We sat down with Puerto Rico–born jewelry designer Lucia B. Martí. Her work is rooted in a lifelong fascination with beauty, craftsmanship, and the emotional weight of objects that are meant to be kept. Raised in San Juan, Lucia’s earliest memories of jewelry come from exploring fine pieces alongside her mother. This was an experience that sparked a lasting curiosity about design and the people behind it.
She went on to study Jewelry Design at the Savannah College of Art and Design. Lucia later became Diamond Certified through the GIA in New York City. Today, her practice sits at the intersection of tradition and innovation, where each piece is designed not only to be worn but to be cherished and passed down.
In our conversation, Lucia reflects on storytelling through materials, the evolving language of her work, and the enduring power of jewelry as a form of self-expression and memory.
On Longevity and Becoming a Jeweler
Give us your elevator pitch—how would you define your practice and the world of jewelry you’re building?
Jewelry, to me, is about longevity. It is about what we carry, what we pass down, and how meaning becomes encoded over time. That idea shaped my thesis at SCAD, where I created a collection inspired by genetics and the evolving science that allows us to alter it. My interest began early, watching my mother, a former hand model, try on jewelry. I was captivated by the craftsmanship of each piece. Learning about the designers and seeing their names alongside their work sparked my own path into jewelry.
After SCAD, I did the Graduate Diamonds Program at GIA in New York. Later, I worked in a casting company, gaining hands-on experience in production. Which helped me refine both my technical skills and creative voice. Today, alongside designing and managing my own brand, Lucia B. Marti, I am the Head Bench Jeweler at Fitzgerald Jewelry. There, I design, repair, and create custom pieces from the bench up. Gathering all my knowledge to create pieces like the ones I was once mesmerized by.
Scaling the Language of Jewelry
What’s a project, object, or idea you’ve had to shelve for now—and what made it feel premature?
As a jewelry designer, I am usually focused on creating wearable pieces, mostly on a smaller scale. But I’ve always had the desire to scale them up, expanding my design language not only onto the wearer’s body, but into their surroundings. I began exploring this during my first pop-up in New York at Santos by Monica. With the help of my friend and collaborator, industrial designer Carol Pieters, we created three mirror frames featuring my signature helix. Using acrylic, foam, and fabric, these became early prototypes for what could evolve into a larger body of work in home decor. With my experience in industrial materials and processes still evolving, this collaboration with Carol offered an important glimpse into a direction I want to pursue. Learning as much as possible before I make that leap.
Future Forms and Open Practices
If your work existed outside of jewelry, what form would it take?
Having been inspired by the nuances in science—how medicine has evolved and how the genetic code has been decoded—I have always looked to the future for inspiration. What is the future? What does it look like? This has led me to the works of Zaha Hadid, Santiago Calatrava, and most importantly, Neri Oxman, who has revolutionized architecture as we know it.
They are forward thinkers who use nature as inspiration, simplifying it into its most essential curves to create beautiful structures. Inspired by Neri’s Silk Pavilion II. I would love to explore the opportunity to create a structure based on my signature X bead by using the natural formation of pearls. Finding a way to mimic that process at a larger scale, allowing it to grow or form organically. I can only imagine the luster it would hold. Ultimately, I envision transforming it into what could only be a small LBM shop.
What convention in your field do you find yourself questioning?
One convention I do not subscribe to is the gatekeeping in the jewelry industry. As someone who wants everyone to succeed, I’ve never believed in withholding information. I approach my work with the belief that what you put out comes back to you… So generosity, collaboration, and openness are core values in both my practice and how I move through the industry. Kindness and positivity will always be my north.
On Doubt and Decision-Making
When was the last moment of creative doubt—and how did you move through it?
Unfortunately, as a creative, doubt is part of my everyday life. Without a linear path or a clear ladder to follow, it tends to creep into everything. Most recently, I was doubting whether to restock on the same packaging I’ve been using since launching the brand or design new packaging. One option was more cost-effective, while the other felt like an opportunity for a fresh direction. Part of me was nostalgic, while another part knew it was time for a change. Moments like this often lead to decision paralysis, which I’ve learned to reframe. I recognize that with each doubt, I should pause, allowing me to step back and make more intentional decisions. This mindset has helped me become more decisive and make thoughtful decisions about where I want my brand to go, including new and improved packaging.
Icons, Influence, and Building Legacy
If you could make a piece for a historical or fictional figure, who would it be?
As someone who deeply appreciates art and those who advocate for artists, the person who always comes to mind is Peggy Guggenheim. She was always looking toward the future. Her taste and financial power allowed her to champion emerging artists who are now foundational to art history, even commissioning works from Alexander Calder for her home. She truly saw potential and bet on it. As for what I would create for her, I imagine something like a bib, reminiscent of those worn by Ruth Bader Ginsburg. I would want it to be both bold and elegant, almost like placing a spotlight on her. Using my custom links, I would create a chainmail that wraps around her neck, resembling a modern-day warrior and patron of the arts.
What’s something outside of jewelry currently shaping your thinking?
One text that has been particularly inspiring to me recently is The Cartiers. It explores how, from humble beginnings, the Cartier family built an empire, crafting jewelry for some of the most influential people in the world and creating iconic pieces like the “Love Bracelet”. For me, it’s not just about the history of the house, but the structure behind its longevity: how a brand is built, sustained, and recognized across generations. I hope that by studying the Cartier family’s journey, I can better understand how to shape my own path in this industry and, ultimately, build a brand of my own.
Intention, Individuality, and Connection
What do you want someone to feel when they encounter your work?
I want the wearer to feel as though they are truly wearing something one of a kind. There is a quiet, almost sublime sense of pride that comes with wearing something unique, and that is what I hope anyone who engages with my work experiences. More than that, I hope it gives them permission to feel seen in something intentional and singular—to trust that what they are wearing was made with care and purpose. For me, that response is the measure of success. If someone feels that sense of individuality and connection, it means I’ve done my job as a designer.
On Family, Memory, and What Endures
What question do you wish you were asked more often?
The question I think is not asked of me enough is: Where does my motivation come from? The answer has and will always be my family. I was incredibly lucky to have been born and raised on the island of Puerto Rico. I am first-generation Cuban-Puerto Rican on my father’s side. Both of my grandfathers left Spain and Cuba to build new lives in Puerto Rico, and I carry that history with me. I am proud of where I come from, and of how jewelry has ultimately led me to where I am today, New York City.
What theme continues to surface in your work, even when you’re not looking for it?
I would say jewelry’s longevity. Even before I started creating jewelry, I was always amazed by how it could be passed down through generations. My dream is for each of my pieces to be worn across generations, becoming modern heirlooms that can be passed down and create lives of their own over time. Inevitably, outlasting the wearer, I aim to create pieces that not only endure physically but also in design. Pieces that will be carried and cherished for generations to come.
About One for the Future (OFTF)
One for the Future celebrates the next generation of jewelry and creative industry professionals. Each year, the program recognizes honorees for their innovation, craftsmanship, and/or unique perspectives and connects them with mentorship, exposure, and opportunities to engage with collectors and industry leaders worldwide.
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