Last Update 14:5
Wednesday, 16 October 2019

Calligraphy of love adorns Azza Fahmy's latest creation for Mother's day

It is that time of the year that celebrates motherhood and everything that comes with it

Ingy Deif, Thursday 21 Mar 2019
Courtesy of Azza Fahmy  collection
Views: 5609
Views: 5609

As millions of Egyptians wait to mark Mother's day on March 21st, acclaimed Egyptian jeweler Azza Fahmy launches her latest collection adorned with words and motifs of love for the mom.

In her latest four-piece creations dedicated to motherhood, Amina Ghali, the head of design, uses the brand's signature mix of gold and silver sterling as well as encrustations of diamonds and precious stones to present designs that are adorned with calligraphic words of compassion.

Courtesy of Azza Fahmy  collection

The eye -of- snake charm in a necklace and the inscription of words like "love" on rings and earrings as well as "rejoice my heart" on bracelets are a nod to motherhood and everything that comes with it.

Amina Ghali is the daughter of and head of design at Azza Fahmy who set a revolutionary trend for jeweler making in Egypt in the late 1970s when she created her first designs away from the typical bracelets or rings that most Egyptian women would wear, introducing jewelry inspired by Nubian architecture and Arabic calligraphy.

Courtesy of Azza Fahmy  collection

More than half a century ago, the Cairo-based jeweler Fahmy, ventured as an apprentice in the male-dominated workshops of the Khan el-Khalili learning all about the craft of centuries-old-jewelry making.

She then started her workshop with a handful of persons, aiming to tell stories of heritage and culture through her creations, before launching her own line and eventually becaming one of the most famous Egyptian jeweler designers,

She collaborated with famous names on the catwalk, among whom was renowned designer Mathew Williamson in 2013.

Now Azza Fahmy is acclaimed worldwide not only for her designs that rely profoundly on research, but also the manifestation of the ottoman craftsmen hierarchy, which had been sustained in Egypt for centuries.

In her workshop, where Ghali heads the design, crafts men are ranked according to the work longevity and experience into three categories: the Master (osta), the handy man (snaiei), and the young workers (sabi), and so the skilled trade is preserved and passed on.

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