Fashion
Neil Lane, jeweler to the stars, subject of first solo exhibition
Published
September 14, 2025
Born in Brooklyn, the Los Angeles-based jeweler will be the subject of his first solo exhibition at the Toledo Museum of Art in Ohio from October 18 to January 18, 2026.
Neil Lane talks to FashionNetwork.com about his career and latest news.
FashionNetwork.com : You will be presenting your new collaboration with Kay Jewelers in a few days. Next month, your first solo exhibition will be dedicated to you, accompanied by a book. Are you a man in a hurry?
Neil Lane : I love it. I’m experiencing a king of renaissance right now. I’m involved in the diamond industry, in art, in design, in creation. I practice what’s called the “next” philosophy, which is to complete one project and already start thinking about the next. All of this gives me a tremendous amount of energy.
FNW: How did it all begin ?
N.L.: I’m an Aquarius, a very creative and imagery temperament. I created my own world. I was born in Brooklyn, and my mother always told me that when I was very young, I collected marbles and pieces of broken glass. I don’t remember it, but I believe her! My mother was raised in the Lower East Side and we go visit on the weekends, the neighborhood of Jewish immigrants where jewelry merchants, often in backrooms, would display their creations. All this left a mark on me. But what I remember most is the ring my mother wore, a pear-shaped ring. It’s a model I’ve kept and it will be on display in the exhibition “Radiance and Reverie: Jewels from the Collection of Neil Lane” at the Toledo Museum of Art, and it inspired my first jewelry sketches for Kay Jewelers and the show “The Bachelor”.
The Toledo Museum of Art exhibition will feature your most beautiful vintage collections. When did you start collecting?
N.L.: My father collected antiques and kitschy porcelain figurines he wouldn’t let me touch. I think that influenced me. I learned early on that things could have value. As a teenager in Brooklyn, I watched what people threw away on the street. One day, I met this woman, Vivianne, who asked me to help her sell her collections at flea markets in Manhattan. That’s where I met all the stars of the day – Andy Warhol among others, Zsa Zsa Gabor who would show up in a Rolls Royce, and even Louise Nevelson, wandering around dressed in black with false eyelashes, looking for wood everywhere to use in her artworks. That’s where I sharpened my eye and my knowledge of beautiful things.
A passion that later took you to Paris…
N.L.: I had always dreamed of Paris. I went there to study art, and while I was interested in museums and galleries, I was fascinated by the small jewelers that I discovered on the Rue du Faubourg Saint-Honoré. I could stand glued to the windows for hours, gazing at those jewels like candy. I remember spending my entire travel budget during my first stay to buy a little “demon” brooch from the late 19th century, set with a pearl and diamonds.
What did you learn in France?
N.L.: So many things! I felt frustrated in the United States. There were certainly boutiques on Madison Avenue, but I never comfortable going in. The Parisian atmosphere was a very different. The mix of history, art, architecture, and craftsmanship made sense, resonated with me, and gave me goosebumps. My passion became an obsession, almost visceral. The flea markets in Chatou or La Villette were full of incredible pieces and talent. Paris invented beauty, and I drew inspiration from it. And no one judged me for being in jeans and sneakers!
FNW: In the end, you decided to settle in Los Angeles, in the mid-80s, and launch your career…
N.L: I really had no idea what I was doing at the time. It was after visiting one of my friends that I decided to open a stand in an antique bazaar on Beverly Boulevard (now closed), called Antiquarius. I arrived with my suitcase containing a few late 19th-century gold jewels, Art Nouveau and Art Deco creations. People were mostly looking for diamonds and glamour. But I had an advantage: nobody looked or offered jewelry like me. I brought from France a craft, a know-how, an aesthetic, a history that didn’t exist here. My jewels weren’t just simple diamonds but real pieces of art.
FNW: Is that when all of Hollywood started shopping with you?
N.L.: All the Hollywood stars appreciated my difference. I worked behind the counter in jeans with a Gauloise cigarette. I remember this anecdote with Yoko Ono, who came to have a metal object, seemingly of no value, duplicated in gold. At the same time, the wife of an important Hollywood producer was waiting to have one of her diamond ring reset. A few days later, when I delivered her diamond ring, she told me the object Yoko Ono brought in was actually the pick used by John Lennon. She wanted a gold version to give to her son Sean for Valentine’s day.
FNW: And you became the official jewelers to the stars…
N.L.: In the early 1990s, “new Hollywood” came looking for me. Hollywood stylists and costume designers were searching for new designs, unique and unusual pieces to spotlight the new stars. People started to see the past in a new light. Suddenly, “vintage” was no longer associated with grandma’s rags. I was lucky to be there at the right time. My Art Deco jewelry collection delighted everyone. I also started creating my own pieces, engagement and wedding rings for all kinds of celebrities, from Renee Zellweger to Reese Witherspoon, Jennifer Hudson, Jessica Simpson, and Ellen DeGeneres. There was Armani for fashion, and me for jewelry.
