Noor Fares: Light, Colour and Spiritual Talismans

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“I was always very drawn to gemstones.” shares Noor Fares. Indeed, it is no surprise that the story begins and ends with gems in all their iterations, as over the course of sixteen years Fares has established her eponymous house as a distinct and thought-provoking voice in the contemporary jewellery landscape. Famed for its haute bohemian aesthetic, and collections that offer a window into worlds and loci of concerns rooted far beyond the brand’s London base, the maison is also a reflection of Fares’ lifelong love of travel and exploration. “To me, jewellery is an extention of my identity and self” she adds. And thus, augmenting her thesis and in turn sharing it with others, has seen Fares mine memories and experiences, observe how people relate to jewellery both in the past and present and incorporate a rigorous approach to research. Criss-crossing the globe has been inevitable in her quest to garner a better understanding about the stories she wishes to tell. Furthermore, hers has been an egalitarian approach in regard to materialism with each jewel using both precious and semi-precious stones in a considered acknowledgment of the beauty found in both. “It’s crazy because the stones come from the earth looking like that” she notes. However, the gemstones she uses and the jewels she creates with them act as more than a tool for adornment. They are in fact an aide memoire, a portal to the wearer’s personality, a sartorial marker and a conduit into sacred healing spaces, both in one’s interior and one’s daily life.

Selection of Rings from the Khanda Collection. Image Courtesy of Noor Fares

Born into style, raised with curiosity

Formative years provide many clues for life’s potential overall trajectory and with Fares it is no different. Born in Paris to Lebanese parents she notes “I was surrounded by very creative women who were chic and eccentric and wore really amazing jewellery. My mother was very creative and my aunt was a fashion designer and I used to spend hours making rings and bracelets with them.” Fares shares an early photograph of herself aged not much older than four layering her mother’s pearl and coral necklaces. It is a memory she remembers clearly, “I used to be so fascinated by her jewels, I felt I was going into some sort of treasure chest and discovering all of these things.” A similarly playful irreverence is present in her maison, where models both in campaign imagery and Fares herself will often layer pieces together; with the layered juxtaposition taking on many forms. From a saturation of one particular stone to a play of contrasts with different textures, gemstones or colour and proportions treated as the norm rather than exception. However, classicism was not entirely absent or in the pieces she now creates being informed by such. “My grandmother was quite old-school, loved jewellery and wore several rings on her fingers” she fondly remembers.

Noor Fares wears Tribal Crystal Necklace and Moonrise Diamond Pendant and a selection of earrings. Image courtesy of Noor Fares

Beyond her lineage of women with strong sartorial sensibilities Fares’ jewels have always been rooted in extensive research. The resulting collections are simultaneously imbued with a historical and contemporary feel. She readily admits that “when researching themes for my collections I reference artefacts and artworks in a similar way as if I had to write an essay.” In Fares’ design universe, jewels are expositions of theses all of their own. Her first collection, Touche De Bois “was inspired by materials in this instance wood which I was drawn to very much but even more so due to the symbolism behind it. In Middle Eastern cultural tradition and superstitions, we knock on wood for good luck, but it is actually a worldwide tradition as it is present in many different cultures.” The pieces themselves are both a comment on naturalism with the statement cuffs set with diamonds offering an alternative to admiring the grain in the wood alone, and the geometric diamond set pattern itself; alluding to the human touch and agency required in creating magical pieces – or indeed luck. Fares’ first collection was stocked in Browns and Dover Street Market, an unprecedented feat for a new designer, but this did not deter her deepening her knowledge in a more formalized capacity. Already a holder of a BA in History of Art from Tufts University she shares “I was so interested in gemstones [that] I went to the GIA and studied gemology and because I was curious about design, I took a design course.” Indeed, her MA in Jewellery Design from Central Saint Martins played a pivotal role in Fares’ evolution as a jeweler. She recalls one of her tutors declaring to the students. ‘If you want to be a jewellery designer you need to understand not just what’s in your imagination but in reality, who are the people you are designing for?’ It is a sentence that moving forward, underpinned how Fares worked. Distilling her observations of women going about their business, seasoning them with her findings in her travels and aiming for her clients to not only be bejeweled but also extraordinary.

