were not other species that are like, you know, like beautiful. And I would start like experimenting certain insects that are like the wings are very hard and colorful and you can use them for jewelry. Some of them it's only as an inspiration. So it was more about like exploring and also I feel, you know, like a natural elements chart, you know, have these special energy and we take for granted that maybe like this feather from, you know, like the flamingo's gonna be forever and hopefully yes, but you know, like, you know, like now the way we treat earth, it's, you know, like a lot of things are disappearing. So for me, it's a way to celebrate things that I like. And also, you know, like they have a very high vibration, you know, even a pebble from a river from a place that you love is, you know, like, it's, you know, like it's free. But, you know, like to have that memory and put it with all these precious stones and you know, like every time you're enjoying, you know, like you're enjoying it and you're in a party, it's like, oh, it reminds me when I was at the farm and you know, like I was playing with my cousins and you know, like, eventually you will wear that piece I don't know, like thousands of times and maybe one day if I have a daughter, you know, like she will wear it or maybe even like if I don't have Carlotta I will enjoy it. Or you know, like I feel creating that stories even now when I wear some jewelry from my great grandmother that then went to my grandmother and then to my mom and now it's mine. Like I still remember like certain things when she was like playing poker with her friends and it was like, oh, you know, like the shine, you know, like, I don't know, I like to romanticize that a little bit. So where does the design process start for you? Are you just thinking first, this is the insect that I wanna create or are you looking for stones? Where does it start? I feel, you know, like, you know, like, depends. Sometimes, you know, like if I buy an incredible opal and I'm not gonna recut and adapt it to, you know, like the body of an insect because I don't wanna, you know, waste the money. I don't wanna waste carrot. I don't, you know, it's like I adapt that stone to, you know, I create actually the design to the stone and sometimes I have, you know, like these specific ideas. So I adapt the, you know, like the stone or the natural element to that piece. So it's a little bit of work. Or when you're looking for the stones, are you thinking, oh, okay, this little fire opal could be a little beetle or maybe this sapphire could be a fish or? At the beginning, because, you know, like my resources, they were like very limited. I was, you know, like very careful in how I was spending my money and that's why I said like I learned to do everything. You know, I hired an assistant like a year ago. You know, like was like, you know, like doing, and I still do, I'm involved, you know, like, it's like, I know how to do my things. I love to do shipping and delivering. And, you know, like it's not because now I'm, you know, like in more stores, that means, you know, like, I'm gonna forget of, you know, like that part that I also enjoy and I feel it's important. But I don't know, you know, like it's about, you know, like now I have like different budgets so I can go to fairs and maybe have, you know, like a bigger inventory. So sometimes I don't feel about, you know, like certain stone that's seasoned, but, you know, like next one I will, you know, like I will use it or vice versa. Sometimes I have like this idea and I'm, you know, like searching for, you know, like the best stone, the best price, you know, like the best prices and I travel only to have the whole lot of, you know, like a specific stone if I wanna use it. So now it's a little bit different but I'm still thinking, you know, like that business model about, you know, like. Where do you source the stones? Everywhere and everything, it's, you know, like source in the most ethical way. And, you know, like if I, like, I know some of, you know, like the fishermen for the pearls, I know some of, you know, like when I use animals or, you know, like insects, you know, like, they're all died from like natural causes and everything has like paperwork. And, you know, for example, we have beautiful fire opals in Mexico but we don't know how to cut it. So, you know, like I kind of like source sometimes, you know, like the rough material and then I send it here to the US and need that they're like very good, you know, like cutters and, you know, like they shape it the way I want. So it's a little bit, you know, like a, I don't know. A longer process. Yeah. So I wanted to talk to you a little bit about the relationship between editor and designer because we, as editors, we're all constantly meeting jewelry designers and looking at their collections and thinking, okay, how am I going to shoot this? What am I going to do? And, you know, what do you enjoy most about working with editors or getting to know what we do? Definitely, you know, like the human, you know, like contact and, you know, like, I'm, you know, like I'm learning for you all the time. Kind of like, I'm sure maybe you're probably learning something for me. It's always like a space for improvement and learning. And, you know, like, I love that we're even, you know, like in the same bubble, you know, like, it's like a different eyes for the same product, you know, like when I'm kind of like, if