I was recently interviewed by my friend and fashion editor Justin Friedman for the Summer/Spring 2017 Issue of Viral Fashion Magazine. In my interview I take a deep dive into my real life and what inspires me and my jewelry designs. I am truly honored to be part of this issue. Below is the foreword, beautifully written by Justin Friedman. Seriously, it’s so good it gave me chills. I hope you enjoy the read.
– Angie x
Photo by George Elder
FOREWORD BY JUSTIN FRIEDMAN
What is it about temptation that keeps humankind so obsessively transfixed? Whether it’s going out of one’s way to avoid it at all costs, or purposely seeking it out in earnest, the knowledge passed down since our earliest days on this planet tells us, emphatically, that we ought to remain keenly aware of its existence lest we find ourselves drawn in at our own peril. Throughout history — especially following the dawn of broad, organized religions as well as concepts such as virtue and vice, goodness and guilt — there have been as many explanations put forth to uncover the reasons why we are perpetually at risk for being tempted as there are ways in which we can be tempted in the first place. From ancient spiritual texts to the treatises that outlined the foundations of modern day psychology, there’s been an immeasurable number of tablets, scrolls and volumes devoted to unraveling desire, temptation and seduction in all their many forms, not to mention making sense of the reasons why humanity constantly finds itself susceptible to their undeniable and occasionally dangerous power. Now, I’ll gladly save you years of research and pontification by summing up the single conclusion that every philosopher, prophet, scholar and sage seems to have come to while working to solve that mystery: quite simply, it’s human nature. It’s why Pandora defied the gods and tore the lid off of her box as soon as she had the chance, and it’s why Eve took a big ol’ bite of that apple when she knew good and well that she shouldn’t, but before you pass judgement, ask yourself: can you honestly say that you wouldn’t have done the same if you were in their shoes? After all, not even the promise of unimaginable horrors threatening to befall us in this life and the next should we succumb to temptation can really stop us from giving into it when the moment is right, and it’s safe to assume that for many, the mere fact that they’re told that something is strictly forbidden — a person, an action, an object, anything really — makes it that much more appealing, doesn’t it?
“Jewels have served as the catalyst for exploration, seduction, conflict, crime and intrigue. They have led rational men and women to do positively irrational things all in the hope of getting some to call their own.”
In the world of fashion and luxury, temptation is perhaps found in its purest, most irresistible form as fine jewelry, items that are often so rarefied, they remain just out of reach for all but the luckiest among us…not that this stops many from attaining it (or attempting to, anyway) at almost any cost. Jewels have served as the catalyst for exploration, seduction, conflict, crime and intrigue. They have led rational men and women to do positively irrational things all in the hope of getting some to call their own. They’re what led Hernán Cortés to sail the Atlantic Ocean and pillage the “new world” in search of gold. Diamonds were what irreparably damaged the reputation of Marie Antoinette thanks to the so-called Affair of the Necklace. Rubies, sapphires, pearls and emeralds were smuggled out of Russia in coat linings and corsets by aristocratic women-cum-refugees fleeing the terrors of the revolution. Jewelry has inspired high-stakes heists, illicit love affairs and underhanded business deals in equal measure. Coco Chanel herself was was so reticent to discard the pieces of jewelry she had been given by ex-lovers that she simply had their remains transformed into her signature Verdura cuffs. And Edward VIII, in the heady throes of infatuation, showered the twice-divorced Wallis Simpson with so many baubles that their affair became front page news, leading to a constitutional crisis. Now, in all fairness, blaming the whole of human history on valuable rocks and metals would be overstating matters to say the least, but only a fool would deny that they’ve occasionally gotten people, both good and bad, into a bit of trouble along the way.
“Though feminine in the extreme, the chokers, rings, bracelets, body chains and earrings that make up the Diaboli Kill collection are anything but girly, capturing instead a sexy, assertive and knowing attitude that is quintessentially New York.”
