So-Le Studio: Portrait of a Sustainable Jewellery House

Maria Sole Ferragamo is a natural raconteur of the most elegantly chilled kind. As the founder and creative director of So-Le Studio she has made story-telling a pillar in her creative process, and from the beginning there is a poetic serendipity in her chosen career and how she discovered or rather it discovered her. She reflects “I fell in love with making jewellery when I was nine years old…My Mum gifted me a box with some tweezers, some beads and a couple of wires and she taught me a very simple technique to make necklaces and bracelets and it was love at first sight. Although, I have found pictures of myself playing with my grandmother’s jewellery and there is a funny picture of me wearing two watches on one wrist, so I guess I fell in love with accessories when I was younger!” she says before letting out an infectious peal of laughter. Ferragamo’s choice of word ‘making’ and turns of phrase ‘love at first sight’ feel particularly pertinent, especially as our conversation unfolds. Whilst she of course designs, she does not separate herself from the manufacturing process and her pieces have the appearance of having at least in the ideation, been crafted and modelled by hand, and in this instance by Ferragamo herself. Passion, rather than plaudits drive her, a theme we return to severally. She describes herself as being “very lucky to be able to work with people who really operate from the heart and I feel there is a multiplication of this energy and this passion….I think I would also like to show to the world outside that things can work out this way.” What might to cynical minds sound like a romantic notion or a flight of fancy has proven to be true. Indeed staying loyal to her principles has paid dividends: since launching So-Le Studio in 2017, growth has been steady and upward with a direct-to-consumer model expanding to include stocking in noted boutiques around the globe. As Ferragamo adds that “we took our time to expand into strategic stores.” Furthermore, the world and luxury in particular have changed. People want to hear the founder’s and the maker’s story. They also want to connect with and ultimately purchase pieces that align with their values in the widest sense. It is not enough to create aesthetically pleasing items, they need to a window to wider vistas and enduring truths.

Maria Sole Ferragamo wears the Sei Earrings in Gunmetal Leather. Image Courtesy of So-Le Studio
Maria Sole Ferragamo wears the Sei Earrings in Gunmetal Leather. Image Courtesy of So-Le Studio

When Heritage and Pedigree Collide

We are speaking ostensibly due to her inaugural turn as a guest curator for Sotheby’s Luxury Edit, a series of auctions that will see a noted taste-maker collaborate with the auction house, creating their own curated list, which the general public can purchase too. Launched in September, the auctions will hold across the autumn months of 2022. For Ferragamo, the project which cuts across Sotheby’s principal locations, centres on three of their posts: London, New York and Paris and has the added dimension of her designing a limited-edition piece of jewellery rooted in each city’s contemporary architecture canon. “Sotheby’s was a great honour… and what is really interesting is they are perhaps observing a shift that is going on and are wanting to engage with a younger generation and inviting the younger generation to make more conscious choices.” Fulfilling that remit, Ferragamo’s selection shows the breadth of concerns and interests of younger Millennials and Gen Z: alongside Nike Yeezy 2.0 Red October trainers signed by Ye himself and a first edition of Ian Fleming’s Diamonds are Forever are unusual and highly collectible pieces from perennial luxury brands such as Elsa Perretti’ for Tiffany’s Wave earrings, a rare Hermès Picnic Birkin handbag and a diamond double clip brooch from Cartier.

The Great Bracelet, Ice Blue Leather. Image Courtesy of So-Le Studio
The Great Bracelet, Ice Blue Leather. Image Courtesy of So-Le Studio