I see your magazine and, you know, like this season, you made like a beautiful photo shoot with like this long hand, long nails, you know, like, and I made like this ring that it's made in gold, kind of like if it was like a coral reef. And I love the way it looked. And now like for Paris that I'm doing my presentation like in October, like I'm having that in my mind and I want to create another piece, not coral, but, you know, like another thing that it's big and I'm- Editorial piece. Yeah, editorial piece. A big piece that we can all shoot. Yeah. So we have discussed this before, but what piece do you think photographed the best of yours or do you have any piece of editorial coverage that you can remember that you were like, wow, I'm so happy? I feel, you know, like what I'm, what I love the most maybe to design are rings because I don't know, I use my hands all the time and I love to kind of like work and see, you know, like my hands and, you know, like be distracted by the shine of the stone. But I also love to make like big medallions and necklaces because for me it's a way of kind of like a talisman then I feel protected and also I feel, I don't know, it's good always when you're doing things and you're kind of like just touching it and you feel you're like, like it's good, I don't know. And I love like, usually, you know, like you never see me with like a small earrings, but when I wear, you know, like it's like big, you know, when I wear earrings it's like big, heavy, like, you know, like look my face. So it's a little bit of, you know, like a little bit of everything, for example, those earrings, you know, like I spent a year making them because all the quills, they moved, you know, when you move to the right, the quills move to the right, to the left, up, down. So we made the whole piece in silver. And obviously after, you know, like when I start like making it, I was like, oh, it's gonna take like three months and they were like six months and then seven months and then, you know, my jewelry is like, you're crazy, it's too heavy and then we changed it so much and we finished the piece and it's all, you know, like so super easy. And then we make the next one and now, you know, like the next one, you know, like a few years later that is like, okay, I'm gonna stop. And then, you know, like a few years like, oh, let's go back to that concept. It was like super easy. We used like, yeah, like now. These, for example, the Laguna Beach, like everything starts from, you know, like the Saturn Calcedo knee that is the center. That's one of my favorite pieces. That big bug is from Oaxaca and then on the side are like the stones with all different sapphires and then the three bugs over there, it was like from Chile and then the violets. The one you gave away. Yeah, like I love that. Oh, this is a special piece. This is it. That was my piece. It was the one she didn't want to. When you finish and it's like, I'm not selling that piece. Yeah. Because at the beginning, even if you wanted to keep it, it's like, I need the money. You know? And I feel it was one of my first pieces that I said, like I'm keeping it and I want to start, you know, creating my own collection every season to keep something for myself. And I worked, you know, like for like few seasons, you know, like two years, like wearing it all the time. Kind of what I was saying, like touching it and, you know, enjoying it. And a lot of people I want to buy it stores it like, no, no, no. And suddenly this, you know, like huge jewelry collectors start kind of like stalking it. Like, oh, I want it. I want it. Like, no, it's not for sale. And then one day I wake up and it was kind of like, I feel it's time to let it go. You know, like she's going to be a good mother and eventually I gave it to her. And I'm so happy and, you know, like, especially, you know, like for someone, you know, like it's big for like jewelry, you know, to have, you know, like a jewelry collection that big. I feel like very honored. So. That she wanted something. Now I only can touch it in the screen. That's it. Great. What do you think that magazines, how do you think magazines are helping you? You know, like it's a great outlet to, you know, like show your work. And you know, like as I said, you know, like, I feel I'm learning from them all the time, you know, like you get inspired, like by all the visuals. And I love that, you know, like sometimes they can show, you know, like a picture and people can create, you know, like whatever story they want to do. And sometimes you have the opportunity to have a bigger article and people can understand a little bit of, you know, like about who you are and, you know, like it's a, they can find a connection between that piece and you. And I feel it's very important. And I still, you know, like today, every time I see like something in a magazine, I have, you know, like the chills about like, I can't believe I, you know, like I'm seeing, you know, my working in the magazine, so. Cool. Yeah, it's cool. So we've spoken a little bit about supporting others and how that's such an important responsibility when you have light to give other people light. You know, how much does your Mexican heritage come to play when you're thinking about, you know, designing and supporting maybe your culture and the people that come from, you know, from Mexico or from Latin America? You know what, as I said, like, you know, I born November 1st, that is the day of