Touche De Bois Cuff in Ebony and Diamonds. Image courtesy of Noor Fares

Travel, homage and respectful interpretations

Who or what is the muse? What are the questions that are answered by your work? What is inspires you? Fares gamely laughs as we jest about the jewellery bingo questions asked of designers. However, looking at her body of work it becomes clear that travel, cultural and spiritual inflections abound in her collections. The Art Historian in her is never far away, with observations and correlations filed away in her memory bank for further review and expansion once she returns to her studio. Of travel, she relates “maybe sometimes I will pick a destination because I’m researching for a collection but also it sort of happens more organically. Sometimes I will get inspired because of a trip or often there are recurring themes that draw me to a specific place, and I will look for something specific; it can be spiritual places, pilgrimage sites, archeology and craftsmanship.” Fares gleans as much as she can both from the specificity of locations and the way visuals or themes she has seen might have correlations elsewhere. “A great source of inspiration has been visiting Queen Neferteri’s tomb and the Valley of the Queens, just seeing these murals and the way jewellery is worn, stacked and styled really and the symbols and stones that are used. There are a lot of parallels between Ancient Egypt and Ancient India from stones like lapis, carnelian and aventurine and their use because of the powerful properties they represent” she shares.

Vishuddha Drop Earrings in Lapis Lazuli, Turquoise, Blue Enamel and 18k Yellow Gold, Image Courtesy of Noor Fares

Careful not to lurch into the realm of cultural appropriation, Fares instead observes, learns and uses her findings to create pieces she offers as part of a larger canvas of interconnected ideas that stretch beyond time and peoples. From gemstones and crystals that are attributed with similar qualities across continents to belief systems that promote or acknowledge the symbiotic relationship between mind, body and spirit, she presents ways for the wearer to engage via her collections. “I am not trying to force anyone or saying ‘this is how it is’. It’s a suggestion” she asserts. Nevertheless, said theses are sensitively tackled. The Prana Collection (which derives its name for the Sanskrit for ‘Breath of Life’), is not only a paean to the seven chakras but also a considered exposition of seeking balance and continuous positive energy through the jewellery one wears. Pieces elucidate the messages vividly. One such example is the Svadhistana Pendant, which alludes to the sacral energy that governs sensual pleasure and is represented ordinarily by the color orange. However, in Fares’ jewel form, the intensity of said pleasures is represented in a saturation of orange hues: a carnelian with a fire opal inlaid in enamel and a multi-gemstone pavé of brown diamonds, amethysts, yellow and lavender sapphires and black rhodium. A seventy-centimeter chain allows for the pendant to be worn deep on the torso, making it a sexy evening accompaniment or a vivid daywear reminder of what lies beneath.

Svadhistana Pendant, 18k Yellow Gold, Fire Opal, Carnelian, Diamonds and coloured gemstone pave. Image Courtesy of Noor Fares

Fares asserts that for her, “jewellery is a talisman, an amulet, that can hold memories, contain healing properties and have protective qualities.” In many ways it is a mantra that informs how she works and creates and hints at the embedded energy she hopes will travel forth into the wearer’s life too. It is an intention echoed in the Madhaya Ring, which Fares created as an ode to the Lotus flower, using emeralds from the famed Muzo mine. “Emeralds are a very powerful stone, and I love how the piece looks like a magical object”, she observes.

Muzo Madhaya Pinky Ring, Sugarloaf Emerald, Pink and Blue Sapphires, Diamonds and Tsavorites, Image Courtesy of Noor Fares

With the Inle collection Fares’ ideas are a response to travels to Myanmar, translated into a collection which doubles up as a love letter to the jewellery made in Pedang state and the women who wear it, with opals, labradorite and moonstone taking centre stage.

