Constructing a legacy: In conversation with Francesca Grima

“I only design jewellery that I would want to wear myself and I lead an incredibly casual lifestyle.” says Francesca Grima, creative director of Grima Jewellery the fabled house that was founded by her father Andrew Grima in 1952 and he ran until his death in 2007. Casual is of course relative; now based full-time in London, a childhood in Switzerland and travelling as her parents’ de facto plus one meant hers was a lifestyle with a front row seat to the vanguard of late 20th century design creativity. Yet, from the start of our conversation it is clear that Grima is as far away as one could imagine from the creative heiress cliché that we have grown accustomed to hearing and reading about. She qualifies her statements with exemplum; not for her the trailing off sentence that is often indicative of foggy thinking. And in many ways it is reflective of her lifelong love of architecture, where design rationale and building methodology are of equal import to aesthetics and feelings elicited by the finished product. Her pieces, like her late father’s possess a singularity of vision, and simultaneously challenge and expand notions of what we can wear and indeed how we can wear it. As she elucidates further “rather than in the 80s where everyone enjoyed going to a dinner party and someone saying, ‘oh darling you have the same necklace as I do’ nowadays it is more about having unique pieces and the sense of discovery.” For Grima, holding close to a particular design brief is made complex by her twin roles as keeper of a heritage house’s flame and Firestarter in the 21st century.

Francesca Grima wears Nicholas Oakwell Couture, Image: Simon Melber
Francesca Grima wears Nicholas Oakwell Couture, Image: Simon Melber

When You’re the daughter of the Father of Modern Jewellery

“My mother and I both run the company and we both design.” Grima explains. Her mother Jojo is a scion of the Cullinan family, the South African mining dynasty best known for discovering the 3,106 carat Cullinan Diamond. Jewellery was and indeed still is an implicit part of the family’s day to day and she notes “having parents who worked in the business meant they never really switched off. Sitting around the dinner table they’d be talking business and I even had to tell them from time to time can we please talk about something else because aged six I didn’t really want to hear about the clients and the problems.” However, this immersive education, meant that Grima possessed a comprehensive knowledge of the mechanics of maintaining and growing a family business, where relationship building is as important as creating unforgettable pieces for highly visually literate clientele. Furthermore, she quickly discovered that it was imperative that one’s own clearly formed design language was the sine qua non of operating in the rarefied world of luxury.

Citrine Ring, Yellow Sapphire Ring, Citrine and Diamond Ring, Yellow Gold and Carre Diamond Ring, All by Andrew Grima. Image: Courtesy of F Grima
Citrine Ring, Yellow Sapphire Ring, Citrine and Diamond Ring, Yellow Gold and Carre Diamond Ring, All by Andrew Grima. Image: Courtesy of F Grima
Brooch Pendant Set with Natural Pearls, diamonds and white gold by Jojo Grima. Image Courtesy of F Grima
Brooch Pendant Set with Natural Pearls, diamonds and white gold by Jojo Grima. Image Courtesy of F Grima

Andrew Grima’s sobriquet – and also the title of a book published in 2020 celebrating his career – was ‘the father of modern jewellery’. And whilst hyperbole of this kind is frequent in jewellery circles, in this instance it is no overstatement. Many aspects of the contemporary jewellers’ tool kit – the use of textured precious metal, the elevation of semi-precious stones, adventurous proportions and conceptually playful pieces can be traced to particular pieces he designed and ideas he realized. A pioneer of ‘the jewellery retail destination’, his first shopfront in London’s gentleman’s mecca Jermyn Street – designed by his architect brothers with a staircase by Ove & Arup – was feted as an experience in and of itself when it opened in 1966. In possession of ‘Old Hollywood’ good looks, he was also ahead of the curve regarding the notion of being one’s own brand ambassador; a fixture at the smartest events internationally, his celebrity status was immortalized in a starring role in a Campari soda advertisement. His most googled piece is a carved ruby brooch given by the Duke of Edinburgh to his wife, and he remains the highest recipient of De Beers Diamonds International Awards by any jeweller. His legacy, such was its breadth and depth could have been overwhelming for his daughter, to paraphrase Shakespeare’s Henry IV, Part II “uneasy lies the head that wears a crown.” However, rather than said crown becoming a creative millstone, she has chosen to wear it lightly. “I think my father because he was such an original would definitely want me to be an original and not to look back too much on the archives when it comes to designing, which I don’t do.” The net result is that whilst vintage Andrew Grima is often a hymnal to nature in all its forms, and the pieces designed by her mother Jojo act as poetic companion pieces to that design thesis, Francesca Grima’s design language in contrast is guided by a quest to make bold statements that are underpinned by minimalistic principles. Extrapolating on the theme, she adds “I’m very much inspired by product designers such as Dieter Rams who designed for Braun, he always said simple is better.”

Yellow Gold and Lodolite Ring by Francesca Grima. Image Courtesy of F. Grima
Yellow Gold and Lodolite Ring by Francesca Grima. Image Courtesy of F. Grima
Quartz and Yellow Gold Cuff by Andrew Grima. Image Courtesy of F. Grima
Quartz and Yellow Gold Cuff by Andrew Grima. Image Courtesy of F. Grima
Yellow Gold and Diamond Brooch by Andrew Grima. Image Courtesy of F. Grima
Yellow Gold and Diamond Brooch by Andrew Grima. Image Courtesy of F. Grima

This is not to say that she arrived at this point speedily; reminiscing “My earlier body of work – oh my God I sound so pretentious” she says laughing “was very organic I would almost call it frilly which is terrible, but they would definitely not be my style anymore.” The clues to Grima’s continued design prompts are there in the work, and for those who prefer to decipher clues on jeweller’s Instagram handles, her timeline. “I am mostly inspired by artists or architecture. I photograph a lot and there are always shapes and textures that I come across in my photographic walks and that’s what inspires me for the simple gold pieces.” Brutalism masterpieces such as Erno Goldfinger’s Trellick Tower in London’s Kensal Green and George Marsh’s CentrePoint also in London are captured on her handle alongside classic cars and works of contemporary art that have particularly moved her. It is thus unsurprising that she feels comfortable viewing herself as a jewellery-artist. “When I look at a piece of art, I want the art to give me some emotion. I think I would like the person who wears one of my pieces to feel a sense of happiness by wearing it.” Grima recognizes that energetic exchanges be they in the built environment or on the body are constantly happening and her pieces act as a conduit to such exchanges. One recent piece that speaks to this is the Dot Ring which was part of Vivienne Becker and Phillips Auction House New Modernism exhibition. “So I’ve always been a fan of Yoyoi Kusama’s work and I have been wanting to do something that is inspired by her for quite a long time… then I came across this white agate and I thought it’s an opaque stone it needs a ‘pop’ design that is very graphic hence the dots.” Francesca is not a maker herself, “we use all the same goldsmiths I mean obviously there are some who have passed on now, but we still have goldsmiths who worked with my father and understand our process” In the instance of the Dot Ring her determination for a specific vision resulted in a temporary impasse but ultimately favourable result. “The goldsmith said, ‘Ok, I will just set those gold dots on top of the agate’ and I said ‘no, no, no it needs to be tactile, so you need to actually carve into the agate, so that the gold dots are flush and if you run your fingers over it feels good.’” Choosing not to surrender to compromised tactility is illustrative of how resoluteness and rigour often begets work that is consistently memorable. Francesca’s edict of optimized wearability is especially tested when making rings, as hands are in constant use and display but this did not deter her. Furthermore, it was not enough for the piece to be a visual paean to Kusama it was also a thematic one, a piece that points to abstract surrealism but is also reflective of two female freethinking artists choosing first and foremost to work and present their work on their own terms.

Coral, Yellow Gold and Diamond Brooch by Francesca Grima. Image Coutesy of F. Grima
Coral, Yellow Gold and Diamond Brooch by Francesca Grima. Image Coutesy of F. Grima
Dot Ring by Francesca Grima, White Agate and Yellow Gold. Image Courtesy of F. Grima
Dot Ring by Francesca Grima, White Agate and Yellow Gold. Image Courtesy of F. Grima

Romancing the Stone

Who or indeed what determines a piece’s worth? One could limit one’s response based on the trading prices on the global metal exchanges and diamond bourses or one could add factors such as trends, the maison or house making the jewellery itself or the reputation of the artist involved in its design. Unusual gemstone choices were a key differentiator of Andrew Grima’s work and central to his initial success, and explorations in materialism continue to be part of Francesca’s own work. “The strange thing is the stones that my father used in the 60s and 70s had no intrinsic value then… tourmaline crystals you can’t find anymore, so they have actually become precious stones, so that’s quite interesting.” As well as the aforementioned tourmalines, aquamarines, moonstones and quartz were treated with equal reverence to diamonds by Andrew and it is an approach shared by Francesca whose principal intention when working with gemstones is “to highlight the stone and it’s beauty and make it the protagonist.” Casting gemstones as leading ladies in a supporting cast of metallic forms also highlights a historic and cultural aspect around wearing jewellery; when curative and spiritual powers were attributed to certain gemstones. It is a notion that still endures, even when not explicitly alluded to; as certain pieces and heirlooms become part of an individual or if inherited, the family’s talismanic armory. In her making process Grima asserts that “the stone just really needs to speak to you”, before she will consider making something with it and in a direct riposte to people treating jewellery like chips in a casino she notes “if someone shows interest in a piece and says ‘how many carats is this tourmaline?’, I will kind of know from then that they haven’t understood what we do.” In many ways there is a schism within the jewellery world that has been percolating for decades. On one side those who live for the high value, super large and rare gemstones that even before they are made into anything fetch for the tens of millions at auction, and those who are more interested in the artistic landscape, conceptual concerns and in some cases spiritual or social commentary a jewellery designer or artist is making with completed pieces. This is not to say it is a clear binary, with many houses’ bodies of work and clientele overlapping between the two concerns. However, for independent houses, where one sits on the cultural divide is important from an operational perspective. With Grima the remit is clear as Francesca concludes “what we do is not at all about the intrinsic value of the piece. It is about creating and selling wearable art and sculpture.”

Blue Topaz, Yellow Gold and Diamond Ring by Andrew Grima. Image Courtesy of F. Grima
Blue Topaz, Yellow Gold and Diamond Ring by Andrew Grima. Image Courtesy of F. Grima
Dioptase mounted in yellow gold and framed by baguette diamonds ring by Andrew Grima. Image Courtesy of F. Grima
Dioptase mounted in yellow gold and framed by baguette diamonds ring by Andrew Grima. Image Courtesy of F. Grima
Yellow Gold and Textured Wire Bangle by Francesca Grima. Image Courtesy of F. Grima
Yellow Gold and Textured Wire Bangle by Francesca Grima. Image Courtesy of F. Grima

Assessing the contribution of the house of Grima to the contemporary jewellery landscape is a task that has been tackled most recently by William Grant magisterial monograph. Grima was also included in Mary Anne Wingfield’s Modern British Jewellery Designers, which contextualises the rise of many independent houses in the United Kingdom and how factors such as the price of gold, two royal jewellery loving ladies (Queen Elizabeth II and Princess Margaret) and the challenging and in some cases dismantling of cultural and socioeconomic norms paved the way for radical jewellery design and its avid consumption. But not everyone who was ‘white hot cool’ survived this particular zeitgeist and Francesca notes “What I find when I look at jewellers of my father’s generation who haven’t been I will use the word as successful, is that with my father’s jewellery he somehow got all the proportions right.” To illustrate her point she references a citrine and diamond brooch of his design, “It is so stunning and it shows this organic movement and flow which just came so naturally to him.” For her part, Francesca has made many a piece which posits a stone as the main event but with her minimalistic approach. “I designed a pyrite ring a few years ago, which was really simple. It was a huge pyrite and then a block of diamonds that were mimicking the pyrite crystals.” Another personal favourite of hers is an ammonite necklace which she adds “just encapsulates everything I love at the moment. Which is sort of that brutalist design, very simple, just highlighting the stone, making it the protagonist and just really easy to wear.”

Textured Gold Wire, Citrine and Diamond Brooch by Andrew Grima. Image Courtesy of F. Grima
Textured Gold Wire, Citrine and Diamond Brooch by Andrew Grima. Image Courtesy of F. Grima
Pyrite and Diamond Ring by Francesca Grima. Image Courtesy of F. Grima
Pyrite and Diamond Ring by Francesca Grima. Image Courtesy of F. Grima
Ammonite Necklace by Francesca Grima. Image Courtesy of F Grima
Ammonite Necklace by Francesca Grima. Image Courtesy of F Grima

The design techniques pioneered by Andrew Grima have been well documented especially his use of textured gold wire and his love of nature. But the thread that seems most relevant, and what acutely binds his and Francesca’s world beyond consanguinity is the mandate to make wearing treasure in one’s everyday standard but still with romance at its heart. On the landing page of the company’s website sneakers are adorned with vintage brooches and a basic singlet elevated with a tanzanite and diamond brooch as one does when one can. There is an insouciance but also a tacit permission to enjoy your jewellery as and how you wish, not to be dictated by its value or the importance of the event or the caliber of people who will appreciate what you are wearing. Because if not now when?

Earrings and Brooch Set in gold textured wire, natural pearls and diamonds by Andrew Grima. Image Courtesy of F. Grima
Earrings and Brooch Set in gold textured wire, natural pearls and diamonds by Andrew Grima. Image Courtesy of F. Grima
Gold Textured Wire and Diamond Brooch by Andrew Grima. Image Courtesy of F. Grima
Gold Textured Wire and Diamond Brooch by Andrew Grima. Image Courtesy of F. Grima
Tanzanite, Gold Textured Wire anad Diamond Brooch by Jojo Grima. Image Courtesy of F. Grima
Tanzanite, Gold Textured Wire anad Diamond Brooch by Jojo Grima. Image Courtesy of F. Grima

Heirlooms, Heritage and the Future Present

Heritage houses still run by the familial founders often rise and fall on the next generation of custodians. Economic factors and unsustainable expansions can also take their toll. One contemporary peer, Kutchinsky was ultimately bought out in 1991 by Moussaieff Jewellers and many others from the 1960s and 70s have stopped producing with their work only appearing on specialist jewellery websites or at auction. In many ways Grima under the co-steer of Francesca and her mother Jojo have the perfect mix of a direct link to the founder and a creative lead who is very much in touch with how modern clients enjoy their luxury. With contemporary conversations so closely aligned to traceability of gemstones few companies can attest as Francesca does “We have stone dealers who are actually the children of stone dealers who worked with my father, so the trust is there implicitly.” Furthermore, Francesca’s agility on social media platforms has meant the company is able to adapt to the 24/7 concierge service expectation that has proliferated the art, design and jewellery worlds. “I think that is where the responsibility lies in terms of innovating and bringing the company forward… If I put a photograph up on Instagram I respond to every message. And that’s what I love and maybe it is because I am a bit of a control freak, but I will see it through to purchase and I also do all the bookkeeping and the photography.” Personally grueling and potentially exhausting as this model might be, it allows for the family to cut through the middlemen and the PR machines and speak directly to the consumer. They also get to control their narrative, and in an age where authenticity is prized, it makes their brand enduringly compelling. For those who seek to have a private commission, an intimate atelier appointment awaits them where the client will be attended to without a jot of the snooty energy that is sometimes associated with high jewellery houses, it is an important consideration, especially as conversations around spaces being truly inclusive continue.

Disco Ring by Francesca Grima, Yellow Gold, Diamonds, Malachite. Image Courtesy of F. Grima
Disco Ring by Francesca Grima, Yellow Gold, Diamonds, Malachite. Image Courtesy of F. Grima
Orange Peel Ring by Andrew Grima, Yellow Gold and Diamonds. Image Courtesy of F. Grima
Orange Peel Ring by Andrew Grima, Yellow Gold and Diamonds. Image Courtesy of F. Grima

However, it is not only Grima’s business savvy coupled with her social media and tech proficiencies and informality that bodes well for the company but also her ability to like her father create contemporary future classics. She says laughing “Timeless classics are something that are very difficult to design because you don’t really know you are designing them.” Indeed, it is a truism most evocatively witnessed in her own father’s About Time series of watches for Omega, a 55-timepiece collaboration that in the making in 1969 wasn’t foreseen either by himself or the watchmakers as creations that would birth a devoted and cult following independent of either brand. Owning one shows a different level of horology appreciation, and when pushed Francesca cites the ‘Elegance’ watch as her personal favourite. However, returning to her own oeuvre her numerous explorations in agate possess the elements of classics already in the making, as she dares to create a seemingly oxymoronic distillation of bold minimalism; an artist unafraid to continue returning to a medium and in each iteration discovering it anew. “I think it is the range of colours in agate that I am drawn to. I love when it’s frosted…as you don’t really have to add much to make it really beautiful…Also you can make a ring that is fully agate without having to be too worried about it breaking, which you can’t really do with another stone.” Her pragmatic approach is ever present but is a godsend for those new to jewellery collecting who might not even be aware of stone durability as a consideration when purchasing a piece.

Elegance Watch. Andrew Grima for Omega. Image Courtesy of F Grima
Elegance Watch. Andrew Grima for Omega. Image Courtesy of F Grima
Frosted Agate Ring with White Gold and Diamonds by Francesca Grima. Image Courtesy of F Grima
Frosted Agate Ring with White Gold and Diamonds by Francesca Grima. Image Courtesy of F Grima

Grima does not see jewellery as a competition with an expectation for certain performative measures to ensure long term success. “I like us being different. I like us being niche and exclusive. And I don’t see how getting our jewellery on a celebrity is going to make us a bigger success if you know what I mean.” Perhaps, one might argue she is speaking from a place of privilege, a heritage house that has ridden the sartorial and economic waves with aplomb. But one only need observe how every heritage behemoth house has been quick to sign up a celebrity as ‘collaborator’ to see just how brave this approach is. When asked whether commercial success or artistic relevance are her principle driver, Grima responds without hesitation “100% artistic relevance”. She fearlessly elegantly pushes conversations around value and collectability. “I do believe one should look at a piece of jewellery as a work of art. You don’t question the price of a canvas when you buy a painting so why would you do that with a piece of jewellery?” In our peak consumerist information saturated age, when we are all in danger of to quote Oscar Wilde ‘knowing the cost of everything and the value of nothing” proposing that jewellery speak for itself, no hashtags and hefty price tags bandied about in public as justification, becomes a radical act that places art as the highest conderation. But it is also a potent act of love, for the craft, for the ideation and process that comes in the making and for the clients who dare to put their heads above the parapet of what is expected and wear only what truly speaks to them. Principles that still bring profit are great, set in an unusual gemstone or none at all, they become truly luxurious.

Lychee Brooch by Andrew Grima. Yellow Gold and Diamonds. Image Courtesy of F. Grima
Lychee Brooch by Andrew Grima. Yellow Gold and Diamonds. Image Courtesy of F. Grima
Lodolite and Diamond Ring by Francesca Grima. Image Courtesy of F. Grima
Lodolite and Diamond Ring by Francesca Grima. Image Courtesy of F. Grima

And Then There Is Feng J: High Jewellery with a Different Locus

How does one get to speak to Feng J, one of high jewellery’s hottest properties, when time zones, an ever-expanding client list and perhaps most pertinent of all you don’t share a lingua franca? You wait for the calm before the Christmas storm but after a glorious success at Design Miami to set upon a time. Next, you negotiate a late-night call to Shanghai. Then you ensure that David Tsui, Feng’s Mandarin speaking business partner (who previously worked for advertising giant Ogilvy in New York) is on the call too in an interpreter capacity, allowing for our three way conversation, to take on a rhythm of its own and are always meticulously referenced with a Feng piece, a vivid anecdote or a witty sidebar from Tsui himself. And finally, prior and after the call itself, one returns intermittently to an Instagram page and website awash with otherworldly pieces with exquisite craftsmanship and an obsessive (in the best way) level of detail. Because at the heart of Feng’s story is a commitment to pushing the proverbial envelope; cost, time and established norms be damned, after all, this is how singular aesthetic voices and legends are made.

Feng J wears Coeur En Rouge Earrings Lacquer on Silver, Rubies and Red Spinels,  Image Courtesy of Feng J
Feng J wears Coeur En Rouge Earrings Lacquer on Silver, Rubies and Red Spinels, Image Courtesy of Feng J

Journeying and trusting in the Destination

“As a person I have always thought about having the highest standards and being in the locations that reflect that I am operating at the highest standards. For financial people you would go to Wall Street in New York and for High Jewellery the only place is Paris…. I needed to be there to see the good things, the good people and start in a good place.” Feng J is an intentional creative and unapologetically so. The high-jewellery artist founded her eponymous brand Feng J Haute Joaillerie in 2016 and conscious of the opportunities and historical cultural lodestars of that world chose to insert herself in the heart of it, in this instance with an atelier in the Place Vendôme. Somewhat intriguingly, jewellery was not her chosen career, she explains; “My dream was to study sport’s car design, I applied to a very famous school in California, the Art Center School of Design in Pasadena. But there was a problem with my visa and it was rejected to the US. So, I decided to shift my direction to London, and I went to Central Saint Martin’s to study jewellery design for my masters followed by gemology in Gubelin in Switzerland.” Car design’s loss was ultimately jewellery’s gain but Feng’s artistic and creative background is more varied still: her great-grandfather was a court painter during the Qing Dynasty and her first degree was in furniture and production design at China Academy of Art, with Wang Shu, China’s only Pritzker Architecture Prize winner as her tutor. These seemingly disparate threads come together in Feng’s unique design language which she describes as ‘painting with gemstones’ and in her creating a setting technique to realise her complex designs.
Proudly Chinese and seemingly strongly influenced by her classical jewellery education, Feng who is originally from Hangzhou, felt it essential that her atelier in Shanghai act as the physical headquarters for the brand. Tsui interjects with a laugh that “Shanghai’s nickname is the Paris of the Orient.” But when explaining her choice of location Feng adds “Yes, Shanghai is very Parisian. And the atelier is in the city’s French Concession which is very interesting as it echoes our Paris location. But it’s larger. The building is five floors and we put a lot of paintings, sculpture and installations in this house showcasing the best of Chinese artistic creativity and pieces bought on my travels too. We also have the atelier the studio and some of the production.” Whilst the global luxury epicentre has tilted east with many Western brands openly acknowledging that sales from Asia are the lifeblood from which they survive, Feng’s decision to make her Shanghai location such a powerful destination place in and of itself is indicative of an agenda that seeks to expand the spaces and places we expect luxury to emanate from. Presenting her nation’s cultural and artistic excellence is not only “a little dream within my career I am happy to share” but also “very meaningful as we are a brand from mainland China that wants to stand on the global high jewellery stage.”

