Bench jewelers often remain behind the scenes. Bringing designers’ visions to life, either as an in-house jeweler or contracted with several designers, they develop a shorthand for communicating with an artist. Their perspective on logistics and techniques sometimes factors into the direction of the design, yet they are rarely publicly acknowledged for their craft. Considered a “dying” vocation, it takes a massive amount of training, often working as an apprentice for years, before one is considered a “master jeweler.”

A vast majority of contemporary designers outsource their bench work. Adept at devising imaginative designs, with an eye for colors that would make Matisse blush, immortalizing moments of the zeitgeist through their creative vision, they’ve really done enough already! Yet there are a handful of COUTURE designers who have in the past or continue to bring their creations to life with their own two hands (and furrowed brows and strained eyes). Physically and emotionally demanding, working at the bench is not for the faint of heart, so what’s its appeal? Erica Molinari, Sinork Agdere from LORD Jewelers, Mark Patterson, Mike Joseph, Sevan Biçakçi, Vanessa Fernandez and Victor Velyan explain.

Erica Molinari: 

A former Olympic athlete, Erica Molinari got into jewelry design almost by accident. Fueled by an insatiable curiosity, Erica continues to work on the bench today and is constantly challenging herself to perfect new components of the craft. With the foundation of her aesthetic rooted in gold and oxidized silver, she has recently begun incorporating enamel into her designs.

The below has been edited for length and clarity.

COUTURE: How long have you been at the bench? How did you get into it? Do you still do all of your own bench work, or have you passed the torch (pardon the pun) to others?

Erica Molinari: After the Olympics, which ended in ’92, I spent years not knowing how to fill that void, not knowing what to do with myself. My husband kept encouraging me to take a jewelry class because I always loved working with my hands, but I was always like “Nah I don’t think so, it’s not my thing.” But then 10 years later, I took a jewelry class at Beaded Rose and I loved it. I asked the owner of Metalliforous, a tool store on 47^th that’s no longer around, where to go to keep learning, and I ended up studying with Cecelia Bauer [C Bauer Studio] for 2 years. Then I went to the 92^nd Street Y and took a class every time I wanted to learn a new thing. I really attribute the program at the Y, especially a lot of fabulous teachers that don’t get the credit they deserve, to the trajectory of my career. My intention was not to go into business, I just wanted to make some things for myself, but eventually I got into Fragments [a former showroom] with a collection and that’s where it started.

COUTURE: What about the process of being a bench jeweler is most appealing to you?

EM: Working with my hands and making something and seeing the end product; being able to sit down and build something from start to finish is very satisfying. And one thing I didn’t realize about my personality until a few years ago, is that as soon as I understand and can do something, I want to move on to something new that I have no clue about and that I really shouldn’t attempt, but that’s the sport. Sports teaches you to follow through, to keep working, establish short and long term goals and realize nothing happens overnight.

COUTURE: How did you train? Were you an apprentice? Self-taught?

EM: When I launched my business after I got into Fragments, I still didn’t have a lot of basic skills, so I ended up hiring someone I apprenticed under for my own business who for 6 years taught me metalsmithing and wax carving. And again, every time I wanted to learn something new, I’d go take a class which brought us full circle to 2019, when I took my first enamel class.

COUTURE: You are both a bench jeweler and a designer, does the fact that you are a bench jeweler affect your creative output in any way?

EM: While I don’t sit at the bench as much anymore, the things I’ve already made and done have often been the result of happy mistakes; failures open your mind to new ideas. I think I benefited from not going to school and being told “these are the rules.” While it was probably harder for me, it’s lead to interesting results, it’s always a process of trial and error for me.

COUTURE: What is your favorite part about being a bench jeweler?

EM: It’s just an enjoyable process. Yes, it can be frustrating, but I like tedious, ergo the 22k gold granulation, it’s a tedious process but you get to just zone out and do it. And I love painting with enamel and seeing something come alive, all while learning. I like being a student, there’s so much to learn. I’ve been at the bench making miniature portraits with enamel for four or five years now, and I’m still a student.