the death in Mexico City, like in Mexico, actually. So it was, you know, like always all my birthdays, they were like cemetery, flowers, candles, skulls. It was always, you know, like a lot of color. So, you know, like. It's a celebration. It's not. Yeah, yeah, yeah, it's a celebration. It's a celebration about like life and, you know, like, it's kind of like the day when the death and, you know, like us were like in the same spectrum. And it's about like getting together and, you know, like sharing our belongings and love and I don't know, I feel that had like a big impact and all my pieces are like full of color, even when I need to do a lot of, you know, like black and white type of things. Like even, I don't love to use white gold when a client is like pushing so much white, like maybe I will do it, but sometimes it's like, oh, yellow, you know, like, or like rose, like I like to add color because brings me a lot of joy. And also, you know, like, I feel, you know, I said when I started, like, there were like a lot of people that there were, you know, like helping and, you know, like really with like no expectations of like anything. So I feel now, I have, you know, like a little responsibility and even if it's like with jewelry or not, it's like, I feel we live in a world now that is important to give the best of you to everybody, you know, like, if someone is asking for you and for an advice, you know, like to give the best advice you can give, if someone is asking you to kind of like, hey, where is, you know, like these stories, like really sometimes, you know, like takes you a minute and can make like a big difference. It's like, I feel, I believe, you know, like the more you give, the more you will receive. So yeah, definitely it's important. So I see that you have some nopales in your collections in the Guajolote, Guajolote, no? Guajolote. Guajolote in previous collections too. So does Mexico inspire you as a country? Yeah, definitely. The last collection is inspired by that. So, but I didn't want it to, you know, like name it Mexico. I feel it was like very like the Mexican, Mexico. So I named it like Chromatic Paradise. So it's, you know, like paradise that, you know, like going to Mexico, it's always beautiful. And I see all my family lives there. So it's always, you know, like good to go back. But, you know, like, as I said, I probably am seeing it with like, with different eyes because when you're there also, you know, like when I was living in Mexico with my mom, I was seeing her like every day, but I was kind of like, I was taking it for granted. Like, hey mom, you know, like going to work, see you later. And now, you know, like I talk with her almost like every day and you know, like she comes and visit me. And when I go there like that, I don't go that often. But you know, it's about quality and, you know, spending time. And when I go there, it's like, I want to go to this museum, to the other ones to try like different food and to travel to, you know, like different places. What are your favorite places in Mexico? In Mexico City, probably I will say Contra Mar, that is, you know, like a restaurant with like seafood and very easy and casual. And the owner is very lovely. And it's a woman that I admire a lot. She has a restaurant also in San Francisco. And in nature, like what? In nature, you know, like I love, you know, like Xochimilco, that it was, you know, like a Jolote that is like this amphibious, it was like the biggest, you know, like inspiration for that collection. But you know, like the Chapultepec, that is, you know, kind of like our central park of Mexico City. And Museo de Anthropología, that it's about, you know, all the history about, you know, like the Aztec, the Mayans, you know, like, you know, like from Sonora, from, you know, like Wicholes, from everywhere. And from, you know, like now also I feel Mexico is having like a very important and big thing, you know, like in art and, you know, like about food, about everything. So it's good to kind of, you know, like be part of that change and, you know, like support in a way. But also, I don't know, I really enjoy my life in Los Angeles and being here in the U.S. that it's really like the American dream, you know, like dream is real and it's like so incredible and how everybody works like so hard that, you know, like, I don't know, it's good. I like both lives. Yeah. So other than Peru, which you were telling us, you went there for a big trip for inspiration recently. Where have you been in the world that really inspired your pieces? I feel there's so many places. For example, I got back like a week ago from a meditation retreat I made in Bhutan. So it was like a 30-hour flight. And I went with like four dear friends and we were like, you know, like meditating and, you know, going to these incredible monasteries and nonaries like from, you know, like the 1500 and like in one day, like I have like my toes purple. That's why I'm wearing literally clothes, you know, like shoes. Like we were like walking 45 kilometers just to go to this specific, you know, like monastery in the middle of the cloud, you know, like of the mountain and they call it the monastery in the clouds because I'm talking to you and now it's like a cloud coming and you cannot see anybody. And you're, you know, like all these, you know, the monk lived by himself and it's always, you know, like chanting and, you know, like praying for everybody. But also you go