One jewelry designer who has tapped into the concept of temptation quite literally in her work is Angie Marei. Founder and designer of the haute-yet-edgy brand she’s dubbed Diaboli Kill, the half-Dominican, half-Egyptian New York native has quickly carved out a niche for herself by fusing classical notions of glamour and craftsmanship with a dark undercurrent that all but revels in the danger that’s inherent in desire. After all, with a name that’s a play upon the word “diabolical,” it seems pretty obvious that one shouldn’t expect dainty little flowers or elegant filigree to be at the core of Marei’s designs. Though feminine in the extreme, the chokers, rings, bracelets, body chains and earrings that make up the Diaboli Kill collection are anything but girly, capturing instead a sexy, assertive and knowing attitude that is quintessentially New York. With names such as Damian, often associated with the Antichrist, Invidia, the Latin word for “envy,” and Lilith, the biblical Adam’s demonic first wife, ascribed to pieces which manage to blend the elegant with the sinister, Marei’s work can’t help but seduce and unnerve; once you’ve learned that she grew up fascinated by classic horror movies and drawn to the mysterious and the occult, you get the impression that the peculiar tension that lies between the pure and the impure, or the light and the dark, is exactly what she’s aiming for. I recently caught up with Angie to find out more about her various obsessions, how she finds a balance between her work as a creator and her work as a mother, and why quality is due for a comeback.
Justin Friedman: Describe a typical day in the life of Angie Marei.
Angie Marei: At 6:30am, I wake up, have a few cups of strong coffee, and write my To-Do list for the day. I’ll check and respond to e-mails, pack orders to ship, pack my son Lucien’s lunch and get him ready for school. After I’ve dropped Lucien off, I head to the post office to drop off packages on my way to the gym. At the gym, I’ll work out and reply to e-mails in between sets. I’ll then either head to the jewelry district in Manhattan or to my studio in Dumbo, Brooklyn. I may go to my jewelers to work on production and design, or go to my gemstone dealer to source gemstones, then bring them to my jewelers. Then I return to my studio to work some more; this often entails keeping up to date with designs, fulfilling orders, organizing press pulls and improving our website. Later on, I’ll pick up my son from school, go home and prepare dinner (aka Seamless), with a Mezcal Negroni in hand. I play, do activities and dance with Lucien while we wait for my husband to get home, and we all eat dinner together. After bath time, we put Lucien to bed. My husband and I do a little more work and binge watch something on Netflix. By around midnight, I’m relaxing in bed and I’ll read until I fall asleep. (This is when I shop on Amazon for random stuff that I don’t remember buying.)
JF: Tell me a little bit about the name you chose for your brand, Diaboli Kill. Immediately it brings to mind a sort of dark, sinister, even sexy kind of vibe. Was that the impression you set out wanting to create or did that happen on its own?
AM: I found it difficult to find a suitable name for my brand, and I worked on it for months. I felt that “Angie Marei” didn’t sound edgy or sexy enough for the feeling I wanted to evoke. I love my name, but it’s too soft and cute. In the beginning, my designs were darker than they are now: more edgy, and not as elegant. I felt like I needed to come up with something which fit that.
Luckily, one day the name found me. While designing, I was listening to songs by the late, beautiful Julie London. I love her sensual, smoky voice. While looking for inspiration, I decided to search photos of her and came across a movie poster for The Third Voice, a 1960 thriller in which she starred. I was immediately drawn to the tagline on the poster that read “Diaboli Kill.” I loved the name because it was dark, obscure and mysterious, and it sparked a vision in my head of what the monogram logo would look like, so I trademarked it right away.
It wasn’t until a week later, when I was showing my husband the movie poster, that I realized the tagline was actually a play on words and read as “it’s diabolical.” I still laugh about the total misinterpretation. Because of my ADHD, I have the tendency to speed through reading and remember a different story in my head.