Inle Labradorite, Pearl and Diamond Pendant, Image courtesy of Noor Fares

Self-care and the importance of inner healing are evoked in the Dawn Crystal pendant featuring a 15.5 carat kunzite with an amethyst, pink and blue sapphire pavé set in mother of pearl that is part of Fares’ Krystallos Collection. Kunzite which is known for increasing compassion and accelerating emotional healing is also a tactile prompt for wearers to connect with every day, with the rainbow pave a joy=tinged reminder of what is possible. The balance between highlighting belief systems that have their roots in antiquity and creating pieces that are modern in their ease underpins every collection Fares makes, and she is committed to creating pieces that are multifunctional on the metaphysical and tangible levels.

Dawn Rainbow Pendant, 18k Grey Gold Rock Crystal with Opal and Coloured Sapphire Pave, Image Courtesy of Noor Fares

Stories, Craft and Community

Nomenclature plays an increasingly important role within the jewellery landscape, with many creators actively moving away from the word designer to embracing the term jewellery-artist or simply jeweler. However, when the question is posed, Fares warms to the theme giving a fulsome response. “I have actually thought about this a lot, and I would describe what we do as fashion fine jewellery. Why fashion fine jewellery even though it is not a fashion item? As automatically that assumes what we make is seasonal? No, it is because we make jewellery that is worn with contemporary fashion and often sold alongside seasonal fashion items.” It is a truism which is witnessed in her earlier collections being stocked in the likes of Browns, Dover Street Market and the now closed Colette and Barney’s, but it also speaks more overtly to the hopes and aspirations Fares has for her jewels once bought. These are not pieces that are for the family vault, or to be worn with a phalanx of bodyguards, but rather the jewels are beautiful tools to help articulate aspects of oneself and compliment equally thoughtful apparel. Recent pop-ups have seen Fares show her jewels alongside independent fashion brands such as Racil, whose elegant elevated separates and statement yet uncomplicated dresses are a natural fit for her maison. “It is really a win-win situation for all of us”, she says of the pop-ups, “and these things don’t really compete because more people come and it is also less intimidating for clients when there is more than one brand. And also it’s a vibe and community of people who share similar values and similar scales of businesses.”

A selection of Rings and Earrings from the Prana Collection. Image Courtesy of Noor Fares

Fares is friends with many of her jewellery peers, who like her have charted their own successful paths in the industry. “I really appreciate the work of some of my close friends Fernando [Jorge], Eugenie [Niarchos] and also Dezso by Sara Beltran. I am really grateful for these friendships because we sit together, and we brainstorm, and we exchange ideas.” The camaraderie has also provided critical assistance at critical moments for her business. “It had been my goal to produce in Jaipur and Sara Beltran literally took me by the hand and set me up. I spent two days with her, and she gave me all of her suppliers, and my workshop is the same as hers and she is so generous. She even helped me find a production manager.” In an industry where suppliers and craftspeople become closely guarded secrets this spirit of inclusivity speaks to a generational shift where collaboration and ecosystem building are viewed as higher goals. Furthermore, Fares like many of her peers sees working with artisans in a more formalized setting and expanding opportunities in the locations where gemstones are actually sourced as an essential part of her offering. It is a move that goes beyond optics and segues into the maison’s longer term plans. “India is such an important place for colored stones and carving so I definitely want to continue working there…But I am an open to working with artisans in different places too eventually.  What matters is that things are small scale, the artisans are happy and we are carrying an aesthetic skillset that has been passed down from generation to generation. I am also looking for women artisans” she adds, noting that cutting and carving remain predominantly male dominated, but hopeful that in time, things may change.