Maison Feng J: Image Courtesy of Feng J
Maison Feng J: Image Courtesy of Feng J
Flying Leaf Earrings: Diamonds, Opals. Image Courtesy of Feng J
Flying Leaf Earrings: Diamonds, Opals. Image Courtesy of Feng J

Feng’s rise has been extraordinarily swift and she is quick to note that she has not felt a victim of Sinophobia. At this point Tsui adds that from a business perspective “being Chinese now is not her big problem.” Furthermore, local and international press have embraced her work. “The Financial Times and New York Times, they all wrote features” Tsui adds. For her part Feng notes that her clientele is drawn from jewellery lovers and collectors globally. “Some are from New York some from Palm Beach and some from the Middle East and of course I have a lot of clients from mainland China and Hong Kong.” What is significant for Feng is their shared intent: “My clients buy my pieces in a way that art collectors do.” Positioning herself as a jewellery artist has been a boon. In bypassing the segments where jewellery is created with a more overt commercial aim, and thus having to be adept to thematic shapeshifting to reflect current trends and cultural conversations, Feng can focus on the things that principally interest her – her craft and artistry. She has also inadvertently created a Feng J collector community: just as those who are particularly interested in a particular artistic movement might run into each other in the various global auction rooms, Feng whose work most recently was part of the Vivienne Becker curated Woman to Woman selling auction at Phillips Hong Kong, as well as in the inaugural Design Miami, Shanghai Show in November 2021, has become an inevitable part of the jewellery artist landscape.

Calla Lily Ring, Emerald, Yellow Sapphires, Tsavorites, Diamonds. Part of Woman To Woman Exhibition. Image Courtesy of Feng J
Calla Lily Ring, Emerald, Yellow Sapphires, Tsavorites, Diamonds. Part of Woman To Woman Exhibition. Image Courtesy of Feng J
Blue Velvet Leaf Earrings  2.33ct Triangular Emerald and 2.09 ct emerald, double rose cut sapphires, tanzanites and irregular shaped diamonds. Image Courtesy of Feng J
Blue Velvet Leaf Earrings 2.33ct Triangular Emerald and 2.09 ct emerald, double rose cut sapphires, tanzanites and irregular shaped diamonds. Image Courtesy of Feng J

A Design Language Developed and Decoded

“From the very beginning I wasn’t looking for clients I was looking to develop my way of design. So, I developed my own design style which I call painting with gemstones. I consider it my creation.” In practical terms this meant also reimagining how the gemstones themselves were cut and set in order to realise her specific vision, something that brought her into radical thinking territory. She expands “The double rose cut is very special as it makes each piece of the gemstone very slim, it is only 1cm-1.2cm and the good thing is it can let the light come through.” This is evocatively seen in pieces such as The Coloured Ginkgo Leaf Brooch, which have a translucent quality. As with any artist, certain motifs and techniques become synonymous with an jewellery-artist’s work and Feng herself raises this. “When you mention Wallace Chan the first thing you think of is his carving of the gemstones and also the use of titanium. And when you mention Cindy Chao you will think of the architectural style, with me I’ve loved the grey colours of gemstones [and] been drawn to the idea of tonality.” Feng is a huge admirer of the Italian painter Giorgio Morandi and sees similarities in his techniques and her own, adding “In Morandi’s paintings there are a lot of grey colours, but every grey colour has different hues. It is very subtle and very sensitive with me; I use the gemstones to make a coloured tone for the piece.” At this point Tsui notes with a wry chuckle “Everyone was like what the fuck? Are you crazy? Because normally in jewellery you are thinking the bigger, the more vivid a colour, the more bright the more flashing is better. Because you can sell at a very high price.” But Feng was resolute in her direction adding: “Yes, it’s crazy and it’s disruptive. But when we cut this thin, you can have a lot of patterns and colours, it is like a woman’s lipstick counter.” She also cites the American modern master Georgia O’Keefe, who was also not afraid of large scale paintings of flowers which had a saturation of similar hues.

Coloured Ginkgo Leaf Brooch: Diamonds, Purple Spinel, Opal, Topaz, Chrysoberyl, Moonstone, Tanzanite and Rock Sapphire> Image Courtesy of Feng J
Coloured Ginkgo Leaf Brooch: Diamonds, Purple Spinel, Opal, Topaz, Chrysoberyl, Moonstone, Tanzanite and Rock Sapphire> Image Courtesy of Feng J

Her most famous piece to date is the Jardin De Giverny Necklace, which in the true tradition of the highest of jewellery is multifunctional and can be worn as a bracelet and ring too. The centrepiece is a 19kt fancy pink diamond but the piece as a whole acts as a vivid exposition of Feng’s design language. Whilst in Paris, Feng visited the famed garden immortalized in Monet’s paintings and was struck by the natural beauty, and like Monet, how the light at different times of the day deeply affected the garden’s appearance. “I visited the garden in the noon time with the sun was just raised in the centre of the sky and the light was very strong and that scene left a very strong impression on me. So when I first saw the pink diamond, its lightness felt like sunshine in the middle of the sky, it is almost white, and I recalled my trip to the Jardin de Giverny [and] the rest of the necklace is the botanic, the plants in the garden.” To achieve this Feng used an assortment of gemstones: coloured sapphires, garnets, spinels, tsavorites, tanzanites, and aquamarines dance along the collar to enhance rather than detract from the sun in all its fulsome gemstone splendour. On completing the piece, Feng herself states “I felt like I had just finished a conversation with Monet. The time difference might be more than 100 years, talk less the geography distance, but I wanted to create a piece of jewellery that was an homage to impressionist painting and to create a removable garden for people’s necks.” The piece sold at Phillips auction for HKD 20,215,000 ($2,594,627) and made Feng the first mainland China designer and the youngest to achieve a multi-million dollar sale, but for her it was never about the price achieved but rather achieving her artistic vision.

Jardin De Giverny Necklace, 19kt Fancy Pink Diamond, Diamonds,: coloured sapphires, garnets, spinels, tsavorites, tanzanites, and aquamarines. Image Courtesy of Feng J
Jardin De Giverny Necklace, 19kt Fancy Pink Diamond, Diamonds,: coloured sapphires, garnets, spinels, tsavorites, tanzanites, and aquamarines. Image Courtesy of Feng J

The piece also featured one of Feng’s other hallmark techniques; floating setting. “I was thinking of a way to liberate the gemstones from the metal…[because] if you put it on a metal base the metal will block and black out the light.” To solve this quandary, which was only half solved by slicing the stones extra thin she developed an almost invisible setting technique, she elaborates “With every piece I use a tiny prong and the tiniest loop to support the structure so you need to be very accurate about the strength. If you do it the normal way you will cast the metal base but with each piece floating you need to consider the physical curve and distortion. With double rose cut stones the shape is very organic you cannot control the shape..it is almost like gambling.” The end result are pieces with curvature and character as well as notably lighter and thus easier to wear. This final factor is especially important to Feng who at 37 often thinks of making pieces that will connect with younger collectors and are uncomplicated in the wearing, and it was a central thesis to the pieces she presented at Design Miami Shanghai which included the much photographed and talked about Vie En Rose bangle. “Jewellery is not about things in your grandmother’s safe…it is about mix and match, wear your high jewellery with your sneaker.” However, insouciant approach to how her pieces are worn aside, Feng remains very much inspired by nature, with flowers and the natural world being a theme she returns to frequently, and her travels, especially prior to the Pandemic giving her ample opportunity to sketch, observe light and movement, which in turn are reflected in the finished pieces and the names she gives them.

La Vie En Rose Bangle, Diamonds, Pink Sapphires, Purple Sapphires, Pink Spinel and Ruby. Image Courtesy of Feng J
La Vie En Rose Bangle, Diamonds, Pink Sapphires, Purple Sapphires, Pink Spinel and Ruby. Image Courtesy of Feng J
La Vie En Rose Bangle in production. Image Courtesy of Feng J
La Vie En Rose Bangle in production. Image Courtesy of Feng J

Although her work points to an innate inquisitiveness, notions and the reimagining of tradition are ever present, most notably in her pieces using Chinese Lacquer, a technique that she has brought boldly into the 21st century. “The Coeur Rouge bangle that Rihanna wears is painted lacquer on silver… it is a very interesting material, very organic as it is from tree sap and of course first used in China. I chose to use it and combine it with European gemstones because I wanted to do something that was east-meets-west.” To get the finished effect, takes time and patience, “at the very beginning the colour from the lacquer is black and it is only after weeks that it changes to crimson, then to red and bright red. I guess the look also fulfills my dreams of sportscar design” she says. But jest aside Feng is always setting an internal marker between herself and her peers, adding “I always like to do innovations for high jewellery, and this also makes me different.” Not resting on her laurels is something of a theme throughout our conversation, it as if Feng sees her work as being one part custodian and propagator of her home culture and the other part modernizer in terms of methodology, usage and appreciation.

La Coeur en Rouge: Chinest Lacquer painted Silver, Rubies and Red Spinels, Image Courtesy of Feng J
La Coeur en Rouge: Chinest Lacquer painted Silver, Rubies and Red Spinels, Image Courtesy of Feng J
Rihanna wears La Coeur en Rouge Bangle, Image Courtesy of Feng J
Rihanna wears La Coeur en Rouge Bangle, Image Courtesy of Feng J

High Jewellery and the Next Gen

From the outset, Feng’s pieces have had as many younger collectors as older ones, in spite of a continued perception that high jewellery for the most part is an older client’s game. “Younger collectors’ tastes are more open. Older people will love a big stone from somewhere like Graff or Harry Winston, but the young rich love contemporary art and are more experimental…they have a wider world-view so they want something different, something unique.” Feng for her part aims to offer this in her pieces, that even when using the most opulent gemstones possess a lightness of touch. “Sometimes jewellers make with a loud voice but my pieces are not in that loud voice…I want my jewellery to give the wearer a spiritual power…it is nothing to do with any religion but I feel my pieces have a very subtle power.” It is a rubric that seems to have proven successful with celebrity clients such as Rihanna, Kylie Jenner and Victoria Song of K-Pop sensation f(x) among the many high jewellery enthusiasts who consistently seek her out.

Victoria Song wears Aqua Gingko Leaf earrings. Image Courtesy of Feng J
Victoria Song wears Aqua Gingko Leaf earrings. Image Courtesy of Feng J

However, future=proofing her business aside with Gen Y and Z buy-in, what is perhaps the most compelling reason for Feng’s speedy ascent since she founded her eponymous house five years ago is a commitment to her own aesthetic. Realising early that techniques and craft could be a potent part of the emotive storytelling that we have all become accustomed to seeing and hearing about in regards to high jewellery collections, she also actively chose to celebrate the interconnectedness of her lived experience and those of her potential collectors and ultimately wearers. China’s past and future, France’s artistic and jewellery heritage, the wonders of nature to be found in every corner of the globe and forces eliciting a kinetic energy are all part of the discourse. In turn they are observed, internally processed and a beautiful distillation is manifested in her collections. As the conversation ends one cannot help but concede that Feng may indeed be right; who needs loud when almost everything one feels hopes for and desires can be expressed in a double-rose cut painterly whisper?

Blue Anthurium Brooch, Aquamarines, Tanzanites, Purple Sapphires, Diamonds. Image Courtesy of Feng J
Blue Anthurium Brooch, Aquamarines, Tanzanites, Purple Sapphires, Diamonds. Image Courtesy of Feng J

Simone Faurschou; A Jeweller For Our Times

“I don’t even know how to explain how terrifying it is to start your own thing. There is just so much fear. But also, there are many amazing things about it…and it came to a point where I didn’t feel there is anything else I wanted to do.” Simone Faurschou, the Danish born and raised but now London based jewellery designer cum artist is a reflective conversationalist. No pithy one-liners here. Her responses, like her body of work are considered, simultaneously simple and complex. We initially started talking during the first lockdown, when a fortuitous DM slide led to a year plus intention to make time for a deeper dive. At the time Faurschou was busy launching her seminal Blockchain Series, one which has seen her expand notions of the way jewellery is used, viewed and purchased, with her delving into the world of crypto-currencies, NFTs and Augmented Reality. As a series, it has captured the imagination beyond conventional jewellery circles and has resulted in Faurschou (although she is personally more circumspect in claiming the title of artist) enter the contemporary and digital art world. Yet Faurschou’s approach is evidence of a shift in how many designers and artists, particularly those younger, are choosing to navigate the jewellery industry. The personal and the political are part and parcel. Interrogating notions of commercial and spiritual success are up for discussion, and neither the right retailer or most impressive editorial feature are sought after as much as they were a generation before. Furthermore, the questions Faurschou explores via her body of work and her modus operandi of creating pieces reflect shifting and current cultural norms, but still possess wider demographic appeal. Her work acts as a gentle reminder of how jewellery’s superpower lies in creating community from seemingly disparate individuals.

Simone Faurschou Image Courtesy of S Faurschou
Simone Faurschou Image Courtesy of S Faurschou

Manifestations and Magical Thinking

Faurschou initially felt her future lay in fashion design: “I always wanted to go to Central Saint Martin’s. It is quite a fun story” – she says reminiscing – “but I begged my parents to send me to this language school in England so I got this as a present when I was confirmed. At the language school there was a visit to Central Saint Martin’s. I was fourteen and I remember walking down the halls and thinking this is where Alexander McQueen and all these great designers went and I completely fell in love.” But this was not mere adolescent passion of the fashion kind, once decided she in her own words “called it into being”. A brief stint at Copenhagen Business School resulted in her dropping out and enrolling in an Art Foundation Course in Copenhagen and it was from here that she applied and got accepted into her dream school, initially still thinking her future lay in fashion before an inspiring tutor suggested jewellery might be for her.

Pangea Together, Image Courtesy of S Faurschou
Pangea Together, Image Courtesy of S Faurschou

Faurschou is a compelling advocate of structured pedagogy and in particular how Central Saint Martin’s, both in terms of the teaching she received and the ethos of the school shaped how she continues to work. “One of the great things about Central Saint Martin’s is they encouraged us to not just work in metals There were projects where we had to work with something that was biodegradable and lots of different materials, resin, leather, plastic… I even made a piece from tampons which was, like, about femininity and the tampon tax, it was really such a great place to explore and just be.” An ethnically and culturally diverse student body not only offered her broader vistas of understanding and possibility but allowed for her to reflect on her own innate Scandinavian sensibilities and aesthetic. “One of my friends from Turkey, the way she worked was so detailed, there was wax carving and stones and just like a lot of details whereas my work is a minimalistic kind of style. And it doesn’t mean that I don’t love figurative work, I love it, but I always return to something that is quite simple and definitely Scandinavian, which I guess is my DNA.” London as a city was the ideal backdrop for her creative and internal explorations and she talks of those early years in the city with an animated tone, that hints at days of discovery that augmented her academic and subsequent professional endeavours. “I remember hanging around a lot in East London and just loving it, this whole creative vibe was so different from Copenhagen… But I also think moving to London and getting friends from all over the world made me more passionate about discussing how important our relationships are and kindness is…. I saw a lot more homeless people on the street and compared to Copenhagen, a lot of people have to fight just to survive.” In many ways, Faurschou’s body of work returns to these themes consistently, connectedness, cross cultural exchange, as well as – via how she makes her pieces – practical notions and actions that champion justice and compassion.

Pangea, Fragment Earring in 18kt Gold, Image Courtesy of S Faurschou
Pangea, Fragment Earring in 18kt Gold, Image Courtesy of S Faurschou

“It’s quite wild because I am not from a family with money or anything, but I have always been quite focused [and] when I see something that I want, I just really try and go for it.” Faurschou’s speedy ascent: graduating with a BA in Jewellery Design in 2016, landing a role as Head of Design at cult fashion jewellery brand completedworks and moving on to found her eponymous brand in 2020 has led many to mistakenly assume that she has a healthy private income or at the very least a substantial investor. However, neither is the case, diligence and boundless optimism have guided her in all of her successes thusfar. Of a dream-come-true internship with haute couturier Iris Van Harpen whilst she was a student, she explains: “I remember going for the interview and flying back to London on the same day and being completely exhausted, and when I got it, I was like, shit, I don’t have money for this and where to live in Amsterdam and I am going to be working for free.” She pauses and smiles before adding “But a friend’s Mum was willing to let me stay and we became really great friends [and] I got to be part of the Haute Couture show, and I worked on this particular dress with like twenty other people and it was fantastic.”

Pangea, Connecting Fragments in 18kt Yellow Gold, Image Courtesy of S Faurschou
Pangea, Connecting Fragments in 18kt Yellow Gold, Image Courtesy of S Faurschou
Bespoke Ring Using Client's Own Heirloom Gemstones. Image Courtesy of S Faurschou
Bespoke Ring Using Client’s Own Heirloom Gemstones. Image Courtesy of S Faurschou

Whilst some might roll their eyes at what on first listen sounds like a contemporary fashion fairytale, Faurschou’s active decision, not to be constrained by current circumstances and push forth regardless, holding fast to the notion, has segued into how she works – embracing the concept first – before working out the practicalities. It also anchors her design process which is rooted what she terms as “narrative driven pieces” and which results in jewellery that is expansive in its intentions. She explains “A piece of jewellery could be a whole-body piece. I don’t look at jewellery in a traditional way in terms of rings and earrings, but more as a way you explore the entire body…it doesn’t start with wanting to make something that looks good, it is more about making some concepts that might seem abstract tangible.” We alight on the much celebrated Daniel Roseberry for Schiaparelli Autumn/Winter Haute Couture 2021 which is replete with modern day body armour and Faurschou exclaims “I am obsessed! I was sitting with friends the other day and I was saying this is also my view of how to work with jewellery When I look at Schiaperelli I am like oh my God I adore that.”

Pangea ;Fragment Pendant, 18kt Yellow Gold. Image Courtesy of S Faurschou
Pangea ;Fragment Pendant, 18kt Yellow Gold. Image Courtesy of S Faurschou

Creating Communities

Small luxury businesses, particularly startups, rise and fall on their ability to attract the attention and patronage of the milieu that are both interested and can afford their wares. Faurschou concedes that “I definitely have a great network of creative people around me”. However, she is quick to clarify “but I don’t have a specific crew of people”. It is an important distinction. In an industry where the hiring of a prestigious PR agency, getting your pieces into the right showroom and having leading editors peruse the collection over champagne and canapes is oftentimes proposed as a must-do rather than an optional extra, it can cripple a company at the beginning of the journey. Instead, Faurschou has allowed for tastemaker word-of-mouth referrals for her bespoke work and her collections to do the heavy lifting of brand promotion and the results have proved more than exemplary. From Mimma Viglezio, the business strategic force behind numerous fashion super brands’ successes (and the current Editor in Chief of Tomorrow Crew’s Digital Showroom), to Kristine Loebner, the managing director of Cecile Bahnsen, a brand that has become the default pillar of the thinking fashion girl’s wardrobe, to actor and podcaster Cressida Bonas, the amplification potential is clear. And whilst many have commented on the cliquey nature of London’s creative classes, Faurschou has thusfar managed to not only avoid the potential pitfalls, but also thrive, growing a wide network of clients, supporters and co-creators. She adds “I feel like people are always keen on collaborating, even just meeting new people I think it is something very unique about London.”

Bespoke Mimma Ear Cuff in 18kt Yellow Gold and Diamonds. Image Courtesy of S Faurschou
Bespoke Mimma Ear Cuff in 18kt Yellow Gold and Diamonds. Image Courtesy of S Faurschou
Mimma Ear Cuff on the Body Image Courtesy of S Faurschou
Mimma Ear Cuff on the Body Image Courtesy of S Faurschou

However, connections is only one part of the equation. Faurschou’s jewellery resonates with a growing global demand for simpler pieces that have profound meanings attached to them. Jewellery that does not self-select itself into the ‘special occasions category’ by virtue of the size of gemstones used, or necessitate one have a security detail as one goes about their errands, is the preferred choice regardless of age or financial status. Furthermore, pieces do best commercially when they reflect the designer’s and prospective client’s values and beliefs. In Faurschou’s case it has resulted in the exclusive use of lab-grown diamonds, in response to environmental concerns and Fairmined gold. She adds “my work is about community and what I really like about Fairmined gold is their way of ensuring that the miners and the community doing the mining gets a really fair salary.” But the decision is not without consequences, “The gold is 20% more expensive, because you are paying premium price to ensure that everyone in the process is being fairly paid…so it means that my prices have to be even higher which is already hard if you are a new and upcoming brand.” The jewellery industry has received a lot of criticism due to the ambivalence of some of the big players to horrendous working conditions for miners and the communities they live in. Faurschou and other small independents have paved the way in supplying clients with greater transparency with regards to sourcing, sustainability (she often creates custom pieces using client’s heirloom gemstones) and ethical practices. “I don’t want to sound cliché, but I have big dreams. I would love to continue to create more jewellery and make more sales and I would just love to have my supply chain be fully traceable and to have a relationship with the miners who mine the gold.” For Faurschou, full traceability is the end goal rather than optics dressed in press release platitudes.

Pamgea Separating. fragments in 18kt Gold. Image Courtesy of  S  Faurschou
Pamgea Separating. fragments in 18kt Gold. Image Courtesy of S Faurschou

Pangea, Faurschou’s first fully conceived series was the break-out hit that distinguished her in terms of artistry, craft and messaging. Conceived as a socio-political and cultural comment on connection, it’s name, taken from the original mega-continent from which the existing seven continents separated, also acted as Faurschou’s design prompt, with all the pieces formed from fragments that tesselate together. “Pangea was very much about unity; I already knew that I wanted to do something about human connectedness. So then when the pandemic hit, I was like okay it is almost too obvious or too much to do something like this, but at the same time I already had plans and then I was super limited in terms of materials because I kind of lost all my freelance work and I was just hanging in there in my tiny room in east London.” As the city ground to a halt Faurschou was forced to think laterally. She relates: “My style is usually a bit more organic or slightly larger pieces maybe but I had to work with what I got and I couldn’t use casters or 3D printers . What I could do is cut up a sheet of gold.” Whilst Faurschou may have initially lamented the constraints, it resulted in a potent distillation of her design language. And with all labour done solely by her, it imbued all of the pieces an intimate energy and was a reminder of the fragility of connection.

