Have you ever come across a jewelry brand that instantly makes you feel lovestruck? In my line of work it happens all the time, and I’m guessing retailers are no stranger to the feeling, too.

Studio Mullins, a Birmingham, Ala.–based jeweler founded in 2020 by Shelby Mullins, is one of those brands for me. What I love about its core collections is that the pieces are classic in a way that you could put them on and never take them off (even though you’re supposed to!), but distinctive enough to know they came to be through the creative work of a designer.

It’s the kind of line a customer can build on—a pair of stud earrings at first, then maybe a charm bracelet, an initial pendant, and eventually perhaps a custom engagement ring. Then of course comes the eternity band, and—if the customer’s feeling frisky—an ear cuff, because Studio Mullins makes one of those, too, and though there’s a slight edginess to such a trend-forward piece, its version is soft, elegantly feminine, and gloriously sparkly. Whether a piece from the Wax Seal collection, designed to be modern heirlooms inspired by the wax seals of the past, or the Lover’s Knot, representing an unbreakable bond, every style blends together beautifully, and can be seamlessly layered for years to come.

Below, a few questions with founder and designer (and new mom!) Shelby Mullins on her path to jewelry design, honing her aesthetic, and the metal customers are veering toward now.

Tell us how you got into jewelry design in the first place.

Getting into jewelry design was ultimately about finding my medium. My grandfather was a lawyer, but also an accomplished oil painter who taught me how to paint from a young age. I took art classes throughout school, and, while I loved painting, I always felt more drawn to drawing.

I went on to major in interior design, where I was able to apply these skills through hand renderings, and later worked in both interior design and interior architecture. My background in custom furniture production, cabinetry, and millwork drawings—combined with my lifelong interest in art and Victorian-era jewelry—gave me the foundation for the work I do today.

As I entered the season of planning my own wedding and began creating meaningful, personal pieces, I was introduced to and immersed in the world of fine jewelry. I enrolled at GIA to deepen my knowledge and formally begin my journey. With the enthusiastic support of friends and family, I started by creating heirloom and bespoke pieces before launching my first collection. In 2021, I stepped away from interior design to fully pursue my path in jewelry design.

Your jewelry has such a classic vibe but still feels distinctively yours—how did you find the right balance in creating? How would you describe the aesthetic of your brand? 

Thank you! I think my aesthetic has always been present, but over time—through practice and refinement—it has matured into a more balanced and intentional point of view. I would describe the style as modern Victorian. I’m drawn to repeating specific motifs and elements to create a cohesive and recognizable design language: two-tone metals, scattered pavé, lover’s knot and wax seal motifs, and a palette centered on warm gemstones such as garnet and tourmaline, along with pearls and natural diamonds.

Are there particular jewelry categories (e.g., bracelets, rings, cuffs) where you’re seeing growth or retailer demand right now? 

Interestingly, bespoke work drives both our retail partnerships and our direct-to-consumer business. Jewelry is often described as an oversaturated market, and consumers can feel that fatigue as well. From my perspective, what clients are truly seeking is something uniquely their own—yet they come to us because they connect with our aesthetic and our core collection. We are able to support our retail partners with both our collection and bespoke projects.

We lean into this by continually evolving the collection, creating new designs that inspire custom projects. In particular, pieces designed around larger stones invite clients either to commission entirely new works with us or to reimagine and reset stones they already own.

Speaking of your bespoke business, can you tell us if there are any unifying themes your custom clients are gravitating toward? 

Our collection often serves as the starting point for our bespoke work. Clients are drawn to the pieces as they exist, but frequently want to make them uniquely their own by incorporating elements they’ve seen throughout our designs. We source stones specifically for each project, while also working extensively with clients’ heirloom gems. Many come to us ready to refresh an engagement ring, using one of our settings as a foundation while seeking a more customized design and experience.

How do you predict consumer demand for jewelry will change, if at all, in 2026? What do you have planned for your brand in the new year?

I can’t speak for all consumers, but I can share what I’m seeing firsthand with our clients. Lately, there’s been a quiet but clear pull toward platinum over white gold.

Because we work exclusively with natural diamonds, many of our clients are also gravitating toward warmer stones and antique cuts—choices that feel more soulful and expressive, and distinctly different from the perfectly colorless look often associated with lab-grown diamonds.

We’re allowing those preferences to guide the direction of the brand, continuing to expand our engagement ring settings and thoughtfully introducing warmer gemstones and antique diamonds into upcoming designs, with new pieces planned for spring-summer 2026.

Top: Evie engagement ring in platinum and 18k yellow gold with 1.74 cts. t.w. diamonds, price on request; Studio Mullins

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