"Art Teacher" Jewelry Is Trending—Here Are the Pieces an NYC Designer Trusts

      I first met Ashley Moubayed at a Misha & Puff dinner at Tascha in Nolita. Upon starting a conversation with her, it was clear that her exceptional taste is entirely intuitive. She was adorned with stunning jewelry, all of which she crafted herself. Moubayed is the creator behind the handcrafted beaded jewelry brand Don't Let Disco—a clever play on "don't let this go." While we talked, she invited me to a summer gifting suite at her Brooklyn studio to explore her latest collection in person.

      As I browsed through the designs, each piece appeared deliberate and thoughtful. For example, the necklace I took home was crafted from fully charged rock crystals inspired by Victorian “Pools of Light.” It's bold jewelry that never feels overly trendy. What I appreciate most is that each item resembles a work of art rather than just an accessory—unique, special, and an instant prized possession. While trying on different necklaces, Moubayed mentioned one as “art teacher jewelry”—a label she shares was coined by Veronica Szalas Valentine. This description resonated with me, encapsulating the aesthetic perfectly.

      Before establishing her own brand, this CFDA/Vogue Fashion Fund Finalist 2025 spent years in the art sector, most recently as a director at Sotheby’s. With an Instagram bio that reads “Collector & Curator of Beads,” Don’t Let Disco feels like a natural progression from that experience. Meeting her made it evident that her work is an artistic endeavor rather than just a brand.

      I spoke with the designer about her label, design approach, personal style, current jewelry trends, and the pieces she loves most.

      **Interview Highlights:**

      **Background and Career Path:**

      Before starting Don’t Let Disco, I spent several years at Sotheby’s, where I engaged closely with collectors, artists, and significant objects. That experience taught me about provenance, craftsmanship, and the emotional connections people have to items. I always created jewelry on the side, and eventually, I recognized my desire to establish my own brand. Don’t Let Disco emerged from that ambition, fueled by my fascination with objects imbued with memory, history, and personal significance.

      **Inspiration Behind Don't Let Disco:**

      Don’t Let Disco launched in 2021 quite intuitively. I’ve always been attracted to objects with a history, and beads felt like small vessels of memory. They can be combined, yet each holds its own identity. My initial work with vintage and found materials was organic, evolving from a traditional perspective on jewelry into personal, collectible compositions. This method laid the groundwork for the brand.

      **Influence of Art History:**

      My art historical background significantly influenced how I perceive objects and their meanings. Being around art and collectibles made me attentive to provenance, context, and the emotional significance items can accumulate over time. I particularly resonate with objects and movements where materiality and memory intertwine. I prefer exploring how objects can hold time rather than relying on fixed references—whether found materials, vintage beads, or repurposed items.

      **Personal Style:**

      My personal style is largely instinctive, characterized by contrast. I gravitate towards classic foundations but enjoy adding unexpected elements—texture, proportion, or a standout piece of jewelry that alters the whole outfit's tone. To summarize, I'd call it considered, textural, and instinctive. That tension is reflected in Don’t Let Disco, where pieces feel polished yet slightly undone, letting the materials and compositions tell their own stories.

      **Design Process:**

      My design process is primarily material-driven and rarely starts the same way. I usually begin by collecting vintage beads, found objects, or stones and exploring their relationships—what seems balanced, what creates tension, and what naturally fits together. From there, I build intuitively instead of sticking to a precise sketch, making adjustments based on proportions, colors, and textures. There’s a constant dialogue with the materials; I aim to respond to their inherent suggestions rather than impose a predetermined vision.

      **Sourcing Materials:**

      My sourcing is quite instinctive and continuous. I’m always on the lookout for vintage beads, antique jewelry, and found materials—often through dealers, small archives, or independent sources I've cultivated relationships with. I’m drawn to items that carry a sense of history, whether through slight irregularities in beads or noticeable patinas. It’s about selecting materials that seem to belong together, despite their different origins or time periods.

      **Retiring a Trend:**

      I’m not particularly trend-oriented, but I find the normalization of plated jewelry with excessive markups troubling. While plating itself isn't an issue, more transparency regarding materials and durability should exist. I gravitate towards pieces that are authentically made with materials meant to endure.

      **Beading Bars:**

      The concept of beading bars emerged organically based on how people interacted with the brand. I wanted to create a space where individuals could engage with the materials and craft something for themselves, even simply, rather than just