Sahasrara Earrings, Carved Amethyst, white diamonds and black rhodium. Image courtesy of Noor Fares

Although other locations get a design shout-out from time to time, India is very much the main character in the stories Fares tells through her jewels. “You see it everywhere; the culture, the sculpture, the use of colour, the gemstone astrology” she notes when considering her body of work in its entirety. Referencing a culture she has immersed herself in over the years has been instinctive, but she is always respectful; acknowledging the source material with her choice of nomenclature for her collections and always attributing the genesis of her ideas and the special place the subcontinent holds for her. The Navratna collection, an homage to the nine planets in our solar system also centers the role Indian astrology plays in culture. From a creative perspective the collection’s genesis allowed Fares to be unabashed in her use of colored gemstones, with the Upratna pendant a statement piece to rival any constellation featuring diamonds, carnelian, amethyst, crysoberyl, cat’s-eye, red garnet, lapis, peridot, pearl and white topaz.

Midnight Upratna Amulet, Grey Gold Pendant with Enamel, with Diamonds, Whitee Topaz, Pearl, Peridot, Lapis, Red Garnet, Citrine, Catseye, Crysoberyl, Carnelian. Image courtesy of Noor Fares.

Similarly, the Padma collection, which takes its name from the Sanskrit word “Lotus” is a masterclass in carved stone craft, with Fares telling the story of the aforementioned Lotus Flower which traditionally is seen as an emblem of divine beauty. Highlights include the Madhya earrings made of carved black onyx with lavender and pink sapphire pave, the Nirvana Cocktail ring featuring an Ethiopian Opal with blue and yellow sapphire, amethyst and diamond pave and the Kamala necklace with rainbow moonstone, diamonds, and the intriguing addition of apatite and iolite – two minerals associated with creativity and psychic abilities respectively. Together, the pieces are part of a larger thesis where jewellery is posited as a holistic tool for spiritual and physical health working in tandem with belief systems and outward expressions of health. For Fares it is never a case of either/or but rather one of a celebration of all.

Madhya Carved Earrings, 18k Yellow Gold, Carved Black Onyx, with Amethyst and colored sapphire Pave. Image Courtesy of Noor Fares

Nirvana Diamond Ring, 18k Grey Gold Ethiopian Opal Ring with Blue Sapphires and Diamonds. Image Courtesy of Noor Fares

Kamala Necklace, Grey Gold, Rainbow Moonstone, White Diamond, Iolite, Appatite. Image Courtesy of Noor Fares

A polyglot and polymath’s design language

When you can claim as many locations as home as Fares can, trying to trace a through-line between your design language, credo and legacy becomes complicated. Born in Paris, Lebanese by descent and having lived in London and New York and with much of her production now occurring in India, her practice has been imbued with five cities with rich jewellery histories that have played an integral role in jewellery’s development globally. “When you put it like that it is true” she says laughing in acknowledgment.  “Paris with the Place Vendôme high jewellery culture, I have seen it, Lebanon where it is very much about the personal, I remember my mother going to the local jeweler and getting things made, and that sparked my desire to design and think ‘oh I can get things made, that’s an option’. And then there is India, which I have been traveling to regularly for inspiration, gemstones, and the jewellery I make. And finally, London with Hatton Garden and its big creative community has definitely been an inspiration and part of my evolution.” However, varied languages spoken, divergent histories and cultures imbued aside, Fares consistently returns to specific themes in her jewellery, with the lens of the locations adding texture and context. Spirituality, in all of its expressions globally and the transformative powers of gemstones on the body and the psyche are foundational principles. From Fares’ perspective, her body of work explores “the recurring themes of carved stones, symbols, geometry [and] subtlety I would say, where it is not too literal and it leaves space for you to wonder as well.” Each piece is as if she is both is in conversation with the ideas and notions presented, the gemstones and metals used themselves and finally the wearer, who like her is curious, open and with a strong aesthetic sensibility.

