Supporting Silver: Preserving Handmade Jewelry of the Southwest

Devin Edison polishes a new silver pendant at T.Skies in Albuquerque, New Mexico, on February 28, 2026.

The American Southwest is characterized by sprawling red rock landscapes, a blazing sun, and its magnificent handmade jewelry. The clear, turquoise skies mirror the stones adorning people’s hands, wrists, and necks. Handcrafted jewelry can be hard to come by in many regions, but not in New Mexico. According to Forbes Magazine, Santa Fe is the third-largest art market in the country. 

I began to develop an interest in the market and soon learned of the prevalence of counterfeit Native American jewelry. Former U.S. Senator of New Mexico, Tom Udall, revealed in a 2017 press release that 50-80% of jewelry marketed as Native American is counterfeit. The appropriation and theft of Native American jewelry directly diminishes the value of Indigenous craftsmanship and contributes to many tribes' economic struggles. 

About Turquoise Skies 

An exterior view of Turquoise Skies Jewelry on a sunny winter day in Albuquerque, New Mexico, on February 28, 2026.

 I set out to explore the vast jewelry market across New Mexico, specifically direct-to-consumer spaces. This is when I discovered Turquoise Skies (T.Skies) — an independently owned gallery, shop, and workspace located in Albuquerque.  

The exterior is inconspicuous, but the interior is welcoming. The open layout allows customers and admirers alike to browse the cases of T.Skies’ handmade jewelry, from its in-house brand to each resident artist. Meanwhile, artisans can be seen hard at work on new pieces in the back. The sound of stamps being hammered into silver carries through the shop, as tools and turquoise are scattered across the workbenches.

Founded in 2016, the T.Skies Co-Op is a 501(c)(3) nonprofit established to give local artisans and aspiring jewelers a place to learn, work and grow within the industry. The Co-Op is committed to combating the loss of artistry among modern jewelry manufacturers, addressing the cultural appropriation caused by counterfeit and outsourced jewelry and preserving the craftsmanship and quality of handmade work. 

Devin Edison (pictured left) and fellow artisans in the T.Skies workshop in Albuquerque, New Mexico, on February 28, 2026. Each piece created in this space is uniquely handcrafted by individual artisans.

Devin’s Story 

I sat down with Devin Edison, who has worked at T.Skies for nearly nine years as both an artist and the Co-op President. We discussed the benefits of working at T.Skies, the success of the co-op program and took a deep dive into who Devin is and what he loves to create. 

A portrait of Devin Edison, a silversmith, bead-maker and Co-Op President at T.Skies. Here, Devin showcases his “Midnight” beaded earrings, a hefty silver and onyx bracelet, and a variety of rings.

Devin was born and raised in Albuquerque, New Mexico, with many of his family members growing up on the Diné (Navajo) Reservation in Tsaile and Many Farms, Arizona. He originally set out to be a carpenter, but it was his late father’s encouragement that led him down the path of jewelry smithing. Devin often cites a pivotal moment when his father told him he could “play with fire.” Devin took his father’s advice and enrolled in his first silversmithing class at the Central New Mexico Community College (CNM). He’s stuck with it ever since his father’s passing. 

T.Skies opened the door for Devin to begin a career in this field. The co-op program provided a safe work environment, along with top-of-the-line equipment and access to all the silver he could need. Today, Devin can display and sell the jewelry he loves to make, with only a small fee taken out to keep the shop running. The co-op program provided Devin with invaluable training, leading to the mastery of his craft.

Silver rings crafted by Devin Edison are displayed at T.Skies in Albuquerque, New Mexico, on February 28, 2026. His work features a wide array of natural stones, each carefully handset.

The T.Skies Co-op offers two early-career learning opportunities — the Keeping Indigenous Traditions Alive (KITA) program and a paid internship program. In partnership with T.Skies, CNM’s Bench Jewelry program, and the Fuse Makerspace, KITA is a scholarship provided to underserved Native American communities to help cover the costs of schooling. The internship program is the ideal introduction to jewelry smithing for those interested in pursuing a career in the industry.

Exploring Ghost Beads 

Devin Edison holds a ghost bead and turquoise bracelet while explaining how ghost beads are made in Albuquerque, New Mexico, on February 28, 2026. Juniper berries are only harvested for ghost beads once they have matured and dropped to the ground.