Pangea, Connecting Fragments in 18kt Gold. Image Courtesy of S Faurschou
Pangea, Connecting Fragments in 18kt Gold. Image Courtesy of S Faurschou

Because of the circumstances surrounding its creation, Faurschou is aware of Pangea’s long term historical and cultural significance. “Now I really appreciate that, because at the time I was thinking ‘oh no, it is not good enough and it’s too simple’ but now I am really grateful because it was such a picture of what it was at the time. I happened to have a bench set up in my room, a few materials, and my tools. But the collection also became about survival, about finding and having the time to do something that I was really passionate about.” With mental health around the world plummeting and anxiety skyrocketing in the midst of all pervading feelings of uncertainty, having her routine of creating the piece became a safe place for Farschou to retreat to. Promotional photography was done on socially distanced sets, “I just made it happen with friends who were also in lockdown who happened to be photographers and model friends and these people who had also just lost all of their work.” This was not to say it was plane sailing, she adds; “It was quite a hectic time because I was jumping from house to house when I lost my own place but I am really happy that I didn’t just sink….I could have just been in bed miserable.” The collection also had the pioneering and novel addition of an accompanying poem written by noted poet, artist and environmental activist Wilson Oryema. The poem was a poignant reminder of Faurschou’s overall intent to create new landscapes for discourses not necessarily associated with fine jewellery and those who love it.

Pangea Collection Poem by Wilson Oryema Image Courtesy of S Faurschou
Pangea Collection Poem by Wilson Oryema Image Courtesy of S Faurschou
Wilson Oryema Reads Pangea Image Courtesy of S Faurschou
Wilson Oryema Reads Pangea Image Courtesy of S Faurschou

If Pangea was about reminding us of our shared community, Faurschou’s Blockchain Series continues with the thesis but illustrates how the brave new word of crypto-currencies and virtual realities needn’t be viewed as dehumanising forces but rather harnessed to create digital communities and allegiances that are anchored in compassion, curiosity and a love for adornment. A 3D circular block of Fairmined gold has been carved into twelve segments, with most pieces including a sprinkle of lab-grown diamonds from The Diamond Foundry. So far so standard ethical and sustainable luxury. However, Faurschou takes things up a notch. The pieces are sold as NFTs (non-fungible-tokens), and in addition to an actual Blockchain pendant, purchasers also receive a digital piece of jewellery. Faurschou reflects “If you had asked me two years ago whether I was going to do digital jewellery and NFTs I would have definitely probably said no.” she says before laughing. But second lockdown provided the perfect opportunity for her to satisfy her burgeoning curiosity with crypto-currencies and act upon it. “friends were talking about it and I guess the community that comes with bitcoin and these different things. And then I read about the art piece that was sold at Christies that was a crazy amount 69 million pounds or whatever and I was like wow, this is super interesting that someone can sell a digital piece of art. At the same time, I was really thinking about how technology has kept us connected in lockdown so I was already thinking about doing something for my next collection that was going to be around technology. When I learnt you could create NFTs I was just like, well if you can sell a digital piece of art you can also sell a piece of digital jewellery.” Typical of her process, once the idea was in place, realizing it became the adventure. She adds “I couldn’t find many people in the industry but there is a great woman called Cathy Hackl who was so kind to supervise me for a bit on the journey and so I was lucky to get in with some quite talented people in tech.” Hackl was a particular godsend as she is not only one of the world’s leading futurists but also an expert on the metaverse and the author of Marketing New Realities and the Augmented Workforce, two books that are the blueprint and roadmap of the sector.

Blockchain 18kt Yellow and White Gold and  Diamonds Image Courtesy of S Faurschou
Blockchain 18kt Yellow and White Gold and Diamonds Image Courtesy of S Faurschou

Of the naming the series Faurschou explains “when you start learning about NFT the first thing is the technology behind it which is blockchain. And it is now implemented in supply chains and it is really fascinating technology. When I heard the name I just visualized this chain of blocks.” Faurschou trades her Blockchain Series on Known Origin, a market leader in Digital Art, with collectors bidding for the pieces using their crypto-wallets. Faurschou is one of a handful of jewellery artists who have seen the potential of digital art and harnessing technology in order for collectors to experience their pieces beyond wearing them. The final interactive aspect of Blockchain is every collector has the opportunity of virtually meeting the next collector in the chain. The community, given that Faurschou is now on her 4th Series is thirty six and counting strong and spread across the globe. Does Faurschou conceive creating another digital jewellery artwork or Augmented Reality experience? She doesn’t reveal. But what she does say is the foray into digital art and crypto currency has opened conversations with her peers regarding value. “A dollar bill is only valuable because someone says it is.” Jewellery that precipitates discussions that question the very systems society is built upon is thrillingly subversive, and that it is as is Faurschou’s way, an easy piece that could become part of one’s daily uniform, an omnipresent reminder to think differently.

Blockchain Pendant 18kt Yellow Gold and Diamonds Image Courtesy of S Faurschou
Blockchain Pendant 18kt Yellow Gold and Diamonds Image Courtesy of S Faurschou

Journey Or Destination?

With her rising profile, Faurschou has had to navigate the expectations of the communities that have taken an interest in her and her work. The modern jewellery creative’s rubric demands the curated social media profile, good interview skills and a knack of looking preternaturally beautiful whilst at your bench, delicately furrowed brow an optional extra. Faurschou thinks this is rightly unreasonable. “For a lot of creatives actually it is a nightmare…but I do believe it should not be about us. It is about the work… I have done a few interviews in the past that I didn’t like much. I was like, ‘Oh my God I need to sit and talk about me, why can’t it just be about the work? Talking about oneself, is not really what it is about right?” It is a sentiment witnessed on Faurschou’s Instagram. There are no lengthy treatises of what she feels about issues of the day, or streams of consciousness on IGLive, and compared to the prevailing wind that has made compulsive over-sharers of us all, and demanded it of those we admire, just a handful of images of her in off-duty mode. What you will find is jewellery, both in progress and completed, her existing collections and posts of happy clients wearing their Simone Faurschou with pride.

Blockchain Series 4. Image Courtesy of S Faurschou
Blockchain Series 4. Image Courtesy of S Faurschou

Faurschou’s progress given that her brand is only in its third year of full operations, with 18 months of those being during a global pandemic, is extraordinary. When asked how she defines success she pauses for some time before stating “To be completely honest, I have been asking myself that question a lot lately… If you had asked me a couple of years ago, I would probably have said having my own brand or doing the things I am really passionate about and I am doing that now and it gives me so much joy. But then I have this element of the struggle in terms of economy [because] it’s really hard to make money and to make it consistently and that doesn’t feel very successful right?” She says laughing before finally concluding “My idea of success is based somewhere around community and being able to discuss some of the things that I think are important in my work.” With the Blockchain Series Four in the works and other projects that are currently percolating, Faurschou’s notions of success seem set to expand as her sphere of influence continues to grow.

Blockchain Pendant, 18kt Yellow Gold, Diamonds Image Courtesy of S Faurschou
Blockchain Pendant, 18kt Yellow Gold, Diamonds Image Courtesy of S Faurschou

We close on what makes Faurschou push herself and her practice forward. “You can have a Plan B but I don’t really.., I am making it work my way and just have faith that it will pay off. It is a tough journey but also beautiful at the same time. The people you get to meet and the stuff I get to do and the skills I keep developing. But there is never a guarantee. When I meet a lot of people the first thing they say is ‘you’re so brave’ but for me I don’t really think about it that way. It’s oh but I can’t do anything else. So, it doesn’t feel like a choice.” Whilst Faurschou’s career thus far might appear full of serendipitous happenings that are powering her steady ascent, one is reminded of the often-misquoted Seneca aphorism, “Luck is when opportunity meets preparedness.” Faurschou does not come across as merely ‘lucky’ or as her friends observed ‘brave’. The word that springs to mind is tenacious. Her design process requires supreme levels of preparedness. Furthermore, the sheer resolve of knowing and pursuing a career in design since her teen years points to an individual that isn’t simply coasting through life on looks, charm and a sparkling contact book. Her work itself is underpinned with an optimism for a reimagined global community, and to some extent harks back to the political idealism movement that had its beginnings in the late 19th century and was at its zenith post the First World War. Where Seneca’s notion of opportunity comes into play is Faurschou’s creative brilliance of framing these ideas via wearable pieces of art. She has seen an opportunity to build a conscious community via beautiful jewellery and those who wear her work are as fortunate as the maker herself.

Blockchain Series 1. Image Courtesy of S Faurschou
Blockchain Series 1. Image Courtesy of S Faurschou

The Inevitable Satta Matturi

“Gosh, I don’t even want to consider the word success. I think I’ve just started, I probably haven’t even started yet. It takes a long time to build a maison and a fine jewellery brand especially.” It’s a late Friday evening interview over Zoom and Satta Matturi, founder of Matturi Jewellery, is being either a mistress of self-deprecation or a Herculean task master, depending on one’s perspective. Whilst other houses have barely fumbled through the post=pandemic uncertainty that has gripped many in the fine jewellery and to a wider extent luxury world, Matturi Jewellery has grown an already enviable client list, embarked upon a glossy rebrand and participated in not one but two ground-breaking selling exhibitions curated by the art-jewellery maven Melanie Grant: the first, Sotheby’s New York Brilliant and Black exhibition in September was a historic watershed for black jewellery creativity, the next the forthcoming Forces of Nature exhibition at the Elisabetta Cipriani Gallery later this month in London, promises to cement the house in the canon of highly collectable jewellery-artists. When I reflect this back to Matturi, she shrugs and insists that despite all the laudatory noise be it online or in real life, this is not a lean back and pop a bottle moment, “This is when you start to work.” And ultimately, she is right because plaudits and attention are only as good as their utility. As our conversation stretches into the night it becomes clear that Matturi has goals that are far-reaching and are about profundity, productivity and shifting centuries inaccurate perceptions of African truths.

Bayuda Earrings, 18ct gold, diamonds, morganite, and enamel. Image: Courtesy of Matturi Jewellery
Bayuda Earrings, 18ct gold, diamonds, morganite, and enamel. Image: Courtesy of Matturi Jewellery

A Family Affair

Thinking back on her formative experiences with jewellery brings Matturi to her childhood and her parents in particular: “My Mum actually wore a lot of jewellery… And in west Africa we wear a lot of gold. And it is not even your 9 carat, 14 carat we are talking 22 carat and 24 carat gold.” Add to this a father who paid a pivotal role, first creatively: “My Dad was an architect, so that is where the creative comes in. He studied tropical architecture at Howard University in the US in the 50s.” and secondly as the catalyst to her exposure to the diamond industry: “He was involved in politics and later was Managing Director of DeBeers for the West Africa operation in Liberia, Sierra Leone and Guinea, for twenty one years” she reminisces and Matturi’s journey into the jewellery industry feels predestined. Her home was a practical storefront to the mechanics of the mining industry. “At the time Sierra Leone was one of the most profitable producing countries for the company and I grew up in a house where I saw it all: we are talking paperwork, we had the valuers coming in to look at the production and the shipping team would come through. And I was there. I could see all these bright lamps, it was part of life and growing up.” Matturi followed her degree in Business Management from London Metropolitan University with a place on the DeBeers graduate recruitment training scheme “it was tough because it was two years of head down and learning about diamonds. I think it is one of the best things I have ever done” and thus began a career where she rose to be one of the most highly regarded rough diamond experts in the world.

Bayuda Earrings and Pendant: 18ct yellow gold, morganite, diamonds and enamel. Image Courtesy of Matturi Jewellery
Bayuda Earrings and Pendant: 18ct yellow gold, morganite, diamonds and enamel. Image Courtesy of Matturi Jewellery

Having an extensive knowledge of rough diamonds and an undeniable emotional connection with jewellery courtesy of her mother’s collection informed both Matturi’s entry point and continued engagement level in the fine jewellery world. Of the former she notes “I have a consultancy, so I still keep my hand in. 60% of what I do is on the rough [diamond] side but at the top of the value chain [and] it is so nice that we are having this conversation because people don’t know that about me.” However, it is her time at DeBeers that prompted her to reconsider or rather expand her contribution to the gemstone industry. Prior to leaving she notes: “I worked as a key account manager looking after huge, massive clients. Tel Aviv, Hong Kong, Mumbai, New York, Antwerp, it was all happening for me. We are talking turnovers of – well Tiffany’s was my client who I managed for years… And then I don’t know, I thought to myself there is no-one out there that makes jewellery that looks back to where a large majority of where the raw materials come from. Not a Graff, not a Cartier, not a Bulgari not a Chopard, none of them. And then I started making stuff for myself, for friends and family.” This seemingly low-key beginning precipitated into something more concrete when DeBeers instigated a large move of operations to Botswana. Matturi’s spouse (also coincidentally a DeBeers director) stayed on while she resigned and used the relocation as an opportunity to launch the business in earnest. Her calling card was being in possession of legitimate professional receipts that would allow her to navigate the diamond and coloured gemstone business. Meanwhile her unique differentiator would be a passion for African storytelling and artistry. “I didn’t just drop into this I know it.”

Satta Matturi Image Courtesy of Matturi Jewellery
Satta Matturi Image Courtesy of Matturi Jewellery

The Diamond Lady 2.0

“They call me the Diamond Lady” Matturi says with a hearty laugh. However, hers is not a case of a career built on the back of pedigree with a side order of passion. Whilst Matturi leveraged her extensive gemstone industry knowledge when she was building her brand, she has also used it latterly to educate clients, particularly those who might be suspicious of her sourcing practices. For the doubting Thomas’ still stuck in a negative thought loop that equates her Sierra Leonean heritage with conflict gemstones and war atrocities she elegantly counters: “I actually buy the rough diamonds for the manufacturer who cuts and turns them from rough into polished and sells wholesale into Cartier. I sit in the diamond office and the Cartier buyers come into buy. The Messika buyers get their diamonds from a company that I consult for. So basically, it is the same stones that are going into my jewellery.” The casual mic drop resonates on many levels. Unconscious bias, or it’s uglier relative, systemic racism, particularly in the luxury sector may still exist, but Matturi by virtue of her background and exposure to said world chooses not to dwell on the semantics of people’s behaviour.

Nomoli Totem Mask Earrings: Rubelite, Diamonds, Gold, Baroque Pearls
Nomoli Totem Mask Earrings: Rubelite, Diamonds, Gold, Baroque Pearls

Her brand’s existence also challenges customers, particularly those based in the global south who would not question anything they were sold in the Place Vendôme or Old Bond Street from a European or American heritage house but are reluctant to patronize an independent fine jewellery house that has a black woman at its helm. As Matturi elaborates “we don’t trust what black people do…within the fine jewellery space, we have a long way to go. And it is not just me…other jewellers feel the same. So even with the Sotheby’s thing we just did one of the questions I asked was ‘where are all our black philanthropists when we need them?’ So, I sold, I sold two items and they were bought by white people. Where is Oprah Winfrey for example? Where are our people? Why aren’t we supporting ourselves? And it is not to say that they can’t afford it.” Matturi’s comments are pertinent because a lot of the discourse about inclusivity has failed to address black people, be they rich or poor’s own colonized mentality and mistrust of one another. A condition that leaves us innately suspicious of the credentials, quality and professionalism that another black person can provide, or that seeks white validation as a preliminary requisite before we support individuals, businesses or artists of colour. It is a complex issue but speaks to the heart of luxury where items perceived value and aspirational status are inextricably linked with the maker or designer’s reputation and brand capital.

Rubelite Bouquet Earrings: 18ct Yellow Gold, Diamonds, Rubelites. Image Courtesy of Matturi Jewellery
Rubelite Bouquet Earrings: 18ct Yellow Gold, Diamonds, Rubelites. Image Courtesy of Matturi Jewellery

Matturi’s quiet and conscientious approach, which is at odds with modern mores has so far paid off dividends. “there are lots of things I don’t talk about – we’re stocked in a little gallery shop in the Place Vendôme and they also have a store in Gstaad.” As well as the very high profile patronage of Rihanna who is frequently photographed wearing her Nomoli Totem earrings, clients are drawn from the world of art, spouses of industrialists and lifetime members of the world’s 1%. “We’ve been on the super yachts in Monaco, we’ve been on the private jets, we’ve done it all, [but] It is a completely different space and you have got to keep on working at it.” Matturi doesn’t take anything for granted and knows that with the more commissions come greater expectations, a challenge she fully relishes. “If I have stones, I am like right we are doing something crazy. And you can send it to a client, they wear it for three or four months and they fall in love with it and then they go right let’s buy.” Matturi is in the business for the long haul. She understands that a maison that outlives its founder must focus on the craft, both resonates, is timeless and is not driven by trends. Finally, perhaps most important is that the high jewellery world operates in similar ways to contemporary art. Collectors and artists often interact, work might be bought as an investment but it also becomes part of a family’s heirlooms, and most pertinently, because it is worn, there must be an emotional connect.

Rihanna wears Nomoli Totem Mask Earrings off duty
Rihanna wears Nomoli Totem Mask Earrings off duty
Bird of Paradise Ring: Green Onyx, Rubelites, Diamonds, 18ct white gold. Image Courtesy of Matturi Jewellery
Bird of Paradise Ring: Green Onyx, Rubelites, Diamonds, 18ct white gold. Image Courtesy of Matturi Jewellery

African Semiotics, Craft and Material Choices

“Everyone has been doing Egyptian jewellery but no one has thought of going further up the Nile and talking about the 25th Dynasty and Nubia.” However, Matturi did. Creating the Whispers of Meroe series she took as her starting point the Kingdoms of Kush, that neighboured Egypt and which seemingly merged during the 25th Dynastyy when Kushite pharaohs ruled Egypt. Apart from the pharaohs getting more melanin in their skin tone, Kushite innovations included modified pharaonic headdresses, a bellicose and ambitious polity intent on expansion and an active restoration of traditional religious practices, architecture and art. However, the Whispers of Meroe series is neither a tribute-act to antiquity nor a lazy pastiche. In a creative sleight of hand worthy of the father of semiotics, Roland Barthes, it is in fact an exquisite African imagining of Art Deco. Matturi explains “my favourite can I say genre of jewellery is Art Deco. And I wanted to do Art Deco but I didn’t want to follow the norm, everyone does the same old thing so I had to interpret it with an African twist.” The twist, like in the best cocktails segues the familiar with an exhilarating element of surprise. Thus strong geometric patterns are witnessed in pieces such as the Nomoli Totem Obelisk earrings. Bold colourways are present in the Ta-SETI earrings and the use of monochromatic materials are evoked in the Kandake earrings which feature onyx, platinum and diamonds to stunning effect. For Barthes, signs are best understood in light of how they are interpreted by different cultures and societies. In her series, one which she sees as a continuum that she will return to, Matturi dares to and succeeds in interpreting European Deco Motifs and symbols (which in turn borrow much from the geometry of antiquity) via the African gaze. Nomenclature plays an important part of the process: Kandake was a Queen, Thebes the fabled Egyptian city and Bayuda a desert situated in Nubia.

Kandake Earrings, 18 kt white gold, diamonds, rhodolites, black onyx, enamel. Image Courtesy of Matturi Jewellery
Kandake Earrings, 18 kt white gold, diamonds, rhodolites, black onyx, enamel. Image Courtesy of Matturi Jewellery
Thebes Earrings and Pendant: 18ct White Gold, Morganites, Diamonds, Enamel. Image Courtesy of Matturi Jewellery
Thebes Earrings and Pendant: 18ct White Gold, Morganites, Diamonds, Enamel. Image Courtesy of Matturi Jewellery

Matturi embarked upon extensive historical research for the series, mindful because although African her cultural roots and principal reference points lie in the western part of the continent and “I didn’t want to appropriate”. However, her noble intentions hit a roadblock when overtures to Sudanese historians, writers, academic and cultural institutions drew a blank. She relates; “I just wanted someone to be on this journey with me…and no one was interested and I don’t know why. So where did I go the Met Museum, the Smithsonian Museum and the British Museum.” In many ways the latter institutions would arguably have superior resources and more comprehensive collections of artefacts, but for Matturi ownership of our stories whether manifest in jewellery or anywhere else is an important and critical endeavour. Response to the collection has been in many ways the best of her career so far, but it also speaks to her greater ambition of altering perceptions of Africa not just from external eyes but internal ones too as she notes “As funny as it may sound, success to me would be going back to my business plan that I wrote at the start and seeing high net worth Africans buying from me, pushing the boundaries and creating something out of my comfort zone.” In Whispers of Meroe, Matturi has created a series that not only possesses the scope of creative ambitions but also has the emotional and cultural appeal to achieve this.

Ta-Seto Earrings , 18kt Yellow Gold, Morganites, Diamonds, Onyx, Image Courtesy of Matturi Jewellery
Ta-Seto Earrings , 18kt Yellow Gold, Morganites, Diamonds, Onyx, Image Courtesy of Matturi Jewellery
Amanishakheto earrings, 18kt Gold, Morganites, Diamonds Black Onyx, Enamel
Amanishakheto earrings, 18kt Gold, Morganites, Diamonds Black Onyx, Enamel

Craftsmanship has been a cornerstone of Matturi’s process. She works out of three ateliers and it as much a reflection of her peripatetic lifestyle as it is her seeking the very best in class. She is reluctant to describe herself as an artist in the purest sense, “Oh my God, do you know what when I started out, because I am my name I say I am an owner slash creative lead. That’s what I say I am. Everything doesn’t happen just because of me – I have got a team behind me. And I absolutely love my team.” In London, the lead in her atelier “is ex Cartier and Van Cleef & Arpels. He used to do all the Van Cleef Objet d’art and he is just insane. So I get him to do all of my one off bespoke pieces. The earrings we just worked on we have been in the making for eighteen months.” As with anything where the stakes are high emotions occasionally fray: “We work on it for a little bit then he gets pissed off tells me to piss off and I tell him to piss off and then we come back together and its hunky-dory.” Matturi says with a laugh. But it is her collaborative approach, sharing the peaks and troughs that keep her ateliers running smoothly.

Nomoli Totem Mask Whispers of Meroe, 18ct gold, black onyx and diamonds
Nomoli Totem Mask Whispers of Meroe, 18ct gold, black onyx and diamonds

Talk returns to gemstones and material choices in general. Lab grown versus real diamonds, ethical sourcing of coloured gemstones, navigating the plethora of options in the precious metal sphere and of course communicating those choices to clients are all up for discussion. “Now we’re really deep diving because sometimes I tend to keep my thoughts to myself , okay, let’s go… I have been approached by the Leonardo DiCaprio funded company , Diamond Foundry and many other lab grown diamond houses, it is the biggest thing out there and it is just going to grow exponentially for the next ten twenty years… and it was very tempting because here we are talking about a 1kt VS2 diamond, natural will probably cost you what $13,000 lab grown is a $1000 a kt, so it is very lucrative if you are a jewellery designer. You can create wonderful things right? But I don’t want to do that, I am not into that game and that is because I believe the communities largely depend on mining. Whether it be large scale mining, whether it be artisanal mining, whether it be the unscrupulous people who go and bribe and what have you – that’s a separate conversation we can have. If we take mining away, what do we replace it with? And it is not just like large countries like South Africa, Namibia and Botswana let’s look at artisanal mining in Sierra Leone people are poor and they rely on that.” The lab-grown lobby have gained traction in the main because of costs and also by cleverly attaching their messaging to conversations around the environment and the climate emergency. Yes, all gemstones and precious metals are finite resources but take away that income source from people and one faces a socioeconomic crisis of cataclysmic proportions, particularly in the global south. For jewellery purists, there will always be the pull of stones that have formed naturally but long term solutions for the long term the human capital consequences have yet to be conceived in a holistic manner.

