Alexandra: A Study in Precision, Light, and the Hand of the Maker

In January, when the pace of the year sharpens and attention returns to craft, there is perhaps no clearer expression of jewelry as a disciplined art form than the Alexandra Collection by Mikkel Brøgger. Composed of a necklace, earrings, ring, and bracelet, each piece is sold individually, yet together they read as a complete language, one spoken fluently by a maker whose life has been shaped by materials, proportion, and an unwavering respect for the hand.

Mikkel’s journey into jewelry began long before Alexandra took form. Trained through rigorous apprenticeships and years of bench work, his understanding of gold and stone is not theoretical. It is physical. It lives in muscle memory, in the ability to judge balance by eye, and in the patience required to let a design arrive through making rather than through shortcuts. That foundation is present in every facet of this collection.

Alexandra centers on aquamarines, selected for their clarity and luminous depth, paired with white diamonds and set in warm 14k yellow gold. The stones are arranged in emerald and marquise cuts, creating a rhythm that feels architectural without becoming rigid. Each gemstone is held in open, four-prong baskets, allowing light to move freely through the composition. The result is not ornament for ornament’s sake, but structure with intention.

The necklace is the anchor of the collection. Designed in a rivière style, it moves fluidly along the collarbone, its gemstones alternating in a carefully measured sequence. Despite its visual presence, it wears with ease, a testament to Mikkel’s insistence that jewelry must be lived with, not merely admired. The bracelet echoes this logic on a smaller scale, its proportions adjusted to the wrist, its clasp integrated seamlessly into the design rather than treated as an afterthought.

The earrings extend the vocabulary vertically. Aquamarines and diamonds descend in a measured line, creating movement without excess. They frame the face with light rather than spectacle. The ring, a sculptural cocktail form, brings the collection into three dimensions. Here, Mikkel allows himself a moment of play within restraint, stacking stones in a way that feels both deliberate and organic, as if the composition could only exist in this exact configuration.

What distinguishes Alexandra is not only its beauty, but its integrity. Each piece is made by hand in New York City, one at a time. There is no mass production, no replication beyond what the materials themselves allow. Even within a defined collection, no two pieces are ever entirely identical. Aquamarines vary subtly, diamonds respond differently to light, and the hand inevitably leaves its trace. This is not a flaw, but the point.

For Mikkel, craftsmanship is not nostalgia. It is a living practice, one that demands attention, discipline, and a willingness to let materials guide decisions. Alexandra reflects this philosophy fully. It is contemporary jewelry rooted in knowledge rather than trend, designed to endure not because it seeks timelessness as an idea, but because it is built correctly from the start.

In the context of BON TON goods, the Alexandra Collection stands as an expression of what we value most: objects made with purpose, clarity, and respect for tradition without imitation. These are pieces meant to accompany a life, to mark moments both ordinary and significant, and to carry the story of their making forward.

As January invites reflection on craft and intention, Alexandra offers a reminder that true elegance is not accidental. It is composed, assembled, and earned, stone by stone, by a maker who understands that precision is a form of poetry.