Jewelry designer Jill Platner's living quarters/work space are quite frankly a single person's wet dream. Spacious (not just by NY standards), with a hammock for dozing, a revolving collection of World and R&B music coming from the sound system and two plump tabby cats with a mission to laze, "the crib" is designed for maximum comfort; likewise Jill, who is all pixie cut, shorts, tank top and smile.

Twenty seven and hitting the big time with some impressive high profile exposure (Gen Art Top 10 New Designer for1997, Vibe, Harper's Bazaar, Allure, and Elle magazines and hang time with CNN's Elsa Kleanch) , Platner's attitude is more surfer/soulie than Village diva.

Platner exudes a personal warmth you can't help noticing in her jewelry. Her pieces are primarily made of silver, but are not limited to the cool linear distance of metal. These are live "creatures"; rounded, swimming, crawling, and falling—they are meant to be touched. Close inspection reveals small differences in the individual parts that make up a piece. The effect is endearing, like a loved one's imperfection, something that makes them yours.

These jewels work well over clothing, but really come to life when worn next to the skin. This is part creative invention and part calculated research. Prior to production, Platner takes a prototype of her work (ring, bracelet, earring, or necklace) out for a test walkabout, checking each piece for comfort, durability, and style.

With a stack of orders to fill and a fashion show to get ready for, necessity bids our interview take place at the work table amid press kits, take out cous-cous, and an enormous pile of soon to be crocheted red Gore-Tex threads.

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