Over his time at T.Skies, Devin has developed a classic but distinctive style. Tracing roots back to his family home in Tsaile, Arizona, where he and his grandmother harvest fallen juniper berries (seed cones) to make what are known as ghost beads. Ghost beads are thought to ward off negative energy and spirits throughout the day and night, bringing peace to the wearer.  

Ghost beads are made with the help of ants, who drill a hole through one end to suck out the nutritious juices, leaving behind a hollowed-out dried shell. Artisans will harvest these and poke a hole through the other end to complete the bead. Devin uses ghost beads to create colorful bracelets, typically with a mix of glass beads or turquoise.  

Devin’s work varies in size and weight, allowing his jewelry to appeal to a wide range of customers. One piece that stuck out was a hefty tufa cast silver bracelet finished with a deep onyx stone. Each silver piece Devin makes is stamped with his initials “DE” and his hallmark, a rain cloud.  

Devin Edison's rain cloud hallmark and "DE" signature stamped on the backside of a heavy Tufa cast silver and onyx bracelet in Albuquerque, New Mexico, on February 28, 2026. Tufa casting is a technique using compressed volcanic ash to form a soft stone that is then hand-carved and used as a mold for molten metals, like silver.

The artist name Devin chose is “Rainmaker,” and it carries a sentimental backstory: 

“Back in high school, my uncle gifted me a flute that I still love to this day. When I first got it, I brought it to school to show my friends. They wanted to hear me play, so I did, and it started to rain. They kept saying, ‘Keep playing, keep playing,’ and the rain came down even harder. I kept going, and before long, there was a waterfall pouring off the roof.” 

A raincloud motif in close detail from the Indigenous Freeways installation by Arrowsoul Art Collective at the Indian Pueblo Cultural Center on March 1, 2026. While meanings vary, rain symbolism is often seen as positive to wear, as water is essential for life.

The meticulous detail behind every piece Devin makes is a testament to his artistry and the learning opportunities that T.Skies provides. The piece remains in Devin’s hands every step of the way until it is complete. He even braids the leather cords for his bolo ties. 

Two handmade bolo ties by Devin Edison are on display at T.Skies in Albuquerque, New Mexico, on February 28, 2026. The tie on the left features a large black-and-white “White Buffalo” turquoise stone.

A Look at History 

Another valuable resource T.Skies provides is its collection of blog posts and guides on gemstones and hallmarks. The ability to identify the artisan behind a vintage piece plays a significant role in determining its authenticity and historical value. Vintage jewelry becomes more complex, particularly with the rise of the Fred Harvey Era and the introduction of curio shop jewelry into the market. 

The Fred Harvey Company was responsible for the boom in hotels, restaurants and curio shops that lined the Southwestern railroads throughout the early 20^th century. Herman Schweizer is credited with bringing Hopi and Diné jewelry to Harvey, providing lightweight, silver and turquoise jewelry to tourists.  

My initial impressions of Harvey’s curio shop jewelry were extremely negative. After all, Harvey’s jewelry was mass-produced and inexpensive to meet the demands of tourists. These “souvenirs” were mostly unmarked by individual artisans and were regularly produced by non-native people. However, a visit to The Rainbow Man in Old Santa Fe taught me some of the benefits of the Harvey Era. 

The mass increase in visibility and prevalence of Native-style jewelry brought the style to the Anglo market. People across the country now desired the silver and turquoise look. Native artisans experienced greater appreciation for their work, allowing many to make a living from their cultural heritage. Curio shops remain a highly debated topic within the community, as Harvey Era jewelry continues to hold significant value. 

Conclusion 

The Southwest is a beautiful and flourishing jewelry market that has a complicated history. When setting out on this journey, I felt there was so much to discover about the industry, past and present, and it lived up to that expectation. The best thing you can do when shopping for jewelry in the Southwest is to do your research. Understand who owns and operates the space. Learn who made each piece, as well as its meaning and history. There is so much beauty to uncover out there. 

Thank you to Turquoise Skies, Devin Edison, and The Rainbow Man for your support.  

Written by Graeme Duffey

Photography by Graeme Duffey