FNW: Your popularity with the general public accelerated after your partnership with the TV show “The Bachelor”. How did that happen?
N.L.: At that time, my creations and collections were very popular in Hollywood. Anyone getting married would come see me. I was seeing all the agents and publicists and wasn’t thinking anything more. But after agreeing to participate in the first TV show – “Instyle Celebrity Wedding” – that appearance catapulted me in a different orbit and exposed me to new audiences. Later on, a producer from ABC called me to propose being the official partner for their show “The Bachelor”. I hesitated, but finally accepted. Two months after the first episode aired, I was overwhelmed with calls.
FNW : What has this experience brought you?
N.L.: I didn’t really understand what was happening at the time. I was living in a bubble, collaborating only with Hollywood’s elite. I eventually realized in hindsight saring Hollywood’s glamour with the public was a victory for me. The little kid from Brooklyn was getting public recognition. For almost 20 years, we have created the rings for The Bachelor, and its spin-offs like “Bachelor in Paradise” and “The Golden Wedding” and the partnership with Kay Jewelers changed the face of American bridal market.
FNW: Your first solo exhibition will take place in October at the Toledo Art Museum in Ohio. What does this represent for you?
N.L.: I’m very excited but also very scared! The public will discover pieces that have never been seen before. I have a collection of several thousand pieces, including a large selection from Tiffany, as well as creations by almost unknown or forgotten designers. This exhibition will display 175 of them, including historic pieces by Cartier, Suzanne Belperron, Boucheron, Castellani, Paul Flato, Jean Fouquet, Raymond Templier and Van Cleef & Arpels. Many of these pieces come from world’s fairs or belonged to Hollywood icons like Mae West or Joan Crawford. Each section of the exhibition will be enriched with additional objects from the museum’s glass collection and clothing and accessories from ASU FIDM, the Fashion Institute of Design and Merchandising in Los Angeles to reflect the era the jewelry was made.
FNW: A book co-published with Rizzoli New York will also be released soon. What does it tell?
N.L.: It tells the story of my journey in jewelry and will enhance readers’ understanding of the history of American and Europen jewelry, illustrating the main artistic movements of the 19th and 20th centuries. It combines big names and unknowns, focuses on the importance of design, manufacturing secrets, and techniques.
FNW: Finally, the general public will be able to find some of your vintage collections at the Just One Eye store. What pieces will you show?
N.L: We will offer a selection of high design jewelry from the Art Deco period or twenties to the retro seventies.
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Stäubli will showcase innovative solutions designed to empower mills to produce the next generation of advanced fabrics.
Stäubli will showcase advanced weaving solutions at Techtextil 2026, highlighting technologies for high-performance technical textiles such as 3D composites and industrial fabrics.
Key exhibits include the MAGMA tying machine, TF series weaving systems, and UNIVAL Jacquard, enabling precision, efficiency, and flexibility for next-generation applications.
Stäubli will exhibit its trend-setting technologies at the Swiss Pavilion Booth B01.6 in Hall 12.0.
Technical Textiles: A market accelerating toward high-performance innovation
The global rise in demand for reinforcement fabrics, multilayer structures, 3D composites, and high value industrial textiles is reshaping manufacturing expectations. Reliable equipment, flexible weaving architectures, and precise material handling have become essential for weaving mills pursuing new applications and higher performance products. This expansion underscores the critical role of advanced weaving solutions in meeting evolving industry needs. Stäubli’s decades long know how in technical weaving positions the company as a key contributor to this transition.
Stäubli weaving systems are widely used to produce demanding technical fabrics — from lightweight reinforcement materials, OPW airbags, to filtration fabrics, medical textiles, and specialized industrial materials.
By combining cutting edge mechanical engineering, advanced electronic control, and long term customer support, Stäubli ensures stable performance and high fabric quality across all applications.
Stäubli Solutions to discover at Techtextil 2026
At this year’s edition, Stäubli will display its MAGMA Tying Machine, a robust and high efficiency solution specifically engineered to handle the increasingly diverse and demanding yarns used in today’s technical textile applications, including polypropylene tapes and other challenging filament structures. MAGMA delivers consistent tying quality while reducing the downtime traditionally associated with warp changes.
Stäubli will also present its TF series weaving machines, engineered for the production of advanced 3D, multilayer, and high performance fabrics using demanding materials such as carbon, glass, and aramid fibers.
- The TF20 offers high-speed capability and a double rapier option, increasing output for industries requiring lightweight composite reinforcements.
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Part of our other solutions for technical textile, the UNIVAL 100 electronic Jacquard machine provides unparalleled flexibility for weaving complex and sophisticated technical fabrics. Featuring individually controlled harness cords and exceptional motion precision, the UNIVAL 100 is particularly suited for 3D weaving and the processing of demanding materials such as glass and carbon fibers.