Java Shield Earrings: 18ct Gold, Rubelites, Diamonds: Image: Courtesy of Matturi Jewellery
Java Shield Earrings: 18ct Gold, Rubelites, Diamonds: Image: Courtesy of Matturi Jewellery

Matturi is quick to point out that sourcing is far from straightforward. “There is a lot of talk about the diamond industry being opaque…but I didn’t realise how opaque the coloured stone industry is. It is insane with lots of dodgy people involved.” Issues vary, but one of the worst from an African perspective is provenance not being clearly stated; “I was in Hatton Garden and I said, ‘Ooh where is this sapphire from?’ And they replied ‘it is from Africa’. And I said, ‘Where in Africa, where?’ So I had to quiz them and a lady went to the back and she went ‘Oh, all our sapphires actually come from Nigeria.’ Then label it as Nigerian. People need to know this. So I push that a lot.’” Whilst nations in other parts of the world have been able to capitalize on their supposed superior quality coloured gemstones – from Colombian Emeralds to Burmese Rubies and Sri Lankan Sapphires, African nations with coloured gemstone reserves have largely not. Matturi is searingly honest about her sourcing “there are a lot of people rushing into recycled gold I don’t do that because it is far too expensive for what we do.” Equally she resists the temptation of mistruths to create sexier copy for journalists adding “There are a few big designers out there and I’m not going to snitch as my son would say, who when giving interviews will say ‘All my diamonds actually come from Botswana’ when that’s a big lie because the size of diamonds they are referring to isn’t manufactured in Botswana.” Instead Matturi chooses to shift the dial incrementally, returning to the head-down approach of her graduate traineeship days. “It was hard to find a supplier but I found one… they are part of the Coloured Gemstone Association we know where they are coming from and they are ISO certified and a couple of companies like Pomellato buy from them… We are a long way, but we are closing that gap. the next thing I am planning to work on is pearls. We use South Sea Freshwater Pearls but like I said to you I am being honest, I haven’t done that homework yet, it is my next one to do.”

Nomoli Totem Arc Earrings, 18kt Yellow Gold, Diamonds, Onyx, South Sea Pearls
Nomoli Totem Arc Earrings, 18kt Yellow Gold, Diamonds, Onyx, South Sea Pearls

Beauty and Belonging

There is an unabashed pulchritude in Matturi’s pieces, making them immediately beguiling. Her break-out series Artful Indulgence was a beautiful and evocative hymnal to Africa with inspiration drawn from the natural world and the more domestic such as waxprint fabrics that are worn across the continent. Yet when one looks at Matturi’s body of work it comes as no surprise that she is a great admirer of Viren Bhagat, the Indian high jeweller whose pieces have granted him the status of a living legend Speaking of a visit to his atelier that she took whilst still in her role at DeBeers she notes “It completely blew us away. Emeralds that were the size of a boiled egg and set in the most exquisite way… he puts a lot of thought in what he is going to do….They take a year or two to set one 10kt pink heart shaped diamond…he bonds in with the design and the stone and I think maybe I do practice that too.”

Birds of Paradise Earring: Green Onyx, Rubelite, Cabouchon and Rose Cut Diamonds. Image: Courtesy of Matturi Jewellery
Birds of Paradise Earring: Green Onyx, Rubelite, Cabouchon and Rose Cut Diamonds. Image: Courtesy of Matturi Jewellery

Her considered process is one of the many reasons Matturi’s pieces are expensive. But she is quick to note that economic inclusiveness, granted at a relative scale is at the heart of what she does. “Jewellery that you keep in a safe or on a plinth, I am not one for that. I would like mine to be worn. I don’t want it locked in a safe I want people to connect with it.” With this in mind, Matturi shares an exciting new development – a diffusion line, launching in 2022, that will allow those of modest means to explore and enjoy her design universe. As ever with Matturi, her experience working with jewellery behemoths and alongside high-end independent houses came into play. “Even the wonderful Messika has got something in her stores for $800. So there is nothing stopping me, it is all about how you position it.” But this is not to say there will be any compromise on quality of materials or a dilution of her design language. She asserts “It will still be 18 carat gold, the same natural diamonds but we will do very clever designs and this time I am experimenting with ceramic. The ceramic allows us to play around and it is very hard wearing. And I’ll tell you what, I have been quite impressed with the prototypes that have been coming out” she adds with a smile. The move is also one that will appeal to younger and more fashion savvy clients, who like layering pieces, accessorizing in a more directional way and consuming luxury with carefree insouciance. It is also a canny means of future proofing the business, insuring the maison does not get associated with a specific demographic or era.

Constellation Ear Studs. Rubelites, Amethysts, Diamonds, 18ct Gold, Image Courtesy of Matturi Jewellery
Constellation Ear Studs. Rubelites, Amethysts, Diamonds, 18ct Gold, Image Courtesy of Matturi Jewellery

For Matturi, expanding participation goes beyond customers and includes to the workforce itself. Since her spouse’s relocation took the family to Gabarone, she immersed herself behind the scenes in changing workforce configuration. “I work with polishing factories in Botswana and I sit on the board of two of them. I project managed the opening of one of them where I pushed the case for women. So, we now have women polishers, women polished diamonds.” Not content with tackling gender parity she moved onto less able-bodied personnel. “I specifically pushed for speech impaired and hearing impaired employees. In fact our blueprint is being used by DeBeers now because they want to start employing physically challenged people into their business. But yeah, we’ve brought them in and I have sat in all of the recruitment the HR manager brought in a sign language interpreter and stuff like that and I will tell you what? Their productivity levels are way up on an able bodied polisher..I push things like that because I am very passionate about fairness.” Mention of this is non-existent on Matturi’s social media and website and when queried she swats the enquiry away. “We grew up seeing that” she adds in reference to her late mother’s extensive philanthropic efforts in Sierra Leone, but when pressed she adds “Someone else told me ‘you don’t talk about this’ but I believe that if you are doing something good and it feels good I don’t think you need to shout about it.” Matturi’s modus operandi is in direct opposition with the modern malaise of virtue signalling. Her motivations are not being fuelled by the echo loop of praise online that constant documentation of ‘good works’ results in. A single image of female cutters on her website hidden in the ‘provenance’ tab is the only clue to this groundbreaking activity. There is an old-school noblesse oblige quality to it; being the change rather than shouting about change, getting results rather than chasing likes and ensuring long term positive outcomes rather than a buzz before the feckless social media crowd moves on to the next cause. As with the charity work sponsored by Matturi Jewellery itself (the maison also sponsor a football team in Matturi’s native Sierra Leone), Matturi is drawn to measurable and time bound activities. “It is not huge but we’re doing it in small bite sized chunks. We do our youth oriented work meaningfully and I hope it does, I really do.”

Electric Seahorse Chandelier earrings. Diamonds, Rubelite Beads, South Sea Pearls 18kt White Gold. Image Courtesy of Matturi Jewellery
Electric Seahorse Chandelier earrings. Diamonds, Rubelite Beads, South Sea Pearls 18kt White Gold. Image Courtesy of Matturi Jewellery

Meanings, Value and Aspirations

From the beginning of our conversation, it was clear that Matturi’s goals were not linear, but rather multifaceted. “I am a very spiritual person… but what drives me [and] I don’t know how you write this is showing people out there that a person of colour can actually run a proper fine jewellery business, that keeps me going. That drives me-“ She pauses before adding “and excellence I think that is the word I am looking for. I think being excellent and presenting a business and a brand out there that is just as good as what the others are doing.” She smiles as she recalls her original website which included African capital cities in the footer rather than the oft writ = Paris, London, New York legend, but it is again a subtle and important marker – there is life and wealth and sophistication beyond the global North. When the challenging days arise she says to herself “I am going to think happy thoughts and I am going to nail it.” Most poignantly is her late mother’s entreaty to “Just keep on pushing. When you love something and you are passionate about it you are halfway there anyway.” However, Matturi is ever mindful of commercial viability avoiding creating too many high six figure pieces “I like to keep in the sweet spot where people can buy it” and anchoring her legacy ambitions with profitability “Let’s be honest the bottom line has to be speaking to me too and not just the jewellery.” Matturi’s ebullient pragmatism is refreshing in an industry that can often be awash on people focused on the esoteric and conceptual. Create by all means, but better yet, create anchored in lived realities.

Zen Adinkra Ear Studs. Diamonds, Rubelites, 18kt white gold
Zen Adinkra Ear Studs. Diamonds, Rubelites, 18kt white gold

Who decides what jewellery means and is? Like many artistic endeavours that are rooted in the human experience, the answer shifts and evolves across centuries and is contingent on who one is asking. Contemporary conversations are focused on positioning jewellery as art and there are strong arguments to support this thesis. Others will still assert that jewellery is strictly adornment; but even that statement requires further clarification: is the adornment for beautification purposes? Spiritual raiment? A prop to bookend rites of passage? An outward expression of an internal emotion? A lucky charm? A cultural delineator? Or is it merely the best portable form of equity one can get their hands on? “Mum always used to say to us, whatever you do, buy jewellery, buy gold…because you can always grab the jewellery, grab your kids and off you go…a lot more women need to do that , it’s not just about handbags, it’s a store of value.” Certainly, in this post pandemic era we live in, gold and gemstone prices have remained remarkably stable compared with foreign currencies and a great deal more appealing in the wearing. But where Matturi excels is in the fact that she has managed in less than ten years to create a jewellery house that responds to all of those aspects and more. The 21st Century Maison has to work beyond the business of pretty. It must have a higher purpose. Matturi Jewellery with its self declared mandate of distilling African narratives, celebrating craft, expanding participation and championing equitable mining practices, has not only understood the assignment – it has mastered it.

Deben Earrings, Diamonds, 18kt Gold, South Sea Pearls, Image Courtesy of Matturi Jewellery
Deben Earrings, Diamonds, 18kt Gold, South Sea Pearls, Image Courtesy of Matturi Jewellery

Castro NYC: for the love of Jewellery

“Coz the ring you know, it was shooting the fireworks up in there, I had the Mardi Gras on, I was like if I don’t get this ring back to this person I am going to have a DOA certificate on my toe from either him or one of these guys” says Castro founder and creative director of Castro NYC and purveyor of the best jewellery related anecdotes I have heard in an age. It is not often a cocktail ring is the potential catalyst of a crime scene, but when it is made by a man whose aesthetic is instantly recognizable, who revels in using a multitude of techniques, metals and gemstones in any given piece and has a devoted clientele located on all corner of the globe it is somewhat unsurprising. Over the course of our conversation, there is a predestined mixed with self-determined energy as Castro’s story unfolds. He has first and foremost charted his own path, seemingly unconcerned by popularity or being accepted warmly into the industry’s embrace. Of his name, which sounds like a brand already he says “I’ve been Castro since I was a little kid, it’s my last name and my grandfather believed that the last name was more important than the first because it is the one that carries on.” He gives as way of explanation. For Castro, his work is a response to a deeper call, one where he maintains the youthful enthusiasm but also continues to test, challenge and push the limits of his craft. “I watched a documentary about Basquiat and it was saying that what made his art amazing was he would create from a point of view of almost like an adolescent.” Castro also possesses a joie de vivre about his work, that has taken him on a quest across continents seeking truths about heritage, creativity and art.

Decay Ring Turquoise, Lavender Jadeite, Turquoise, Diamonds, Coral, Sapphire, Ruby. Image Courtesy of Castro NYC
Decay Ring Turquoise, Lavender Jadeite, Turquoise, Diamonds, Coral, Sapphire, Ruby. Image Courtesy of Castro NYC

Nomenclature and Other Stories

“I am a creator. Or a builder, I guess I could say that” Castro notes. Nomenclature, both in how you present yourself and the industry perceives you has become increasingly important for those working in jewellery. Add the word ‘artist’ and galleries flock as your work is deemed collectable, throw in the word ‘designer’ and you run the risk of being perceived as a mere ‘seasonal’ practitioner, like those work in fashion who are governed by the weathervane of trends. “I’m trying to make at the highest possible level” explains Castro. And sometimes that leads to frustrations from clients or indeed stockists, a state of affairs he is refreshingly unapologetic about: “we have been working these earrings for like, one year, and they [the shops and clients] are so used to mapping things out, but I am like you know, my thing starts with a dream. It’s a vision and sometimes I have to see it the whole way through.” In an age where some creatives are only recently educating themselves or their clients on the benefits of consuming less, and trusting and respecting a slower pace of production, Castro had it ingrained in his creative process from the start.

Portrait of Castro, Image Courtesy of Castro NYC
Portrait of Castro, Image Courtesy of Castro NYC

It was passion that drew Castro to jewellery. “In the beginning I actually wanted to possess some jewellery” he says with a throaty chuckle, “and then I met this guy who had a jewellery store, a big j and I was like how do I get in? And he was like well, why don’t you go to school and learn how to repair jewelry because this is the bread and butter of every jewellery store.” This seemingly inauspicious beginning was in fact the bedrock for his practice, as by mastering how to repair, he had to dismantle, and it is in the recalibration of old pieces that new methods of creating evolved. His first piece was in essence a customization, the aforementioned cocktail ring that landed him in a sticky situation in a dive bar, but it set him on a path where he made pieces that he sold on a sidewalk table in Manhattan, and Castro NYC was born.

Blood Sport Ring: Opal, Rubies. Image Courtesy of Castro NYC
Blood Sport Ring: Opal, Rubies. Image Courtesy of Castro NYC

Castro is quick to point out that dramatic arcs aside his is not a modern fairytale. Whilst impressive clients were drawn to his work “one customer was like a big wig at Macy’s and another one was a big wig at Tommy Hilfiger” he says in passing, fame and accolades were never his driver. Of the initial success he notes the tension it brought with it “I felt like I am just making it for the street, I didn’t feel like I am making it for me”. To decompress, he would read, research and attend exhibitions and it was the Met Museum’s Anglomania that became a turning point in his career. He reminisces “And so one of my clients was like why don’t you do a collection? And I was like, what is a collection? And she was like oh, so you love skulls, so why don’t you look up the word ‘skull’?” Back at the Met he notes “ there was one piece in there it was a rabbit skull and it had this cool like quartz crystal on top and if I am correct I think it was rutilated quartz and it had this wire wrapping around it and I was like that is fucking incredible. And I remember I called my guy and I was like, I want ALL animal skulls. And at that moment I was like I want animals, everyone does humans so it became human and animal skulls mixed together.” The piece he is describing was by Shaun Leane, and although Castro himself tries to avoid being overtly inspired by others work “they say never look” the visual motifs coagulated with his desire to make items that were not governed solely by commercial concerns.

Owl Ring, Image Courtesy of Castro NYC
Owl Ring, Image Courtesy of Castro NYC

The decision paid off but not without challenges, particularly in how the jewellery industry would place him. On first name terms with the creative directors and founders of Taffin and Hemmerle respectively “my boy James de Givenchy, he’s amazing, I have been in his studio, we’ve hung out. And Christian you know, I talk to him sometimes” Castro has nevertheless faced the unconscious bias that manifests in incredulity that he as a black man could have conceived and made his pieces. He reflects: “The first time I had an interview with Barney’s back in the day the lady was like, Oh God when I walked in we thought you were some skinny white dude with a bunch of tattoos because it was back with the skulls collections.” That certain aesthetics or artistic concerns or methodologies should be the domain of or ascribed to a particular race is in many ways absurd. But it also speaks to how systemic racism can rear its head in even innocuous settings, and demand that a black artist must first clarify, justify and expand on the locus of concerns that govern their work. It is also illustrative of the challenges of how audiences in turn might receive black artists’ work. And whilst there is nothing in Castro’s manner that is indicative of a muzzled soul, he does pragmatically add “at one point I didn’t want my face shown because I was afraid it might affect the sales.” It is also indicative of how in many ways there is still a great amount of campaigning, lobbying and interventions to be done in terms of perceptions vis-à-vis race and what true inclusiveness will look like, even if artists themselves are willing and open to accept one another’s work on its own terms.

Dark Jewels Ring: Pearl Ruby, Diamond
Dark Jewels Ring: Pearl Ruby, Diamond

Who’s Design Language Is It Anyway?

Lazy assumptions are real. And no more than when editors, buyers and writers are quick to distil a creator’s design language and keep it moving. This is especially the case with black or brown creatives where, even in this post-BLM moment, mere ‘engagement’ with the so-called ‘other’ is hailed as extraordinary and groundbreaking and sweeping statements go unchecked without further intellectual interrogation. Castro’s work has been described as mediaeval, gothic, fantastical and other-worldly, but asked directly he says, “If it is one word then I would say eclecticism”, which incorporates all of the above and more. His padlocks and series of be-jewelled porcelain dolls have been seized upon as heavily influenced by European heraldry, Mediterranean architecture and Byzantine religious iconography respectively, but Castro is forthright in his clarification. “As I was doing more research for example on these cathedrals, where did that influence come from in Spain? Oh, it came from the people who crossed over from Africa. So I was like, oh okay so then it is fucking African. And you (in Spain) are just doing a bad version of the original one. It is still based on the structure, on the mathematics and geometry that you didn’t have. So, I am not really doing gothic I am actually doing African. I said to myself shit, that’s even doper.” Castro’s point might seem contentious to the art historian, however it is a critical point to make. Epistemological explorations are important and will remain so for as long as the western artistic establishment continues to stubbornly ignore or minimize African contributions and to acknowledge that migration flows in both directions will result in a mélange of influences and ideas with no location having intellectual or cultural supremacy over the other.

Porcelain Doll, Emerald, Diamonds, Gold. Image Courtesy of Castro NYC
Porcelain Doll, Emerald, Diamonds, Gold. Image Courtesy of Castro NYC
Fruit of the Loom Ring: Opals,, Amethyst, Tsavorites, Emeralds, Ruby. Image Courtesy of Castro NYC
Fruit of the Loom Ring: Opals,, Amethyst, Tsavorites, Emeralds, Ruby. Image Courtesy of Castro NYC
Custom Lock, Image Courtesy of Castro NYC
Custom Lock, Image Courtesy of Castro NYC

Castro is searingly forthright when talking about race, avoiding diplomatic turns of phrase when exploring the realities of being a black man working in the rarified world of high jewellery. He adds “I personally do not think you can be black, African and your work doesn’t reflect some part of Africa or Africanism because we live in this world where we have to think about so many other things that other people don’t have to think about in a day. So, it is going to affect no matter what, you cannot escape.” Some of his pieces reflect this reality in their totality. We discuss his Zipporah Ring and Dolly and the Benin Cat ring and he expands “Those collections were dealing with the Black Death and death itself.” Of his choice of crow’s skull he notes “it meant two things of course death but it also meant life because the crows only come around when there is something to eat…With the skull itself, it is in you it is part of you, it is part of life but it is also part of death. With some black people they will see a skull and they will be like oh God, it’s voodoo and evil and I will be like well that means you’re evil too because you have a skull inside your head. You are walking around with that thing” he says laughing.

Ziporrah Doll, Ruby, Tsavorite, Opal, Diamond. Image Courtesy of Castro NYC
Ziporrah Doll, Ruby, Tsavorite, Opal, Diamond. Image Courtesy of Castro NYC

Castro often leaves space for interpretation of his pieces. From his cryptic one-word captions on his Instagram handle to the intentionally discombobulating juxtapositions of forms on a single piece. The ambiguity or mixing of metaphors allows for a wide church of admirers as each client potential and existing sees and runs with what they connect with. He expands: “the doll was a combination of the old and the new revelation of things relating back to Africa. So the Z part became Zebra and the ears are zebra ears on the bird’s skull. People think it’s a rabbit or something but I am like no, that is zebra ears. So it was the cross breeding of things. Also with the doll the relation would be with juju and the amulets are all new like people grab the cross as an amulet and it just replaced your old amulet you know.” Jewellery as talisman is almost as old as human beings’ decision to adorn their bodies with objects but in Castro’s instance he proposes a different perspective, one where there is a constant need, in this instance the feeling of protection, but that how one feels protected is open to reinterpretation. Of the moving mechanisms within the dolls and figurative representations he explains “So it is the same idea of this movement in Africa of the festivals and we’re always dancing and we’re always moving. With the masks also represent the masquerade. And the binding of the two animals in European art it is figurative it is more actual for us in West Africa it’s more abstract. There are many meanings in one piece and unless you can talk to the artist you will never know the full meaning of that piece. And it is also about people being two-faced because also in there is the mask and when you lift it up there is another face under it.” Of the pieces names he adds “the whole collection was Hebrew names and so one name is Toam and Toamis twins and so it would be twin cat-skulls or whatever. But most people didn’t know what they meant so it was more about people having names and using names but they don’t know what they mean, especially in America, people have names but we don’t know what they mean.” It is rare that pieces dare to tackle the ontology of jewelery from an African perspective and how migration be it forced or of one’s volition has affected internal and external cosmologies, but Castro does so, and makes the ideas wearable with it.

Benin cat Ring
Benin cat Ring

Materialism is something that has been a hallmark of Castro’s work so far with collisions of metals and gemstones that might not ordinarily be used together. However, historicism played a huge role in his initial choices: “So at the beginning I was working with brass and bronze but that is how I started and they did things that I wanted. They were like gold and they had history. Because when I went to a museum you always see when they have a jewellery exhibit there will be silver, bronze, gold. To me they were historical materials that had been around forever. So, they became my choice metals at first.” Gemstones, both semi-precious and precious came later, although he concedes “I mean I love diamonds and pearls. Pearls are tears from the moon and diamonds I love because they’re hard that’s probably one of the biggest things.” And although he has become known for his liberal use of both, it did not result in an abandonment of his initial materials of choice. “Well I think it is sort of like, when I was seeing the JAR exhibition… he had his old pieces in there and they were silver because he started with silver, but when he got big he didn’t stop – he still kept working with this material.” He notes of one of one of the most celebrated living jewellery artists whose famed exhibition in New York and London remains one of the greatest visual highpoints for jewellery lovers who were fortunate to see it. Because of his status as an autodidact in terms of creating and making, Castro allows himself to be guided principally by emotion: “I just kinda feel there is no rules within thinking of what I want. If I want to use toilet paper I will use toilet paper but I will figure out how can I make it beautiful and how can it last, because I like stuff that lasts.”

