Additional Press
Additional Press
WSJ Magazine, February 2025
STATEMENT PIECE GOLD STANDARD Danielle Sherman's fine-jewelry line, Sherman Field, has become known for its unpretentiously elegant chains and pendants. Now she's launching a seven-piece collection of custom ceremonial rings inspired by the 1940s retro era. With rich 18-karat gold and round-, princess-, and asscher-cut diamonds, the rings are both bold and slightly understated (case in point: a cigar band with a center stone). To Sherman, they're "truly suited for everyday life" and don't look "traditionally 'bridal.'" For details see Sources, page 162.
ROCK SOLID Clockwise from right: The engagement rings come in seven styles, including a bezel-set solitaire, a cigar band, and a channel-set ring; the brand's signature pieces; jeweler Danielle Sherman, who is based in L.A.
Vogue, November 2006 "Three's company” written by MARK HOLGATE
TANK GIRLS MODEL LILY ALDRIDGE, IN A LONG BACK-SEAMED TOP BY THE ROW ($550: BARNEYS NEW YORKI. IS FLANKED BY THE DESIGN TRIO, FROM LEFT. ASHLEY OLSEN IN THE PERFECT TEE" ($195), MARY-KATE OLSEN, AND DANIELLE SHERMAN.
Take two Olsens, add one childhood friend, and what do you get? The perfect tee.
"We took nine months to get this right," says Danielle Sherman. The "we" is The Row, the just-born line of 28 knitted basics that are anything but basic, created by Sherman and Mary-Kate and Ashley Olsen. The "this" is a soft, slouchy silken T-shirt that is seamless save for one French seam that runs down the back. The shirt's simplicity belies the fact that its genesis was so drawn out, but that's the whole point. "We wanted perfection or as close as we could get," Sherman says. "And we didn't have to rush to achieve it."
It was that French seam that caused the most consternation, partly because the trio was bent on discovering, through much trial and error, how to make sure it doesn't start to twist when it's on the body, and partly because, as Ashley points out, "we'd visit factories and they'd say, 'You're crazy! You're using a high-end couture technique...for a tee?!'" The seaming technique was also used for a bat-wing top, a mini slip, and—the other piece they're most proud of—a pair of superskinny black pants. The seams flatteringly run down the back so that there is no rippling on the sides of the legs.
The label's name comes from Savile Row, the London street world famous as a destination for timeless tailoring. The prices range from $150 for the tee (invest in one when it hits the floor this month at Barneys New York, and you'll get a jump on spring 2007's T-shirt dressing, as seen at the recent New York shows) to $850 for a floor-sweeping cashmere vest. "We think women look best in simple pieces," says Mary-Kate. "These pieces work on all body types and all ages," adds Ashley.
The Row is light-years away from the typical celebrity fashion line. There's no branding, save for a tiny gold chain that serves as a label. "For us, fashion is about the clothing," says Ashley. "Not the people behind it."
NY Times, December 2022
Gold Chains Look Sexy on All Genders, All Body Types By Marisa Meltzer
Gold chains are a jewelry gateway drug. I should probably warn you that a simple 14-karat chain you buy for a pendant evolves quickly into a desire for heftier and more ornate chains until you're sending links to $27,000 18-karat double box chain necklaces. A matching bracelet would be a thoughtful touch. ($27,080)
Town & Country, April 2023
The last time Danielle Sherman was mentioned in these pages was 2016, when she left Edun, the Bono and Ali Hewson–backed ethically sourced line where she was creative director for three years. In the interim, Sherman relocated from New York to Los Angeles and had a second child with her husband, the photographer Todd Selby; their girls are now three and one. But it’s her new baby we’re here to talk about.
Since exiting Edun, Sherman has been nurturing a new fine jewelry collection, the hero pieces of which are substantial 18-karat hand-linked chain necklaces. They’re real beauties, made all the more so by the fact that so little of this kind of artisanal work happens these days.