The Jacquard machine LX 2494 is ideal for weaving technical fabrics on all types of weaving machines. Very robust and wear-resistant, it opens new avenues in heavy fabrics and is designed for many years of daily use with a minimum of maintenance. The Stäubli M6T 3-position module principle makes the machine particularly compact, and plays an important role in exploiting its performance potential.
Stäubli’s heavy dobbies deliver the power and precision required for weaving complex, high tension structures in technical and industrial fabrics. Designed for demanding applications, they ensure exceptional shedding accuracy, stable high speed performance, and long term mechanical reliability.
Discover Stäubli’s weaving technologies at Swiss Pavilion Booth B01.6 in Hall 12.0 during Techtexil 2026
Note: The headline, insights, and image of this press release may have been refined by the Fibre2Fashion staff; the rest of the content remains unchanged.
Fibre2Fashion News Desk (MS)
The investigation, initiated in March ****, covered the period from October **** to September **** and was based on a petition filed by Indorama India Private Limited. The authority found that dumped imports from the subject countries had caused material injury to the domestic industry, as per notification issued in this regard by the DGTR.
The product under consideration includes elastomeric filament yarn of all deniers, commonly known as spandex or elastane, widely used in stretch garments such as hosiery, activewear and innerwear. However, certain categories have been excluded, including coloured yarn (except black), elastomeric yarn on beam, LYCRA branded products, and yarn used in diapers.
The ten-year strategy is the result of almost a year of industry consultation led by the AFC and R.M.Williams, including 14 national consultations with manufacturers, brands, educators and policymakers across the country. More than 300 stakeholders contributed to the process, generating over 1,000 proposed initiatives and nearly 900 votes on strategic priorities to shape the sector’s long-term manufacturing future.
The Australian Fashion Council and R.M.Williams have launched the National Manufacturing Strategy for Australian Fashion and Textiles 2026–2036, a ten-year roadmap to rebuild Australia’s textile, clothing and footwear manufacturing.
Developed through national industry consultations, it aims to strengthen domestic capability, advanced manufacturing and fibre value chains.
The strategy comes at a critical time for the industry. With 97 per cent of Australia’s clothing and textile products manufactured offshore, the sector remains vulnerable to ongoing global supply disruptions and trade volatility. Rather than compete against high-volume offshore manufacturing markets, the strategy is focussed on closing structural gaps and accelerating advanced manufacturing to scale the sector’s comparative advantage, aiming to position Australia to compete globally in premium, technology-enabled and traceable production, built on the country’s natural fibre strengths, AFC said in a press release.
Independent modelling by RMIT University and RPS projects that full implementation of the Strategy’s co-ordinated policy platform will grow TCF manufacturing value added from $2.6 billion to $2.9 billion by 2030/31, delivering a cumulative $1.4 billion economic dividend over five years. The Strategy is also projected to create more than 1,000 new skilled jobs and $864 million in additional wages, with approximately half of those jobs are projected to be filled by women.
“This Strategy sets out a clear roadmap for rebuilding a globally competitive Australian fashion and textile manufacturing sector. Australia already has exceptional design talent, advanced manufacturing capability and globally recognised brands. With the right coordination across industry, skills and procurement policy, we have a real opportunity to strengthen sovereign capability, create skilled jobs and position Australia as a leader in premium manufacturing,” said Marianne Perkovic, executive chair, Australian Fashion Council.
“Australia is the world’s largest exporter of greasy wool and a globally significant cotton producer. Yet we export raw fibre and import finished goods at multiples of the original value. Re-establishing fibre processing and spinning capability restores the missing link in our value chain,” Samantha Delgos, general manager, Australian Fashion Council said.
“R.M.Williams has manufactured in Adelaide for more than 90 years. We employ skilled craftspeople, invest in apprentices and continue to modernise production while competing globally. What’s needed now is to activate a flywheel: demand enables investment in skills, skills enable advanced manufacturing, and technology allows Australian manufacturers to scale while maintaining quality,” Tara Moses, chief operating officer, R.M.Williams.
The strategy will be led by the Australian Fashion Council and its progress will be evaluated through a two-stage assessment framework.
The first stage, the Implementation Review (to 2029), will assess progress in establishing the key foundations of the strategy, including procurement reform, national capability mapping, skills recognition pilots, shared manufacturing infrastructure, and governance arrangements to co-ordinate delivery. The second stage, the Strategic Outcomes Review (to 2036), will evaluate long-term progress toward the strategy’s goal of building a competitive, technology-enabled, and domestically anchored manufacturing sector supported by a sustainable workforce pipeline and a globally recognised market position.
Fibre2Fashion News Desk (RR)
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