to these temples and they're full of, you know, like beautiful, you know, like flags full of color that, you know, like I bought some from my room. My husband was kind of like, it's not a temple but it was, you know, like all these beautiful, you know, like colors and the energy and also when you're traveling, you know, like with a small group of, you know, like friends and you're doing these type of things. There's certain moments about, you know, like being silly and, you know, like laughing but also there are moments of solitude and showing your vulnerabilities and, you know, like it was really, really special. And most of the time, every time I travel is for work and always make space for pleasure, always. That's my rule. Like even, you know, like one day or if it's not a day, like I will go and have, you know, like a dinner or the lunch that I want, even if it's at the, like, I always try to find pleasure and I feel it's important, you know, like to, you know, like to find bliss in whatever you do. But I feel it was the first time that I was giving myself a vacation in a way. So that was like very inspiring but, you know, like I've been to Thailand and I feel Italy is always beautiful. I love Paris. I've been, you know, like, I don't know, you know, like also there's so many great places in the U.S. Like I love Seattle. I love, you know, like Washington state. It's beautiful Chicago. It's like incredible as well. Like Grand Canyon. I love, you know, like Yosemite, so. Reminds me of the strikes and the call. I don't know if anybody has any questions for us. We're here. Aki. Aki. Do you have a photograph of the piece that was inspired by the creature at Soju Milko? Yeah. That, that's, you know, I'm gonna show you the real one. No, not at all. So that's the real animal and is, you know, like these amphibians that is, you know, like, kind of like a frog part of, you know, like the bodies, you know, like it's a frog that is never mature. But, you know, like it's with all these antennas and, you know, like, that they're like, I don't know. No, no, this is like the real one. And, you know, like, they're like, you know, this is the real one. And I love that have, you know, like the face, like a, like a doll. And it's like always happy. And they live in this, you know, like Soju Milko, you know, like, like river. It's a celebration place. Yeah, you know, it's a celebration, you know, and used to be a delicacy. So now it's like a species in danger. And it's only from that part of, you know, like Mexico. And then, so I bought, you know, like that opal. And that was the shape of the, of the, you know, like of the opal of the stone. And everything started from there. It was kind of like, I was playing in my hat. And then I saw like these kind of like, I'm not going to say vision, but I was like these hallucinating that piece. And then it was, you know, like a very big, and it was, you know, like the first piece of that collection that I launched last year, you know, like a first fashion week that sold. And it was like the most expensive piece of that part, that collection. So it was really, yeah, it was great. It's one of my favorites too. Your normal work, let's say you decide on, okay, I create this piece from, from this piece of stone that I got. But when you receive a brief, how is it the process? Did they say? You know, like, I feel when I'm designing for my brand, and I'm saying this in, you know, like the best way, but I'm pleasing myself, you know, like it's my dream, it's what I want to express. And then, you know, like sometimes I think about, of course the market, because it's a business, but it's kind of like the concept, it's my personal journey. It's a way that I express, you know, like my feelings or what I want to be, or, you know, like that type of things. But when I'm working with a company, kind of like with Ferragamo, sometimes I cannot go that wild. Sometimes the decision, like the final decision, it's not mine, sometimes. You know, like for certain, like for the first project, it was not, for the second one, I have a lot of freedom, but also it's like a lot of, you know, like, when I'm designing, I'm, you know, I'm the one that is given the budget. I know how much I can spend, and I don't like for, for me, for like in my personal project, for money to decide my, you know, like to make the decisions. It's more about like, I don't care I need to do until, you know, like the piece will be finished until it's ready, and I didn't, I don't care. And the other way it's like, hey, you know, like budget is always all the time. You're going to crazy. You need to kind of like, you know, like make it smaller also. That project that I made for Ferragamo, they're being in silver. And we made like a few limited pieces in gold for Japan, Mexico, New York, and Los Angeles. So all, you know, like in silver, it's, you know, like it's different. But also you're working with a team and what you're designing need to match the collection that is another designer. So it's also, you know, like a lot of like flexibility and collaboration and adapt. And it's, you know, like it's been, you know, like a great lesson. And, you know, like I apply a lot of those, you know, like lessons into my, you know, like personal work. So it's different, but at the same time it's like, I don't know, it's cool. Yeah, you're welcome. Hello. What advice would you give to young designers or actually anybody who decides that they want to