VALÉRIE MESSIKA
Tatler talks to the founder and artistic director during her first visit to Hong Kong in six years about how the Parisian jeweller has been challenging itself in the contemporary jewellery scene since 2005
What originally drew you to jewellery design?
My father [André Messika] is a diamond dealer; I joined him in his business in 2000. After a few years, I discovered that his industry was so stiff [and dramatic]. As a young girl, I [dreamt of creating] jewellery that could be cool and wearable every day. [I didn’t want] the designs to be too complicated. [I wanted] to pay tribute to the beauty of the diamonds … I really wanted to express the magic [of jewellery]: that’s why ours is [thin and] very flexible. You can transform a double ring into a single one; you can play with your jewellery, by having ear cuffs or diamonds for your nose or belt. I wanted to tell customers that you can be cool and empowered with jewellery, [and that it’s] not only about engagement rings or something very dramatic or traditional; it can be more effortless and stylish.
What is your favourite gemstone to work with?
I will keep going on [using] diamonds because it’s my roots and heritage. If you want customers to understand that you are a specialist, you need to focus on one stone; and this is our strength. [While many brands] use rubies or emeralds, I only allow myself to have semiprecious stones like turquoise but nothing faceted; the only stone that can be faceted [at Messika] is the diamond.
What has been the most enjoyable piece or collection to work on?
Two bangles that I did for my daughters. And the Move collection [seen right; a design containing diamonds in motion that has become a hallmark of the brand], which is [being] constantly reinterpreted. It’s what makes Messika a brand—if you don’t have any recognisable pieces, you cannot [claim] to be a brand. I always remember when I launched this Egyptian collection that I’m wearing [high jewellery line Beyond the Light], how I succeeded in transforming such simple pieces into a more Egyptian style, but in a very modern way.
What inspires the unconventional Messika high jewellery shows?
My brand exists because of this fashion vibration that I put in my jewellery and my communication. When I [worked on our] collaboration with Kate Moss, [I realised] it was possible to create a catwalk of jewellery … I kept all the codes of fashion: you can see all the details of the jewellery on big screens while models are walking. It makes a huge difference. I want [Messika pieces] to be worn; I don’t want them to be in a showcase with bodyguards. I want them to be vibrant, to live outside the safe, and be worn by women and men.
What are some of the most memorable celebrity Messika moments?
I feel really blessed with all the celebrities we dress, but I will always remember Beyoncé at the Grammys: she wore a diamond tie from my high jewellery collection [in 2015]. She was so powerful, and the way she broadcast the branding on such a level inspired me so much. More recently, my answer would be Rihanna at the Super Bowl in the red. She showed the world her pregnancy; plus the fact that she transmits this [idea] of the power of being a woman also inspires me a lot.
What are the biggest challenges facing the jewellery industry today, and how do you tackle them?
The [main] challenge is that there are brands, much bigger than us, who belong to big groups. But it’s very interesting that, when you’re not as big as them, the only button you have to press is creativity. This is what I expect from my team: to not do the same as others, and to invent yourself as a newcomer. It [keeps you] innovative. It’s [important to] always make things different, in terms of jewellery [design] and ways of wearing. Creativity is thinking out of the box, right?