Sherman Field takes its name from a women’s tailoring brand the designer’s paternal grandparents founded in London circa 1967. It was a short-lived endeavor, and there’s only one piece of marketing material: a photograph of a Twiggy-type model on Westminster Bridge sporting a sharply cut A-line coat, with a Jensen Interceptor and a chauffeur idling in the background. In the future, Sherman Field could grow to encompass categories beyond jewelry and become a real lifestyle brand, but for now she’s quite pleased to be thinking small. Sherman is part of a growing cadre of former creative directors (in addition to Edun, she worked at Alexander Wang and The Row) who are reimagining their careers—not just their day-to-day grinds, but what their output is, and, further, what its impact will be on the local and global environment. The 2020s could just turn out to be a new age of independents.“Because of the world we’re in now, it’s sometimes hard to find things that people have taken time to create,” Sherman says. “But Sherman Field is really built to last. I mention this on the website: ‘craft without compromise.’ I stand for everything that fast fashion doesn’t.” A lifetime lover of jewelry, Sherman’s development process began in the archives of LA’s Getty Museum, where he discovered a love for Retro jewels. Bold, dramatic, and made in gold post–World War II, they’re the antithesis of the dainty, delicate rings and ear cuffs that’ve been so popular this decade. “I was excited to try to do something that felt new,” she says.
As Sherman made the rounds of jewelry trade shows—call it secondary research—she noticed a real lack of chain necklaces from the era of her interest, so she made them her focus. “They’re heavy and they have weight to them,” she says. “They’re an investment that you can pass on, and that’s how I envision this brand.” In addition to chunky necklaces in multiple lengths (Danielle wears the 22-inch and Todd the 25-inch), she’s designed cigar and barre rings and stud earrings featuring black onyx, lapis lazuli, or white cacholong. All of the pieces are made to order in Los Angeles in gold (the yellow gold was specially mixed for Sherman to evoke the warm hue of Retro jewelry), and they’re available via her direct-to-consumer website and social channels. She’s also supplementing her original designs with vintage pieces from France, Italy, and the U.S. There’s a Victorian locket, link bracelets with appealing heft, and a stunner of a diamond Art Deco cocktail ring, plus a signed Cartier ingot bar pendant. “Creating something new is incredibly time-consuming, and some things are just better as they were,” explains Sherman. “Also: This being a personal project, curating other pieces that were personal to somebody else, it just felt right.”
But why use the name of her grandparents’ company? “Even though Sherman Field didn’t last long it stood for something—it really represented quality,” says Sherman. “Hopefully we’ll be around for the next 10, 15, 20…this is something that maybe one day my kids will want to take up. It’s nice to build something of permanence in a time when things feel really impermanent.”
Vogue, December 2019
WSJ Magazine, November 2023
The Financial Review, Australia, October 2024
CHAIN REACTION Danielle Sherman is reviving mid-century designs with her fine jewellery line that showcases a specially created gold. By LAUREN SAMS
FASHION RUNS THICK through Danielle Sherman's veins. Her father was a shoemaker whose brand, Kudos, was a favourite of Rod Stewart's. And her paternal grandparents owned several fashion businesses, including Sherman Field, a range of high-end women's tailoring.
Sherman herself co-founded The Row with her childhood friends Mary-Kate and Ashley Olsen in 2006, before becoming creative director at Bono and Ali Hewson's social enterprise Edun (LVMH is a stakeholder) and then T by Alexander Wang.
So it is still something of a surprise to the 42-year-old that she now owns, not a fashion brand, but a jewellery brand, Sherman Field. Based in Los Angeles, and with a team of just three people, the brand specialises in handmade chains inspired by the 1940s that can be worn every day (Sherman encourages clients to wear theirs everywhere, even in the shower). The pieces are simple and glamorous. And it all started with a trip to the Getty Museum.
"My husband and I used to own a mid-century home," she says over the phone from LA. "We knew it had been photographed by [renowned photographer] Julius Shulman but we couldn't find the original images." Sherman's husband, photographer Todd Selby, searched the archives of the Getty to find them, and told Sherman she should spend some time there. Sherman, a newcomer to LA, was searching for her next career move and began hanging out at the museum's library daily. "And I gravitated towards the history of jewellery," she says. "I started with ancient Egypt and then discovered the retro period, the 1940s, and I just fell in love with it."
A seed was planted, and soon Sherman visited the Las Vegas jewellery fair to touch and feel the pieces she had become so attached to. "I saw hundreds of vendors with beautiful jewellery," she says. She rifled through earrings, bracelets, pendants and more. "But nobody had chains I wanted to buy." She saw the gap, and knew she had found her next chapter.
Sherman Field launched in 2019 but really began three years prior, when Sherman developed the design and then took nine months to perfect the gold the brand uses to this day. Yes, you can buy gold – most brands do – but Sherman was looking for a specific tone that mimicked the retro pieces she loved.