follow a path of design and they're ready to make that jump, but they're not quite sure. I feel, you know, like the most important thing that I will say is to, you know, like I will encourage you or, you know, like that person to kind of like find your beliefs in whatever you do and to give your best. Also it's very important to have a point of view and be true to yourself, especially now there are like so many jewelry designers, that it's great because I truly believe, you know, like a competition, it's great. And, you know, like it's also, you know, like, I don't know, I feel that we all support each other, you know, like in many ways, but it's important to find your own, you know, like niche space and, you know, like work hard and, you know, like things are not easy sometimes and, you know, like they feel to see things, like simple, you know, like you're doing, you know, like if you're doing good, you know, like still working, like don't go, don't pretend to be who you're, you know, like you're not. I feel, yeah, I feel it's like the most important, I will say, like to be true, you know, like to yourself and follow your instinct and your ideas and, you know, like, because as I said, I believe you're transforming in the piece that you're creating and that, you know, like piece when you create is gonna transform in other person as well. And it's important, kind of like maybe when I'm designing something, I feel, for example, if it's an insect, you know, like the claws are looking that way, but maybe the client wants to use the claws wearing that way. So it's important to kind of like, you know, like to understand that, you know, like you have a specific, you know, like view or concept that, you know, like that person is gonna wear it maybe in a chain or something, so it's important to, you know, like also learn to, you know, like let go. And I feel follow your heart in whatever you're doing. Well, first of all, I want to say that your designs are beautiful and as a Mexican, I'm very proud of all that you've done to show the beauty and the nature from Mexico. I'm curious to know a little bit more on your process. You say that sometimes it takes you up to one year to get to a design and I would like to know if you sometimes start with something and end up with something completely different or end up with two pieces or something like that. I feel, you know, like, I will say, you know, like the easiest part will come, you know, like with a concept, but, you know, like it's important, kind of like when I'm saying, like taking a year, maybe it's more in the production because, you know, like as I said, sometimes it's about, you know, like the way functionality, you know, like make sure, because jewelry, it's like very permanent in a way. So it's something that, you know, like it's like precious, you know, like metal and precious stones. So also you need to make sure, like, it's gonna stay like that for many, many years. And I don't know, you know, like I feel, you know, like it's, you know, like sometimes, as you said, you know, like maybe it's a concept and maybe from that concept, you know, like there are many concept and also it's important to kind of like write them and maybe create a story and maybe an evolution because also when you're like designing a piece, maybe it's kind of like now, maybe the first piece you will buy a necklace. And maybe, you know, like few years later, you wanna buy like the earrings and you want to find, you know, like, you know, like, yeah, to be cohesive with the, you know, like with the concept because, you know, at the same time, you don't want for your older piece to look like really old. So, you know, like it's about, you know, like when it's jewelry, I believe it's timeless. So it's important to kind of like find. Thank you. Are there any other questions? You can see it at Beckdorf, Goodman, and at Moda Operandi. Moda Operandi. Moda Operandi. No, it's, you know, like a website that they say like online, but also they have a store as well. And, you know, like they do. You're welcome. Are there any other questions? Hello, Daniela. Hey, well, I love everything that you do. Thank you. I'm a fan. I'd like to know how was the process when you started, like you started doing the pieces yourself and then you, how you grew? You know what, no, I always, you know, like I do all my sketches and prototypes and, you know, like my kids, but like since the beginning, I worked with my jeweler that I've been working with him for like 13 years. Even before I was like, I decided to make my own line. I was working with him. So, you know, like it was, you know, like, that's why I said, like, they're kind of like my family because since the beginning, it was, you know, like this connection and they're kind of like my parents and, you know, we'll be growing together. And I feel we've been growing the team and being more like specialized. You know, at the beginning, maybe my jeweler was doing the whole thing. It was like creating the wax and doing, you know, like the labor in gold and setting the stones. And now, because the productions are bigger and I have, you know, like more stores, it's, you know, like he's like the head of the studio. And, you know, I have like a polisher that only polish, you know, like his son is the guy that makes, you know, like the final polish and, you know, like the cleaning and, you know, like the details. I have like two setters. I have, you know, like two jeweler that