Antique Porcelain Doll, Sapphires, Opals, Diamonds Image Courtesy of Castro NYC
Antique Porcelain Doll, Sapphires, Opals, Diamonds Image Courtesy of Castro NYC
Owl Ring, Mixed Metals, Ruby, Diamonds. Image Courtesy of Castro NYC
Owl Ring, Mixed Metals, Ruby, Diamonds. Image Courtesy of Castro NYC

Our conversation turns to the sort of clients he has and the feelings he wants his jewellery to elicit and his answer is as ever impassioned but with additional historical and sociological analyses. “I want them to feel like rap stars, not rock stars, but rap stars. I want them to feel like a rapper I want them to feel like they’re shining. I want people to pay attention to them. And be like where the fuck did you get that? What the fuck is it? I am always trying to achieve that. I love jewellery. I might not love all rap jewellery design, but I love the idea and the idea is to shine. Rap jewellery is a metamorphosis of the 60s, 70s and early 80s where all the rhinestones were on the clothing and the idea was you were meant to be like a star. Stars shine so it just changed from the clothing to the jewellery. That’s the only difference. That’s why on the stage you sparkle, when you walk up in the club, you sparkle so I want people to have that feeling.” On a personal note the Marauder Ring was an early favourite of mine a bold gold, diamonds and sapphire cocktail ring that is a jewellery companion piece to the A Tribe Called Quest classic Midnight Marauders. Like the flow and production of the aforementioned old-school hip-hop giant, it is at once showy, jazzy, confident, contemplative and not easily placed. Similarly, Castro’s clients are people who have a strong aesthetic sensibility as his are not ‘follow the crowd’ pieces. “If it is a woman she’s got to be strong already. One of my Russian clients told me there is two kind of Russian girls. You have got the one, they come from Siberia, they find a husband and the husband, he dresses her the way he wants and that’s it. And then you have the other one who is probably married but she aint taking no shit. She’s like you gonna be fucked up. I ain’t doing no fucking bunny jumpin’ no, no , no, no! She said that is the customer I’ve got here” he finishes with another throaty chuckle. And whether the clients are Russian or from any part of the world they are the sorts of individuals who exude confidence and certainty in their decisions. Who even if they don’t work in the performing arts, possess that superstar ability to shift the energy in a room upon their arrival and exit and create a memory to even those who have a passing encounter with them.

Marauder Ring Image Courtesy of Castro NYC
Marauder Ring Image Courtesy of Castro NYC
Pebble Ring, Coral, Opals Image Courtesy of Castro NYC
Pebble Ring, Coral, Opals Image Courtesy of Castro NYC

Third Acts and Future Adventures

Although his brand name retains the city where he made his name in the jewellery world, Castro himself is now based in Istanbul. “I was kind of done with New York, I was there and I was in a hamster wheel. So I went to my storage and a folder fell out and I look and I am like’ Oh shit!’ because it has my plan before I moved to New York. And there was nothing in that plan that said get rich or die.” As well as being reminded that financial success, although it had come, was not his principal motivation, his decision to move was precipitated by the series of racially motivated murders and protests in the USA in 2014. “So we were round the African Tea Shop in Harlem and everyone was saying ‘Oh, we are going to do this and do that and they went all around the table and they said ‘what about you Castro you’ve always got something to say.’ And I said actually, I am bouncing. And they were like what? I said, I’m out. I believe the source is in Africa, and I need to go to the source. Maybe I don’t stay but I need to go to the source. I need to make a pilgrimage. I was like everyone else in America makes a pilgrimage. People go back to Italy, they go back to Ireland, to Poland or Germany. We black people are the only ones that don’t make the pilgrimage. It just doesn’t make sense.” A visit to South Africa was problematic, “they had the xenophobia thing where they were killing Africans… they reminded me of Trump people but different face, with their ‘South Africa for South Africans.” A pitstop in Istanbul has started to resemble a more permanent arrangement “my plan was just to be here for 30, 60 or 90 days and then go back. But at that time I met a lady who had a gallery named Priyo she had this gallery and she became my first customer. So, things were good because there was no need for me to leave. I decided to get an apartment just to store my stuff in and before you knew it I had a table a chair and I started building.”

Exoskeleton earrings: Royal Purple Garnets, Green Sapphires, Emeralds, Black and Grey Diamonds Image Courtesy of Castro NYC
Exoskeleton earrings: Royal Purple Garnets, Green Sapphires, Emeralds, Black and Grey Diamonds Image Courtesy of Castro NYC

New York has come back front and centre courtesy of his work featuring in Brilliant and Black the Sotheby’s New York selling exhibition that features the work of 21 black jewellery designers. The exhibition has resulted in a flurry of interviews, press calls and attention. And whilst overall the feedback for the initiative has been positive, there have been murmurings of the timing of its ideation. Is it merely a response to the summer of race protests that were triggered by the murder of George Floyd in 2020? And is it a case of a heritage auction house seeking to tick a box and keep it moving? “I am doing this because of Melanie. Melanie Grant is the glue and because of her that’s the biggest thing, it is like having Oprah’s name on it.” Castro says of the writer editor and curator who is arguably one of the most powerful black voices in the global jewellery landscape and who has activated her considerable clout and network to successfully spearhead the initiative with support from Sotheby’s jewellery specialist, Frank B. Everett. For Castro and undoubtedly the other participants, Grant’s involvement is an essential component as it is illustrative of Sotheby’s daring to do something different operationally. Heritage auction houses or any other custodian of culture have historically ignored black talent or indeed expertise. Subsequently, many black creatives have had a cautious or hesitant desire to engage because of it. However, by deferring to Grant’s knowledge as well as her established relationships and impeccable reputation, Castro observes “they were able to bring it together and that is pretty impressive”. It augurs well for future generations and for a shift in perceptions in who is included in the global jewellery canon.

Money Brooch, Image Courtesy of Castro NYC
Money Brooch, Image Courtesy of Castro NYC

There are further collaborations in development, “I can’t say who now but it’s with a stone brand let’s put it like that” is all Castro will reveal, and he continues steady production for the select stores and galleries he chooses to be stocked in. However, for Castro his work in and of itself is a visceral discourse on time’s limitations and the pursuits of perfection. “I need infinity…I want you know, the moon and it ain’t enough. I think what’s next? Learning new techniques, learning new ways and just pushing the envelope. Like every time I make a porcelain doll I am trying to figure out how can I make it more extreme. It is just a test for myself, like okay, how can I beat myself?”

Space Monkey, Opals, Amethysts and Black and White Diamonds. Image Courtesy of Castro NYC
Space Monkey, Opals, Amethysts and Black and White Diamonds. Image Courtesy of Castro NYC
Infinity Lock, Tsavorites, Emeralds, Diamonds. Image Courtesy of Castro NYC
Infinity Lock, Tsavorites, Emeralds, Diamonds. Image Courtesy of Castro NYC

Yet underpinning this goal is his ongoing love affair with jewels and making astonishing pieces. “My Mum told me that when you are in a relationship you have to go back to the beginning of what brought you two together at that moment. Whatever that is… So, it’s the same with jewellery. I have to go back to that original thing and the original thing was when I didn’t know what the hell I was doing. What was it that these people liked about me when I first started? They were looking at something where I was just creating. I wasn’t thinking about retail, I wasn’t thinking about will you like the colour, will you not like the colour. I was just creating something that I liked.” Castro’s approach is a mantra for life, whatever your chosen discipline. One where one’s vocation takes you on a series of creative adventures and there is a constant yet pleasurable questioning of what your contribution means in a wider context and how best to encapsulate passions. In his practice one sees this manifest in pieces that stand out in a crowded marketplace, that defiantly refuse to pander to trends and are collected and worn by people who are governed by a similarly singular approach to self-expression and the pursuit of beauty. In a world that has increasingly been cowed by consensus thinking and doing, artists like Castro are akin to the rarest of gemstones that illuminate, inspire and are unforgettable.

Serpentine Ring: Pearls, Opals, Emeralds, Rubies, Purple and Black Diamonds, Ebony. Image Courtesy of Castro NYC
Serpentine Ring: Pearls, Opals, Emeralds, Rubies, Purple and Black Diamonds, Ebony. Image Courtesy of Castro NYC

EdoEyen: Jewellery Creators and Culture Curators

“I always wanted to work with my sister because Edo and I are different in a certain way but we also have certain similarities, such as our love of fashion “ reflects Eyen Chorm who together with her sister Edo founded EdoEyen, a jewellery house that is experiencing the kind of industry buzz an army of PRs would only dream of generating, global pandemic be damned. Apart from a desire to work together – the brand’s name being a portmanteau of their first names, was a more serious aim to articulate, via the lens of jewellery, their own personal history, their country of origin Cambodia’s and weave it into their adopted home, New York. “Everything we learnt, everything we got inspiration from was from my Mum” explains Edo. Their mother was a classical dancer in the Royal Cambodian Ballet before the brutal regime change that was the Khmer Rouge and a relocation to the US saw the family build their life anew. It was the ornate pieces, worn by their mother and the other members of the classical dance corps that acted as the genesis for creating their brand. EdoEyen’s mandate goes beyond adornment, the brand acts as a conduit for the sisters to share and expound on socio-political and cultural themes and provide a space for amplification of a different and altogether more positive story of Cambodia. Edo elaborates “It was important to do something we truly care about and truly identify with and the jewellery is that because it is so strongly linked in story and style to Cambodia.”

Eyen and Edo Chorm wear the Phkachhouck 1.0 and 2.0 Image Courtesy of EdoEyen
Eyen and Edo Chorm wear the Phkachhouck 1.0 and 2.0 Image Courtesy of EdoEyen
Mrs Chorm wears Phkachhouck 1.0 Earrings in 18kt Yellow Gold, Image Courtesy of EdoEyen
Mrs Chorm wears Phkachhouck 1.0 Earrings in 18kt Yellow Gold, Image Courtesy of EdoEyen

Where Culture and Skyscrapers Meet

Brooklyn raised since moving to New York City in the late 80’s Eyen reminisces “there were not many Cambodians [but] we grew up watching movies and Edo learnt traditional dance…I am so jealous of that because I was still a toddler”. The Chorm household’s joyous and altogether celebratory approach to maintain links with their culture are diametrically opposed to the assumption that the country’s trauma under the Khmer Rouge was so great that anyone who fled would want to forget everything they left behind. On western perspectives they encountered growing up Edo recollects “Always they talk about the skulls, the skulls, and I get it but there is also a beautiful part of Cambodia.” Exploring and expressing this beauty as well as creating a timeless elegy to a culture that had been subsumed became a subliminal preoccupation.

Eyen and Edo Chorm Image: Courtesy of EdoEyen

The sisters are both preternaturally beautiful and possess the oft copied Downtown cool girl insouciance, something that has made them natural subjects for their own campaigns. Fashion was initially the lens in which they explored their visual language: Eyen worked as a model and Edo studied at the prestigious FIT before a career working for a global beauty behemoth. Of her fashion evolution Edo observes: “I am starting to gravitate to Versace now…I think as you get older and start to become your own person you are a little more fearless and make a little bit more of a statement.” Eyen for her part describes herself “as more Zimmerman and Alexander McQueen as I lean more to the dreamier side” Their seemingly opposing aesthetics found a home in their collections which they develop side by side “we are definitely both co-creative directors” Edo says smiling. Their first two collections are named Hand and Face and the nomenclature is a statement of intent, speaking directly of the body parts they wished customers to adorn, no further explanations required. Furthermore, they chose the road less travelled by launching with the Neang Neak ear-cuff rather than what might have been a safer choice such as a ring, or classic jewellery suite. “The reason we chose [to launch] with the Neang Neak cuff is because it is symbolic of our culture, and even when you go out now you don’t really see a lot of ear cuffs being worn” notes Eyen. By contrast, ornate pieces for the ear, hair and head are staples in traditional Cambodian jewellery. The risk was worth it as it positioned the brand as authentic and with a unique point of view.

Neang Neak Ear Cuff in 18kt Yellow Gold. Image Courtesy of EdoEyen
Neang Neak Ear Cuff in 18kt Yellow Gold. Image Courtesy of EdoEyen

Culture is the dominant theme throughout and the Kbang crown harks directly back to the Angkorian Empire; a kingdom that spanned modern day Cambodia, Laos and Vietnam and which was at its zenith from the 11th to 13th centuries. During those times status was denoted by the different features and ornamentation that appeared on a crown and in more contemporary times such regalia would only be worn at formal occasions such as weddings. To the Chorm sisters it was a situation worthy of a reboot and the artistic challenge of modernizing. As Edo explains “We want people to wear the jewellery out and about”. Picking up on this point Eyen adds “We are from New York and we know the fashion here and how everyone is just a risk taker. There is always a fashionista out there, a trendsetter willing to wear anything and make it bold and daring so we incorporated that New York lifestyle too.” Thus the crown was reimagined as a lightweight tiara-cum-bedecked headband, with Eyen designing a mechanism that negated the need for hair pins to keep it in place. Once completed the styling of the piece on their Intragram account irreverently and successfully removed the notion of ‘for special occasions only’. It was an approach might appear like an affected exercise, but in the Chorm sister’s hands is casually chic and genuine. Their campaign images and the New York editorial sensibility speak to the modern migrant experience; where home is a patchwork in thinking, dressing and being and where the confluence of style and identity merge between countries of origin and current locations. It creates for an atmosphere where pieces which might have felt like an act of appropriation if worn by those not sharing similar heritage metamorphose into an alluring option for all. As Eyen concludes “Whatever you want to wear just be yourself and be you.”

Edo in Kbang Crown in 18kt Yellow Gold, Image Courtesy of EdoEyen
Edo in Kbang Crown in 18kt Yellow Gold, Image Courtesy of EdoEyen

However, it is important to note that applying a contemporary twist to a mediaeval south east Asian aesthetic is not a mere marketing differentiator. For the Chorms, EdoEyen as a brand has a multifaceted role to play both now and in the future. “We wanted to start a movement to bring Cambodian art and culture to the forefront of the fashion industry” says Edo. For Eyen, the brand’s wider remit reached the realms of manufacturing and imagination and she relates “when we first started, even the people we gave our designs to make were afraid, they were intimidated but I was thinking if back in the day in Cambodia they can make this, then I am sure in modern days we can do it too.” To the veteran hands in New York’s jewellery district the sister’s pieces appeared as flights of fancy, but solutions were always found, including upholding transparent sourcing credentials and working only with United Precious Metals. Placing culture at the centre of their messaging and product has also allowed the sisters to challenge existing jewellery orthodoxy which is anchored in a specific western European aesthetic and its accompanying normative concerns. The pieces also act as a starting point for the intellectually and visually curious to discover more about what was happening historically and currently in the area that occupies Cambodia. As well as a rich metalsmithing and textiles industry, the Angkorian empire was marked by its ambitious architectural projects, most notably the Angkor Wat which remains the largest religious structure in the world. For the Chorm sisters achieving the goal of celebrating their heritage whilst creating a relatable entry point for people to participate was key. As Edo notes “I think our culture is so under-represented and it is about time for us to do something about it.” Choosing not to lobby for a seat but rather create a place at the proverbial table has resulted in EdoEyen being a defiantly stylish riposte to historic and existing acts of erasure.

Eyen wears Neang Neak Cuff in 18kt Rose Gold, Image Courtesy of EdoEyen
Eyen wears Neang Neak Cuff in 18kt Rose Gold, Image Courtesy of EdoEyen

Mythical Muses and Other Inspirations

“I have always been intrigued by anything mystical and anything goddess like” reflects Eyen. Cambodian origin myths, figures from history and religious deities have all been drawn upon by the sisters in the creation and development of the pieces which in turn have always been underpinned by their mutual love of fashion. Neang Neak for instance was the Queen Consort to Preah Thong and they were co-founders of the Funan Kingdom which preceded the Angkorian Kingdom and dated back to the first century AD. Legend has it that she was a Naga Princess who led her beloved by her scarf to her own father’s underwater kingdom to ask for her hand in marriage. With a compelling back story as a demi-goddess and a princess in her own right as well as an inventor of tradition (traditional marriage rites in Cambodia include the bride leading the groom in by the scarf) it was perhaps inevitable that the brand’s first and instant break=out piece would be named after her. For the Aroubei ring, which has a serpent like form, the goddess Sovann Macha is the muse behind its creation. She was a mermaid who married the Hindu deity Hanuman and she appears in the Reamker which is a Cambodian iteration of the more famous Indian epic poem, the Ramayana. The overall effect of these stories being woven into their creations is an internal universe within the brand where a woman’s power, allure and otherworldliness are the tools that allow her to realise the inconceivable and where pieces possess a magical quality that allows wearers to tap into the same. As Eyen summarises “You are part of and not part of this world but you are enticing.”

Aroubei Ring in 18kt Rose Gold, Image Courtesy of EdoEyen
Aroubei Ring in 18kt Rose Gold, Image Courtesy of EdoEyen

However, there is a political agenda woven in EdoEyen’s genesis and vision, Edo reflects “throughout my college years at FIT I felt like we were under represented. I didn’t see any influences from our culture and I always felt that didn’t make sense.” Her incredulity is valid given the rich history of the Angkorian and Funan Kingdoms, and whilst much has been written about the systemic undermining of black people, similar acts of marginalization, exploitation and prejudice have occurred for centuries towards Asian communities. Of the lack of visibility and understanding Eyen notes “lack of visibility takes a toll and so does being stuck in being or being perceived something else and trying to belong.” From lazy acts of homogenization – assuming Cambodia, Vietnam, China, South Korea and Thailand are one and the same for instance; “we want to make people aware that south east Asia is more than just one culture” Edo asserts, to western designers’ careless acts of cultural appropriation or more sinisterly positing that Asian aesthetics or philosophies are interesting and of note but not on a par with outputs that originate from Western European traditions. The sisters are clear of the scope of issues they wish to tackle and where necessary challenge. Eyen notes “I feel like a lot of my friends are starting to understand our culture now because we brought the jewellery out.” As a gateway to a complex and rich culture jewellery is a beguiling means for illustrating how conquests and migration flows, Buddhist and Hindu thought and a highly sophisticated society utilized art, architecture, design and craft as a means of self-expression and self-determination.

Gbang Crown in 18kt Rose Gold, Image Courtesy of EdoEyen
Gbang Crown in 18kt Rose Gold, Image Courtesy of EdoEyen

Inclusivity cuts across several metrics and one sees this most clearly on EdoEyen’s website where the same designs are offered in precious metal and gold-plated iterations. Edo explains this unusual decision further: “We wanted to start with high-end…but we know within the Cambodian community in general people aren’t as financially comfortable so we wanted to offer our fellow Cambodians a chance of shopping our products” They could have chosen to solve the cost quandary by offering a diffusion line with simplified designs but in making the decision to straddle the price points of fine and fashion jewellery as well as actively not abandon clients who would innately have affinity with the pieces they open up other questions around the democratization of luxury and what is considered art. “Our goal is to make people understand that this is fine art” says Edo but one could counter that surely art be it jewellery or created in any other medium needs to be expensive and difficult to acquire to have true value. The Chorm sisters’ decision challenges the industry to accept or at least consider that notion; one where concept, craft and execution are of equal import to the precious metals or gemstones used. More pertinently it also results in a more meaningful inclusiveness that goes beyond sloganeering.

Neang Neak Cuff in 925 Sterling Silver, Image Courtesy of EdoEyen
Neang Neak Cuff in 925 Sterling Silver, Image Courtesy of EdoEyen

Future Plans and Manifestations

As any social scientist will assert, culture is not static. History, current realties and future hopes and influences all play their part and for the Chorm sisters this is seen in the Phkachhouck 1.0 earrings and their updated 2.0 iteration. The earrings are in many ways the perfect distillation of the Chorm sisters taking inspiration from the two locations they call home. Inspired by Hevajra one of the main Tantric Buddhist beings, who wore earrings to render her deaf to evil words, the design which features lotus leaves but is an entirely modern imagining of what she might wear if she lived in New York city today. Edo adds “They don’t look like anything existing in Cambodian jewellery and the aesthetic is more influenced by our western upbringing.” As autodidacts the sisters do not feel bound by the jewellery rulebook and as Cambodian Americans they possess a lightness of touch when relating to their heritage, neither constrained or overwhelmed by it. “It is really fun to learn as you go along because each progression makes you feel proud” notes Edo of the duality of their situation.

Phkachhouck 1.0 Earrings in 18kt Yellow Gold, Image Courtesy of EdoEyen
Phkachhouck 1.0 Earrings in 18kt Yellow Gold, Image Courtesy of EdoEyen

Beyond jewellery the sisters see their product offering extending into flatware “we want to make utensils” Edo explains ”Like blessed bowls” Eyen finishes, in one of the many instances where they have completed each other’s sentences and stream of consciousness during our conversation, which took on the energy of a late night hang with friends over Zoom than a heavy discussion on culture and aesthetics. A major stockiest “like Bergdorf’s would be like hitting the jackpot to be honest” notes Edo, although their existing steady clientele is indicative that they have already happened upon a winning formula. Future collaborations with fashion brands is something they are open to. with Edo adding “Doing a Dolce and Gabbana runway would be amazing as it is always bedecked and opulent and I would just love that.” Style icon, mogul and noted jewellery collector Rihanna is Eyen’s dream client and they are currently in talks with other A listers who have are captivated by the jewellery and there seems a cosmic inevitability that it will be worn by them sooner rather than later.

Phkachhouck 2.0 Earrings in 925 Sterling Silver, Image Courtesy of EdoEyen
Phkachhouck 2.0 Earrings in 925 Sterling Silver, Image Courtesy of EdoEyen

EdoEyen is in many ways a brand that is reflective of the present moment in time. The world, whether via socio cultural shifts or an internet that has made us collectively more curious about other places and said places accessible with a swipe of our fingertips has opened up avenues of discourse for brands large and small. Furthermore, the west is no longer seen as the lodestar of taste, civilization or even commerce, and attesting to this is the number of recent and successful launches of jewellery houses with founders of South East Asian heritage. “When we came into the jewellery world we wanted to create something that speaks to us and something that belongs to us and something that is our identity” says Eyen. As their line continues to expand with new pieces in development, their commitment has birthed a jewellery house that resonates and validates a community whilst making pieces that paint a more nuanced picture of Cambodia. Edo adds “Cambodia is not just about the genocide…we want to change the mindset, especially in America.” Places, like gemstones are multifaceted, and by highlighting this truism and how it relates to their home of origin and their home of choice, EdoEyen as a brand and the Chorm sisters as individuals are well positioned to play an important role in the further diversification of the global jewellery canon

London, Lagos, Milan, Tokyo James

Arranging a time to interview Tokyo James has proved tricky. Busy is not so much a definition but rather a default setting for the designer and fashion polymath with a career that has straddled three continents. In the end, we agree to a call in what can best be described as a multi-tasking maelstrom: James is putting finishing touches to his (now recently shown) Spring/Summer 2022 collection as well as finalising orders and deliveries for Autumn/Winter 2021. As he barks instructions in a combination of Pidgin English and Yoruba to the team in his atelier, I wonder audibly whether we will have to adjourn to a later date. “Keep talking” he enthuses breezily as he repeats guidelines to a pattern cutter, warning him of the costly implications of waste, and simultaneously tells his assistant very firmly not to accept to pay above a certain figure for fabric. “I came from a mathematics background. I came from a very analytical background, so I think I brought that mathematics into what I do I now.” James is far removed from the stereotypical fashion creative director – absorbed in himself or preoccupied with being part of the scene. He is an autodidact with a laser focus on the fiscal health of his eponymous brand. Accolades are all well and good but he is business minded and has eyes already fixed on his legacy: “I am hoping that within my lifetime I will have created a brand that will live past me.” It is as much a raison d’etre as it is a call to arms, for during the course of our conversation it becomes clear that Tokyo James is so much more than one of Africa’s leading luxury fashion houses.