Ferragamo is more than a woman with a strong curatorial eye. Prior to her MA in Jewellery Design at Central Saint Martin’s she initially trained as an architect a discipline that is writ large in her own body of work and one with which she drew upon for her capsule collection for Sotheby’s. “I thought to get inspired by landmark architecture that was built after the year 2000. So, I researched and as usual went with my heart and connected with buildings that gave me emotion and inspiration. For Paris, I chose the Louis Vuitton Foundation building by Frank Gehry, for New York the Vessel by Thomas Heatherwick and for London the Great Hall in the British Museum by Norman Foster and you can tell that these buildings are all characterized by important structures and patterns which are the elements that always drive my inspiration.” Iconic is a word grossly abused in modern language usage. But in this particular instance all three buildings possess if not the resemblance to an icon, then certainly are in keeping with the well-established and widely acknowledged reputations of their respective architects, whose acolytes in turn swear devotion to them. Translating this and adding her own recognisable design codes, Ferragamo has created the Great Bracelet, a statement cuff for that arm that is a riff on the glass roof of the Foster building. The Fondation Ear Cuff is reflective of the shell-like structures that are a familiar Gehry motif and dominate the pavilion and Heatherwick’s Vessel is reimagined as a pair of ear clips that reflect the honeycomb shaped cladding. Sculptural, architectural, and wearable objects are all adjectives and terms that have been frequently used to describe Ferragamo’s work something she is not averse to: “Architecture really informs my practice. Buildings are organisms to me. They are the perfect balance and harmony between form and function… [furthermore] remaining consistent and coherent to my vision and credo, I actually discovered that this was an incredible potentiality because it allowed different crowds, different minds, different eyes to appreciate my pieces. People of course wear them, but they also put them somewhere in their house and appreciate them as objects.” Expansive thinking on her part has allowed Ferragamo’s work to exist beyond rigid categorization whilst being anchored firmly in her conceptual and idealistic beliefs.

The Fondation Ear Cuff in Gold Leather. Image Courtesy of So-Le Studio
The Fondation Ear Cuff in Gold Leather. Image Courtesy of So-Le Studio
The Vessel Ear Clips In Green Leather. Image Courtesy of So-Le Studio
The Vessel Ear Clips In Green Leather. Image Courtesy of So-Le Studio

Ferragamo wears her family heritage lightly. A grand-daughter of Salvatore Ferragamo who alongside Edoardo Fendi and Guccio Gucci are considered the founding fathers of Italian luxury, she allows her work rather than familial connections to speak for her. However, heritage is an inevitable part of the So-Le Studio story. Her choice of principal material, deadstock leather, was initially sourced from family factories before expanding to other factories in and around Tuscany: “When I was very young and I was visiting the family factory I fell in love with leather, and I later became aware that there was an abundance of [deadstock] leather. It came naturally to me to say ‘I really want to make something out of it I cannot accept that it gets wasted. I need to turn it into jewellery. It was an instinctive action.” And like her famous ancestor who reimagined women’s footwear with the wedge heel – an innovation that married height and comfort – Ferragamo dared to dream of different usages for leather, ideas that have in turn challenged notions of intrinsic value and luxury. She expands, “leather had all the potentiality to become the protagonist in a piece of jewellery. But when I started talking to people about it, they said ‘you cannot be commercial if you use only leather’ and the thing is I love challenges.”

Lolita Cuffs in Gold Leather. Image Courtesy of So-Le Studio
Lolita Cuffs in Gold Leather. Image Courtesy of So-Le Studio

Ferragamo anchored her design language on fully exploiting the malleability leather had as well as the dazzling array of surface treatments one could utilise and the relative lightness of pieces which if made in metal would be uncomfortable in the wearing. The Luminous – a dramatic necklace that sits across the chest or indeed the back (Ferragamo anticipated this in the design) has become such a runaway success for the house that it is reinvented in different colour-ways each season. The same is true of the Revolve – Ferragamo’s contemporary take on jewellery’s hardy perennial – the hoop earring, with woven leather strands creating a 3-D effect and finally there is the Leila Cuff, that in its reversable nature becomes a versatile piece with multiple styling options.

