Mystical jewelry that transcends the boundaries of time and culture

Embraced by symbolism, mystical and somewhat alchemical, ELIRD disarms with aesthetics, but also with the kind of meticulousness we have somewhat forgotten about, and the life stories of its creators carry an equal dose of charm. ELIRD jewelry is a child of Sarajevo’s Baščaršija, but its story began in Istanbul. After studying at the Academy of Fine Arts in Sarajevo, Ena Mulavdić came to the city on the Bosphorus to study industrial design, and painting and sculpture brought Ebrahim Mohammadian from his native Iran to Istanbul. All the differences that shaped them, all the knowledge and experiences, as well as the peculiarities of their life paths, which were intertwined in an instant, were united in ELIRD jewelry.

You come from different countries, with different cultures and histories and even from different fields of activity. How does the constellation of these differences merge in your joint creation, dictate the approach to work and, ultimately, shape the final aesthetics of the jewelry?

We come from different countries and cultures, each with their own unique experiences, perspectives, and skills. This diversity is not an obstacle, but a strength that enriches our work, our constant source of inspiration and wealth that we cherish and are proud of. Through our shared process of creation, different perspectives and ideas merge into a harmonious whole. Each of us brings our unique approach to work, techniques, and aesthetics shaped by culture, history, and professional background. This diversity inspires us to constantly learn, explore new techniques, materials, and concepts, and open ourselves to new ideas. ELIRD jewelry pieces reflect the richness and diversity of world culture, creating a unique and authentic aesthetic that appeals to people around the world.

At a time when globalization swallows authenticity, and the phenomenon of fast fashion makes things expendable and worthless, you make jewelry meticulously and meticulously, using the knowledge and skills of as many as 30 different trades. What is the charm of such an approach and why is it important to insist that the tradition of craftsmanship is not forgotten?

The charm lies in the deep respect for tradition, skills, and heritage that we carry with us. Consciously investing precious time, being dedicated, committed, loyal and self-sacrificing are virtues that adorn the strongest force – love. While globalization and fast fashion often encourage mass production and standardization, our dedication to meticulous and meticulous jewelry-making is reflected in every detail of our work. Using knowledge and skills from various trades allows us to create unique and quality pieces that have lasting value. It is important to emphasize that such an approach is not only aesthetically attractive but also has deep social and economic implications. Supporting traditional crafts encourages the local community, empowers artisans, and preserves cultural heritage. Also, such products have a greater emotional value for consumers because they are the result of the work and attention invested in their creation.

Some techniques, such as negative intarsia, are extremely old and are used today by an extremely small number of people in the world. Where does it come from and where did you have the opportunity to learn it?

Negative intarsia is a technique that dates back to ancient times and has a rich history around the world. It has traditionally been used in the processing of wood, stone, metal, and other materials to create complex patterns and decorations. This technique requires precision, patience, and skill, which is why only a small number of people use it today. Ebrahim learned the negative inlay technique on his own, given that he is a sculptor by profession and is familiar with an extremely large number of different techniques. Over time, he completely perfected this technique, so he started making sculptures with negative marquetry. This is important to mention because bas-reliefs made with this technique can often be seen, such as the fantastic “Essex” crystals. The term “bas-relief” refers to a shallow, less raised sculptural work. On the other hand, making a sculpture implies a three-dimensional interpretation of the form, and if it is done using the technique of negative inlay, it still requires much more skill and craftsmanship.

ELIRD jewelry also owes its charm to the fact that it seems somewhat alchemical, phantasmagorical, as if it were rings that, each individually, have some special powers. It is deeply intertwined with symbolism. Do you find inspiration in stories from ancient times or myths and fairy tales?

Every person is an inexhaustible source of knowledge and beauty – if they want to find it in themselves. In addition, stories from ancient times, culture, folklore, myths, and fairy tales are integral parts of the world in which we live, and we are happy that we have the opportunity to present symbolism and deep meanings from history through our work, in a unique way, that cross the boundaries of time and culture, and they inspire us with their universal wisdom and beauty. Through our interpretation of these stories, we strive to convey their essence and emotional depth in our creations. Each piece of ELIRD jewelry becomes like a small artifact that carries with it its own story and symbolism. Through our works, we try to transfer parts of these ancient stories and myths to the modern world, thus creating a bridge between the past and the present, between reality and imagination.