Alcove Studio sat down with founder-designer Jen Cogliantry to learn about her roots in bookmaking, her unexpected journey into jewelry and home goods, and how her hands-on approach continues to shape the evolution of CŌG.
Jen Cogliantry: Thanks, Allie! So I was born in Seattle, Washington, but I moved a lot—West Coast, East Coast, the UK, and Japan. My dad worked in corporate glass and paper industries, so we relocated frequently. Eventually, I studied graphic design in England and then made my way to New York.
AS: And now you're based in Brooklyn. How long have you been in New York?
Jen: Since 1997, with a short stint on the West Coast from 2008 to 2013. Funnily enough, I always swore I’d never live here! My first summer in the city was back in 1988 for a design internship, and it was a disaster. New York was a different place then, and I didn’t last a month. And yet, here I am!
AS: Your background is in graphic design and art direction. How did that transition into creating jewelry and home goods with CŌG?
Jen: I studied graphic design at Brighton Polytechnic in England and started my career as a book designer, working on covers, interiors, and illustration commissions. I moved to New York in 1997 and co-founded a design studio with my sisters. We worked on branding, book design, packaging, and eventually digital art direction for web. But all along, I’ve always been drawn to working with my hands—sewing, weaving, making.
CŌG started almost by accident. I took a sewing class at the Textile Arts Center just to reconnect with my creativity. Around the same time, I attended the Renegade Craft Fair and discovered a small tool for making I-cords. I experimented with it, made a bracelet for a friend, and was encouraged to put it on Etsy. That led to making more, then doing markets, and eventually growing into what CŌG is today.
AS: Your work evolved to incorporate metal alongside fiber. What prompted that shift?
Jen: In 2019, I was at a market admiring someone’s metalwork that had an organic, textile-like quality. They suggested I try casting my fiber forms in metal. It had never crossed my mind before! I started experimenting, creating pieces that could be cast, and it completely changed my process.
Working with metal allowed me to maintain my vision while reducing the physical demand of making everything by hand. I went from dyeing and weaving everything myself to working with a third-generation caster in Midtown Manhattan. It was a creative evolution, but also a practical one—I could scale the work without exhausting myself.
AS: You're on the cusp of expanded into home-hardware design–items like drawer handles and cabinet pulls. How did that come about?
Jen: It started as a collaboration with Counterpart Studios based in Austin, Texas. We had been talking about it since 2019, and now we’re finally launching a collection. We started by showing five pieces at the High Point Furniture Market, and plan to launch a full 10-piece range in 2025. The designs are very much an extension of my jewelry work—sculptural, textured, and organic, but at a larger scale.
AS: Your pieces have a terrific tactile quality—they feel handcrafted, even as they evolve into different materials. How does that sense of touch influence the way you think about your work overall?
Jen: Initially, I wanted to position CŌG away from craft and toward luxury. Now, I see how important it is to maintain that sense of handwork. The drawings and illustrations I’ve been incorporating into my pieces reflect that. My work has always had a personal, process-driven element, and I want that to be visible in every aspect of what I create.
AS: Sustainability is a huge conversation in design. How do you approach it?
Jen: I do my best to be responsible with materials. My caster uses recycled brass, and I try to minimize waste in production. But sustainability is tricky for small businesses. Some platforms have rigid sustainability requirements that are impossible for a one-person studio to meet. I try to make ethical choices, but I also acknowledge that perfection isn’t always feasible.
AS: Finally, any advice for styling your pieces?
Jen: My jewelry is designed to be versatile—a statement piece that works with a white t-shirt or an evening dress. It’s about finding your own way to style it. And for my wall pieces? They can be minimal or maximal, depending on the space. I love seeing them paired with sculptural objects, warm textures, or even bold wallpaper. They’re adaptable, just like the rest of my work.
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