Faye Kim Buddha

Since Faye Kim first took up her goldsmith tools, she’s amassed a shelf full of awards, established a reputation for producing highly wearable, heirloom-quality jewels and acquired a devoted following of collectors, many of whom have purchased her work from the beginning. 

As an undergrad, Kim dutifully pursued an economics degree to meet the expectations of her immigrant parents, and she worked for her father’s accounting office for a time. But she quickly found herself “restless,” she says, yearning to do something more creative.

Kim’s mother, having always supported her daughter’s creativity, encouraged her to attend the Gemological Institute of America (GIA) in New York as a way to address her impulse for change. 

As a newly minted graduate, Kim hopscotched from a job at a jewelry wholesaler to become a pearl buyer for Tiffany & Co. She eventually became a jewelry buyer at the luxury department store Bergdorf Goodman, where she was exposed to the work of modern masters like Angela Cummings and Barry Kielselstein-Cord and to antique treasures from Kentshire. 

Kim enrolled in classes as a hobby. The process enthralled her. “I loved being at the bench. I could sit there for hours on end,” she says. “I fell in love with the granulation process and making everything by hand.” 

Kim immediately gravitated to working with 18-karat gold, especially in an alloy with a subtle green cast. When she decided to return to work, in 2003, she opened an eponymous boutique in downtown Westport, Connecticut, a bedroom community outside New York City, and it became her livelihood. 

Kim established her stylistic signatures early on. Single pieces are weighty enough to hold their own but not too big to stack with others for a more imposing look, modern silhouettes are combined with old-world techniques like granulation and bezel setting, and virtually everything bearing her name is made entirely by artisans in her studio. 

Sizable dome rings are much loved. And a stack composed of a gemstone ring flanked by gold bands is another mainstay for Kim’s true believers. Earrings dangling perfectly proportioned baroque-pearl or diamond drops that softly sway from hinged mountings are bestsellers.

Today, Kim is setting the groundwork for focusing on designs that challenge and excite her.

Find Faye Kim jewelry on 1stDibs.

Rooted in centuries of history of adornment dating back to the ancient world, modern jewelry reimagines traditional techniques, forms and materials for expressive new pieces. As opposed to contemporary jewelry, which responds to the moment in which it was created, modern jewelry often describes designs from the 20th to 21st centuries that reflect movements and trends in visual culture.

Modern jewelry emerged from the 19th-century shift away from jewelry indicating rank or social status. The Industrial Revolution allowed machine-made jewelry using electric gold plating, metal alloys and imitation stones, making beautiful jewelry widely accessible. Although mass production deemphasized the materials of the jewelry, the vision of the designer remained important, something that would be furthered in the 1960s with what’s known as the “critique of preciousness.”

A design fair called the “Exposition Internationale des Arts Décoratifs et Industriels Modernes” brought global attention to the Art Deco style in 1925 and gathered a mix of jewelry artists alongside master jewelers like Van Cleef & Arpels, Mauboussin and Boucheron. Art Deco designs from Cartier and Van Cleef & Arpels unconventionally mixed gemstones like placing rock crystals next to diamonds while borrowing motifs from eclectic sources including Asian lacquer and Persian carpets. Among Cartier’s foremost design preoccupations at the time were high-contrast color combinations and crisp, geometric forms and patterns. In the early 20th century, modernist jewelers like Margaret De Patta and artists such as Alexander Calder — who is better known for his kinetic sculptures than his provocative jewelry — explored sculptural metalwork in which geometric shapes and lines were preferred over elaborate ornamentation.

Many of the innovations in modern jewelry were propelled by women designers such as Wendy Ramshaw, who used paper to craft her accessories in the 1960s. During the 1970s, Elsa Peretti created day-to-night pieces for Tiffany & Co. while designers like Lea Stein experimented with layering plastic, a material that had been employed in jewelry since the mid-19th century and had expanded into Bakelite, acrylics and other unique materials.

Find a collection of modern watches, bracelets, engagement rings, necklaces, earrings and other jewelry on 1stDibs.

Whether you’re layering multiple jewelry pieces or opting for a single strand, vintage pendant necklaces are versatile accessories that can elevate your casual wear as easily as they can add a creative flourish to your formal attire.

The earliest jewelry was less about accessorizing than it was about wearers arming themselves with amulets. In Ancient Egypt, some amulets featured a loop so that they could be strung around one’s neck. While rubies have long been one of the few gemstones that can give diamonds a run for their money, members of some ancient civilizations valued the stones from the get-go, donning ruby pendants as well as other stones with the belief that these adornments would bring protection, healing powers or strength. Today, we still wear our charm bracelets and charm pendants around our necks for good luck.

Later, pendant necklaces, like most fine jewelry, were worn strictly by royalty or the upper class and conferred wealth and prestige. This changed over time, thankfully, as wearing jewelry became more widespread, a democratized means of personal expression.

During the 18th and 19th centuries, pendant necklaces evolved from their status as spiritual amulets, but the jewels still carried deep personal significance. Victorian pendants, in particular, were part of the “mourning jewelry” tradition. Wearers would embed their pendants with locks of hair from a deceased loved one as a way of grieving in the wake of a loss. In the case of cameo jewelry, some pendants were even decorated with miniature hand-carved portraits in a detailed raised relief. Today, portraiture is still a characteristic of many of the hand-carved pendant necklaces offered by Italian jewelry house Scala Gioielli.

Luxury fine jewelry brands such as Cartier, BVLGARI and David Yurman offer their own unique interpretations of the cherished accessory, embellishing platinum or gold pendant necklaces with diamonds, sapphires and other stones.

On 1stDibs, find an extraordinary range of vintage pendant necklaces and other necklaces today.