Pieces of Starr
ATLANTA, GA
In their own words
“The night sky and the stars started with experimenting with engraving. The freedom in creating a pattern is endless when it comes to the night sky. You could be confined by the actual hemisphere and the stars that we see, sure. But more or less, you can create your own pattern.”
-Starr
Jason’s interview with Starr
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Jason: Today, we got to talk to Starr Miller from Pieces of Starr. Starr, thanks for being on.
Starr: Well, thank you for having me.
Jason: What is it that you love about jewelry so much?
Starr: Oh, man. I've always loved jewelry since I was a little girl. And not just in a traditional sense, but like my mom and I always made jewelry and beading stuff. And I think that as my relationship with jewelry grew, what I love most about it is the story it holds and the story that it tells. It's almost like reading tea leaves. Every jewelry piece has its own storied background. And when you get into jewelry and you start to look at it all the time like I do, every piece has its own story and you can see that in the piece, with dings and little scratches and how the wearer wears it. And then the emotional connection that people have to their jewelry is immense. I don't know another product that people have as much emotional connection to. I mean, I can tell you that I also love the gold and the diamonds and that stuff. But really, it's the story that each piece can hold.
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Jason: I love that. You know, so true. And I'd love to hear your story, how you became a jewelry designer.
Starr: I get asked that a lot and I think I have gotten the story more or less nailed down which is basically growing up I kind of always had two paths. The one path was kind of what I did in my creative time. My mom is like a MacGyver—I am basically an imprint of my mom. My dad's a physician. My parents are immigrants from South Africa. So, my sister and I are both first-generation children of immigrants. I did the creative stuff with my mom growing up. We made jewelry. We made—we sewed, we made the Christmas ornaments. I mean, so many crafts and arts. And even into my early twenties when I was sad or when I needed a break or on a weekend, I always turned to creativity, making something with my actual hands.
Now, simultaneously, the other path was professional school. It was, go to a four-year good college. I went to UNC Chapel Hill. Wouldn't change it for the world. Went to Kenan Flagler Business School, also wouldn't change it for the world. But nonetheless had two different paths. And then after I graduated college, who I was turning into started to become more clear to me. And it started to move away from this consulting world. I was too wild. Too off the cuff. I just didn't fit.
And then in 2013, I asked my parents for a metalsmithing class for Christmas. Like, simple metalsmithing once or twice a week for eight weeks, like silversmithing 101. It's not like at any sort of university. It's at an art center in Atlanta. I fell head over heels with it because what I would come to find out is that it combines the perfect combination of disciplines that I love the most. I'm an immense problem solver. Like, that's my greatest trait. You've got to do some problem solving because you've built these little architectural structures. There's some alchemy in there. There's some chemistry, some physics. And then there's, of course, the creativity part to make it pretty.
Then over the next two to three years, I started building. I had an Etsy shop within six months. But rest assured that the growth, from 2013 to now was most certainly not uphill. It was a lot of up and down. And I didn't take the business very seriously until about three years ago. So up until then, I was doing odd jobs here and there. I knew I didn't want to go back to consulting in business because I just didn't feel prepared. I didn't feel like I fit.
I can't really talk about being a professional jeweler without also talking about the fact that I am sober, and I got sober about two and a half years ago. And that decision is really what catapulted my dedication to my work. So, there you have it.
Jason: Look at that, the journey.
Starr: Yeah, that’s more or less the journey because there's a lot of crappy stuff in there that every entrepreneur and jeweler out there should always note. There's a very steep price sometimes and a lot of ups and downs and depression and, “Can I do this? I'm not going to do this. Can I do this? I'm failing.” But overall, it seems to have been a good upward trajectory over the past two years or so. So, I'm very, very grateful for that.
Jason: Absolutely. And I'm sure over time you've honed in on what your specialty is. Can you share with us?