"Post-war gold was a very different colour," she says, explaining that different chemicals were used due to scarcity, giving the gold a deep colour that is difficult to find now. "And I just loved it, and so we took a long time to find the right mix of alloys and recycled vintage jewellery." That perfectionism, she says, is innate.
"I was born this way, for better or worse!" she laughs. "I was the child constantly erasing her essay, changing it at the last minute."
Sherman's favourite piece – currently, at least – is the double box bracelet. "But essentially, I wear the leftovers," she says. "So much is sold out, so I wear what I can get." For the first two years, Sherman Field was exclusively made to order (most pieces take around six weeks). As the business has grown (it now wholesales to Bergdorf Goodman), Sherman keeps a steady stock of inventory.
"People will call me on a Friday and want something for the Sunday," she says. "That is now possible."
Still, the jewellery industry is "significantly slower" than fashion, she says. "We release pieces only when they are ready," she says. "We only launch things when they work, when you can shower in it, when you can wear it endlessly." It helps, too, that Sherman has nobody to answer to but herself. It's something she learned from the fashion world, where too many cooks can result in an unappetising dish.
"I learned that to run a business, if you want to be focused on true craftsmanship and quality, you have to start small," she says of her time in fashion. "From conception to design to production, things can get lost in translation. There is only so much you can control in fashion." With her own jewellery business, she says, "I can control the product end to end. We make pieces that I am personally excited by, and there are no other forces influencing what we produce."
"I discovered the retro period, the 1940s, and I just fell in love with it."
And while she doesn't see herself launching a fashion line, Sherman Field might, one day, produce "a perfect shirt, something that's one-off and special."
For now, Sherman is focusing on exactly what her customers want. Most are in their 60s; women who have extensive knowledge of fine jewellery and are starting to purchase for themselves. She says one of her best customers is an Australian living in the United States, who is "always asking us to do a trunk show in Australia" – an idea she would like to pursue. And she continues to research when she can. It was the library, after all, that led her to Sherman Field in the first place.
Who What Wear by Hillary Kerr, Feb 1, 2023 podcast and article "How Danielle Sherman went from co-founding The Row to launching her jewelry line." By Madeline Hill
Danielle Sherman has worn many hats throughout her career. For one, got her start in the fashion world at a young age. From taking classes at Jo-Ann Stores to sewing with Vogue patterns, Sherman has always loved working with her hands.
While learning to sew, she was also making jewelry and had a knack for sourcing rosary beads from flea markets and remaking them into necklaces. At the age of 16, Sherman launched her own line of leather accessories, which was funded by a small acting role she landed in The Parent Trap.
(Yes, *the* Parent Trap, starring Lindsay Lohan.)
Eventually, Sherman moved to New York City and enrolled at New York University. Upon graduation, Sherman worked for Tahari ASL and went on to co-found The Row with Mary-Kate and Ashley Olsen. After stints at Alexander Wang and EDUN, Sherman struck out on her own. During her time consulting was when Sherman was able to get in the headspace to get creative and figure out what she wanted to do next.
That next thing? Relaunching her grandparent's high-end women’s tailored clothing, Sherman Field, as a fine jewelry label in 2019.
In the latest episode of Who What Wear With Hillary Kerr, Sherman shares how she went from co-founding The Row to launching her fine jewelry line, the investment pieces worth buying, and so much more.
For excerpts from their conversation, scroll below.
You co-founded The Row with Mary Kate and Ashley Olsen. You've designed for Alexander Wang. You have worked for really important brands. I'm hoping that you can give our listeners a little bit of insight into your background.
I like to actually proceed the fashion background because I think so much of what I've been able to accomplish extends from how I was raised. Being born in Los Angeles, being raised by my mom, my father passed away when I was really young.
I've always been a very active child but also taking on a lot of responsibility. That being said, I always was also making things with my hands. I was taking classes at Jo-Ann Fabric when I was 12 years old.
I was learning, sewing, getting McCall's patterns, Vogue patterns from very early on. Then at the same time, I was also making jewelry. I was sourcing rosary beads from flea markets and remaking, re-crafting them into necklaces. Even though I am Jewish and go by being Jewish, I would love working with rosary necklaces.
Then I had one year when I was an actor (not really—I was barely an actor). I auditioned for a Lindsay Lohan film, The Parent Trap. I landed a very small role and that role funded my first business when I was 16. It was a leather accessory business.
Eventually, I got a few meetings, and my bracelets, my leather cuffs were on the Dixie Chicks. From there, I went to NYU and was always interning for multiple places, but nothing fashion related. I just wanted to explore both my academics and also art and other things.