Luminous Necklace in Black Crystallised Leather. Image Courtesy of So-Le Studio
Luminous Necklace in Black Crystallised Leather. Image Courtesy of So-Le Studio
Revolve Earrings in Petrol Green Leather. Image Courtesy of So-Le Studio
Revolve Earrings in Petrol Green Leather. Image Courtesy of So-Le Studio
Leila Cuff in Rose Coral Leather, Image Courtesy of So-Le Studio
Leila Cuff in Rose Coral Leather, Image Courtesy of So-Le Studio

Optical Illusions, Present Realities

“I am obsessed with optical illusions so for example all those sorts of things that invite you to look deeper to look beyond.” Ferragamo is a fan of many of the leading lights in the Op-Art school such as Bridget Riley, Alberto Biasi and Carlo Cruz-Diez . The guiding principles of the school; creating visual sleights of hand that imitate movement are translated in her own work, but rather than mimicking movement – as jewellery worn on the body inevitably does – she has chosen to imitate the metals themselves and in doing so challenge what we think is deserving of the being depicted as a precious piece of jewellery. “I thought I will challenge this perception and make jewellery that everyone would think should be made out of metal – so we are not only talking about illusions but also provocation.” Occasionally, the nomenclature of pieces supports her intent: ‘Not a Knot’ is both explanatory but also an invitation for opening perspectives. So too is ‘Alie’ which means ‘women of the sea’ but just like the mythical mermaids that inspire it invokes the mutable nature of an imaginary sea creature and should the wearer choose – of themselves too. Ferragamo expanded her unexpected materialism thesis to include recycled brass in the making process, but her intentions remained the same. Pieces such as the Doodle and Cocoon earrings possessed the same insouciant spirit of their leather counterparts, with the same exacting attention to detail and sculptural forms that have become house codes.

Not a Knot Ear Clip in Silver Leather. Image Courtesy of So-Le Studio
Not a Knot Ear Clip in Silver Leather. Image Courtesy of So-Le Studio
Alie Earrings in Silver and Gold Leather. Image: Aytekin Yalcin
Alie Earrings in Silver and Gold Leather. Image: Aytekin Yalcin

Debates have swirled around So-Le Studio’s pricing. Given that Ferragamo is not compromising on her design process or complex artistic execution, many have suggested that the pieces should be priced higher, but she counters this suggestion passionately: “Oftentimes, people see my jewellery and they are surprised, they are excited, they feel some emotions given that they are something so different. There is a sense of irony there. They are fun so I didn’t want to put such a big barrier as a really high price point. I wanted a price that would allow people to buy them on an instinct. That they could follow that initial emotion and purchase a piece.” Although she doesn’t explicitly say so, there is something quietly revolutionary in her modus operandi. Firstly, Ferragamo is not placing profit above all else, but rather emotion and connection and in doing so is to an extent democratizing luxury. Jewellery collecting, especially pieces that fall in to the ‘art-jewellery’ category can be an expensive and thus elitist proposition. In making pieces available on the open market that are both collectable and immediately wearable her work sits at an interest nexus. Ferragamo’s pieces are not ones where collectors will have to factor in a security detail when they step out in them. Furthermore, her initial direct-to-consumer model removed a barrier for those who might be intimidated by the classic jewellery store or gallery proposition, where being unknowledgeable of certain codes can make the retail process painful. But this is not to suggest that Ferragamo has abandoned the natural habitats for her pieces. In addition to her collaboration with Sotheby’s, Ferragamo has worked with the noted mecca in London for art-jewellery Elisabetta Cirpriani Gallery and has not ruled out further collaborations of this sort. “I have always kept a foot in the art world” she says as way of explanation.

Doodle Earclip in Gold Coated Brass and Enamel. Image Courtesy of So-Le Studio
Doodle Earclip in Gold Coated Brass and Enamel. Image Courtesy of So-Le Studio
Cocoon Ear clips in gold coated brass and yellow enamel. Image Courtesy of So-Le Studio
Cocoon Ear clips in gold coated brass and yellow enamel. Image Courtesy of So-Le Studio

When discussing the wider jewellery world, Ferragamo is effusive in her praise for practitioners she admires. “I really admire Fernando Jorge he was at Central Saint Martin’s too, and I love that his jewellery is so sensual, so architectural. And I really love the work of Marina Bulgari for the aspect of engineering in all of her pieces. I am a fan of hardware and hardware shops and for some reason although she was working with gold and precious stones, I see that mechanical aspect in her work.” But it is two artists from the Padua School that she reserves her most laudatory comments, declaring herself a long-term fan of Giampaolo Babetto and Francesco Pavan. As with Ferragamo, the Padua School jewellers are known for their experimental usage of other materials with the gold on their bench being joined by Perspex, glass and resin and geometric and sculptural forms being explored to their full abstract art possibilities. For her part Ferragamo is reluctant to be drawn into discussions of being part of an emergent school of thought noting “I would love to be part of a movement but to answer this question we will need some decades to elapse.” It is a refreshingly humble approach in an age where chasing premature legendary status is de rigeur but it hints at a creative mind who feels she has more in store to share.