Starr: My specialty is stone setting and engraving. That's my thing. It's always been my thing. Well, not engraving. If someone really loves stone setting, they're probably going to get into engraving. The path goes stone setting, engraving, and then possibly into more intense things like faceting, stone faceting. But I would say my specialty is stone setting and engraving. I still have a ton to learn because someone who specializes in that, you kind of equate them as someone who is really great at it. And I love doing it, I do have a talent for it, but I'm kind of sitting here comparing myself to these masters in my mind. So, I just hope to increase that specialization. But the engraving and the stone setting are the two aspects that really get my mind working.
Jason: So you were doing engraving patterns early on in your jewelry, before they were trending. And what is it about the night sky that resonates with you?
Starr: I could give a philosophical answer, but honestly, a lot of the engraving, and specifically the night sky and the stars, started with experimenting with engraving. I think the freedom in creating a pattern is endless when it comes to the night sky. I mean, you could be confined by the actual hemisphere and the stars that we see. Sure. But more or less, you can create your own pattern and that can be something that's repeating or can be super random. But the freedom of the pattern is what attracts me.
I made two celestial pieces about five years ago, and I noticed that the attention drawn to them was high. People over and over really loved it. And so, I said, “Ok, I'm going to play around with some night sky stuff.” And then I got more into engraving. And engraving can really enhance a pattern. It can make texture. It can be used in so many different creative ways.
Jason: I love that. And do you have any mentors along the way, a couple of mentors you can share with us?
Starr: I would say Blaine Lewis, who is the head instructor and owner of New Approach School for Jewelers. Mainly because he taught me a completely different way of thinking about jewelry. I think he is filling a gap in the jewelry industry where it's a professional course. I'm a big proponent of professional education when it comes to your specialty. Not necessarily everyone needs to go to college. But when it comes to jewelry, going to a professional course like that is so important. I wasn't with her for long, but I interned with Erin Considine, who is a metalsmith in New York City. I spent a short amount of time there because I was only in New York City for the summer, but she introduced me to the Diamond District, line sheets, even though I don't use those now, but nonetheless back-end website stuff. I just picked up on so many things from her. And now I would say that my mentors are my community. It's my community of jewelers around me. Jalnar Dhanani-Wade, who is the Benchmark Collection. Metalsmith Society run by Corkie Bolton. Those groups are fairly small. It's a web of people that know each other. And the support and mentorship between those people and that community is truly what keeps me afloat sometimes. Alexander Sidorov is my current mentor I'm studying under.
Jason: Can you tell us about his training program in Belgium?
Starr: Alexander Sidorov Optical Diamond and Stone Setting is the full name. And it is in Antwerp, Belgium. It is a three-month program. He does do other privates—that's on the website. But traditionally the program he has is a three-month stone setting, diamond setting program. It's not all diamond setting—not all jewelry is created equally. He's incredibly picky. I want to have my work dissected. And so, it's a diamond setting program, specifically in micro-pavé, which being micro, you're using a microscope all day and pavé being a specific style. But it's really all types of setting. But it's fairly advanced. I'm so far two weeks in and I could not be more obsessed. I sit at a bench all day and set stones and get critiqued on it. And I respond pretty well to a harsh critique. And then I go back and make it perfect. The course so far is like the best ever. Learning from the best and from a person who has an established program.
Jason: I also want to hear about a love story. Can you share one that comes top of mind?
Starr: I have some really great love stories that are fairly traditional. But a lot of times the stories that pull on my heartstrings the most aren't necessarily love stories for like a couple or matrimony. A lot of times it's a love story commemorating someone or a loss or someone celebrating themselves. You can tell by reading the email that it is such a personal story for them and the way that they are choosing to commemorate that by using me as my art, my custom skills is so special. I mean, you can just feel the emotion coming through the email.
I had a client who wanted a celestial band with seven diamonds. And the reason she wanted seven diamonds is that she had been trying to have children for a really long time and had seven failed IVF treatments. And then on her eighth treatment, she became pregnant and ended up having her daughter, who at this point is eleven years old. She sent me such a long email. And then at the end, they always say, like, “I'm so sorry for the long email.” And I'm just like, “Never be sorry.” It is so special for me, for them, to be able to share that and hold that space for them. It was the most emotional love-inspired piece I've made.
