Learn Tabayer’s sensual gold jewelry
Tabayer rethinks historic inspirations for chic and modern-day jewellery style
‘I’m from Uzbekistan, where by amulets are portion of our culture and close-knit spouse and children traditions, so I’ve normally been motivated by the electricity and symbolism of jewelry,’ claims founder and CEO of Tabayer, Nigora Tokhtabayeva. ‘When I moved to the US, I observed a distinct way of lifetime, distinctive architecture, various spaces, the expanse of the Miami town, the parks, and modernist sculpture.
‘There I also fashioned a quite assorted friendship team with amazing ladies of diverse backgrounds from all corners of the entire world, and arrived to the realisation that symbols of defense ended up joined to spiritual symbols. This realisation manufactured me want to build a thing universal that could be worn by all of my close friends.’
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It is a philosophy encompassed in the sculptural silhouettes of Tabayer jewelry, which kind imperfect swirls of Fairmined gold and diamonds hugging the earlobe, fingers and wrists. Tokhtabayeva will take historical symbols – such as the Mesopotamian image of security, Inanna’s knot – and lessens them to their important varieties.
‘We wished to translate an esoteric, unusual, otherworldly object into a new symbol for right now,’ Tokhtabayeva states. ‘We were wanting to produce a image wherever a url was noticeable but not quickly clear. The strategy of reimagining something sacred in a reductionist, present-day way felt like how we could give anything that lived and served its time a new journey in a new age.’
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The ensuing coiled styles are sensual and tactile, with a generously drawn form eschewing chilly minimalism. ‘The tubular style of the “Oera” knot functions a knife’s edge jogging from the centre to a single facet, resulting in a pear shape on just one stop, and the “tube” form functioning from the centre to a further side, resulting in a circular form on the other end, which symbolises the stability of vulnerability and power,’ states the jewellery designer.
‘Our system took us to Barbara Hepworth, Jackie Windsor’s 30 to 1 Bound Trees, Eva Hesse, and afterwards to Isamu Noguchi’s tubular minimalism and Alexander Archipenko’s interaction of mass and void. The later influences also injected this practically mathematically precise consideration of each individual factor in the structure.’ §