COUTURE: What is most challenging about being a bench jeweler?

EM: There’s never enough time to finish something! And it’s hard to be an individual in this industry, that was probably the hardest.

COUTURE: Do you have a specific “bench routine” that you use? i.e. listen to music, etc.?

EM: My process includes listening to loud music and tuning everything out, no phone calls no nothing, and usually on the weekends. My music taste is all over the place, I have a playlist with over 2,000 songs from Nine Inch Nails to Robert Johnson to Red Hot Chili Peppers to Led Zeppelin to Billy Joel, I consider music an essential part of my craft.

LORD Jewelry:

Sinork Agdere of LORD Jewelry consistently creates awe-inspiring designs that celebrate nature and evoke a sense of fantasy and whimsy. With prolific, joyful collections that beautifully marry old-world European flair with contemporary high fashion, LORD Jewelry is the embodiment of Sinork’s singular vision.

COUTURE: How long have you been at the bench? How did you get into it? Do you still do all of your own bench work, or have you passed the torch (pardon the pun) to others?

Sinork Agdere: I’ve been at the bench for over five decades! Despite the many years that have passed, I still do all of my own bench work. There’s something deeply fulfilling about being hands-on and crafting each piece myself. I haven’t passed the torch yet; I love the process too much to give it up! After all this time, I guess you could say I’m still soldering on! (pun intended)

COUTURE: Tell us more about why you chose the bench as opposed to another art form like sculpture or painting? What about the process is most appealing to you?

SA: I chose bench-making as my primary art form because it allows me to merge functionality with artistic expression in a way that truly resonates with me. The process of transforming raw metal into a beautifully crafted piece is deeply satisfying. Each phase of this journey, from design to execution, presents its own unique challenges and rewards, making the experience incredibly fulfilling. While I have a deep appreciation for other art forms like painting and sculpture, creating jewelry feels more profound and aligns closely with my personal passion and skills. It reflects what genuinely motivates me and connects with my soul.

COUTURE: How did you train? Were you an apprentice? Self-taught? Family tradition?

SA: From a young age, I showed a strong interest in creative arts such as sculpting and painting. When I was 14 years old, I became an apprentice to a renowned artisan and goldsmith in a small workshop in the Grand Bazaar, Istanbul. With endless curiosity, I sat next to my mentor day in and day out, watching him work for nearly six months before I had my first chance to touch a piece of precious metal and start working on it myself. At that moment, I knew this was it…my curiosity had just turned into passion! This hands-on experience under the guidance of a skilled mentor was invaluable and laid the foundation for my journey as a jeweler.

COUTURE: You are both a bench jeweler and a designer, does the fact that you are a bench jeweler affect your creative output in any way? If so, how?

SA: Being both a bench jeweler and a designer is a huge advantage for my creative output. Firstly, I know what it takes to bring a project to life. When I have an idea, I can envision it with precise sizes and measurements, knowing exactly how to execute each detail. This dual expertise allows me to seamlessly transition from concept to creation, ensuring that my designs are not only beautiful but also practical and feasible to produce.

COUTURE: What is your favorite part about being a bench jeweler?

SA: My favorite part about being a bench jeweler is seeing a project from start to finish. There’s something incredibly rewarding about envisioning a design and then bringing it to life with my own hands. Watching a piece evolve from raw materials into a beautiful, finished creation is an experience that never gets old.

COUTURE: Do you have a specific “bench routine” that you use? i.e. listen to music, etc.? 

SA: Early mornings and late nights are when I find my creative flow, so you’ll often catch me working during these hours. I always begin by organizing my workspace, ensuring all my tools and materials are close at hand. To an outsider, it might seem chaotic, but trust me, there’s a method to my madness. Music is an essential part of my routine; it sets the tone and fuels my creativity. My go-to tracks, classical pieces by Eleni Karaindrou, Beethoven and Bach, never fail to inspire me.

Mark Patterson:

Alongside his wife, Josette, Mark Patterson has been quietly collaborating and spearheading innovations for over 35 years. Together, the couple, who met while attending the Gemological Institute of America (GIA) in Santa Monica, apply their complementary perspectives in establishing new benchmarks in superior design and craftsmanship.

