“When building a collection, focus less on its potential return on investment and more on finding what you truly love. So often, jewelry is valued based on attributes like carat weight or the type of stone, but when you look at Mahnaz Collection, it’s about the whole piece—the artist, the composition, the point of view. A considered collection should have a balance: timeless, everyday pieces, and also more expressive, signature items.

One of my favorite pieces is the sterling silver and rock crystal necklace by Vivianna Torun for Georg Jensen; it’s such an iconic piece that is still so collectible and hard to find. The materials don’t necessarily have huge monetary value, but it has that strong style and design by Vivianna who truly set a new standard in jewelry. I liken this approach to art—it’s not about the value of the canvas and the paint, but rather the overall aesthetic and the artist’s body of work. Mahnaz Collection reflects that philosophy. Another callout when it comes to a well-rounded collection has to be the bold and colorful work of Giorgio Facchini, as his pieces are wearable without being fussy. Mahnaz has this special ability to curate pieces with a casual ease that will effortlessly merge with anyone’s style.

Another name I’m always delighted to see is Art Smith, one of the first Afro-Caribbean jewelers and a pioneering modernist of the mid-20th century. His influence on black designers is huge, and his handcrafted pieces have a kinetic, sculptural quality that is so distinctive. When you understand the perseverance behind these pieces—often created without recognition—you appreciate them even more. You hear the stories of these artists, and you want to own something that reflects these pivotal moments in time.”

“Layering definitely has its time, but I personally love wearing one strong statement piece on its own. That’s the beauty of Mahnaz’s selection—the combination of shape, texture and color in each piece is so beautiful that when you layer, you risk losing the integrity. That said, there are ways I would integrate these pieces into a collection, especially the pendants. While they’re bold in scale, they’re not at all overpowering. For example, I never take off a necklace made from the stone of my mother’s engagement ring, and a pendant would complement it beautifully, adding a pop of color and personality to an otherwise quieter piece.

Layering is an opportunity for experimentation and self-expression. You want to wear something that makes you feel sexy, empowered, or even serve as a conversation starter. The beauty of collecting jewelry is finding pieces you love and then figuring out all the different ways to wear them. For instance, neutral sterling silvers—like a bracelet by Theresia Hvorslev for Alton—work wonderfully with a beaded necklace, while a Murano glass necklace from the likes of Seguso pairs beautifully with Georg Jensen’s more understated designs. One thing I’d caution, though, is wearing color with color.

When it comes to jewelry, I don’t follow many rules—except comfort and intuition. There’s no hard-and-fast rule about how many signature pieces you can wear at once. The late Iris Apfel is proof of that. We don’t need to limit ourselves to certain metals or stones for specific seasons, and definitely not the outdated idea that your jewelry must match your watch. Instead, I always say yes to mixing metals!”