Sanna Optik Ring, 18k Yellow Gold Hand-Carved Rock Crystal with Enameled Mother of Pearl, Rainbow Sapphires and Diamonds. Image Courtesy of Noor Fares

A selection of rings from the Khanda Collection including the Rupa ring (left forefinger) and Rupa Pendant, Sanna Optik Ring (left middle finger). Image Courtesy of Noor Fares

Any attempt to describe Fares’ design language cannot fail to mention and highlight her unabashed love of color. Both her Prisma and Khanda collections are luminous examples albeit with different starting points. “I literally got inspired by op-art paintings like Bridget Riley”, she says of the Khanda Collection with the optical illusory effect of pieces emphasized with a clever use of geometric shapes, layering of stones and cold enameling. In the numerous processes required to make them, the pieces also mark an ambitious new chapter for Fares with stones not only painted and layered but set within one another. The metaphysical, however, is never entirely far away with Khanda also being a comment on Buddhist wisdom as it references the ‘five aggregates,’ or components which make up a human being.  Rupa the physical body is reimagined in Fares’ Rupa Ring a carved rock crystal in the form of an oval is set in diamond pave, features hand painted mother of pearl and is set with rubies and an opal. The potentiality for gemstone damage, given for instance the high-water content of opals, a stone Fares uses frequently, is immense. “I love understanding what we can do with these stones” she adds.  Samskhara which Buddhists believe is where thoughts, desires and intentions reside, is reimagined in two forms: first as a hexagonal Amulet-like pendant where carved rose quartz crystal, glitter enameled mother of pearl, white, pink and orange sapphires joined with amethysts to create an intricate depiction of how we become our thoughts and beliefs and this an invariably complex state. Secondly, the pendant again features painted rock crystal, this time looking like a Day-Glo three-dimensional piece. The textures and colours have the overall effect of time travel, with the psychedelic mood of the 1960s, complete with the at the time de-rigueur eastern pilgrimages, translated into pieces for the here and now.

Samskara Amulet, 18kt Grey Gold Carved Rock Crystal, Glitter Enameled Mother of Pearl, Sapphires and Amethysts. Image Courtesy of Noor Fares

Samskara Painted Pendant, rose quartz, hand painted mother of pearl, garnet and diamond pave. Image courtesy of Noor Fares

In the instance of Prisma, the cycle of life is explored but with the kaleidoscope of gemstones and geometry used, and hand painted snd carved crystals, acting as a means of meditating to a higher level of consciousness. Pieces named Rhombus, Pentagram and Kaleidoscopic Eye Pendant tell a story in and of themselves but so too do Fares’ fascination with the emotional alchemy found when one is wearing the right piece for you. “I think tactility is an important quality for jewellery because the pieces are on your skin [and] that relationship becomes so intimate between one’s body and the jewellery.” In Fares’ design universe the sensual and spiritual’s convergence is imperative.

Rhombus Pendant, 18kt Grey Gold Amethyst Pendant with Ethiopian Opal Cabochon, grey and white diamonds. Image Courtesy of Noor Fares

18k Grey Gold Hand Carved and Engraved and painted Rock Crystal with Diamond Pave. Image Courtesy of Noor Fares

Craft, Luxury and Legacy Building

The fine jewellery industry is a ruthless mistress. In the fourteen years Fares has been in business there have been many independent brands that have shone bright momentarily only to be beset with challenges that lead to their shuttering. Fares’ focus on craft, vivid storytelling with gemstones to match and segueing enduring truths found across the world have been pivotal to her success. Currently, she occasionally creates special commissions, but a full foray into high jewellery is one collectors and admirers of her work may have to wait a little longer for. This is not to say Fares doesn’t have her own high jewellery fan-girl moments; “I love the work of Victoire de Castelaine I think she is a true jewellery artist, the way she puts colour and her risk taking in design using very precious stones is truly admirable. I also love James de Givenchy at Taffin.  His use of stones and different techniques and materials, is so cool and classic at the same time.”