Jason: Thank you. And in terms of involvement in the community and the charitable giving that you do, I know you're very active. Are there any top of mind that you want to share?
Starr: I would love to. I try to be as active as I can. I have some incredible people in my life that inspire me to always do more, always give more. And because I feel I am in a place to give on a constant basis. So, practicing that and being heavily influenced by my best friend in the jewelry industry, Jalnar, who is the most incredible activist I know. I use her as my beacon of how to practice activism. But as far as organizations go, I have to say that We Wield The Hammer is an incredible organization. It's run by Karen Smith. It's out in Oakland, California. Essentially what the program is doing is not only creating a community of metalsmithing there in Oakland, it's actually sending money to other metalsmiths in other countries, specifically people of color and Black women. I think that keeping it local is really important because there is so much local support, like we have Metal Arts Guild of Atlanta. And my studio mate Nicole Merman is doing an incredible thing. They're called the Bronze Smiths, which is specifically giving classes to children in the community, setting up the entire class with tools. And she has been an amazing mentor to many people in her life. I believe in not necessarily just giving to a large organization, but looking at who needs it in my community that really needs it.
Jason: I know you really focus on sustainability. And integrity matters to you. Can you tell us about that?
Starr: Yeah. So, the word sustainability comes with a large weight and complex definition. I and sustainability for me are connected because you need to be honest in order to be sustainable. And I think one of the biggest principles in being sustainable or wanting to be sustainable, because I don't think that any jeweler is ever going to be 100% —the definition of sustainability is very broad. And the only thing we can do is to continue to ask questions. And there are these incredible people out there doing that for us, for the industry. Ethical Metalsmiths being one of them. Kristina Miller is an ethical consultant. Columbia Gem House is an amazing ethical stone supplier. And then there is the ethical stone supplying show that has a permanent place at Tucson Gem Show. And also saying to our clients, when they ask questions that we don't always know, we try our best. And it is an immensely important thing to be sustainable. It’s just having a realistic conversation. And if you don't know a certain thing, if you don't know the source of a certain stone dealer you're working with, it's my responsibility to ask the stone dealer. And then I can pass those answers on to my clients and become more educated. I think that's the goal. And through that, we can all move towards a more sustainable industry
Jason: This is a trust business. So, what does trust mean to you?
Starr: Trust is incredibly important to me. You know, trust and just being real. Just share with your clients, don't tell them what they want to hear, tell them what you think. That's what they want to know. If they want to know my opinion about something, I'm going to give it to them. And it's not really in my nature to be salesy. I mean, I'm just going to tell you what I like and tell you what I don't like. And so, I think creating trust is being real with my clients. And I also like to be, probably too much sometimes, my husband would prefer me to not be on my phone as much, but I like to be incredibly responsive to my clients. Whether it's on Instagram, email, or text. I like to be probably more available than I should. But if it's something that a client needs and they want some reassurance, then I can be there to give that to them.
Jason: Well, with all that being said, I wanted to throw to you if there's a myth or anything you would like to dispel in our jewelry industry that you'd like consumers to know.
Starr: A couple of things. I would say the number one repeated question I get is, “Should I be worried about blood diamonds? Is this a blood diamond?” The definition of a blood diamond is most likely never going to touch 99% of clients' hands, especially now. So I have to dispel that and it's not a myth, I mean, it did happen. I get a lot of questions about plated jewelry. And I think the myth is that plated jewelry can last for a long time. And I am here to tell you most certainly that it does not. And I'm always urging my clients and my community to please stop buying fast fashion plated jewelry. If you want to collect jewelry and don't have the means to do so in sterling silver and gold, vintage shops are the most amazing way to go. But I'm here to tell you plated jewelry and gold-filled jewelry is about as good as throwing it away in the trash. It has no recyclable value to it.
Jason: There it is. Thank you so much.
Starr: Thank you so much for having me.