I felt like I grew up pretty early, but it just cemented just another chapter in my life of independence and figuring things out. From there, I had a brief paying job at Tahari ASL and then The Row. That was in 2005; I co-founded [it] with Mary Kate and Ashley. From there, I joined Alexander [Wang] [and] originally worked with him on [the] runway and then launched T for him as a design director for men's and women's. I was there for five and a half years. After Alex, I joined Edun.
It was incredible because from all the companies I've worked at—from domestic production all the way to doing things in Asia to doing things in Africa—it was incredible to explore new territory.
You had a very entrepreneurial side, given the fact that you were starting your own businesses and working at such a tender age. At what point did you start thinking about doing something for yourself? Specifically, why were you interested in thinking about jewelry and fine jewelry?
After I left Edun, our family moved to L.A. I had an infant at the time. The first thing I did was actually just open up a consulting company because I knew if I was going to help support the family and keep the creative juices flowing, I still need to be doing something.
I was consulting for PLS+T. It was a division of Theory in Japan. I was working for fast retailing. I had that, which was financially supporting this level of independence being here in L.A. and not having a full-time job. That was my first consulting gig.
While I was consulting, I then had the headspace [to] create something. Did I know is going to be jewelry? Not necessarily, but I knew I wanted to create something.
When I was thinking about all the things that I've done and maybe haven't pursued, I've always had a pension for heavy, kind of big, bold pieces. I've never found the pieces that I would want to wear.
That's where I kind of landed on jewelry. I feel like I had the headspace to have more creative thinking because I didn't have a full-time job.
Obviously, jewelry is very personal and unique and distinct to everyone who wears it, but there are some truths, as well. If someone was starting out and starting to build their collection and really wanted to invest in pieces from you, what would you suggest in terms of starting out?
Part of why we started the Column Chain—which is our entry price point necklace—is so [customers] can afford that piece along with a locket. That was the intention.
I want someone to be able to walk away spending under 15 or about $15,000 plus and have two pieces as opposed to just one. That was the intention behind that. It's an investment piece still, being the price point that it is, but that you could then in time purchase other pieces to wear along with it.
I would rather save up for a whole year and buy one special piece than have multiple pieces of things that sure will not last and are trend-based.
The Oval Chain Link is to this day our best seller, best performer, because it's very intricate and the design behind it is something that people are excited about.
I think finding your link and finding your length are the two things I always start with people. So maybe a chain ultimately is the best investment, because, I think, to this day, it's still hard to find weighty chains that you can wear and pass on.
C Magazine, May 2023Quiet Luxury Comes To CaliforniaHow the understated “stealth wealth” look became summer’s hottest trend Words by ALESSANDRA CODINHA Illustration by ADOLFO CORREA When Danielle Sherman talks about founding her L.A.-based jewelry line, Sherman Field, there’s a story she likes to tell. Sure, she drew on the decade she spent at the helm of The Row (which she cofounded with Mary-Kate and Ashley Olsen), Alexander Wang, and Ali Hewson and Bono’s line Edun, but one of her most indelible influences was much closer to hand. “My dad was never a flashy person,” she says. “On his first date with my mom, they were out to dinner in London and he had this gold lighter. The waiter said, ‘Oh, is that Cartier?’ He said he didn’t know, and the waiter flipped it over and said, ‘Oh yes, there’s Cartier.’” Sherman’s father knew, of course, but he didn’t feel the need to discuss it. This kind of understatement took root in Sherman’s designs, which are known for their heirloom-like elegance—and run from $1,820 for a pair of small gold huggie earrings to more than $20,000 for an intricate 18-inch gold chain and locket. Pieces are largely made by hand in Los Angeles after a personal appointment, and Sherman operates on her own season-less schedule. She doesn’t buy ads or pay influencers, and some of the brand’s devotees begged me not to write about it for fear of overexposure. “It’s a real ‘if you know, you know,’” says Sherman. “That’s the ultimate luxury—when you don’t have to shout about it.” The thing about quiet luxury is that you don’t really talk about quiet luxury. You let