COUTURE: How long have you been at the bench? How did you get into it? Do you still do all of your own bench work, or have you passed the torch (pardon the pun) to others?

Mark Patterson: 41 years. I determined early on that if I wanted to manufacture jewelry, I would have to learn for myself and not rely solely on other jewelers. I still work daily at my bench along with our other 10 crafts people.

COUTURE: How did you train? Were you an apprentice? Self-taught? Family tradition?

MP: I was very fortunate to have been mentored and taught jewelry by Kurt Gaum, a Swiss-trained jeweler, in New York City. I was teaching at GIA in New York City when Josette and I decided to start our manufacturing business.

COUTURE: You are both a bench jeweler and a designer, does the fact that you are a bench jeweler affect your creative output in any way? If so, how?

MP: Knowing how jewelry is constructed helps in the design.

COUTURE: What is your favorite part about being a bench jeweler?

MP: Working with my hands.

COUTURE: What is most challenging about being a bench jeweler?

MP: Being able to see! I’m 61!

COUTURE: Do you have a specific “bench routine” that you use? i.e. listen to music, etc.?

MP: True Crime Podcasts

Mike Joseph:

Born in Armenia to a family of jewelers, Mike Saatji, Creative Director of Mike Joseph Jewelry, has been honing his expertise in jewelry design and fabrication for over 25 years. His avant-garde, unconventional approach to the creative process, bolstered by his technical acumen, results in imaginative pieces that push the boundaries of traditional jewelry design.

COUTURE: How long have you been at the bench? How did you get into it? Do you still do all of your own bench work, or have you passed the torch (pardon the pun) to others?

Mike Saatji: Growing up in an Armenian family of jewelers, I spent countless summer days immersed in the world of gemstones and craftsmanship. As a teenager, I was captivated by the sparkle and allure of gems, and by the year 2000, my passion led me to Bangkok—a city renowned for its expertise in invisible setting, a technique that was the height of fashion at the time.

By 2004, I felt ready to take the plunge and start my own high jewelry manufacturing company, with my younger brother Joseph by my side. Our shared dream was to blend our skills and passions into something truly special. The road was not without its challenges; seeing the struggles faced by emerging designers made me cautious about launching my own brand.

However, in 2015, the encouragement and support from friends and colleagues in the industry became a turning point. Their belief in my vision gave me the courage to step into the spotlight. It was then that I launched Mike Joseph.

After years of honing my bench skills, I decided to focus solely on the creative side of the business. I wanted to channel my energy into designing, while leaving the intricate art of jewelry-making to our highly skilled artisans.

COUTURE: Tell us more about why you chose the bench as opposed to another art form like sculpture or painting? What about the process is most appealing to you?

MS: I picked jewelry making over sculpture or painting because I love the hands-on process of creating wearable art. There’s something special about turning raw gems and metal into intricate, personal pieces. The precision and detail involved make it uniquely satisfying and totally rewarding.

COUTURE: How did you train? Were you an apprentice? Self-taught? Family tradition?

MS: I grew up in a family of jewelers, so working in the business during summers was a natural fit for me. As a teenager, I moved to Beirut, Lebanon to dive deeper into stone setting. By 2000, I headed to Bangkok to specialize in invisible setting and had the chance to learn from some amazing industry veterans. It’s been a journey of hands-on learning and great mentors!

COUTURE: You are both a bench jeweler and a designer, does the fact that you are a bench jeweler affect your creative output in any way? If so, how?

MS: Definitely. My experience as a bench jeweler shapes my creativity in a big way. Working directly with the materials and techniques gives me a practical sense of what can be done, allowing me to create pieces that are both imaginative and achievable. It’s a great mix of hands-on skills and creative vision.

COUTURE: What is your favorite part about being a bench jeweler?

MS: My favorite part about being a bench jeweler is seeing a piece come to life from scratch. There’s something really satisfying about turning raw materials into something beautiful and finished. I also love witnessing the behind-the-scenes magic—the way each detail comes together and the whole process unfolds.