Tokyo James A/W2021 Photo: Akin Adegunju
Tokyo James A/W2021 Photo: Akin Adegunju

Home Is Where The Style Is

Tokyo James as a brand is a sartorial love letter to two cities that Iniye Tokyo James, to give him his full name, calls home. He elaborates: “the brand is a nexus between London and Lagos. If you’ve noticed there is a large emphasis on jackets and outerwear and that is because of London – it is cold, and I have grown up with that…. but I fused this with an African aesthetic, it is two dichotomies but that dichotomy is where the beauty lies.” James has over the years sought to upend many of the existing binaries in both locations. From the knee-jerk expectation from many in the UK fashion industry assuming that a luxury brand with a black creative director would be wedded to a streetwear aesthetic, through to assumptions that to represent the continent truthfully, clothes need to be jaunty and awash with bright, bold prints – smiling models and bongo drums on the runway an optional extra. Since his launch in 2015, James has become one of the few names on the continent who reliably offers Autumn/Winter collections that not only look autumnal but also reflect that beyond the equatorial tropical region of Africa, cold weather is present in the northern and southerly parts of the continent. And as anyone working in fashion long term will attest, clients’ lived realities and needs always anchor their clothing choices.

Tokyo James A/W2018 Photo: Courtesy of I T James
Tokyo James A/W2018 Photo: Courtesy of I T James

By virtue of his background, James has been unafraid to tackle the arguably still unresolved relationship between Nigeria and it’s former colonial master, the United Kingdom. The colonial experiment was complex, with the UK needing lengthy and protracted efforts to get the geographical area now known as Nigeria under their control, and in some regions, merely nominally. James expands: “As a brand I focus a lot on intersectionality. How do you merge two worlds together? How can these two worlds live in unison? And for me Nigeria and the UK is a perfect example…there is a lot of material to explore.” And explore he does with early collections harking back to the precision cutting found in the bastion of gentlemen’s tailoring, Savile Row but with a very necessary dollop of what can most accurately be described as Nigerian swag.

Tokyo James A/W2021 Image: Akin Adegunju
Tokyo James A/W2021 Image: Akin Adegunju

Who’s That Guy?

For someone who has worked in fashion in Europe, Africa and the Americas, where James recently collaborated with the NBA, he remains an enigma, a throwback to an era where designers took a bow at the end of the show and precious little else was known about them. By not giving too much of himself away, James has allowed for his collections to act as a window to his interior concerns and passions. It has also allowed for a wide church of clients straddling across age, profession, race and orientation, as everyone can legitimately be part of the James aesthetic and vibe. “I always say I make clothes for my boyfriend.” James says with a coquettish giggle. Adding “If my boyfriend is not going to love it then it’s a no, And my boyfriend is very masculine… I call men like him alpha males and I think there are alpha males within every set whether in the gay world or the straight world… I always say Tokyo James is for the alpha male. It could be for the alpha gay male. It could be the alpha feminine male, but you are `alpha, you are the leader of the pack.” It certainly takes a man who gives zero-fucks for ‘consumption by consensus’ to wear a red quilted hooded cape with burgundy vegan leather single breasted suit and accessorised with an oversize tote bag, a standout look from James’ Autumn/Winter 2019 collection.

Tokyo James A/W 2019 Image: Courtesy of I T James
Tokyo James A/W 2019 Image: Courtesy of I T James

One tribe James has been indelibly associated with is musicians, of the coolest kind. James’ name was trending when Nigerian artist of the moment Burna Boy, and this year’s Grammy recipient wore custom Tokyo James to the 2020 Grammy’s where he was nominated, but surprisingly didn’t win ( he would win the following year and once more choose Tokyo James for his pre-recorded due to Covid19 restrictions performance). The three piece damask suit at the centre of a global viral fashion moment was one part ‘African Royal on Tour’ and two parts rebellious reveller who decided to pass through on an obligatory black tie event, so made sure the cut of his jib was unimpeachable and threw out the rest of the rulebook en route. “Burna has been a fan of the brand from the very beginning” is all he will provide as way of expanding on the metronome like consistency that Burna chooses to wearing his designs. Other stars have followed with singers Zlatan, PrettyBoy D-O and Rema all at one point or another dressed by the house. Further afield Chinese superstar Lay Zhang wore the Sequins Continuous lapel jacket from James’ Autumn/Winter 2021 collection and another Chinese megastar Fan Chengcheng was photographed head to toe in a customised A/W 2021 ensemble. James reflects: “It is so peculiar to me that I have started getting more love and more respect from China. A place that I have never visited in my entire life…I am so grateful [and] now I am listening to their music [and it is] making me look more and more into their world.” Can we expect the next big thing in K-Pop head to toe in Tokyo James? Given current form, probably.

Burna Boy in Custom Tokyo James. IImage: Courtesy of I T James
Burna Boy in Custom Tokyo James. IImage: Courtesy of I T James
Burna Boy in Spring/Summer 2020 Tokyo James. Image:  Stephen Tayo
Burna Boy in Spring/Summer 2020 Tokyo James. Image: Stephen Tayo
Fan Chengcheng in Custom Tokyo James A/W 2021 Image Courtesy of I T James
Fan Chengcheng in Custom Tokyo James A/W 2021 Image Courtesy of I T James
Lay Zhang wears Tokyo James A/W 2021 Image: Courtesy of I T James
Lay Zhang wears Tokyo James A/W 2021 Image: Courtesy of I T James

Yet, in spite of the verdant possibilities of Asia and it’s elites, Tokyo James chooses to stay grounded. For every celebrity customer there are dozens of discerning but not globally recognised who return for his one of a kind point of view and keep the tills ringing. Every collection, for James is ultimately customer-centric and developing house-loyalty, like many of the heritage luxury houses of Europe can draw upon, critical. He elucidates: “It takes a lot of time [to create] luxury. It is all about attention to detail . And we pay a lot of attention towards the construction of our garments…We have a corner where I think I have cancelled garments… As a team we are like, ‘we have gone through this, tried it and it didn’t get a look’. But we do this for our customers” One can’t help but wonder that this cast-offs rack is sample-sale ready, but it is testimony to James’ meticulous approach. A foray into womenswear caused a clamour of interest, and even though he scored an immediate hit with Seyi Shay an early supporter, he decided to defer. “It is more about capacity” he offers as explanation “we are just barely meeting the demand we have for our menswear before we start catering to all the queens in the world. But we soon will.”

Tokyo James A/W 2018 Image: Courtesy of I T James
Tokyo James A/W 2018 Image: Courtesy of I T James
Kesewa Aboah wears Tokyo James S/S2021 menswear. Image: Courtesy of I T James
Kesewa Aboah wears Tokyo James S/S2021 menswear. Image: Courtesy of I T James

The Image Interpreter

James’ fashion journey did not begin with design, but as a stylist in London’s indie fashion publication scene. The 90s and early 00s were a veritable Golden Era for fashion magazines with titles such as i-D, Dazed and Confused (later known as Dazed) and Purple setting the style agenda in a potent way, unlikely to be seen again given the present dominance of digital media. “I was particularly obsessed” James reminisces with a giggle “At the time if it wasn’t Dazed and Confused I didn’t understand what people were doing…it was such experimental fashion and that was really exciting for me…I still have a large collection in my Mum’s house in London, like, stacks and stacks. I think I may have four to five years of magazines.” Given the self confessed obsession, James’ first job was as fashion director for music indie mag D101 before starting his own publication Rough (later renamed Rough Italia) “my main goal was it (Rough) had to be as good as any publication that was in existence because that was going to give me access to the next.” James mitigated the fact that he wasn’t connected to leading PRs and showrooms by “styling what I had in my wardrobe, using that to create imagery…It actually got to a situation where I had to spend my own money and buy in some of the brands that I wanted at the given time”. This guerrilla approach eventually paid off. With Rough looking the part, circulation increased, and with more eyeballs, greater opportunities.

Tokyo James S/S2020 Photo: Mike Oshai
Tokyo James S/S2020 Photo: Mike Oshai

It is here that his trajectory gets interesting: James does not shy away from talking about how the London fashion scene prior to George Floyd’s murder in May 2020 and the summer of Race Reckoning that followed, was pitilessly white with limited space for black people or other ethnic minorities to rise. James adds “There was only Edward Enninful, Pat McGrath and Naomi Campbell. Those were the only people that were in the limelight.” A career situated permanently on the periphery or stalled altogether did not suit his can-do, must-do disposition so James began plotting a way out. “Me starting my own publication was partly because I loved fashion and I loved editorial. But me starting my own brand was a result of me wanting to create iconic imagery. I wanted to style the Gucci’s and the Louis Vuitton’s, the Prada’s and the Chanel’s and put my spin and my touch on the visual aesthetics of those brands. But the opportunity never arose and so I used Tokyo James as that vehicle.”

Tokyo James A/W2018. Image: Courtesy of I T James
Tokyo James A/W2018. Image: Courtesy of I T James

One can hypothesise about the terrible loss to the fashion landscape had James begun his fashion styling career during a more inclusive time and bagged a styling role in a historic fashion capital working for a super-brand. Yet, his discomfiture birthed a fashion house that is greater than the sum of its parts. As a stylist – come- designer, James puts a lot of store in the brand’s visual language, ensuring messaging is clear across all touch points, with runway shows, campaign imagery and even packaging all carefully considered. In light of his first role in fashion as an image maker and then a publisher, he was quick to adopt an modus operandi that saw apparel as not only being about beautification, but also playing a critical role as cultural barometer. Our collective and individual socio-economic, political and spiritual states of mind are often revealed in the fashion of the day. Whoever, can tap in and relay that back to us wins.

Tokyo James S/S2021 Photo: Mike Oshai
Tokyo James S/S2021 Photo: Mike Oshai

For James, collections as well as being marked by their seasonal intent often have titles where a whole thesis and bigger discourses are elicited. From his acclaimed debut at Milan Fashion Week for Autumn/Winter 2021 with a collection entitled Ogidi Okunrin which means ‘The Strong Man’ in Yoruba to the still much referenced Spring/Summer 2018 African Cowboy and his just shown, again in Milan Fashion Week Osu. Speaking of the rationale behind the nomenclature and how this manifests, James becomes particularly animated: “The African Cowboy comes from the spirit of hustle. London is a hustle and Lagos is an even bigger hustle. But the difference between the UK and Nigeria when it comes to the hustle is that Lagos is one of those places where you can be poor today and rich tomorrow.” Social mobility and the narrowing of it in the fashion industry is a topic he returns to: “I find London nepotistic, it is literally about who you know and what class you come from… In the earlier days if you were from a working class background in the United Kingdom, you had hope. But now, I don’t feel it exists as much. Because the struggle to achieve, to create anything especially for the creative is real.” James is vociferous of the dismantling of the educational grants system, the deliberate shrinking of the benefits system and the rising costs of living in the city of resulting in a balkanised creative industry. “From Alexander McQueen to John Galliano, a lot of people don’t remember that they were working class. And the system we have now, would not support them. To be from a working class background was not the end. if I was in London now, the dream of me being a designer would have died prematurely.” James translates these themes in African Cowboy via a proliferation of hats and masks in the show and suits that featured quintessentially British pinstripes but teamed them with embroidered insects and reptiles found only under African skies. He adds these “evoke the many faces you have to wear to navigate the United Kingdom and Africa.” But if you have a clear destination and a killer ensemble his thesis concludes that you will prevail.

Tokyo James S/S2018 Image: Courtesy of I T James
Tokyo James S/S2018 Image: Courtesy of I T James
Tokyo James S/S2022  Image: Mike Oshai
Tokyo James S/S2022 Image: Mike Oshai

His Spring/Summer 2022 show was entitled Osu, a term from the Igbo people in South Eastern Nigeria which literally means ‘outcast’. James adds; “These were the people that they sacrificed to the gods. But I saw it as these were people who were different from the rest of society and they were actually more special.” In the James universe, the so-called freaks of society become the revered and extraordinary. And in this collection he took the unprecedented move of not using some of his house motifs. “I translated it by not using the leather which is a house signature. I translated it by using fabrics and textures that I would not normally use, so this season we used a lot of lace, and the specific lace that we used was cord lace because it has a lot of holes. First of all because of the climate but then it was also meant to signify the holes within society’s logic with a lot of things.” It also nods to traditional attire from the south-east of Nigeria which also features lace. James as ever gives a historical nod to the culture, whilst forcing it to look forward. He also played with processes. “There were a lot of distressed fabrics used and that was also to stress the affect that these actions society does has on people’s mental health.” The result was a collection that was both celebratory and poignant. Acknowledging the damage done to many whilst looking with optimism for those still left standing.

Tokyo James S/S2022  Photo: Mike Oshai
Tokyo James S/S2022 Photo: Mike Oshai

For The Love of His Community

‘It takes a village to raise a child’ says the oft repeated quote which is derived from an Igbo Proverb “oran a azu nwa”. But what if said child doesn’t fit the mould? Is LGBTQIA but not in possession of a foreign passport where a speedy exit to a life of relatively safe exile in the west is an option? Well, if you are interested in fashion, you make your way to Badore, the most dynamic fashion incubator you have never heard about and home to James’ atelier, where he has made room for many others to live, work, seek community, shelter and acceptance. “We don’t talk about it much because I just think it is very tacky how people go ‘I’m doing this and I’m serving like that’, [and] there are many gatekeepers that have used the talent of a lot gay kids in this part of the world in order to further their agendas but not really doing anything for them.”

Tokyo James A/W2021 Photo: Akin Adegunju
Tokyo James A/W2021 Photo: Akin Adegunju

Prior to the first global lockdown in March 2020 James invited me to Badore. Deep in the Lekki peninsula, way past Victoria Island and Lekki 1, the retail and entertainment playgrounds of Nigeria’s 1%, we arrived at an unassuming building. The space was throbbing to a soundtrack of songs one was certain would be the city’s future playlist and one was met by numerous young, enthusiastic people either busying themselves at sewing machines, sorting the bolts of fabric or putting together potential looks on fit models before presenting them for James’ consideration. In a corner, Papa Oyeyemi, creative director of Maxivive and veteran LGBTQIA activist was working on his latest collection. Whilst voices were often raised there was no aggressive energy. Perhaps because outside the walls exists the real animosity. As well as those I met on that day, Badore has played a pivotal role in the career of brands such as Vincnate, photographers such as Mike Oshai and many others who have for a variety of reasons distanced themselves from the place that gave them creative refuge. James is pragmatic: “a lot of the gatekeepers are very homophobic but pretend they are not to their western peers because they know how the western peers can shut the doors.” This results in many underplaying or even hiding their orientation for fear of negative repercussions and those said forces posing as pseudo-allies. The themes of James’ African Cowboy come to mind as people shape-shift to save face, career or whatever else they are pursuing or protecting. But James sees a positive end-game in fashion’s future,: “I do this for the younger generation so that they can see that it is not going to be easy but it’s possible.” Ever the realist, James who himself did not go to fashion school and irreverently dismisses it as “just a big networking forum”, sees his role as providing a space where those on the outside can get a tangibly beneficial ‘in’ and not become casualties of circumstance.

Tokyo James S/S2022  Image: Mike Oshai
Tokyo James S/S2022 Image: Mike Oshai

Beyond the Clout Chase

Whilst many luxury brands have struggled or even shuttered in light of the pandemic, Tokyo James has had a phenomenal year. Having previously shown in London, Lagos and South Africa’s Fashion Weeks, the brand added Milan to their roster. “It was another fashion week.” James deadpans before adding “of course we were excited. I think I was more excited that we showed on the same day as Prada, I was like ‘Oh My God! Prada!’” As well as the shows, there have been features on Vogue Runway and a deal inked with heritage cognac house Martell. Prior to the global lockdown a partnership with YouTube included a pop-up in London’s Westfield and Tokyo James was one of the anchor brands selected by Grace Ladoja’s Metallic for The Homecoming an online festival and retail-led event that was held at Browns London. Since Milan this year, more prestige stockists have followed including Dover Street Market: “that nod from a store like DSM is one of those things where you are like, ‘yeah, okay this is super cool.’ It is always nice to get that recognition.” When I pose the question whether the industry embrace has become a delicious experience, one that will always need to be sated, James laughs before exclaiming “Definitely not! With or without them we would have continued doing what we are doing because we believe in us.”

Tokyo James S/S2022  Photo: Mike Oshai
Tokyo James S/S2022 Photo: Mike Oshai

James is the embodiment of practical perseverance meets clarity of vision. Prior to his brand being in a position to partner with a drinks company or a tech behemoth, he dusted off his mathematics degree and with his fashion nous worked for Accelerate TV the online platform that is part of Access Bank, one of Nigeria’s largest financial institutions. “We were there to invigorate and excite he millennials” he says drolly. He was also unafraid to review how he could become more environmentally sustainable and while he was an early adaptor of the possibilities of vegan leather, he was also determined to always present customers with a choice. “It was us doing our little part to save the environment for future generations. But choice for me is essential and percentage wise customers are 75% vegan leather to 25% leather which is really good.” Self-affirmation as principal motivator and intersectionality as the happy by product is also seen in a bag he first debuted as part of the Ogidi Okunrin collection but has now gained a life of it’s own. The Ato Rodo, the Yoruba word for the Scotch Bonnet Pepper, has a ubiquitous best supporting ingredient role in Nigerian cuisine. In James; hands it has become the arm candy of choice for those who wish to have a ‘for the culture’ moment but make it fashion. The shape is immediately recognisable to those who eat the peppers and to the rest of the world it is just another cool shaped cross body bag that is capacious enough for your daily essentials.

Tokyo James Ato Rodo Bags. Photo: Courtesy of I T James
Tokyo James Ato Rodo Bags. Photo: Courtesy of I T James

James’ story=so-far in many ways reads like a modern day fashion fable = without the appearance of a Godmother waving a wand or indeed a wad of cash. An absence of distractions which would have been there aplenty had James been a card carrying member of the in-crowd have given him the time and space to focus on his craft. Because the African fashion scene, in spite of the flurry of positive stories still remains a relatively closed shop. Most of the successful brands across the continent have hereditary money oiling the engine and familial connections swelling the customer base. Furthermore, proximity to favourable business opportunities and access to markets is very much a chum-o-cracy, an issue highlighted in Papa Oyeyemi and Udochi Nwogu’s seminal essay for Business Of Fashion tackling bias in the industry, and the organisation they subsequently launched, Bias in African Fashion. If you don’t fit the look and feel, it can be demoralising. However, it is important to note that these issues of inclusiveness and level playing fields are present in fashion capitals in other cities too.

Tokyo James S/S2022 Photo: Mike Oshai
Tokyo James S/S2022 Photo: Mike Oshai

“I have never felt welcome in London and I have never felt welcome in Lagos” says James. Yet one could argue this has been his greatest blessing. Belonging often brings with it a rigid point of view. We have all become citizens of the world by way of our phones, but James has actually lived it too and possesses a competitive advantage in distilling this via the lens of fashion. The visually literate such as James, hold a winning hand in a world where our attention spans have been so shot to pieces and our brains rewired to seek the next quick hit via an arresting image or a catchy song. Furthermore, if we accept the fact that fashion has become a business first and foremost and a creative expression second, James’ mathematics background equip him in a way a less financially savvy designer would only dream to. There are however, some complicated yet beautiful contradictions: James is the antiestablishment outsider who nevertheless sells luxury to the cool kids of the global music industry. The loner who has opened the doors of his home and atelier to society’s misfits and ostracised. And a sensitive soul whose heart burns hot against injustices in his chosen industry. He candidly admits “I have had to fall and re-fall in love with fashion so many times,” but each time he does he falls hard. Bringing the intensity of those feelings, blending them with his innate cultural magpie sensibility and the romantic notion that all true lovers of fashion have of an epic ensemble possessing the magic to change your trajectory forever.

Tokyo James S/S2020 Photo: Mike Oshai
Tokyo James S/S2020 Photo: Mike Oshai

Theresia Kyalo: The Jewellery Rule Breaker On A Mission

“It’s funny that people consider what I do jewellery because I don’t consider it that necessarily” says Theresia Kyalo the twenty five year old artist, maker and creative convener who in the space of three years has created a buzz around her work that has spread far beyond her native Nairobi. Kyalo and I speak after a devastating fire at the workshop in Kibera where many of the team of artisans she works with are based. For someone who has gone through something so harrowing she is remarkably calm. Beyond the logistics that getting back to work will entail; “I have other connects in a different area so I can work from there for now”, she offers briskly, her focus is on the artisans in Kibera getting back to work, both for her and their other clients. She is also concerned by the wider issues that a lack of infrastructure within the creative industries in Kenya causes. “In a different world what happened to us (the fire) should not have paralysed us as much as it has because there would have been systems in place. I really want to put systems in place that will sustain longevity.” For Kyalo, the creation and development of her own practise is just one part of the equation. Of equal import is fostering an enabling environment for artists to not only be, but thrive. It is a dual mandate that runs through the body of her work which she humbly downplays as ‘working with metal’ but which has presented those who have seen it with a radical take on what jewellery is and can be in the future.