everyone else do it for you. The anti-trend trend has seen brands that prize the highest-quality fabrics, assiduous craftsmanship, and a level of design as exquisite as it is restrained become the look du jour. But at $4,000 for a coat from The Row, $1,690 for a Gabriela Hearst crew neck, and $1,295 for a Brunello Cucinelli bucket hat, it’s a high price to pay for a very subtle level of recognition. Nowhere has quiet luxury been more in evidence than at Gwyneth Paltrow’s Brentwood does Park City trial (her wardrobe a triumph of her own G. Label by Goop Brand, Prada, Ralph Lauren, and Celine lug sole boots) and in the fictional Shiv Roy’s costumes on the California sets of season 4 of Succession—all Max Mara camel and Altuzarra dove gray, worn at real-life tech titan Austin Russell’s $83 million Pacific Palisades pad and former Google CEO Eric Schmidt’s $30 million Montecito estate. Starlets and socialites have followed suit, applauded for turning out to events in head-to-toe, hard-to-place serves like Bottega Veneta’s leather “flannel” and “blue jeans,” Zegna cashmere suiting, and draped Loewe column dresses. Rarely have the hottest fashions been so coolly muted. Yes, it has long been the case in Europe and in certain enclaves of the East Coast, but in Hollywood? A town that thrives on glamour? What gives? The thing about quiet luxury is that you don’t really talk about quiet luxury Timing certainly has something to do with it. There are the widespread layoffs in tech and entertainment, and interest rates and inflation continue to soar, leading to talk of a global recession. Right now conspicuous consumption comes with a lingering aftertaste of “let them eat cake,” and anyone unaffected is thinking twice about branding themselves as such in a manner that might be too obvious to just anyone. “With our current economy, it makes sense that people are picking up on ‘less is more.’ Showing less is always much better anyway,” Calabasas-based model and influencer TyLynn Nguyen says. Her devoted 179,000 Instagram followers come to her for understated beauty tips, equestrian concerns, and insights into easy, elegant essentials from white-hot and largely logo-less brands like Khaite, Toteme, and Hermès. But there’s something to be said for the appeal of the items themselves: subtle, timeless pieces often designed—ironically, in the case of this (trend) story—without trends in mind. “This is style more so than a trend,” says Nguyen, whose sartorial rule is “never be too loud.” In other words, it’s not your clothes that should be commanding attention. It’s you. (With a little help from your $9,500 vicuña coat.) “It’s funny because we have been designing ‘stealth wealth’ way before I ever knew it was a term,” Melissa Morris tells me. Her London-based largely logo-less leather goods line, Métier, has been carried by the likes of Nicole Kidman and Kate(s) Moss and Middleton. “I have never been impressed by large logos,” she says. “I much prefer when your head turns because the piece itself is so beautiful and refined that you are desperate to know where it’s from.” The look—expertly designed travel bags and accessories in warm-toned canvas, leather, and suede that gets better with age—has caught on with well-heeled Californian customers via Net-a-Porter and MatchesFashion. “Métier,” says Morris, “is for those with plenty to say and nothing to prove.” “It kind of goes back to that whole idea of money talks, but wealth whispers,” says Dustin Zuber, a personal stylist and wardrobe consultant whose clients trend toward the 0.1 percent. “We were in such a logomania craze. If you look at last year or the year before, it was just logo, logo, logo, and it was so in your face. Fashion is cyclical—sometimes the pendulum has to swing the other way for things to feel fresh again.” And spurred on by social media, namely the deluge of memes that was Gwyneth’s trial style, or a megahit show like Succession about the lives of the ultra-rich, plus a post-post-pandemic comedown, and you’ve got a perfect storm for these brands hitting peak desirability. Zuber has always encouraged his clients to invest in key pieces from the big ticket brands of quiet luxury. “To me,” he says, “luxury is not about dressing a certain way. It’s about having access to anything you want.” He advises to “think timeless” by ignoring the trend cycle and paying particular attention to the finest materials and advanced manufacturing. “You don’t compromise on the materials, you don’t compromise on the time it takes to make it perfectly. You don’t compromise on craft,” Sherman agrees. “That is the ultimate luxury.” And that is what gets those in the know to notice you. This story originally appeared in the Summer 2023 issue of C MagazineW Magazine, March 202022 Up-and-Coming Jewelry Designers to Look Out ForbyMeredith Jayme and Christina HolevasThere’s never been a better time to start exploring