Inside the mind, body, and soul of wearable artist Ana Khouri

In a world that exists at the intersection of art and jewellery, there is only one name that comes to my mind—Ana Khouri. As a writer, there are a handful of people one dreams of interviewing, and Khouri has been at the top of my list since our first encounter years ago. Despite the pre-holiday whirlwind, I was determined not to settle for an email exchange. After what felt like a masterclass in polite pestering, I secured a Zoom call with the Brazilian-born designer. Khouri, 43, appeared on screen, radiant and refreshingly unfiltered. “I just got to Brazil,” she shares. “It’s very hot! I put on some sunblock, that’s why I’m all shiny!” The Khouri on my screen felt different from the polished persona, which glimpses through a carefully curated Instagram—she was raw, real, and relatable.

An 18-karat Fairmined Gold raw necklace with 21-carat white diamond and 18-karat Fairmined Gold Phillipa earrings with green tourmalines and white diamonds by Khouri.

The artist’s journey into jewellery began almost serendipitously. Fresh out of art school 22 years ago, she presented a series of large steel sculptures depicting the female form. After the show, a woman approached Khouri with a request to scale down the pieces into wearable art. “She wanted to wear them on her body—rings, bracelets,” Khouri recalls. “At that point, I was still experimenting. I hadn’t thought about functionality, or how something would stay on the body, or how it would open and close.”

Raised in a family of artists, the designer initially resisted the idea of designing jewellery. “I used to think creating commercial jewellery was somehow a downgrade from being an ‘artist’,” she admits. “It was a terrible mindset, but overcoming it was a turning point. I realised jewellery is its own profound art form.” She eventually found a Brazilian craftsman—a collaboration that endures to this day—who taught her the intricacies of jewellery-making. “Sometimes, it takes just one moment, one exhibition, one conversation to shift your entire trajectory,” Khouri reflects.

As a sculptor-turned-jeweller, Khouri’s approach remains rooted in her first love: sculpture. She produces no more than 30 pieces a year, with limited editions available at The Row, the Olsen twins’ label. Her creative process always begins in three dimensions. “I start with sculpture. It’s how I mould, play, and experiment with shapes and forms. I don’t sketch,” she explains. Her New York showroom serves as a gallery for these foundational sculptures, offering a glimpse into the raw origins of her creations.

Blurring the boundaries between adornment and art, Khouri’s work defies convention. Her pieces are regularly exhibited at art fairs and institutions like TEFAF, Christie’s, and Sotheby’s. More than jewellery, her creations are intimate explorations of form and function.

Much like other artists, Khouri channels her perspective on life through her work. The design language of her pieces evolves as she does. “I live my life through my work. It’s me, my language, my vision of the world,” she shares. The pieces she creates at any moment are almost a reflection of her present state of mind and feelings. “I’m really led by what I feel much more than my head, because feelings lead us to connect deeper” she adds. The way we process the world around us is inherently intimate, varying from one person to the next. “I try to see the world through as much purity as I can, and you can see this in my jewellery. I focus on what is essential,” Khouri explains. Her aesthetic rejects literal symbols—flowers, animals—in favour of abstractions that echo nature’s quiet rhythms. “I see beautiful textures on trees, plants, living things, and I’m amazed by the interconnectedness of nature. My process is one of learning from the universe and the nature, and understanding how everything is connected.”

Inadvertently or not, the artist has created a world that feels like an exclusive, secret society—one where the initiated simply know. Her clients are a curated mix of celebrities, art-world insiders, and discerning collectors. “We are not for everyone, and not everyone is for us,” she says matter-of-factly. Over two decades into her career, Khouri believes in the integrity of her process. “There’s something to be said about why we do what we do. It’s not about selling; it’s about creating.” With waitlists stretching months, if not years, Khouri admits she won’t part with a piece unless she feels ready. “If I’m not ready to give up a piece, I won’t. My jewellery isn’t about displaying wealth—it’s about the art, the thought, and the emotion embedded in every creation.

For Khouri, collecting—whether art, objects, or experiences—is a deeply personal journey. Her influences have shifted over the years. “In art school, my number one artist was Louise Bourgeois. I was profoundly moved by her work, especially her explorations of motherhood and womanhood.” Later, Khouri found inspiration in Salvador Dalí, Renaissance masters, and the Dada movement. These days, however, her attention has shifted to craftsmanship. “I’m fascinated by how things were originally made, the techniques that are at risk of being lost.”

Her personal collection includes Brazilian art and furniture, including vintage pieces from Joaquim Tenreiro, Oscam Niemeyer, Charlotte Perriand to name a few. She chose these pieces for their craftsmanship, material integrity, and originality. “When I think about how my work will be perceived in 30 years, I ask myself: Am I capturing what’s happening in the world culturally right now? Am I thinking ahead, or just following a trend?” For Khouri, innovation isn’t optional—it’s essential. And perhaps that’s the key to her enduring allure: a commitment to timeless artistry in a world obsessed with the fleeting.

That’s Ana Khouri. 

All images: The brand

This article originally appeared in the January-February 2025 print edition of Harper's Bazaar India. 

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