Jason Arasheben’s Knicks championship ring design centers on New York City and Madison Square Garden, where the championship was won. The rings use 22 carats of diamonds and blue sapphires, 180 grams of gold and nearly 800 individually set stones. An opening feature reveals a replica of the arena, while a 16-point diamond represents the deficit the Knicks overcame against the San Antonio Spurs. Arasheben completed the design on a seven-week turnaround and debuted the rings at the team’s home opener against the Philadelphia 76ers. A limited 200 rings are available at Jason of Beverly Hills for $20,000 each; the account does not specify customer forms, delivery dates or additional fees.
TLDR: The Knicks’ championship rings pair nearly 800 individually set stones with details honoring Madison Square Garden and the team’s comeback against San Antonio. Two hundred rings are available through Jason of Beverly Hills for $20,000 apiece.
Jason Arasheben’s design for the Knicks’ championship rings puts Madison Square Garden and New York City at the center of a piece built to tell a story. The rings debuted at the team’s home opener against the Philadelphia 76ers. Their design combines precious stones, gold and small details tied to the championship run.
Arasheben said the goal was to capture the grit and energy of New York City. More specifically, he wanted the ring to reflect Madison Square Garden, where the championship was won. That focus gives the piece a clear purpose: it is meant to record the team’s achievement through the place and moments associated with it.
The materials make the scale of the work plain. Each ring uses 22 carats of diamonds and blue sapphires, 180 grams of gold and nearly 800 individually set stones. Arasheben has designed championship pieces for other professional teams, but he described the Knicks project as different because of the importance he attaches to New York and its basketball history.
Those materials also shape the ring’s physical presence. The gold and stones are set together in a compact object, while the smaller features carry references to the team’s season. The design asks the viewer to look closely: its story is spread across the arena replica, trophy and diamond, rather than told through one central image.
The ring’s design includes a miniature version of Madison Square Garden. It opens to reveal a replica of the arena, known as “The World’s Most Famous Arena.” The feature turns the ring into more than a display of stones and metal. It gives the owner a small, detailed reference to the venue at the heart of the team’s championship story.
A second detail links the design to the final game against the San Antonio Spurs. A 16-point diamond sits on a tiny gold Larry O’Brien Trophy. The diamond represents the 16-point deficit the Knicks overcame in that game. In a compact space, the design brings together the championship trophy and a defining moment from the team’s path to the title.
Arasheben said the work needed to be strong both in design and in storytelling. That standard helps explain why the ring contains several distinct references instead of relying on a single symbol. The stones, arena replica and diamond on the trophy each carry a separate part of the account he set out to preserve.
The timeline was tight. Arasheben had seven weeks to bring the design together, a turnaround he described as demanding. He said he works well under pressure and compared that approach to Knicks player Jalen Brunson coming through in the fourth quarter. Arasheben also said he did not sleep the night before the debut.
The seven-week period reflects the work behind the design, not a stated customer order or delivery timeline. The account gives no schedule for buyers who purchase a ring. It also does not provide details about an application process, paperwork, extra fees or other purchase requirements.
The players’ reactions were an important measure of the result for the designer. Arasheben said their visible surprise told him he had done his job. The response matters within the story of the design because the rings were made for the players, and the debut gave them their first public look at the finished pieces.
The rings’ appearance at the home opener marked the public debut described in the account. The occasion connected the championship keepsake with a new season and the team’s home court. The design’s references remain specific: New York City’s character, Madison Square Garden, the trophy and the comeback against San Antonio.
For buyers, the practical details are limited but clear. A limited number of 200 rings are available through Jason of Beverly Hills for $20,000 each. The account does not describe an application, purchase form, delivery schedule, added fees or compliance rules, so those details cannot be stated. The seven-week turnaround refers to the design and production effort, not a stated deadline for customers.
The piece brings a substantial amount of material and careful setting into a small object. Its nearly 800 stones, 180 grams of gold and 22 carats of diamonds and blue sapphires support a design tied to particular moments and a particular arena. The available supply is limited, and the listed price is $20,000 per ring.
The next step is availability through Jason of Beverly Hills, where 200 rings are listed for sale. No public oversight process, customer deadline or further review is described in the account. Those details remain unspecified; the confirmed facts are the limited number, the listed price and the ring’s debut at the Knicks’ home opener.
Mason Reed serves as a Staff Writer for Just Right News, where he spearheads the Future Frontiers & Special Projects desk. In an era defined by rapid technological shifts and evolving social landscapes, Mason provides a steady, principled voice, examining the innovations of tomorrow through the lens of traditional American values. His work is most prominently featured in his signature series, “The Next Horizon,” where he explores the intersection of emerging technology, national sovereignty, and the preservation of individual liberty.
A native of San Diego, California, Mason’s worldview was shaped by the unique culture of his hometown. Growing up in a region defined by its strong military presence and its history of maritime industry, he developed a deep-seated respect for the institutions that provide national stability and the entrepreneurial spirit that drives the American economy. This upbringing instilled in him a belief that true progress is not found in discarding the past, but in building upon a foundation of proven principles. His reporting often reflects this San Diego influence, emphasizing the importance of a robust national defense and the necessity of maintaining a competitive edge in the global marketplace.
Now based in San Francisco, Mason operates from the heart of the world’s technological engine. Living and working in the Bay Area provides him with a front-row seat to the advancements—and the ideological challenges—emanating from Silicon Valley. While many in the region embrace a “move fast and break things” mentality, Mason’s reporting serves as a vital counterweight. He offers Just Right News readers a “boots on the ground” perspective, documenting how radical local policies and the concentration of tech power impact the everyday lives of citizens. His proximity to the industry allows him to cut through the marketing jargon of big tech to uncover the real-world implications for privacy, free speech, and the nuclear family.
In his “Future Frontiers” beat, Mason tackles complex subjects ranging from the ethics of artificial intelligence to the burgeoning private space race. He approaches these topics with a healthy skepticism toward centralized bureaucracy, championing instead the decentralized innovations that empower individuals. Through “The Next Horizon,” he highlights the pioneers and thinkers who are working to ensure that the future remains a place where human dignity and constitutional rights are protected. He believes that the rapid pace of change requires more than just technical expertise; it requires a moral compass rooted in the Western tradition.
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