Uso Jicho (face eye) Face Piece. Photo: Edwin Njeru
Uso Jicho (face eye) Face Piece in Brass. Photo: Edwin Njeru

Jewellery as Art and Cultural Barometer

Kyalo first came to prominence with her electrifying face pieces that walk the tightrope of adornment and sculpture. Part of her Body Pieces project and made of brass, each piece’s name in Swahili evokes the body part it is either adorning or resembles. Uso Mzunguko, which means ‘Spiral Face’ follows the jaw line before looping in the aforementioned spiral near the wearer’s cheekbone, Uso Jicho means ‘face eye’ and is an arresting  piece, Kinga Pua means ‘nose protector’ (and was a piece subsequently featured in the Beyoncé film Black Is King) and Kofia Kidole which means ‘finger hat’ – a stunning interpretation of jewellery for the hands – moving the viewer from the conventional base of the finger to its tip. The pieces are emblematic of the tension Kyalo has created in her body of work so far, where viewers’ perceptions do not always align with her conception and intentions. She sees herself as a creative custodian of culture, researching deeply, adding contemporary interpretations to age old concepts but also drawing deeply from her own imagination.“I think it is something that happens indirectly to a lot of artists, we end up extracting things from different sources and they inform our work in different ways.” Indeed for many who find the pieces that frame the face or different parts of the body as avant-garde, edgy, never-thought-of attire, they would do well to look at historical photographs which show that African adornment was not limited to what conventional jewellers present us, and how we have all been somewhat indoctrinated by western norms. Kyalo’s work challenges this, blends references freely, and makes the end results covetable across generations and cultures.

Kinga Pua (nose protector), in silver. Photo: Edwin Njeru
Kinga Pua (nose protector), in silver. Photo: Edwin Njeru

Returning to her conflicted state regarding jewellery and her place in the contemporary African canon of designers she reflects: “I really struggle with it because once you start describing yourself as a jewellery designer people expect you to make collections and to have pamphlets and booklets of things and that’s not my business model and that’s not how I work.” Kyalo’s resistance is not pushback for the sake of, but a timely questioning of a system that is neither kind to the planet or edifying to many in the supply chain who work in it. For makers the present commercial jewellery model is relentless in its demands of more product to sate the demands of an easily distracted but never fully satisfied customer base. Yet, even when we consider the end consumer, we have a finite number of body parts to adorn, so why the quest for more? For an artist who sees her work as having a permanent place in collectors’ hearts and minds, the notion of collections and drops points to the very opposite, and it is one that Kyalo bravely resists.

Portrait of Theresia Kyalo by Gatugui
Portrait of Theresia Kyalo by Gathigia Kinyua

An Autodidact Crafting a New Pedagogy

Kyalo did not study jewellery at university, but trained as a lawyer. “I was still in college and I wanted to embark on something different” she recalls, taking herself to Kibera, a neighbourhood in Nairobi that is known as much as a hub for the ‘juakali’ or informal sector as it is for being the largest slum in Africa. “I partnered with an artisan and I told him I want to learn, and he thought it so funny. He was like you are not just placing an order? You want to learn how to make the things? And I was like, Yeah! So we started making a bunch of things.” In her recounting one is struck by how socioeconomic class and access to knowledge play a pivotal role in the jewellery system in Africa and in many ways stymie it, something Kyalo herself is acutely aware of and wants to change. Of terms such as ‘craft elevation’ which has become something of a one-size-fits-all term, especially when designers, particularly those with some sort of western training or exposure talk of engaging local African artisans in work, she is neutral, but only to a point. “I think there isn’t anything wrong with these phrases, however, are you compensating your people well? It becomes problematic when people use these terms to their advantage and really do not give praise to the actual people on the ground doing the work.” She also adds the importance of authenticating claims rather than bandying terms and increasing the price accordingly adding: “You say you are using age old techniques but what are they? Have you talked about it? You say you are elevating, but how? What new thing did you bring to the table or are you just using the old stuff and calling it new?” We both laugh at this point cognisant of a trend that is only set to expand without further interrogation of the veracity of claims. Indeed, as the booths at international design and art fairs such as PAD and TEFAF become awash with creatives providing so-called love-letters to African craft, Kyalo’s pragmatic, transparent and respectful approach when working with artisans is not only admirable but necessary.

Kidole Kiboko (finger hip) finger piece and Saba Pete (seven rings) ring in Brass. Photo Courtesy of Theresia Kyalo
Kidole Kiboko (finger hip) finger piece and Saba Pete (seven rings) ring in Brass. Photo Courtesy of Theresia Kyalo

However, Kyalo is not satisfied with carving a successful niche for herself. Looking outwards is at the heart of what she does. She notes how the heavy gender skew of male to female artisans needs to be addressed especially in light of youth under-employment in Kenya. Additionally, a reassessment of the juakali sector is urgently required. “A lot of girls don’t know that this is an option for them. And this goes to us really unlearning things. Going to high schools and showing young people that this is an industry because for a lot of people there is a misconception that artisans don’t make money, which is a lie. I know most of the guys at the workshop that when it is a good day, it is a GOOD DAY.” For her part, Kyalo is making skeletal plans of how her future studio will address this in a microcosmic way: gender parity, professionalising practical training, creating clear benchmarks and certifications, with an end goal of dismantling the status quo of artisanal work being only for men and for a particular sort of man at that. Kyalo is also a fierce advocate of safeguarding measures such as insurance, healthcare and pension plans for all workers.“That is my goal. That is my dream…a solid foundation so it doesn’t just come crumbling down.”

Duara Dogo Dogo (small small circles) in Brass. Photo: Courtesy of Theresia Kyalo
Duara Dogo Dogo (small small circles) Fascinator in Brass. Photo: Courtesy of Theresia Kyalo

Belonging to a generation that has been digitally literate from birth has allowed Kyalo to successfully navigate Social Media and the opportunities it presents for artists. “Because I am such a storyteller I am very big on visual presentation. I can not just put work out for the sake of it. The aesthetic has to be strong, it needs to have a message and it needs to prove a point.” Scrolling through Kyalo’s Instagram page it becomes clear that this is not an abstract claim lacking evidence; there is nothing as basic as jewellery photographed on a white background. Instead stills photography and short films are all part for the course, creating a multi-dimensional conversation between artist, objects and the viewer. Her collaborations often riff on themes within her work making them more than a mere merchandising exercise but another lens from which to explore ideas. Particularly notable are 11 stages of awakening, an editorial conceived by Kyalo herself and photographed by Gathigia Kinyua, Sacred Faces photographed by Brian Siambi and the original campaign accompanying Body Pieces photographed by Edwin Njeru. The overall effect is immersive, intriguing and informative something older artist friends have been quick to compliment her on although Kyalo self deprecatingly adds “I think my youth works for me a lot of times because I am in touch with both worlds.”

Kidole Kufia (finger hats)  finger pieces in Brass. 11 stages an editorial, Photo: Gathia
Kidole Kufia (finger hats) finger pieces in Brass. Photo: Gathigia Kinyua 

Kyalo’s design process is anchored in meticulous research, as her series Ode to the Adinkra Symbol attests. Adinkra, symbols that communicate age old aphorisms and philosophies of the Akan people of Ghana were the starting point for her project that was crafted in cow horn (responsibly sourced from the cattle farming industry) and took as its central thesis the enduring truths rooted in African traditional belief systems. Although Kenyan, Kyalo is mindful when making based on her explorations of other African cultures and is passionate about artists being respectful in reinterpretations. However, she stops short at spoon feeding her audiences: “It is not my job to really make people catch up with my thoughts. …whether you get it now or next year that’s your problem but you will get it eventually. Some people will get it instantaneously… others will be like It looks weird , I don’t quite get it but she is doing her thing so that is fine” Being untethered to how her work is received has also allowed Kyalo to explore other disciplines, most recently textiles where her line drawings, that are often the starting point for her existing body of work have been re-imagined into embroidered curtains and wall hangings using dead-stock fabric. It is yet another example of her refusal to be boxed in by perceptions, and although her clients are equally split between Kenya and overseas, staying in `Nairobi is central to her long term plans.

Ode to Adinkra Symbol Earrings in Cow Horn Photo: Courtesy of Theresia Kyalo
Ode to Adinkra Symbol Earrings in Cow Horn Photo: Courtesy of Theresia Kyalo

 

Custom Curtains by Theresia Kyalo: Image Courtesy of T Kyalo
Custom Curtains by Theresia Kyalo: Image Courtesy of T Kyalo

Working beyond Clout Chasing

We inevitably alight on the summer of race reckoning as 2020 will be known to future generations. Kyalo, like many black creatives experienced a spike in commercial and media interest as a result of the killing of George Floyd in May 2020 and the global race protests it sparked. “It was problematic visibility…it was a backhanded kind of visibility” Kyalo notes reflecting back on the deluge of requests for interviews, lists collated and articles hastily written that put a spotlight on black excellence. Whilst some of the interventions might have been borne out of good intentions, one cannot ignore the precursor for the collective volte-face from a media which had placed many black artists actively or otherwise on the margins and always contingent to whatever their white counterparts might be doing. Whilst some black artists have chosen to ride the wave of freshly minted celebrity, and the attendant attention and commercial possibilities it might invite, Kyalo’s design and work process, pandemic and recent fire aside, remains unchanged: sketching out pieces first, experimenting with her team, road-testing samples herself and making final adjustments. “How I navigate this is I let my work speak for me.” It would be easy, indeed natural given her age for Kyalo to jump feet first into the media melee and performative posts that have flooded timelines, but her eyes are clearly fixed on her long term vision, one that will endure long before a hastily clicked like.

Mdomo Kipande (lip piece) in Brass. Photo: Courtesy of Theresia Kyalo
Mdomo Kipande (lip piece) in Brass. Photo: Courtesy of Theresia Kyalo

.There was however, one list Kyalo was comfortable to participate in – the Beyoncé endorsed Black Parade. Explaining her rationale she states “it was made with a purpose…I really like that they considered looking at black people who are not only from America.” `For Kyalo it resulted in more US clients but she is cautious about seeing critical acclaim from overseas or intercessions from any other external advocates as the only viable routes for long-term success for artists working in Africa: “We are at an era where we can form our own visibility here in our own capacity” Focusing on the possibilities of her current and chosen location segues into the artists she admires who are all from Africa. Kyalo cites South African fashion designer Thebe Magugu, Kenyan fine artist and personal friend Peteros Ndunde and the Senegalese ceramics artist Faty Ly as holding particular resonance for her and inspiring her to push boundaries and improve in her craft.

Uso Mzunguko (spiral face) face piece in Brass. Photo: Edwin Njeru
Uso Mzunguko (spiral face) face piece in Brass. Photo: Edwin Njeru

For Kyalo, the real work beyond building systems that create a healthier jewellery industry ecosystem is fostering and deepening continent and diaspora wide relationships. “The BrushTu collective have been very instrumental in my growth as an artist” she notes of the Nairobi based contemporary art collective which includes fine artists Maina Boniface, Lincoln Mwangi and Waweru Gichuhi among their number. Also up for discussion as she looks forward to future works are an expansion of materials Kyalo uses in her work, whilst maintaining her brand ethics of sourcing responsibly and consciously. “I am currently working on something that will use tsavorites” she shares, excited by both the prospect of departing from the familiar and the possibilities that a foray into fine jewellery might hold. She adds “I do want to source gemstones locally first, but anywhere else in Africa would be great for other stones, Zambia is a good example with emeralds.” Kyalo is in step with many younger interdisciplinary makers who are placing materials provenance, authenticity of intentions and working conditions on an equal footing to building a brand.

Duara Tatu (three circles) neck piece in Brass. Photo: Edwin Njeru
Duara Tatu (three circles) neck piece in Brass. Photo: Edwin Njeru

Curiously for this current age of instant everything, Kyalo is surprisingly old-school in trusting the process rather than rushing at top=speed to reach an imagined marker of success. She possesses a purposeful tranquility, both in her speech, where she takes time to respond to questions, seemingly sketching out the possible answers in her mind before giving them, and in her deliberate decision to be omnivorous in her artistic oeuvre and see where these explorations take her body of work over time. That she chooses to work on a human-scale level, with items crafted by hand, speaks to her desire to leave a tangibly positive mark on communities: from those currently in her employ to those that will be trained by her in years to come. As our time together draws to a close she returns to perceptions. “In terms of being an artist and being a jewellery artist I think a lot of westerners who dissect our work expect it to have a deeper meaning all the time. I hate that. I don’t want people to be ‘oh ah, it is an African designer, what is it that they meant by this?’ If I meant something, great. But if I didn’t it is okay. It doesn’t lose value because there isn’t a deeper meaning you know. Westerners do that all the time. They make shit and it doesn’t mean anything and people rally behind that. We can do that too.” Kyalo’s point is prescient especially in this age of increased visibility to creators living and working in Africa or from her diaspora. It is one thing to create, even to find stockists globally, and the attendant accolades. But when your work is always interpreted in a pre-existing narrative of what it is to be you, that has ironically been created by someone else, it irks and ultimately it disenfranchises. Pulchritude for pulchritude’s sake. Made for our gaze primarily, but others are welcome to the party and can participate should they wish. It sounds like wishful thinking, and a revolution.

Kidole Kofia (finger hats) in Brass. Photo Courtesy of Theresia Kyalo
Kidole Kofia (finger hats) in Brass. Photo Courtesy of Theresia Kyalo

Emmanuel Tarpin: Nature’s Jeweller

“I put a part of myself in each jewel and it is always a new story to write and to read”  says Emmanuel Tarpin, one of the world’s most feted new talents in high jewellery. The poetic turn of phrase is in no way hyperbolic. Tarpin’s creations are not only adornment but also act as a conduit for communicating emotions, ideals and other truths. Ones that lucky wearers will have to wear and treasure forever. Serendipity may have played a role in the achievements his eponymous house has received since launching in 2017, with accolades aplenty, industry recognition, and a loyal client base. But whatever may be ascribed to good fortune and timing is underpinned by Tarpin’s own innate understanding of who he is, what he has to offer and how his processes, design language and aesthetic are pushing boundaries in what is expected in high jewellery and who can participate within that world.

Arum Lily Earrings: Aluminium and Yellow Diamonds. Image Courtesy of Emmanuel Tarpin
Arum Lily Earrings: Aluminium and Yellow Diamonds. Image Courtesy of Emmanuel Tarpin

In Pursuit of Beauty

Paris based Tarpin has a melodious voice and is matinee idol handsome but seemingly unaffected by it. We converse for far longer than we had initially scheduled as he admits “I could talk about jewellery all day”, but our conversation is more of a reflection of his knowledge and vivid storytelling. Tarpin is passionate and delights in exploring creativity in all its iterations, drinking deep from the experiences of travel and observing and capturing the beauty therein. “I love music, I love dance, I am crazy about classical music as well and I practised sculpture for fourteen years, mainly working with clay.” This omnivorous appetite  did not diminish once he enrolled at HEAD, Geneva School of Art and Design, specialising in jewellery, accessories and watches as he reminisces “I even asked a glass blower to help me and I am always really inspired by talented people…To be curious is the best thing to be and to stay.”  Intriguingly, Tarpin is also a fan the Golden Age of Disney animated films, he says laughing, “I have been indoctrinated with Disney, it has been a big part of me, I know all of them. Beauty and the Beast, Cinderella, Snow White, they taught me  to keep a child-like vision about everything” Indeed there is something otherworldly about his creations, that are fit for the chicest of modern Disney Princesses.

Emmanuel Tarpin in his atelier. Image Courtesy of E. Tarpin
Emmanuel Tarpin in his atelier. Image Courtesy of E. Tarpin

On graduation Tarpin joined heritage house Van Cleef & Arpels, but rather than the design studio, he chose to work in the workshop. However, after three and a half years the pull to start his own eponymous line became too strong to ignore “it was really nice because [in the high jewellery department] it was only one of a kind pieces [we were making] using really amazing stones so it was the best school to learn how to make jewellery.…but I was working on pieces for them and not mine and that felt a bit frustrating” Starting his own line, especially one dedicated to high jewellery was not a decision he took lightly “of course I was a bit scared as it is always complicated when you start your own brand but it was a feeling. Because I am someone who will always try things, who likes to evolve and so, why not?” He adds with a chuckle. Much has been made of Tarpin’s youth but what is not often dwelt upon is that his was in many ways a long apprenticeship; first in his own private study and appreciation of the creative and visual arts which commenced in childhood, then in his academic endeavours and finally in founding his brand. The tired trope that his is an indecisive generation finds an elegant rebuttal in his work and attitude to it. What is also telling is his choice of word, making his decision on a metaphysical ‘feeling’ rather than one that is governed by a conventional career trajectory. When he knew it was time, he simply trusted and acted. As he points out “I think it is ridiculous to think about age as there is no specific age to express yourself and to show your inspiration.”

Blue Orchid Earrings. Aluminium, Diamonds and Aquamarine. Image Courtesy of Emmanuel Tarpin
Blue Orchid Earrings. Aluminium, Diamonds and Aquamarine. Image Courtesy of Emmanuel Tarpin

One might conjecture it is following his intuition, rather than what the crowd expects that has allowed Tarpin to have an avant-garde approach to his craft, experimenting with metals to stunning effect. Tarpin uses aluminium prolifically, in part because it is lightweight, he notes from his Van Cleef days, ”I worked on a big pair of earrings which were very beautiful and I remember hearing that one hour during the dinner the client had to remove them because they were too heavy and too uncomfortable for her and I believe that jewellery does not have to be like that.” However, he does not compromise on impact, choosing gemstones every bit as breathtaking as those used by the Place Vendôme stalwarts. Diamonds in all their colour iterations, Paraiba tourmalines, rubies and sapphires all feature in his work and like the German heritage brand Hemmerle he loves to play with patinas to create an additional textural layer to pieces.

Geranium Ear Pendants: Aluminium and Diamonds. Image Courtesy of Emmanuel Tarpin
Geranium Ear Pendants: Aluminium, Gold and Diamonds. Image Courtesy of Emmanuel Tarpin

Early industry recognition, courtesy of his much referenced Geranium ear pendants was testament to the dividends of developing a clear and recognisable design language. The story of how they ended up in the Christie’s Magnificent Jewels Auction in December 2017 and easily realised their reserve price has a Disney – The High Jewellery Version –  ring to it. Tarpin speculatively called the auction house to come in and show his work and the ear pendants were an instant hit and vitally, a last minute addition to the catalogue. For Tarpin however, it was more reflective of a commitment to a particular aesthetic for his work “I can be inspired by a cool shape of a flower or a plant’s really small detail.”  The plant’s verdant hue is mimicked by the aluminium and the round cut diamonds aren’t just an obligatory dusting of bling, but reminiscent of morning dew settling on leaves. Since the fabled Christie’s auction, Tarpin has chosen to keep his operation ‘human size’, making one-of-a-kind pieces for clientele who like him are drawn to particular and specific markers of special; “Quite often they are collectors of paintings or sculptures, they are very interested in culture..and love details…They will buy a piece because they have fallen in love with it.” Tarpin is adamant to not rest on his creative laurels and recreate pieces he has made before, even if a client requests it. Instead he ensures that energetically and aesthetically there is something of the client’s essence in the custom pieces he creates. Visits to his atelier often result in friendships as he delves deep into a client’s memories, passions and gemstone preferences, he notes” jewellery is something very intimate because it is worn very close to the body… so in this way I think it is important for it to be one of a kind as we all are…I like clients  to enjoy looking at the piece, wearing it but also to see it as a beautiful object..If jewellery is an art, which I believe it is, we don’t want duplicates. Just as with a painting we need only the one. The original.”  In a world driven by profit there is something romantic with how Tarpin approaches his work and treats his clients. This is not a conveyor belt exercise where celerity and efficiency reign, but a discourse, a dance between mood, cadence and connection. 

Hydrangea Brooch. Green gold, Pink gold, aluminium, rubies, diamonds, spinels
Hydrangea Brooch. Green gold, Pink gold, aluminium, rubies, diamonds, spinels

The Bucolic Dream Realised in Gems

Annecy, is an Alpine city in south-eastern France and Tarpin’s home town. From  the mediaeval era it changed hands between the Counts of Geneva (less than forty kilometres away) and the Dukes of Savoy whose territories stretched from modern northern Italy to south-western France. It is a city that in many ways is a chameleon with only the surrounding countryside a constant. French, Swiss and Italian in character, a refuge for fleeing Swiss Catholics during the counter-reformation, a crucible for ideation. Framed by the crystalline waters of Lake Annecy and nestled in the shadow of the Alps, the surrounding terrain has featured prominently in Tarpin’s work and continues to act as principal muse. “during my childhood we took a lot of walks in the mountains with my parents and I continue to do that because nature is a real passion for me.” The juxtaposition of beauty and danger present in the mountains is captured in Tarpin’s Foxglove ear pendants, a flower native to the area but also highly poisonous. His bejewelled version in red gold, yellow gold with a single rubelite as the dominant gemstone is the sort of piece that remains in one’s mind long after first sighting.

Foxglove Earrings. Aluminium and Rubelites. Image Courtesy of Emmanuel Tarpin
Foxglove Earrings. Aluminium and Rubelites. Image Courtesy of Emmanuel Tarpin

Tarpin’s use of gemstones in replicating flowers and vegetation is carefully considered. And furthermore, speaks of someone who adores wild open spaces and observing and absorbing the intricate details displayed for later use. Instead of yellow diamonds he selects yellow sapphires for the Globe ring which give an intensity of hue rather than the reflected sparkle of a canary diamond which would detract from the lush artichoke leaves with their patina. His beanstalk earrings play a similar trick, creating a coiling tendril of green garnets and tsavorites that seem to be growing from a wearer’s earlobe. Finally, an acorn brooch is an ode to Autumn, that like Keats’ famous poem one can hold close to their bosom. Although flowers are a motif many high jewellery houses return to from Van Cleef’s Quartrefoil to  Chanel’s Camelia, Tarpin’s fascination with foliage, often placing it centre stage, is novel and speaks to a profound notion – one where we are called to reconsider what is valuable and what is worthy of being deemed beautiful and eulogised as such. 

Beanstalk Earrings: Yellow Gold, Tsavorites and Garnets. Image Courtesy of Emmanuel Tarpin
Beanstalk Earrings: Yellow Gold, Tsavorites and Garnets. Image Courtesy of Emmanuel Tarpin

His family are still based in Annecy, and they are all intrepid travellers: “we travelled a lot when I was young so I saw a lot of countries.…My parents always chose to travel in the non-touristic way and I still try to travel this way”. Tarpin, a keen diver, attributes the ocean and its bounty as another enduring inspiration indelibly realised in his seashell earrings, that were worn by Rihanna. Although honoured that she chose to wear them and cognisant of the favourable attention that resulted, for Tarpin, celebrity endorsement in and of itself is not a primary motivator.”You don’t see a lot of my jewels on celebrities because I don’t produce a lot and every time it is one of a kind so chasing them will not fit my business  model.” What the piece spoke of more was Tarpin’s own ideology of celebrating the natural world in all its guises but injecting modernity via the presentation, the kind that would get image savvy clients, be they famous or not, clamouring for more.

