The Designer Making High Jewelry Look Good Again
Courtesy of Ana Khouri
Ana Khouri
The Designer Making High Jewelry Look Good Again
By Bonnie Langedijk
Jewelry has always been in a league of its own. From its seamless ability to move between many industries – from art to fashion to design – to its unique proposition as to why people buy into it. Jewelry remains one of the most intimate of purchases, allowing makers to connect with wearers through carefully crafted pieces from the finest materials that hold meaning far beyond monetary value.
New York based jewelry designer Ana Khouri fully embraces these unique characteristics of the age-old craft. Starting out as a sculptor, Khouri developed a deep knowledge and appreciation of the female form. Her timeless designs are sculpted around the natural shape and form of the body, creating this sense of familiarity and nonchalance that’s hard to create with high jewelry pieces. The designer’s modern approach of designing with the wearer in mind, is probably one of the reasons why Khouri has become one of the most sought-after designers of our time – friends of the brand include Greta Lee, Mary-Kate and Ashley Olsen, Paloma Elsesser and Aurora James.
While Khouri’s brand always held a unique position at the intersection of art, sculpture, and the world of high jewelry, it was the designer’s decision to carve out a niche of her own that really challenged industry norms and set the brand apart in the world of high jewelry. The deliberate shift in business model – from fashion retailers to a more bespoke approach – allowed Khouri to produce fewer quantities and focus on one-of-a-kind pieces. Her One-of-a-Kind High Jewelry can be viewed exclusively at her by-appointment space in New York, While her Edition Pieces are also exhibited at The Row. Remaining rooted in art, as Khouri always intended to.
Diamond Phillipa Earpiece with White Diamond. Courtesy of Ana Khouri.
White Diamond, 3.20 ct White Diamond Setting Phillipa Earpiece. Courtesy of Ana Khouri.
Bonnie: Do you remember your first jewelry or sculpting-related memory?
Ana: My journey into jewelry making began during my time in art school. I had a show that showcased massive steel sculptures, with naked women wearing them over their bodies. A visitor approached me and asked if I would make her those same sculptures in a smaller scale, making it possible for her to wear them as small pieces around her body. From there, I began studying jewelry making and learning its functionality, with the hope of applying it to my work. I also fell in love with the materials I was discovering in my studies: gold, silver, and gemstones. I ended up falling in love with the art of jewelry making.
“I sculpt each design to COMPLEMENT the body, allowing the jewelry to come alive in harmony with the woman's form.”
Did something change in your creative process when you decided to focus on jewelry making?
Ana: As a sculptor transitioning to jewelry making, I had to learn a new medium. That meant shifting my focus from purely artistic expression to considering the functionality of each piece. I was creating work meant to be worn. It was no longer static art. Throughout this journey, I fell in love with the art of jewelry making and the unique qualities that the materials I now work with provide me. This new realm has absolutely further enriched my creative exploration.
How would you describe your approach and philosophy to crafting jewelry?
Ana: The feeling I want to impart is one of radiance, in every sense: that of light, of emotion, of energy and, of course, that of beauty. I sculpt each design to complement the body, allowing the jewelry to come alive in harmony with the woman's form. I find myself captivated by the intimate connection between the piece and the wearer.
Jewelry can often hold this sense of intimacy, especially if you think about how it sits on the body while designing a piece. Would you say your background as a sculptor enables you to take a different approach when it comes to designing and making jewelry? What does that process look like from start to finish?
Ana: My sculptures now serve as a study for the jewelry. I begin my process by sculpting, focusing on the shape and form. Once I have my ideas figured out, I will then start the jewelry-making process. Craftsmanship, design, the quality of the materials, and the meticulous attention to details – everything plays its part. Most of the time, the jewelry has to mold to the body of the wearer. It varies from piece to piece, as each one is unique or, in some cases, part of a small limited edition.
3ct Diamond Phillipa Ear Cuff. Courtesy of Ana Khouri.
5.58 ct Green Tourmaline, White Diamond Setting, 18K Fairmined Gold Necklace. Courtesy of Ana Khouri.
You have a very particular way of sourcing the gemstones you work with as well, right?
