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The great thing about costume jewelry is that there's something for everyone - there are very humorous pieces and very extravagant and outrageous pieces.

Melted down, silver is worth a little more than four dollars an ounce. But carved, inlaid, and engraved, and identified with a particular year, it becomes the direct reflection, often the literal record, of human history, our movement through time.

The modern designers are quite showy, and a lot of the young people really like it. Costume jewelry has always been about being noticed and not discreet.

I love seeing people's reactions to gifts that I've created from my line, such as my gold horn ring, bottle openers, my 'Fallen' leather jacket and my Slither black and white sweater.

I certainly like it if the work is beautiful, but that's a surplus effect. I can only think about that after I consider how it's made.

My contention is that that style is just as stylized as an ornate style.

I love the opportunity to get properly dressed up. I've worn three Lanvin dresses, and they've all been a dream. They're so well made, with the most beautiful craftsmanship. I don't tend to go with things that are ornate - just beautifully made pieces and some classic jewelry. Let the work speak for itself. I love that.

While I tend to keep embellishment minimal as my clients often possess some of the finest jewellery, I enjoy creating ornamentation that appears like installations, to compliment the overall look.

The finest works of art are precious, among other reasons, because they make it possible for us to know, if only imperfectly and for a little while, what it actually feels like to think subtly and feel nobly.

One of my most sentimental items is my grandmother's engagement ring that my mom gave me a few years ago. It's a Victorian-style setting that's closed in the back, so it doesn't sparkle the way diamonds do now. I wear it as a pendant.