Rihanna wearing Seashell Earrings in Aluminium and Diamonds. Image Courtesy of Emmanuel Tarpin
Rihanna wearing Seashell Earrings in Aluminium and Diamonds. Image Courtesy of Emmanuel Tarpin

Leading High Jewellery’s Reset

High jewellery has been going through a something of an image re-boot of late, from the grand heritage houses of Place Vendôme transforming Haute Joallerie week to a companion to fashion’s Haute Couture week, to the proliferation of jeunesse doree being co-opted as brand ambassadors. Kaya Scodelario  for Cartier and Lisa Manobam  of Blackpink for Bulgari are two recent signings. These somewhat clumsy attempts to tap into a particular demographic are not Tarpin’s modus operandi, instead his approach is one of democratising the rules of engagement with his Instagram page playing a pivotal role. He expands: “My instagram is a window…a lot of people have told me and sometimes criticised me that it doesn’t look really professional, and I am like, I am not looking for a perfect page with jewels on a white background. I love to share final pieces of course, but I love to show my inspiration. I love to show some drawings, some different steps because I think that there are so many interesting things about jewellery.” The result is a page that is every bit as compelling as an influencer’s and a visual autobiography. Tarpin oscillates from beautiful still life drawings to images of him at his bench, to finished pieces occasionally modelled on the body, but more often than not photographed on their own. His contribution to jewellery industry and enthusiasts community, Gem X Club’s Advent calendar was a Spotify playlist,  and reflected his relatable nature and his more relaxed social media approach. He adds: “I feel we have to share, and I love to show everything because it is part of my process and it is important because it is a part of me and sometimes  to understand my work you have to understand me as well.”

Emmanuel Tarpin, sketching in his studio. Image courtesy of E. Tarpin
Emmanuel Tarpin, sketching in his studio. Image courtesy of E. Tarpin
Illustration of the Acorn Brooch. Image Courtesy of E.Tarpin
Illustration of the Acorn Brooch. Image Courtesy of E.Tarpin
Acorn Brooch. Bronze, Yellow Gold and Sapphires. Image Courtesy of Emmanuel Tarpin
Acorn Brooch. Bronze, Yellow Gold and Sapphires. Image Courtesy of Emmanuel Tarpin

How people engage with high jewellery is also important to Tarpin who notes “people have to see jewellery as an art and to respect it is as such,…it is not just precious stones on a metal base and that’s it, there is more than that… sometimes a client can buy a piece worth millions and not understand why the price, what took time, what is interesting about it, they will just put it in the safe and not understand the story of the jewel and I think that is really sad.”  Owning an important piece is one thing, appreciating it another and still understanding how it fits in the  widen canon, where Tarpin cites the work of Suzanne Belperron and Rene Lalique as being particularly influential is the final aspect in the equation. Luxury has long traded on the cost of an item rather than its intrinsic value or even its contribution to widening the remit of design. Tarpin’s methods, showing his process and the ‘tricks of the trade’, for all to see on his feed could be viewed as radical, potentially harming the market, but they are merely an expansion and acceleration of his objectives to create high jewellery and a community within it that is untethered to existing rules.

Wax Carvings by Emmanuel Tarpin. Image Courtesy of E. Tarpin
Wax Carvings by Emmanuel Tarpin. Image Courtesy of E. Tarpin
Wax Petals by Emmanuel Tarpin. Image Courtesy of E Tarpin
Wax Petals by Emmanuel Tarpin. Image Courtesy of E Tarpin

Tarpin has become a deft hand at cancelling out the noise, even if it is laudatory, “I just focus on my creations and don’t think too deeply about people’s perception or reception”. Consequently, it spares him being governed by critics’ reviews or client’s expectations, and allows him to retain what he cherishes the most, an open and uncluttered mind to channel his creativity best. He is equally as alternative in his thinking of how high jewellery should be worn as he is about how he should be received. “My clients can wear my jewels for big events with a beautiful dress by a huge designer for example but also they can wear it with a white t-shirt and a jean and the jewellery will be what creates the full outfit.” This insouciance, creating informal spaces for jewellery to be worn, taking it out of the realm of the ballroom or wedding banquet or indeed safe deposit box, is perhaps what is most revolutionary about Tarpin. Giving clients the permission to not have to wait for a special occasion but instead to make every day special by wearing their most precious pieces is thrillingly liberating.

Future Plans and Legacy Building

Tarpin’s eyes widen when I bring up the topic of legacy, “You know I am still at the beginning, I am not an old brand.” He says laughing. But it is not an entirely unexpected question given the opening four years and his prodigious talent. Unsurprisingly, Tarpin does not live and work in the city’s jewellery quarter but instead the  7th Arondissement, home of the Musee D’Orsay, Musee Rodin and the iconic Eiffel Tower. By picking a corner of Paris teeming with art and beautiful gardens, Tarpin is tapping into his perennial sources for inspiration, whilst still ensuring he is not too far off the beaten track. “I am finding a good harmony between my life and my work,” he notes and admits to savouring time spent in his much instagrammed rooftop garden tending to his plants. And although he has jeweller friends, industry gossip and the scene prior to the pandemic hold little draw. In many ways it is the recipe for a brand that will stand the test of time, as in choosing not to pander to a scene or clique he can quietly and assuredly hone his craft and deepen relationships with new and old clients who have come to understand and appreciate what he has to offer. It is however, not unreasonable to speculate that based on current form Tarpin’s star seems to be the sort that will attract a museum retrospective in the future. Maybe one as unforgettable as that held for JAR in London’s Somerset House in 2002 and New York’s Met Museum in 2013.

Globe Ring: Yellow Gold, Patinated Bronze, Yellow Sapphires and Diamonds:. Image Courtesy of E. Tarpin
Globe Ring: Yellow Gold, Patinated Bronze, Yellow Sapphires and Diamonds:. Image Courtesy of E. Tarpin

We close considering the shifting relevance of jewellery in society’s eyes; from the proliferation of brands, to the unrealistic expectations for production, even in the rarefied world of high jewellery where clients are accustomed to waiting. “I take my time for each piece because if I want to do things well I have to feel it.” Is Tarpin’s succinct response to those expecting speedy turnarounds. We also touch on the fact that jewellery has itself had a moment of reckoning with conversations about ethical sourcing, mining, inclusivity and environmental degradation all no longer on the periphery but central to how those in the business work today. Tarpin reflects; “Our workshop uses very ethical metals and gemstones, I have to be very careful and that is why I don’t work with a lot of gemstone dealers” The net result is sometimes sourcing a particular gemstone might take longer for a client, but in today’s climate, where reputations can rise and fall in an instant, it is worth it. Tarpin also hopes a time will come where jewellery is no longer a mere addendum of the Red Carpet, “I  never saw a total outfit that was important because of the jewels.” He is equally enthusiastic about gender norms being more expansive, as they are in the global south where the notion of men bedecked in jewels is not considered subversive. Of his extensive research whilst studying in Geneva he observed “In Africa I saw a lot of pictures in the archives where the jewels mean everything and the men were wearing the most… and in India too there was jewellery that was only for men because it was a way to show power and masculinity which is contrary to its role in the west now.”

Seashell Earrings, Aluminium and Diamonds. Image Courtesy of Emmanuel Tarpin
Seashell Earrings, Aluminium and Diamonds. Image Courtesy of Emmanuel Tarpin

Will Tarpin takes his initial findings as a cue to create pieces that speak to this and maybe reference the savannahs, rainforests, deserts, mountains and ever changing coastline of Africa and the Indian sub-continent? One can but hope. Tarpin believes that for jewellery to have resonance for future generations “we have to think and look again at what jewellery meant in the past.” Whilst this is clearly true, the industry also needs pioneers, lodestars of taste and discourses, and innovators of craft who work with a fearless spirit. High jewellery has found one such voice in Tarpin: an artist who possesses the talent, curiosity and dedication to continue enthralling collectors, appreciators and curators for many years to come.

 

Lagos Space Programme: For the Culture and the Future

“I have always known that once you create good work and once it is authentic good work people will always come.” Says Adeju Thompson, creative director and founder of Lagos Space Programme. The brand’s debut at this year’s Milan Men’s Fashion Week was topped and tailed with a flurry of excited and laudatory press notices and more pertinently, in these economic uncertain times, global commercial interest. For Thompson who identifies as non-binary, the attention and plaudits have been novel, “I see [myself] as someone who exists on the fringe, as someone who sees themselves as part of the other,”. But although identifying as queer means many fora of existence in a CIS gendered centric world are somewhat liminal, what Thompson has unequivocally proved is that when the work is undeniable, the clothes covetable and the presentation and interpretation of ancient and current truths arresting, admiration is inevitable

lsp-mask-opener-kadara-small

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi

Creating Spaces for Different Voices

For Thompson, what started as a deeply personal aim to depict an alternative Lagos that was not steeped in the maximalist glamour and ostentation that the city has long been associated with, has evolved into a carefully curated challenging of norms and myths that have calcified into facts. They expand “It was very important that I contributed my voice..it was also important for me to create clothing from a very informed very in=depth well-researched perspective..[and] I know it is kind of weird but I felt a bit frustrated because I am someone who doesn’t like to be spoken for.” Indeed, since they founded Lagos Space Programme in 2018, the brand which takes as its raison d’être and Instagram bio the phrase ‘Sartorial Project exploring African futures’ has dared to interrogate, explore and propose alternative ways of being via the lens of apparel. Thompson not only challenges but upends many assumptions of the lived experiences of Africans and what luxury is and should be in the future. The clothes though in Milan they were shown in Men’s week are specifically non-binary and customers past and present have come from all genders Furthermore, they have dived into topics that for many of a more cautious disposition are off limits: traditional belief systems, gender norms, mental health and colonialism as a cultural decimating force have all been put under their forensic eye.

Frpm the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi
From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Kadara Enyeasi

Identity, how much significance we attach to it and what it is informed by is a theme that Thompson returns to frequently: “It has become important for me to have a cultural aspect in my collections…for me, my Yoruba identity is always going to be a huge part of my work.” For Thompson, dabbling is not an option. When they choose to expand upon a thesis, they do so fulsomely. Their break-out collection in Lagos dissected what a modern-day Babalawo, or Traditional Priest would need from his clothing and resulted in an exposition for Afro-Minimalism. The collection consisted of long line sleeveless coats with multiple pockets, Adire, a traditional fabric, which Thompson has returned to severally, fashioned into wrapper skirts, and shirts and jackets occasionally adorned thin strips of reflective fabric, a hint of the futuristic possibilities that a modern diviner might be able to see. An installation at Lagos’ interdisciplinary art space, 16/16 followed, complete with a divination booth that those open and curious enough could engage with. As Thompson dared to place what has since colonialism become a marginalised practise, due to the dominant religions of Christianity and Islam viewing Babalawos as fetish and demonic, there was an inevitable backlash from those who saw the show and collection as dangerous. They reflect: “In Nigeria people are very weird [about my work] and very scared about my work. And it really breaks my heart because I am Nigerian. If only people would take time to understand where my research is coming from.” For Thompson’s part their research into ancient Ifá Priesthood divination practices showed they had more in common with computer coding and applied mathematics than barbarism. It is this reclaiming of Nigerian cultural history and placing it under a celebratory light rather than a derogatory one that drives much of their work.

Yegwa Ukpo Wears Project 3 Awo Workwear, Image: Courtesy of Lagos Space Programme
Yegwa Ukpo Wears Project 3 Awo Workwear,  Image: Courtesy of Lagos Space Programme

This is not to say that Thompson is one for culture that is mummified. Their research always circles back to the contemporary, distilling knowledge from the past and using it as a tool to answer the challenging questions of here and now. This approach is most clearly seen in their ongoing work with Adire, a traditional Yoruba fabric, which in their hands they have defined as Post-Adire. “I find Adire itself stunningly poetic, this idea that you can tell a story on your body, like a woman will wear a print because she recently got married. This idea of subcultures passing on hidden codes within the pieces themselves, and it is only if you are part of this community that you understand…I find that idea on a surface level was very fascinating.” Thompson has experimented with different indigo dyeing techniques, a textile they also discovered had anti-inflammatory and immune system enhancing properties. Often working side by side with traditional artisans, they are reticent to use language and terms that have been popularised in the modernising textile and craft space. “I am trusting them [the artisans] to guide me… I don’t like using the word elevate. I think it is very presumptuous to say I am elevating a thousand year process. I think for me I see myself as a conduit to continue the conversation around these things..” Thus Adire prints that are still in production now, but that Thompson discovered were first created in the 16th Century, and speak to specific challenges and triumphs of then, are re-invigorated via print designs that reflect present concerns and joys.They note: “I am trying to create prints that are informed by my realities now, so dissecting ideas about queerness or mental health.” Thompson has taken the process one step further, creating knitwear from Adire, a process hitherto never done. The response has been resoundingly positive: “I am getting so much amazing feedback [and] I have hardly scratched the surface.”

 From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet  Dress Before We Greet its Wearer, Image: Kadara Enyeasi

Collaboration As A Culture

We live in the age of the omnipresent collabo, where leveraging and partnering to make a bigger splash, particularly in the luxury spaces has become de rigeur. For Thompson, collaboration has always been an intrinsic part of how they work: “I enjoy my collaborations so much because I only collaborate with people like me, people who exist and create on the fringe. My fellow nerds. It is fun because there is no ego, it is just people coming together to create.” For the recently presented collection which has the dual name of Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, the crew was a veritable who’s who of creatives across disciplines. From artist and photographer Kadara Enyeasi who shot the fashion film and look-book to interdisciplinary designer and architect Kelechi Odu who styled the collection for Arise Fashion Week’s 30/30 Show, to Seetal Solanki who played the role of muse and model for the digital diary of the trip to Osogbo Sacred Grove. Yegwa Ukpo, the pioneer menswear retailer and and unofficial mentor to Thompson was also on hand throughout the process. In each instance Thompson notes how they shared an aesthetics and intellectual shorthand with the respective individuals and drew upon their reservoir of combined talent to add further texture and nuance to the collection. Of Solanki the founder of Ma-tt-er, a platform encouraging different engagement with materials, as well as a Lecturer at the Royal College of Art and Central Saint Martin’s they note: “One thing that made the shoot with Seetal pretty incredible was the context in which I shot her in. As this woman existing in this very matriarchal space because the grove is dedicated to Osun, the goddess of fertility. So she is interacting in the grove, whether in the water or in the middle of this herd of cows, it was so freakin’ incredible and we didn’t even plan these things … But I think that is also what happens when you are working with your friends.” In the instance of their collaboration with Odu, Thompson alludes to synergies and innately understood references: “We had a pre-meeting but he just got it immediately. I was very inspired by the Comme des Garçons, Yohji Yamamoto and Ann Demuelemeester shows. I wanted to give a very vulnerable experience. Because even with the models it wasn’t sexy it was very beautiful. There was a very dark element, but it wasn’t dark in a destructive way it was dark in a very sensitive way. Reflective of someone who thinks deeper about things. Those were the intersections; my identity as a Yoruba person, my queerness, and the fact that I am black.” The result was a haunting show that lingered in the memory longer than the few minutes the models were on the runway, and was one of the evening’s stand-out moments. In the instance of Enyeasi who they collaborated on both the look-book and the fashion film shown in Milan, Thompson succinctly says: “he is one of the few people I can work with and I just can leave him and go do something else because I know that whatever decisions he makes are decisions that I would like.”

 From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Kadara Enyeasi

Co-creation extended to the clothing and accessories, something that has been an organic part of how Lagos Space Programme operates. The ongoing knitwear project with Alexandra Weigand’s Studio Sattelit continues to widen its locus of expression and added to the Post-Adire canon are tapestries created with Flatspot_, an artist studio based in Oakland, California and masks with London based artist David Gardner who Thompson adds “is a friend who created the masks within the realities of our shared queerness.” One of the most talked about elements of the current collection has been the jewellery and objects,cq collaboration with Dunja Herzog of Red Gold and Phillip Omodamwen a seventh generation master bronze caster based in Benin City, Southern Nigeria – a place that is seen as the spiritual home of bronze-casting in Western Africa. For Thompson and Herzog, their working engagement came about through a variety of synchronic conversations and meetings. Herzog is Swiss but came to live in Nigeria, where she rented an Afro-Modernist house designed by the iconic architect Alan Vaughan-WIlliams that acted as a salon and meeting point for creatives in Lagos, as well as a location for a Lagos Space Programme shoot. Thompson relates: “I was talking to Dunja about how my new collection was informed by clothing as spiritual objects and how I am very fascinated by the idea of designing bells for the collection, and she says ‘hold on, say no more,’ and she is rushing upstairs and bringing these series of bells she had developed herself. And it was like what? It was these two nerds nerding out in Ikoyi about bells and sound and soundscapes and the possibilities of our potential” they add laughing. Apart from the bells, staffs that could double up as wands, bangles and harness jewellery that had a modern talismanic quality to them, all designed in concert together, was the crafting process itself. It involved a road-trip to Omodamwen’s studio, where the master caster still employs the lost-wax method of casting, one which is also practised by the goldsmiths working for the Asantehene of the Ashanti in Ghana. Thompson and Herzog describe the completed collection as ‘sculptural accessories’ and the soundscapes they make in their movement is of equal import to how they adorn the bodies of the wearers. In a sense the aural effect is akin to an Emeka Ogboh, piece, only in this instance one is transported to a world of Ifá Priests and Priestesses, divination and Yoruba deities. It also reflects the collection’s title, with one ‘hearing’ the ensembles as much as ‘seeing’ them prior to greeting them. For Thompson, collaboration was also an artistic form of defiance adding: “I like that I have created my work outside of the system in Lagos and its gatekeepers. A lot of people don’t know me, don’t care about me and I literally don’t care [because] I have created my own community.” But more than that, Thompson and their ever-evolving and expanding roster of co-creators are illustrative of what collaboration should really be – a cross-fertilisation of ideas and methodologies, a playground for new ways of thinking and being and a crucible for realising beauty in it’s most undiluted sense.

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi
From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Kadara Enyeasi

Redefining Success and Luxury

Challenging what success is and educating consumers in luxury’s possibilities is one of Lagos Space Programme’s modus operandi. Prior to the Milan show, the brand was already on the international fashion community’s radar, courtesy of a full feature in Vogue in 2019; “I got that article when I was less than 800 followers (on Instagram) and it wasn’t by any connections just the strength of my work” Thompson reminisces. But although the praise party has expanded exponentially in the months since, reaching fever pitch in the last few weeks, they are adamant that they don’t want to get caught up in being the next big thing from the continent or part of “Africa Rising” narratives. For Thompson, Africa, and their locale of Nigeria, and South-Western Nigeria in particular, has always been a nexus of innovation, excellence and spiritual dynamism and these things are not contingent on praise or acknowledgement from a Western gaze.

 From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Kadara Enyeasi

Value always starts with self-acknowledgement and love, and it is something that Thompson chooses to imbue their work with. For them. inspirations always emanate from what has been previously overlooked, forgotten or hidden but that is too important to remain so and they are consistently drawn to those existing on the margins. The prior collection Gay Guerrilla was inspired by the composer Julius Eastman, who died after a lengthy battle with drug addiction and mental health challenges: Thompson notes: “when I studied the life of Julius Eastman I was very struck by the similarities of our lives and a lot of my friends were cautious about how much I consumed, because there was a lot of darkness. But I told people that darkness is also part of the human condition and when I am creating a collection it is a form of therapy for me first and foremost.” With Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Thompson was making a comment on dress as spiritual armour complete with supernatural properties. Their explorations were further augmented in an essay by the late scholar Ulli Beier, that explored similar themes, and who alongside his first wife Suzanne Wenger spent time in Nigeria in the 1960s and was part of the Sacred Art Movement in Osogbo. For Thompson the clothes and accessories are meant to have a dual role: one as luxury adornment and second as meditative aid, they add: “When you dissect my work further it is me weaving these different narratives in a way that is very seamless.” Thus Thompson’s work which straddles the medicinal, spiritual and apparel becomes desirable on numerous levels.

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi
From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Kadara Enyeasi

Thompson is keen to communicate to consumers that production takes time, is done in a human-scale with quality rather than profit in its purest sense being the driving factor and that runs of pieces will inevitably be small. In the purest capitalist sense it is a foolhardy model but it chimes perfectly in this more compassionate age we are living in, and also is a clever response to the challenge facing the luxury industry globally. If anyone who has the money can purchase an item and shareholders are demanding the maximum number are sold, how do you retain exclusivity? How do you honestly respond to the accusation of adding to the collective environmental Armageddon we are all facing? For Thompson and Lagos Space Programme, their response is to follow a conscious capitalist model; one that also places equal value on the knowledge and cultural systems that the pieces explore, the means in which they are made, and the resultant quantity produced as much as how they look on the body and how hard the tills ring in their making. Sustainability as a lifestyle is further reflected in the ordering method: the current collection is available to order until the 31st January 2021 with items sent to clients in mid May 2021. This is not fashion for those accustomed to ‘drops’ and who need to post their #ootd post-haste. Thompson adds; “The people who connect with my work, who buy the stuff, tend to be older so they are not people who go around on Social Media taking selfies, they just like wearing the clothes and getting on with their lives.” It is however, a niche without borders as clients are dotted across Africa and the globe with a particularly strong presence in the creative industries and in Europe, America and Asia.

 From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Isabel Okoro

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Isabel Okoro

Whilst clothes are the starting point for Thompson they are ultimately a medium for deeper discourses something that they indicate when we conclude our conversation talking of future plans: “I envision Lagos Space Programme to be much more than a fashion brand I want it to be a research based establishment where we are contributing and adding to the conversations around African design.” `Not only have the clothes have acted as a catalyst for conversations around gender, queerness and conservative norms in Nigeria and Africa as a whole, they have also provided an important link between culture past and the current experiments that will inform culture future. That Thompson returns to motifs and methods that have centuries old provenance such as indigo dyeing, textile weaving, brass casting and divination but explores them via the lens of contemporary mores, fears and wants creates for thrilling results. That they do so in a contained palette of soothing blues is evidence of a maestro of mood evocation. In these tumultuous times we  could all benefit from feeling calmer and having greater insight of where we have come from and how we wish to proceed in light of that. The brand and its founder may be young but Lagos Space Progamme’s agenda is rooted in eternal truths that Thompson aims to reveal one collection at a time to a global audience: “We are incredibly complex and we have been lied to and I think that as a designer it is my job to highlight my culture. We need to continue the conversation around these things. I feel like our ancestors would have expected us to continue the dialogues around what they started.” The oracle has spoken and the fashion world continues to listen, wear, and love it all.

From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet The Dress Before We Greet The Wearer, Image: Kadara Enyeasi
From the Collection Aṣọ Lànkí, Kí Ató Ki Èntìyàn / We Greet Dress Before We Greet its Wearer, Image: Kadara Enyeasi