COUTURE: What is most challenging about being a bench jeweler?

MS: Jewelry making involves long hours of intense focus, with every tiny detail being crucial. It requires performing a series of precise techniques, where even a small mistake can lead to significant consequences.

COUTURE: Do you have a specific “bench routine” that you use?

MS: Music is always on in the background in our workshop.

Sevan Biçakçi:

There is perhaps no designer more revered in our community than Sevan Biçakçi. Like Cher or Madonna, he’s usually referenced only as “Sevan,” which elicits sighs of admiration from anyone within earshot. Using intricately carved intaglios, his dreamscape jewelry is breathtaking in both scale and construction, and the process of creation, from conception to lucky collector, can often take years.

COUTURE: How long have you been at the bench? How did you get into it? Do you still do all of your own bench work, or have you passed the torch (pardon the pun) to others?

Sevan Biçakçi: I started making jewelry at the age of 15, after sitting next to my first master and watching him work for almost three years. Now 52 years old, I have spent the last 20 years of my career as a supervisor and troubleshooter between the benches of my workshop’s craftsmen, rather than occupying a bench myself, in order to be able to produce a reasonable number of unique pieces of jewelry, despite the labor intensive and time-consuming nature of my signature style. Had I preferred to continue working from a bench, I would now be running a much smaller workshop, barely sufficient to supply a small boutique in Istanbul. The output would never be enough to consider international exposure, nor would I be able to consider and implement collaborations with artists or artisans other than jewelers. The work of my studio would lack its multi-layered, sophisticated character, which is a very determining factor behind my signature style.

COUTURE: Tell us more about why you chose the bench as opposed to another art form like sculpture or painting? What about the process is most appealing to you?

SB: I started my apprenticeship at the age of 12. For such young beginners, decisions are based on circumstances rather than personal will. I was a fifth-grade dropout suffering from dyslexia, desperate to prove to my parents that I was not useless, and very lucky that one of my father’s best friends offered me the chance to learn jewelry making in his workshop. The only other viable option would have been car mechanics.

COUTURE: How did you train? Were you an apprentice? Self-taught? Family tradition?

SB: I was quite a typical apprentice between the ages of 12 and 15. I cleaned and tidied up the workshop before and after my master’s working hours. When he was working at his bench, I would sit next to him and follow his occasional instructions. Because of his sympathetic nature and my father’s close friendship with him, I was exceptionally allowed to ask certain pertinent questions, which is almost never the case with apprentices. Normally, a master would consider this disrespectful and would make sure to punish the apprentice who dared to speak without his permission. My deceased master was like a second father to me. Thanks to him, I learned to love my working environment instead of going through a trauma like what I had experienced during my primary school years.

COUTURE: You are both a bench jeweler and a designer, does the fact that you are a bench jeweler affect your creative output in any way? If so, how?

SB: Designers are sometimes right to complain about the professional deformation of craftsmen who tend to reject creative ideas too easily. Indeed, many bench jewelers are reduced to repeating the same type of work because of their employers’ productivity or efficiency calculations. Perhaps I am too dreamy and curious to fall into such a trap.

COUTURE: What is your favorite part about being a bench jeweler?

SB: Feeling confident that, with the knowledge and skills I have learnt, I can try to meet the most unusual challenges.

COUTURE: What is most challenging about being a bench jeweler?

SB: Work under time constraints.

COUTURE: Do you have a specific “bench routine” that you use? i.e. listen to music, etc.?

SB: While I don’t spend much time at my bench anymore, when I do, I try to immerse myself in ideas about what I am working on and what I can do differently next time. When I was younger, I used to play very loud local rock music for 15 minutes at a time after long hours of work.

Vanessa Fernandez:

Brand new to COUTURE, Vanessa Fernandez of Vanessa Fernandez Studio charmed the community at last year’s event when she went onstage to accept her award for Best in Bridal at the COUTURE Design Awards. Visibly overwhelmed by the honor, she noted that she was especially proud of the win because she had made the piece four or five times before she “got it right,” and the win made all the late nights at the bench worth it! In hearing her talk about her work, however, she sounds like someone who is madly and passionately in love with what she does.