Ana: I value ethical and fair sourcing of all materials as much as the actual design process. In my practice, we use 18K Fairmined gold and ethically sourced stones. To ensure this commitment, we have a dedicated sourcing team. I grew up spending a lot of time in nature, surfing and horseback riding. I was taught to respect nature and take care of the environment. These values are embedded in every aspect of my work.
People have been adorning their bodies with jewelry for centuries. Do you believe the way people wear and value jewelry has changed? If so, why do you think that is?
Ana: Historically, jewelry has often held symbolic and cultural significance, representing status, religious beliefs, or personal milestones. While now, this still feels the same, I feel there has been a shift towards personal expressions and style as well.
Do you see any cultural differences in what clients want from jewelry, or how they approach buying pieces for themselves or a loved one?
Ana: Yes, there are cultural differences in what clients seek from jewelry and how they approach buying pieces. I believe that is tied to the fact that jewelry is intended to last through time. And also, to the fact that jewelry is a form of expression. It is more than an object of value. You wear it, yet it has symbolism – something much bigger than a moment in the present.
I agree. Jewelry is this unique category that’s adjacent to other industries, but really has its own way of existing in the world. Many brands are creating these worlds around their brands beyond just products. What are some of the key pillars of Ana Khouri as a brand, and how do you translate that vision into something consumers can continuously experience?
Ana: We are never about a product. Ana Khouri is rooted in a profound connection to my art upbringing, my work in sculpting, a profound respect for a woman's form and the usage of ethical and sustainable practices. This is in the foundation of everything I create and is key in shaping our identity as a brand.
18K Fairmined Gold Tripartite Phillipa Ring. Courtesy of Ana Khouri.
91 ct Green Tourmaline, White Diamond, 18K Fairmined Gold Earpiece. Courtesy of Ana Khouri.
Many fashion brands started creating their own jewelry lines over the years. Do you think it has any effect on the speed at which the jewelry industry operates? Do you think it has had a positive or negative impact on the longevity of design?
Ana: There is always a certain client for a certain product. The impact on the longevity of it depends on each designer or brand.
That’s true. You’ve always taken a slower approach, with smaller quantities. A few years ago you shifted your business model from working with fashion retailers to taking a more bespoke approach through selling your pieces yourself as well as at Tefaf and other auction houses. What was the thinking behind the change and how does exhibiting your pieces at select The Row stores fit into that way of working?
Ana: It was the way to go. It felt right. It was not planned. We gravitated towards this path. It felt natural. With time, I started to produce fewer quantities and focus a lot more on one-of-a-kind pieces. They are intriguing to me. I like spending my time on each piece. It became my focus. I never worked with collections. For me, each work is its own world. I’ve always released one-of pieces or a small-numbered edition piece instead of a collection. We always waited until the pieces were ready to be released at its own time, instead of following a delivery calendar. It is an art-focused approach that works for me. This approach works for an artist/gallery, not a designer/store. That is why our model never really worked with stores. It was a way to ensure that each piece received the attention it deserved at a slower pace, allowing for a more meaningful connection with each creation. This approach enabled me to maintain the integrity of my artistic vision.
As you said before, it's made with the intention to last. With taking an art-focused approach, do you feel part of the jewelry industry?
Ana: The industry is like any other industry. That’s why I don’t consider myself part of any industry, especially the jewelry industry. We do not make collections, we are not part of any showrooms or couture shows, we don’t participate in Fashion Week events, we don’t advertise or pay for anyone to wear our jewelry. We are not part of the industry. We work on mainly one-of-a-kind High Jewelry pieces or a few small edition pieces that we choose to showcase at our By-Appointment Space in NYC. Additionally, a few curated edition pieces can be seen at our friend’s place, The Row.
What are some of the biggest shifts you’ve seen in the jewelry and art space throughout the past five years. Have any of those shifts changed the way you approach design or business?
Ana: There will always be shifts. I’m not really interested in them. I am focused on the quality of my work.
Are there any other people you look to for inspiration or advice?
Ana: I believe the answers are always within, especially when you are creating an authorial work.
What excites you about the future?
Ana: The future.