the world of jewelry. Whether you’re investing in some serious stones to commemorate a special occasion, looking for something demi-fine to wear everyday, or craving something trendier and more playful, there’s a new crowd of designers with exciting wares to choose from. Jewelers like Bea Bongiasca, Martine Ali and Sapir Bachar are playing by their own rules, with groundbreaking designs, innovative approaches to traditional materials, and paradigm-shifting techniques. Whether they’re following in the footsteps of a family legacy or pursuing a new dream, these designers have a unique story to tell—and the collections speak for themselves. Meet a few of our favorites, below.After spending years in the fashion industry working for Alexander Wang and Edun and cofounding The Row, Danielle Sherman turned to jewelry, reviving the name of the clothing company her grandparents founded in the 1960s for her new endeavor. Her collection includes chain necklaces and bracelets, huggies, studs and classic, everyday rings in 18-karat yellow gold; she also sells vintage pieces that complement her contemporary designs.WSJ Off Duty, August 2020Want to Support Small Businesses? Try These Fashion BrandsWant to Support Small Businesses? Try These Fashion Brands These are the independent men’s, women’s and accessory labels whose designs are coveted by fashion insiders By Jacob Gallagher, Laura Neilson, and Rebecca Malinsky Aug. 18, 2020, 10:37 am ETEVERYONE KNOWS and wears clothing from big-name brands, but when savvy fashion insiders like WSJ’s style editors want something unique—like playfully printed pants, a sturdy chore coat, or a retro gold chain that you won’t see on every Dick and Jane—they turn to small, independent labels you likely haven’t heard of. Though such brands are often secret weapons carefully guarded by chic shoppers, we’re cracking open the vault to introduce you to five labels that make fashion know-it-alls salivate. Here, you’ll meet Kallmeyer (known for sublime, Katharine Hepburn-ish suiting), Evan Kinori (master of understated workwear staples), Goodfight (a California brand making cool menswear), Sherman Field 1967 (a jewelry line with vintage appeal), and Holiday (an American travel magazine turned French basics brand), as well as the men and women who design them. Discover their rich trove of inspirations, unexpected quirks, must-have starter pieces, and where to buy it all below.Sherman Field 1967: Jewelry with Vintage CharmGOING FOR GOLD Sherman Field 1967 designer Danielle Sherman, illustrated here in her brand’s rings and bracelet. ILLUSTRATION: EFI CHALIKOPOULOU Why We’re Obsessed: Sherman Field 1967’s 18-karat gold jewelry could pass for heirlooms, even if the prices threaten to make us pass out. But mass retailers like Claire’s don’t spend three years perfecting the weight of their chains, as Los Angeles designer Danielle Sherman did. Her vintage-inspired styles—priced between $1,350 for earrings and $36,500 for a 25-inch chain—have the same “hue and warmth,” as she put it, of retro jewelry.For Fans Of: 2,000-piece puzzles, Donna Tartt novels, Diane Keaton’s quirky Instagram.Origin Story: The name Sherman Field 1967 comes from a tailoring business Ms. Sherman’s grandparents ran in 1960s London. Following family tradition, Ms. Sherman used her earnings from a bit role in the 1998 remake of “The Parent Trap” to create her first jewelry collection at 16. Her designs have appeared in music videos and on the arm of Faith Hill in the country singer’s heyday, which Ms. Sherman, 37, said was “kind of bizarre.” She designed for The Row, Edun, and Alexander Wang before relaunching her grandparents’ brand as a jewelry line in 2019.THE STRONGEST LINKS Clockwise from top left: The oval chain bicolor bracelet in white and yellow gold; the cover of ‘Flora Photographica’; the bestselling cigar band ring; Ms. Sherman’s grandparents dancing in 1977; novelist Mona Simpson at the Paris Review offices in 1987; a 1984 photo by Sheila Metzner.Starter Piece: If you want to splurge, ignore fusty advice against mixing white and yellow gold and get the labor-intensive, handmade bicolor chain bracelet ($9,000). Feeling slightly frugal? Consider the simple, $1,490 double-link earrings instead.Bedtime Stories: Due to Covid, Ms. Sherman has replaced inspiring museum visits and trips to Tokyo with paging through transporting tomes before bed. Her current go-tos are “Cartier: The Tank Watch” and “Flora Photographica: Masterpieces of Flower Photography from 1835 to the Present.”It’s a Mood: Ms. Sherman also takes inspiration from creative women. Influences include Sheila Metzner, one of the first female photographers to work with Vogue (whose snaps currently dot Ms. Sherman’s mood board), Diane Keaton, and novelist Mona Simpson. “At a dinner party, I’d want to sit next to the woman who writes novels,” she said.Find It At: shermanfield.com —Rebecca Malinsky