Jewelry Brands to Know Now
MASLO JEWELRY
Tell us a bit about how you started Maslo.
Maslo Jewelry started in 2003, first focused entirely on reworking vintage pieces. Over the years, the brand has grown and shifted into an exploratory mix of found objects, precious metals, and deadstock materials.
Brand aesthetic
Minimal, Modern, Vintage
What inspires you?
Bringing together old and new designs and concepts. Whether it's a contemporary take on a timeless piece or a vintage item transformed into something reimagined. We search for chains, findings and parts from the past that are most adaptable to living in the present. By balancing repurposed with novel, our collections embody a refined palette of functional, everyday essentials.
What are some of your favorite pieces right now?
From our newest collection. Features vintage materials, which add to its character and history.
STUDIO SOLÍZ
What's the Studio Solíz origin story?
Studio Solíz grew out of something much older than the brand itself, a lifelong habit of noticing, collecting, and putting things in relationship with each other. My grandmother, Leonore Salinaz Solíz, was intuitively creative in a way I’ve spent my whole life trying to understand and carry forward. She quilted, she gardened, she was an incredible cook, she saw beauty in the most ordinary things. She’d look at something as small as a pair of toe socks and say, “Those are beautiful, mija.”
I kept her fabric scraps just to look at them. I collected beads and stickers as a kid, had a whole bin of them, no real reason beyond wanting to hold onto things that caught my eye. That instinct never left. It just eventually found its way into jewelry. Solíz is her name too, so the brand carries her forward, a quiet nod to the instinctive act of noticing.
Brand aesthetic
Intimate. Raw. Sculptural.
What inspires you?
Material inspires me, but so does the act of collecting itself. Stringing a piece isn’t so different from what I did as a kid, just with more intention now. Every necklace starts as a small pile of things that don’t obviously belong together: a found stone, an ancient bead, something vintage, something with no history I know at all. Stringing them is how I put them in relationship. It’s less “designing a piece” and more building a small, wearable collection: deciding what sits next to what, what gets to touch, what contrast stays, and what gets edited out.
That’s the same instinct my grandmother had with her scraps and her garden, just working in a different material. And it’s why I look to sculptors like Louise Nevelson and Jean Arp—Nevelson especially, since her whole practice was about accumulation, about found and gathered things finding a new order together.
What are some of your favorite pieces right now?
Started from a hand-drawn sketch, then textured by hand. The most sculptural piece I’ve made, closer to Nevelson’s accumulation than to anything conventionally “jewelry.”
Leather cord, self-tie, no clasp. It’s the piece that made me want to keep building out the Knotted Forms line. There’s something about a knot the wearer ties themselves that changes the relationship to the object.
The contrast on this one is what I love. That vibrant red against raw fluorite, pops of black, ancient quartz. It’s warm yet cool, smooth and rough. I could look at this one all day.
Hand-shaped, with a found stone worked into it to add texture. It’s one of the pieces where the making itself—hands, no pattern—is as much the story as the finished object.