they're only, you know, like making the gold. I have a guy that makes me the, all the wax when I use a computer because some of the waxes are made by hand. Some of them by computer. Some pieces, they, you know, require like both, you know, like processes. Then another guy that used a laser machine for, you know, like the stamp of the 18K, the logo, like a picture, like a quote, if you want to do it. So it's a teamwork and every, you know, like everyone, it's also involved but also separates kind of like, now you can tell who's responsible. It's like, if the polish is not right, it's like, it's one, you know, like I cannot say like, hey, you know, like Alvaro, you know, it's more, you know, like a specific and I'm involved in every process. I'm the one that makes all the quality control of, you know, like every piece that I send. And as I said, you know, like I live in my studio, you know, like I live in Hollywood and my studio is in downtown but I really like to go all the time. Even, you know, when I'm traveling, they're sending me like, I feel technology has been, you know, like a great tool for my business because it's not like before that it's like, when I'm traveling, you know, like, I cannot see what I'm there doing. It's like, oh, how are the pieces? They're doing great. Okay, send me a picture. So, you know, like you can see the whole process and you know, like also, you know, like they, you know, like my jewelry can wear it, you know, like and see, you know, like you can see a little bit how it's like, oh, change the tail, like make it like a little bit more curved. What's up? So, you know, like I feel now with, you know, like social media, like Facebook and Instagram and you know, like it's a good way, you know, like to show a little bit because when it was a magazine, probably they will only show that picture or when it's editorial, you can see, you know, like a little bit like the size of the piece, but you know, like with these tools of social media, you can see, I can make my own photo shoots and you know, like you can see the real size because sometimes, you know, like at the beginning, when it was like, you know, like internet for sure, but you know, like it was not like now that you buy everything, you know, like through all different websites, it was like, oh, I thought the ring was bigger, I thought it was like smaller, or I feel like now it's like what you see is what you get and it's good. Thank you. You clearly have a very deep relationship with nature, but I noticed that you're very, that you focus a lot on insects and I was just curious, what is it about insects? You know, versus flowers or sea creatures that attracts you? I love insects because I love, you know, like, there's so many species and I love the color and I love the way they interact and also for example, one of my favorite books is Gulliver's Travels, so always, you know, like even now when I'm, you know, like in the car and you know, like I'm kind of like not bored, but you're like relaxing and you see like this big thing, I'm always thinking like, okay, if I'm Gulliver, I will use that for what? So like with insect, I always kind of like, you know, like there's so tiny and small and I'm always like thinking, what were they with thinking about us? So, and I also love they work, you know, like they're very good working, but like with teams and you know, like with communities and I don't know, they're curious and I find them kind of cute. Hi, I have a question about when you come up with your collection, because some of the stones in the pearls are very one of a kind. So they seem very specific to the design. So how was your point of view of, you know, customization versus mass production and how that feeds into your collection? You know, like 99% of the pieces are one of a kind and I really, you know, I really, that's I feel my business model. I really enjoy it because like I feel I'm not repeating myself and I have the freedom to reinvent, you know, like one piece several times and also I love to, you know, like work with like different stone and combination of colors and I don't know, allows me to be more creative, like for certain, you know, like I remember at the beginning when I was starting, it was, you know, like, it was hard for like the retailers to understand because obviously it's easier and cheaper for a store. Like if it's online to kind of like just take one picture and sell like one, two, three, five. You know, in this case it's like, and I know my Julie is like for a specific niche and but at the same time I feel because of that, like people, you know, like connects in a different way and that's why I'm saying like they create like their own story with, you know, like the piece sometimes it's about, you know, like this, the lantern bug or like shine bright, you know, like that is like sometimes people connect because they love the color, like they're more geometrical and love the shape and some people connect because they're in a moment in their life that is kind of like, usually you only buy jewelry when you're happy, you know, like it's a way to celebrate, you know, like life, engagement, birthday, your first check. So it's, you know, like sometimes you do it because that, you know, like emotional connection and sometimes you just do it because you, you know, like you like it. So I don't know. That's why it started, yeah, with that. Great, are there any more questions? Well, thank you. Thank you. Yeah.