Leah Vaughn keeps coming back to the Aster Necklace. Not because it's made from Holly Yashi's signature niobium—it isn't. Not because it represents some breakthrough in her technique—it doesn't. She loves it because "it has sparkle and drama, but there's also a little edge to it. It's that blend of glam and individuality that I love."

That last part—the edge—might surprise people who know Holly Yashi's jewelry for its exuberant colors and organic shapes. But spend time with Leah, and you realize the edge has always been there, hidden in plain sight like the electricity that transforms dull metal into something that catches light like captured fire.

Her workspace tells the story better than any biography could. Sketches scattered next to mood boards. Prototypes that "never quite made it" sitting alongside beads and metal components waiting for their moment. "Sometimes I start with sketches or a color palette, sometimes I pull from mood boards or revisit prototypes that never quite made it. Other times I sit down with a table full of beads and metal components and just start experimenting."

This is not how most commercial jewelry gets made. This is not how most careers unfold, either. Leah's mother wanted her to get a business minor. Something practical. Something that would lead to a real job. Leah earned her bachelor's degree in studio art from Cal Poly Humboldt instead, focusing on drawing, pulled toward "creative expression in all forms—painting, ceramics, sculpture, and jewelry." She knew she "wanted to do something creative—even if I didn't quite know what that looked like yet." The answer came through the kind of connection that changes everything, though it didn't feel momentous at the time. She was working for a friend of her now-husband, someone well-connected to Holly Yashi, who thought Leah might be a good fit. For someone who describes herself as "pretty introverted," the introduction mattered less than what happened next. "From the moment I walked into the studio, I was captivated. The process was unlike anything I had ever seen—so hands-on, so artistic."

What she saw was niobium being born into color. Not painted or dyed, but transformed through electricity and water into hues that shouldn't exist in nature. "We don't use dyes or chemicals to color it; instead, we use a water bath and electricity to anodize the metal and create the color." The same shade can look completely different depending on surface texture. Planning becomes an act of faith. "That kind of planning and precision is challenging, but it's also what makes designing with niobium so satisfying."

"Niobium is definitely what makes Holly Yashi so unique and fun to design for—it's one of the things that makes our jewelry instantly recognizable," she says. Fun. That word matters. After years of creating commercially successful pieces, Leah still talks about her work as play. The Holly Yashi aesthetic hit her immediately: "colorful, expressive, and original. The idea of making jewelry as a career—especially this kind of jewelry—was immediately exciting to me. It still is." That excitement hasn't dimmed. If anything, time has sharpened her instincts. "With time and experience, things become more intuitive. I've learned to trust my instincts more, and to let the process evolve naturally."

She credits consistency for her growth: "I think growth just happens when you're consistently doing the work, experimenting, and surrounding yourself with creativity every day." But there's something else at work here—a willingness to find inspiration everywhere. "I'm constantly inspired by design in all its forms: fashion, textiles, interiors, vintage jewelry, even wallpaper patterns. Once you start paying attention, you see color, texture, and shape everywhere." Color drives everything. "Color is absolutely essential to what we do. It sets the tone, evokes emotion, and gives each piece its personality." She can sketch something pretty, but when color enters the equation, "it takes on a whole new life. Even when I'm working with a palette that's not my personal style, there's something magical about when it just works. Color connects."

Her design process reflects this intuitive approach. "There's no strict formula—it's very intuitive, and a mix of play, planning, and letting the materials lead." She starts big, then scales back. "I'll start with a bold, art-forward concept, and if needed, refine it into something more wearable. Sometimes that 'out there' idea ends up inspiring a whole family of more approachable pieces. But you've got to start with the spark." Collaboration sharpens the work. "I work closely with one other designer (I absolutely love Kassie Carpenter), and our creative dynamic is something I really value. Having someone to bounce ideas off of, to critique and push each other—it makes the work stronger. It's so helpful to have another creative brain in the room, especially one that sees things differently than I do."

The real reward isn't what you might expect. Not the finished piece or the recognition, but something quieter and more sustaining. "Every time we complete a new collection and see it come together beautifully, it's incredibly rewarding. And when those pieces resonate with people—when they sell well and you know someone out there is wearing your design and feeling good in it—that's the real payoff." She pauses, considering the weight of that connection. "It's a quiet but powerful reminder that what I do matters, and that creativity can connect us in meaningful ways." The future of handcrafted jewelry in a digital world doesn't worry her. "Digital tools have opened up incredible possibilities in design. Over the past 20 years at Holly Yashi, we've adopted new technology that's changed and elevated how we work—from production to prototyping. But at the heart of it, jewelry is still about the human touch."

Her confidence comes from understanding something fundamental about human nature: "People will always be drawn to things that feel personal and made with intention. No matter how advanced the tools get, artists and makers will keep creating with their hands, hearts, and minds." Back to that Aster Necklace, the one without niobium that somehow captures everything about Leah's approach to design. Sparkle and drama, yes. But also that edge—the willingness to push beyond pretty into something that matters. Something that connects. Something made with hands and heart and mind, one piece at a time.