COUTURE: How long have you been at the bench? How did you get into it? Do you still do all of your own bench work, or have you passed the torch (pardon the pun) to others?

Vanessa Fernandez: My first experience at the bench was 2005; I’ve been at it ever since. I began at the bench as an art elective choice at the university I was attending at the time. Yes, I still do all of my own benchwork! Eventually (soon), I will need to employ a fellow jeweler to work by my side in the studio.

COUTURE: Tell us more about why you chose the bench as opposed to another art form like sculpture or painting? What about the process is most appealing to you?

VF: I chose the bench because my heart belongs to the fine jewelry arts. I spent years in the sculpture studio, only to realize I was welding really large scale body sculptures and while they were conceptually very interesting to me, my heart really did belong to small scale sculptural works.

I went to an art school renowned for its sculpture program; I have a BFA in material studies focused in jewelry in metals. Initially, I entered this program eager to create massive works of body art. I came to realize that what I really wanted to create was small scale sculpture. Sculpture that fit in the palm of my hand, made with precious materials, conceptually strong, rooted deeply in the arts. All of my work can be broken down conceptually, I won’t make jewelry just to make it, there is enough of that. It’s got to have a strong foundation, what motivated me to design something, what was my inspiration, why am I making what I make, am I pushing it? These are questions I ask myself with every new work I create, questions you’re taught to ask yourself in any serious university arts program.

I love working in all sorts of mediums too and I’m highly experimental in my studio, this is why I keep my wax work so private, but nothing brings me more joy than sculpting metal. I spent years TIG welding steel sculptures, glass casting/blowing small sculptures; forming with my hands brings me the most satisfaction when creating my work. My wax work is also so tactile, my goal is for the work I create to always feel warm and touched. Sculpting by hand is imperative to my work. I sculpt my wax, but I also sculpt post wax which is unconventional in traditional jewelry arts, but I love it. The process of molding material to my imagination is so seductive, it’s literally all I want to do.

COUTURE: How did you train? Were you an apprentice? Self-taught? Family tradition?

VF: I trained at art school, and then I spent years working as a designer for several established brands, and then I jumped back to the bench and spent about a year shadowing a master goldsmith whilst simultaneously working in my studio at my bench.

COUTURE: You are both a bench jeweler and a designer, does the fact that you are a bench jeweler affect your creative output in any way? If so, how?

VF: Yes, absolutely it does. As I’m designing, I’m also imagining how I’ll make it. So I already know by the time I’m done with a sketch exactly how I’ll execute the work. It’s not left to someone else to figure out for me, it’s like speaking another language and translating in your head as you speak it. As I’m drawing in one language, I’m breaking it down in my head in another, they go hand in hand and I love it. I think it helps me work more efficiently. I don’t need to stop and ask someone “hey how is this made” or “how can we make this happen?” I just know already what works, what won’t work, what will cause issues, or bring complications, what to look out for; it’s small scale engineering and problem solving! Sometimes I run into an issue, and I will run to my fellow master goldsmith for guidance, he’s been in the craft his entire life and always has a solution, I don’t know where I’d be without him, he really molded me and guided me the past few years and continues to be a massive influence in the quality of my craft.

COUTURE: What is your favorite part about being a bench jeweler?

VF: I will say being able to think of a jewel and then being able to sit down to make it out of gold and fine gems is pretty incredible, a beautiful art to dedicate my life too, one I am very proud of and lucky to be able to do every day.

COUTURE: What is most challenging about being a bench jeweler?

