In Jewelry, The Glitter Of Gold

The color of 22-karat gold is also distinctive — rich, warm and gorgeous, according to Ms. Teetelli. “And it looks so good on so many different people,” she said. “We had a trunk show just this past weekend, and one of the sales associates said that high-karat gold makes everyone look like they have a tan.”

Ms. Teetelli said her pieces were “bound to ancient mythologies and ancient techniques,” like granulation, chasing and repoussé, as well as a hammered texture from the Roman era that has become one of her most recognizable signatures. “My designs really wouldn’t exist without these histories,” she said. “I see it as a way of celebrating and respecting the history of gold work and goldsmithing. I’m making it my own by reinventing some of the techniques and making them more modern and wearable. And I love this idea that I’m preserving history for the future.”

The British designer Melanie Eddy echoed these sentiments. “In a way, working with gold is almost primordial,” she said over the phone from her studio at the Goldsmiths’ Centre in the Clerkenwell area of London. “You’re reaching back to generations of people working in gold for thousands and thousands of years.”

Originally from Bermuda, Ms. Eddy holds a graduate degree in jewelry design from Central St. Martins, where she has worked as an instructor, and has been creating her fine jewelry line for 15 years. (The prices range from $500 to $40,000.) “You have to respect the material,” she said. “There’s a legacy to it. I think, too, because it’s expensive, you don’t want to be frivolous with it.”