Kiran Aman formally launched Kiran Fine Jewellery in 2003 and over the years the brand has redefined the concept of jewellery as art. She is one of the very few jewellery designers in the country who creates collections, her most memorable (and our personal favourites) being Time Scripts Man, Man Scripts Time, Esoteric and Harmonia. Each one of Kiran’s collections is a symbol of women of substance, for which she has received awards like the Women of Strength Award for Best Jewellery Designer in 2009. She strongly believes that her jewellery design is an extension of her emotions.
Kiran recently had an exhibition featuring a new line of gold plated silver jewellery at her new studio above Mews Cafe on E Street and this exhibition introduced a more affordable line of jewellery called Kino. The name Kino translates into the word ‘cinema’ in most languages. The concept of cinema, in its original form, means motion and movement – a character trait reflected in her brand, whose pieces are based in dramatic themes and a larger than life approach with the essence of growth and metamorphosis, true to her signature. All pieces under the label Kino will be made in semi precious metals and natural fibres and can be gold plated.
We sat down to speak to her about her craft…
This cuff was worn by Sharmeen Obaid Chinoy for her first Oscar win, 2012
How do you decide what you want to create?
Kiran: My last collection was designed in 2014 and I just made two collections now in 2017, Alchemy of Time and Continuum, that’s a long break. I need to translate emotions into design and lately my experiences hadn’t been as generous as to provide me with that inspiration.
Beyond using basic methods, how does a designer evoke an emotional response to her jewellery?
Kiran: I have always said there is a certain kind of woman that prefers to wear KFJ; this isn’t a tag line I use for marketing. I have paid very close attention to my clients, beyond technique that’s what evokes an emotional response in her, the bold design and the meaning that SHE gives to the symbolism that’s hidden within each piece.
What kind of material do you feel works together when designing jewellery?
Kiran: I have always worked in gold as I enjoy texturing it. Its malleable nature allows me to create many looks just by treating it differently each time. In the last 14 years I have only worked twice with wood and silver; I’d have to say that it’s been ‘fun’ since it has allowed me to create gobstopper sized rings and earrings and be more experimental. I was getting bored.
Esoteric – Auspicious, Prosperity and Happiness.
Do you think jewellery design is an art or a craft? How do you identify with it?
Kiran: To be able to make any kind of statement is an art, no matter what material one is working with. In jewellery design the finish is very important, therefore it’s both. I identify only with the artistic creative side of jewellery; I don’t know how to craft it, which allows me to push the boundary of that which can not be made. There is a magic in not knowing. It can eventually be whatever you want it to be.
Who are your personal favourite jewellery designers? Who do you take inspiration from?
Kiran: My personal favourite vary from the fancy, well known names like Cartier for their traditional edginess, to our very own Zohra Rehman and her conceptually designed pieces that challenge established ways in which jewellery has been made in Pakistan. My inspiration usually comes from a combination of changing the design status quo of how it’s always done to something new and experimental (as recently seen in the Alchemy of Time and the strange and unique use of clock parts) and ancient symbolism.
Revived