Muzo Lotus Earrings,18k Yellow Gold, Emeralds, Rose Quartz and Diamonds. Image Courtesy of Noor Fares

Fares’ commitment to seemingly always researching and observing that jewelers, customers both existing and potential, historical buildings, traditional practices are all absorbed, as well as her daily practice of “paying attention to the way people are wearing jewellery what are they doing” has provided the building blocks for her brand’s resilience to the weather-vane of virality and of-the-moment cache. Rather than creating ego-driven or trend facing collections, which may or may not convince, she consistently translates the wants and desires of existing clients and lures new ones in the process. Of her clients she asserts they “don’t fall into an age category” and a monthly newsletter she shares with her community is as much a celebration of them as it is of new collections. She speaks warmly of her clients. “Most of them are outliers in their fields, often they are entrepreneurs, and it has also been a really interesting way to learn more about our clients.” Affinity and luxury with the absence of cliquey exclusivity has evolved into a meaningful community of collectors.

Selection of Pendants, Rings, Earrings and Bracelets from the Prana Collection. Image courtesy of Noor Fares

“Jewellery is the medium through which I express myself artistically, so [with] anything that I feel strongly about, my first instinct is to translate it to jewellery” shares Fares. It is thus unsurprising that her strong sense of social justice and philanthropy are reflected in two pendants designed for causes dear to her heart. The “Beirut Rise” pendant whose proceeds help assist the work of Beitel Baraka an apolitical non-profit that helps vulnerable families affected by the Beirut Blast of August 2020 was a bestseller. Similarly, her “Free Palestine” pendant which benefits the Galilee Foundation a charity that promotes educational and cultural initiatives for Palestinians in Israel and in the Occupied Palestinian Territories was also well received. The pieces made and sold years before the region’s current crises were always first and foremost about raising awareness and much needed funds for the causes as well as providing a means for clients to express their compassion for others in less fortunate circumstances. It is a balance that is tricky in these polarizing times, nevertheless it is illustrative of the powerful possibilities that jewellery holds. Just like the fashion slogan t=shirts, first popularized by Katherine Hamnett, her actions can be viewed as an important intervention, with a jeweller holding space in discourses that have become distorted and politically frought.

Beirut Rise Pendant, Rock Crystal, Rose Gold, Coloured Sapphire Pave. Image Courtesy of Noor Fares

As she continues to forge her unique path Fares is already thinking of the potential beyond wearable objects: “I am open to working with artisans in different places although I definitely see myself producing objects in India” she adds segueing once more into the stones’ potentialities “harder stones like agate and chalcedony you can literally carve in every shape, like sculpture and I find it so cool to be able to do that” as she expands on the possibilities for this as yet uncharted area. Fares’ passion for gemstones, civilizations both old and existing and creating pieces that allow one to journey through life better is equally infectious and profound. Jewellery has always been more than pretty stones housed in metals be they precious or otherwise; and this truth is expressed in all of Fares’ collections thus far. It can conserve heritage, reimagine culture anew, offer conduits to the metaphysical that are not contingent on ascribing to a particular doctrine, and elicit child=like wonder from the array of colors viewed. Speaking of one of her favourite pieces made Fares notes “My rainbow rings the tribal earrings are old favorites. I designed them such a long time and they have a different aesthetic to a lot of my other collections, but they still go well together.” It is almost a mantra for life; embrace the old and new, create a diverse and aesthetically inclined community, trusting that in the mix it will all go well together. “There is the energy I put in my work and the energy of the person that is drawn to it” she explains. Consider it a dance but one where both parties arrive open to share, commune and pass on. From the jewels themselves which are modern heirlooms in the making to the notions that they dare to propose: for us all to embrace and move to the cosmic rhythms of life.

Moon Tribal Earrings, 18k Yellow Gold, Pearl, Diamond, Amethyst, Carnelian, Cat’s Eye, Citrine, Emerald, Lapis, Ruby, Blue Sapphire, Orange Sapphire, Yellow Sapphire

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