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German, how you became interested in jewellery design?

As a student, I initially pursued painting at an art school. However, after just two years, I found the studies monotonous and quit. My parents insisted that I complete my university degree in Economics, and I did. Still, deep down, my natural creativity continued to call out to me, even though I wasn‘t sure in which direction to channel it.
That’s when I ventured into the world of jewellery manufacturing, hoping to find a new passion. Unfortunately, I soon discovered it was even more mundane than my time in art school. Driven to break free from this repetitive cycle, I dared to forge my own path in jewellery creation, defying traditional norms and pursuing pure enjoyment in the process.
A few years ago, I was advised to leverage my experience in contemporary jewellery and build a mass brand. It was an unconventional path, but I embraced the challenge. So, that’s the story of my journey thus far. It’s completely ordinary, except maybe because I have always resisted conforming to the rules set by others.

What inspires you when creating new jewellery designs? Do you have any particular sources of inspiration or a design philosophy that guides your work? 

I do get this question a lot. Well, the truth is, I don’t have a definitive answer to what inspires me. I guess it’s just an organic process of living and feeling different emotions every day. Interestingly, when I’m content, I struggle to work. Quite the opposite, during those times when I’m feeling a bit down, I sit at my desk and let my insecurities fuel my working process. It’s a form of therapeutic release for me, I channel my reflections into my art, and that’s why my pieces may seem odd, but they carry a lot of energy.

German Kabirski jewellery is known for its unique and unconventional designs. How do you approach the creative process to ensure your designs stand out in the industry? 

To me, work is a means of self-healing. Being a somewhat introspective person, I find myself in need of “healing” regularly. It happens so often that everyone considers me a workaholic. But for me, it‘s not working at all; it’s simply a part of life. It’s fascinating that people are willing to compensate me for this process. And honestly, I have no objections to that. 

What materials do you prefer to work with, and why? Are there any specific techniques or craftsmanship methods that you enjoy incorporating into your designs? 

I have developed quite a few techniques of my own simply because I enjoy approaching things differently. I create my own special types of wax and utilise unconventional casting methods, experiment with gemstone cuts, and work extensively with raw gemstones. I primarily work with silver, mainly because it’s affordable and allows for constant experimentation. But I‘m also fascinated by other materials such as titanium, copper, gold, aluminium, and even meteorites. Speaking of organic materials, I find bone, wood, fossils, and leather interesting. When it comes to gemstones, I particularly enjoy working with sapphire, garnet, and spinel, as they come in an extensive range of colours. I also incorporate street pebbles into my designs, combining them with gold and diamonds. Oh, I almost forgot to mention my recent interest – metal fabrics made of silver, gold, titanium, and copper.

In the world of jewellery design, trends and tastes can change rapidly. How do you stay ahead of the curve and ensure your designs remain relevant to the market and customers‘ preferences? 

You shouldn’t follow trends. It‘s crucial to remain true to yourself, and eventually, trends will catch up with you. But on a more serious note, I consider myself fortunate in this aspect. I don’t like my jewellery, and that serves as a motivation for me to strive for something better, something I can genuinely take pride in. Thankfully, I haven’t reached that point yet. I know that if and when that day arrives, I will no longer be an artist but an empty narcissistic shell. Pursuing growth and exploration is my main driving force in life and work. 

Collaboration is an important aspect of the creative industry. Have you ever collaborated with other designers or artists? If so, how did these collaborations influence your work? 

Collaborations are an interesting topic. I’ve been approached several times, but I always declined because I wasn’t quite ready, and the offers came from companies that didn‘t seem to resonate with my style. See, my pieces (I call them “freaks”) are quite different from conventional jewellery. Finding the perfect partner who truly aligns with them, well, it just hasn’t happened so far. But I’m about to dive into some serious experimentation, so who knows what possibilities await in the future? 

German Kabirski jewellery often pushes the boundaries of traditional jewellery design. What challenges do you face when creating innovative and unconventional pieces, and how do you overcome them? 

The initial years were tough because I didn’t quite grasp where this self-carved path was taking me. Being different is always challenging since most people gravitate towards the familiar rather than the unknown, even if the latter holds greater interest. They tend to approach it with caution. That’s why, in the beginning, our clientele primarily consisted of creative people: artists, designers. However, as time passed, I hopefully think we gained the trust of even the most discerning individuals.

Can you share a memorable or challenging project you have worked on in your career? How did you approach it, and what did you learn from the experience? 

It‘s hard to answer this question because I try not to take on commissioned work or get involved in other people’s projects if it restricts my freedom. I feel comfortable working independently without conforming to fashion or trends. In general, the concept of “challenge” doesn’t associate with me. Whether I find something interesting or not is what matters. 

Sustainability and ethical sourcing have become increasingly important in the jewellery industry. How does German Kabirski approach these aspects in its designs and production processes? 

That’s important to me too. I’ve heard a lot about child labour still being prevalent in some countries, but honestly, I haven’t come across it firsthand. I’ve been working with the same suppliers for many years, and they have an impeccable reputation regarding ethical gemstone sourcing practices. We’re very mindful of using only untreated gemstones. I believe that treated stones lose their natural energy and vitality, so I prefer to work with ones in their purest form. 

What advice would you give aspiring jewellery designers looking to establish themselves in the industry? Are there any key lessons or insights you have learned throughout your career that you would like to share? 

I’ve been offered the chance to start my own school for a while now, but I’m not quite ready yet. I’m swamped with work, but more importantly, I‘m not entirely sure what I would teach because I believe that the key is to have your own vision of things, and that can’t be taught. The rest can be learned anywhere, though. However, I like the idea of eventually opening a school where free-minded artists can live and work for years. But that’s not happening anytime soon. 
When advising young jewellers, they only need to believe in themselves and rely less on others’ opinions. It‘s crucial not to get caught up in the current of conformity right from the start. The most valuable and extraordinary things lie within themselves. They should seek their own meaning in everything they do.

Source: https://www.lofficielmonaco.com/jewelery-and-watches/jewellery-design-without-rules