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The Atlas Collection features spheres of quartz, moonstone and Ethiopian opals. White and rare mixes of diamonds cover the three prongs that hold and protect the spheres. The fragility of the earth is symbolized in the globes. Here culture supports nature; the two enhance one another. Fragile sensibilities are juxtaposed with old world craftsmanship.

As the oxymoron suggests, the Controlled Chaos Collection plays stability off instability. Different sized baguettes and rounds are used in arrangements that can be grasped in a single glance. For example, these forms come together in a single plane like a circle, faceted stone or organic geode shape. This kind of visual grounding allows the layout to stabilize only a moment before the composition of diamonds complicates the idea of a pattern. Often times, the diamonds only move partially around another material or shape to imply a type of destabilized order in progress. Like the chaos theory, Meredith sought to create an aesthetic system that hinted at order even if it was just a whisper.

The Diamant Collection features ethical, rare, colored and white diamonds in shallow, faceted form. By rendering the raw material in shallow form, the jewelry puts in the forefront the unusual colorations, inclusions, markings and shape of the diamonds. Meredith charts two aesthetic pathways for the diamonds, the geometric and the irregular. Gold bezels act like beams of sunlight encircling the diamonds, and serpentine lines of gold connect the diamonds literally framing nature’s watercolor paintings.

The Midi Collection draws upon the colors typical of midday sunshine: golden, metallic rays, white light and soft palettes. The combination of quartz and diamonds are like glistening moments of daylight, a subtle reflection in a midday eye. Meredith explores different forms of quartz, such as rutilated quartz, golden enhydros and Herkimer diamonds, and respects their organic shapes. By placing the quartz above pave set diamonds, she emphasizes the inclusions captured in the quartz. Here a sophisticated layering of mineral wealth becomes an exploration of where light can take us. Glimpsed through a mantle of nature and culture, a thought is clear; light is the illusion.

Geode slices serve as partitions curated by nature herself. In this form, the raw materials inherently bring into dialogue notions of positive and negative, and interior and exterior space. Meredith draws our attention to the topography of the geode, whose frame inspires unique arrangements of diamonds within and without the undulating lines tracing the geode outline.

The Shield Collection pivots on the idea of the shield and utilizes different visual manifestations as a point of departure. Meredith calls to mind the cultural role of jewelry as love’s advocate and protector. The raw, strong material of nature is shaped into shields as a poignant token of endurance and power. Lines of femininity and masculinity are obscured.

As a tribute to her mother’s maiden name and her own middle name, the Webb Collection is based on Meredith’s musings on a stylized web. Nature’s form—a spider web—is disguised when rendered geometrically and put into a cultural context. The logo web appears reduced to its most basic form—the hexagon. In this case, Meredith strips her jewelry form down to its essentials and simplifies it to the hexagon and a rose cut diamond. The formal balance of color and line appear universal, but Meredith invites her client to participate in choosing the combination of gold and diamond colors, and encourages unique layerings for a unique look.