Loie Earrings in Gold Leather, Image courtesy of So=Le Studio
Loie Earrings in Gold Leather, Image courtesy of So=Le Studio
Double Necklace Brass and Enamel. Image Courtesy of So-Le Studio
Double Necklace Brass and Enamel. Image Courtesy of So-Le Studio

Trends Become Thee

Owning one’s own narrative, authenticity and answering important questions around sustainability in light of the climate emergency have become hallmarks of the successful retail business, but for Ferragamo they have been part of her brand’s DNA from genesis to date. “I never did anything because I want to follow a trend or because it will fill a gap in the market. My goal is to create desire to create dreams.” Ferragamo often appears in her campaign imagery, it is an audaciously honest move – relying on her relatability as a working woman rather than a professional model to show how ‘easy yet transformative’ the pieces are. She elucidates “jewellery belongs in the cathedral of accessories so they are often seen as secondary, but they actually have a primary role in creating a look and expressing someone’s personality.” Whilst clothing often gets top billing as the non-verbal cue to our interior selves, jewellery is an equally invaluable signpost. “If you look at my pieces some of them remind you also of armour but then there is also comfort. As I want my customers to feel beautiful and protected.”

Gehry Ear Pendants in Silver Leather, Image Courtesy of So-Le Studio
Gehry Ear Pendants in Silver Leather, Image Courtesy of So-Le Studio
Athena Necklace in Gunmetal Leather, Image Courtesy of So-Le Studio
Athena Necklace in Gunmetal Leather, Image Courtesy of So-Le Studio

When we discuss the typical So-Le Studio customer, Ferragamo smiles and nods as if she is describing an old friend: “They have a strong sense of taste, are very interested in art and fashion and they have their own personality. They admire beauty and quality and you can’t really tell the brand they are wearing but they are super-chic. They see in my pieces a vessel to enhance, to express their personality and stand out…they travel a lot, are into a healthy lifestyle, don’t really care about what people think of her.” Her clarity born from years of observation and the fact that the traits mirror many of her own values has meant that Ferragamo has been able to expand on the brand’s offering without any of her actions feeling contrived. Organic seems to be her lodestar, and as the world has caught up with many of her core tenets – with jewellery brands showing off their sustainable credentials, bandying their memberships to various councils and environmentally friendly bodies, by description what So-Le Studio offers is the definition of conscious consumption, no further qualifiers required.

Idra Necklace in Gold plated Brass. Image Courtesy of So-Le Studio
Idra Necklace in Gold plated Brass. Image Courtesy of So-Le Studio

As a pioneer Ferragamo is happy that the world has caught up and her ideas have coalesced into a recognized benchmark. The team remains small but focused, and simultaneously rooted in the here and now but still with laser focus on the future. “With the legacy I want to leave I want to be a study where things of beauty were made, where things were made with respect, and if there is something I really believe in it is joining mind and heart and talent and that for me is the real sustainability.” For Ferragamo So-Le Studio is not just a blueprint for designing and making wearable objects but a lifestyle too. Luxury needn’t be expensive, extractive or exclusive and design that is both intuitive precise and born out of love and compassion isn’t an elusive notion in the slightest but is thriving and Tuscany and being shared with the world.

Model wears Luce Gold Rain Ear Cuff in Leather and Maria Sole Ferragamo wears the Nastro Earrings in Silver Leather. Image Courtesy of So-Le Studio
Model wears Luce Gold Rain Ear Cuff in Leather and Maria Sole Ferragamo wears the Nastro Earrings in Silver Leather. Image Courtesy of So-Le Studio

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