In the face of the ecological and social crises of the climate emergency, it is urgent to rethink jewelry beyond its traditional model, historically tied to the extraction of precious metals and gemstones. This article proposes a situated approach to jewelry-making, grounded in Donna Haraway’s (Ficar com o problema: fazer parentes no Chthluceno. São Paulo: N-1 edições, 2023) concept of thinking-with, which advocates for relational practices and sympoietic processes. From this perspective, contemporary jewelry becomes a field where materials, techniques, and narratives are entangled in ethical responses to the world. Drawing on Alfred Gell’s (Arte e Agência: uma teoria antropológica. São Paulo: Ubu Editora, 2018) theory of objects as social mediators and expanding the reflections of Videla and Araújo (A Joalheria Diante do Novo Regime Climático. Fronteiras do design: (entre) outros possíveis. São Paulo: Blucher, 2:54–71, 2021), the study emphasizes the agency of adornments as connectors between humans and nonhumans. Traditional jewelry is framed as an assemblage, following Deleuze and Guattari (Mil platôs: capitalismo e esquizofrenia. 1st edition, Rio de Janeiro, Editora 34, 1: 96), in which material extraction, specialized labor, luxury markets, and socially constructed desires operate interdependently to sustain hierarchical systems of value. This research proposes a different assemblage—one in which materials are not inert resources but entities with trajectories and potential for re-signification. This shift challenges the idea of a fixed subject assigning value to jewelry; instead, value emerges from the relations among materials, processes, and people. The study investigates practices that subvert extractivist logic by incorporating regenerative, reused, and biofabricated materials (Products or materials that are produced from biological processes, usually involving living organisms or natural components such as cells, bacteria, fungi, or plants), alongside collaborative processes involving traditional and artisanal knowledge. Rather than reinforcing value hierarchies based on scarcity, a situated jewelry practice fosters new alliances, embedding environmental and activist narratives. Ultimately, it contributes to an expanded field of design and art, where adornment becomes a medium for speculative fabulation and engagement with contemporary socio-environmental challenges.