Dina Kamal’s architectural background has always informed her aesthetic, which began with a reworking of signet rings and a passion for muted beige gold. The low-key hue quickly become her trademark and remains a significant cornerstone of her jewellery. Since then, Kamal has become increasingly fixated on proportions, which has led to her producing simple and refined forms. Her architecture training is evident in her latest ’Twin’ series and ’V’ ring collections. The latter is built on a bridge that holds the diamonds, allowing for the piece to be flooded with light.
W*: You’ve always mixed ancient historical influences with a tactile modernity. What was your approach for these latest rings?
Dina Kamal: I work on functional jewellery, something you can wear every day. I’ve trained my senses to know how to get the balance right. I craft it and make it precious and that’s what I think luxury should be about.
How has your broader design background informed your eye for jewellery?
An architect’s pieces can be sterile. Often pieces are designed out of context, with the focus not on how it’s worn. The context of how it’s wrapped around you is really interesting. It’s understanding the proportion and bringing texture into it also that makes the difference.
How do you achieve this distinction?
The fact that my pieces are handmade gives them warmth. I truly believe the process is a sacred one. If a ring wasn’t textured, it would be modern and cold.
Tell us about the geometrical complexities of your ’V’ ring with its custom-cut diamonds?
It’s composed of two trapezoids, not rectangles, and they shift slightly, up and down.
So the bridge that you have created allows the stone to appear to be floating?
Yes, it’s subtle, but rich. It’s not about wearing the fancy diamond. It’s about seeing the value, but not in a flashy way.
You’ve chosen cushion cuts for your ’Twin Emerald’ ring. What did you want to achieve with this strategic choice?
They’re hard to find, but it had to be them. I wanted to empower the emeralds, which are very fragile. To mount it, not in the traditional way, is very difficult. The result is old craftsmanship but it’s technically modern.