VF: It can be very discouraging to make mistakes in the studio, to feel like hours have been wasted, to melt something because you’re tired or running on caffeine and not enough sleep, it can be very hard to run a studio alone, it has a lot of challenges and it’s also very rough on the body, your hands, eyes…it’s a combo of fire, sharp tools, heavy objects, dust, powerful machinery…I keep super glue everywhere because as a jeweler, no matter how experienced you are, you’re going to cut yourself with a tool and you need to be able to close up a wound in seconds. It’s very challenging on the mind to spend hours making something ultra-focused and then need to scrap and re-do. You must be very patient, very tenacious, and determined at your craft. The fine jewel is always the reward. To be able to hold something so precious that was once a little pile of gold and a few finely cut rocks…its rewarding, like “wow, I made that!” it’s birthing a little gem baby, a small sculpture full of beauty, a little piece of your energy and soul, a beautiful piece of art.

COUTURE: Do you have a specific “bench routine” that you use? i.e. listen to music, etc.?

VF: I do, it’s not religious but it’s pretty consistent. First of all, beverages. At any moment in my studio, you’ll find ice water, iced coffee, probably a hot coffee in a mug somewhere, and if it’s a studio night, a glass of wine. I love to listen to good music, I don’t usually blast it but rather I have those giant apple headphones, I zone out, I dance a lot in between tasks, I like the noise canceling headphones and how they help me enter another dimension. The only time noise cancelling is bad is when you drop something and didn’t hear which direction it went in! I don’t really eat in there often and I never watch tv, it’s far too distracting, honestly sometimes the music is too distracting too. But there is something really comforting for me when I sit down to do bench work with music in my ears and my various drink options. I know what I’m doing the next few hours and exactly how to do it with all my tools set up, its relaxing. It’s beautiful, I really do love what I do every day. When I get overwhelmed, I take a few deep breaths, take a break, answer emails, texts, dm’s, take a few photos of my bench and what I’m working on, post it, and jump back in!

Victor Velyan:

Designer Victor Velyan is celebrated for his use of exceptional colored gemstones, yet when it comes to metallurgy, he’s considered a bit of a “mad scientists.” Developing his own, proprietary patinas, he delights in realizing the full potential of the metals with which he works, whether he’s dissolving them in acids or manipulating them on the bench.

COUTURE: How long have you been at the bench? How did you get into it? Do you still do all of your own bench work, or have you passed the torch (pardon the pun) to others?

Victor Velyan: I have been at the bench for 39 years. I started as an errand boy for a jewelry manufacturing company, but I immediately fell in love with jewelry making and did an apprenticeship in the same company. I’m still in charge of designing all of my designs and do some of the work at the bench myself, but I have several bench workers who do some of the work now, and they were all trained by me. One has been with me for 29 years!

COUTURE: Tell us more about why you chose the bench as opposed to another art form like sculpture or painting? What about the process is most appealing to you?

VV: My life has revolved around art from a very young age. I started drawing, painting, and sculpting when I was a kid.  But when I got exposed to precious gemstones in my late teens, it was a game changing to be able to take what nature gave us and create something with my own two hands, that’s not only art, but it could actually be worn. That’s when I decided that this is what I want to do for the rest of my life.

COUTURE: How did you train? Were you an apprentice? Self-taught? Family tradition? 

VV: I did a two-year apprenticeship with the true master jeweler. That changed my life but later on most of my techniques were self-taught.

COUTURE: You are both a bench jeweler and a designer, does the fact that you are a bench jeweler affect your creative output in any way? If so, how?

VV: Being a bench jeweler absolutely affects me being a designer! It gives me the freedom to think of a design and take it to the bench and execute it realistically. It’s a great feeling to be able to create something exactly how you saw it in your mind.

COUTURE: What is most challenging about being a bench jeweler?

VV: The most challenging part is probably to have discipline…to refrain from making things so complicated, to stop yourself every time you think, “Hey! I think I’ll make a ring, that turns into an earring, that can become a bracelet, then a helicopter!”

COUTURE: What is your favorite part about being a bench jeweler?

VV: You come in in the morning, turn on the lights, turn on the equipment you’re gonna need. Remove the Scotch glass from your bench from the night before, replace it with a cup of coffee, pick up the piece you’ve been working on for several days, look at it, start visualizing the finish line, crack a smile, put on some rock’n’roll music and get started. You’re a fuckin’ bench jeweler…you probably have a deadline!