I still think it’s a perfect name. Those who know me well, know that I was a very mischievous kid. When I got in trouble, my Dominican mother would always yell “Muchacha del diablo!” at me, which translates to the feminine form for “devil’s child.” It was one of my favorite nicknames. I grew up in a very non-traditional Egyptian/Dominican household, where my parents loved to watch old Hollywood classics like Gone with the Wind, Casablanca, Cleopatra, Rear Window, Psycho and Ben Hur, and my father introduced me to classic horror films as well — The Exorcist, Nightmare On Elm Street, things like that — at a young age. He taught me all the behind-the-scenes and technical tricks used to pull off the gory special effects, and I think that made the films more fascinating than scary to me.
In a way, that interest goes hand in hand with the superstitious and spiritual household that my parents ran. Both sides of my family believed that some people had the evil eye and we all wore symbolic jewelry for protection from the Hamsa Hand (or Hand of Fatima). We burned ancient Egyptian Kyphi incense, and as a teenager I was really into the occult — things like Ouija boards, reading books on witchcraft and spending time at the local Botanica shop near my high school. There I would buy potions, crystals and candles. I guess you could say I was a little goth, or at least goth-adjacent.
Knowing all of that, is it any surprise that I was immediately drawn to the name Diaboli Kill?
JF: Would you describe the process that goes into designing a new piece or a new collection? Does the inspiration begin with the name, or does the idea come to you when you begin working with new materials?
AM: I’m really hyper-visual and have a photographic memory when it comes to certain things. I am constantly scanning my surroundings and trying to take everything in using all of my senses. While working around the New York Jewelry District, I’m constantly moving in and out of, and working from, many beautiful Art Deco-period buildings. While most take these old buildings for granted, I notice something new in their design every day and I constantly find myself pulling inspiration from that period of architecture. Of course, the fact that Art Deco design adopted many features of ancient Egyptian design just gives it an added layer of meaning for me.
Other sources of inspiration include visiting different museums, collecting art books and old things and traveling. I love to explore places with religious and spiritual history like holy grounds, old churches, temples and mosques. I’m really drawn to them. After a day of creative stimulation, I usually lay mentally exhausted in bed, and as I start to fall asleep, images of what I saw throughout the day come back to me and trigger design ideas. There are times when I even wake up in the middle of the night with an idea and am compelled to make a note or sketch. However, my design process for each piece is different. Sometimes I buy the gemstone and wait until the vision comes to me. It could be immediate or take time to develop. I like to sculpt with wax because it’s cheap and forgiving. It gives me the ability to change a piece over and over until it feels right, and if I don’t like it, I just move on to the next idea. Each design to me is unique and comes from a very meditative state of mind. It’s a process that I feel cannot be rushed.
Last to come is the name. After the piece is designed and made, I take my time to understand what type of sentiment the piece evokes. It’s like naming a child. I first have to see it finished in order to give it a suitable name. Since I am trilingual, I usually select names derived from Roman, Latin, Spanish or Egyptian. I also like to name pieces after religious themes or ancient gods and goddesses. Many of those selected are symbolic of power.
JF: You’ve spoken before about drawing inspiration from your Egyptian heritage, which comes from your father’s side. What do you think it is about Egyptian culture that continues to fascinate people, and what about it inspires and fascinates you as someone who is descended from such a rich and ancient culture?
AM: It’s through my work that I continue the legacy of my Egyptian background. One thing that continues to fascinate people about ancient Egyptian culture – and continues to influence me – is how humans have always felt the need to tell stories and express themselves through art and self adornment. For example, ancient Egyptians wore makeup and decorated their hair and bodies with beads and gold jewelry to demonstrate their social status. This is, and always will be, an innate part of human nature. You’ve seen this across ancient cultures around the world and you see it in fashion today. Everything we choose to wear tells a story of who we are – my jewelry included. I want my clients to feel confident, beautiful and powerful, not unlike a goddess or a god.
JF: With some of the collections and pieces housed within the brand bearing names like “Damian,” “Lilith” or “Deadly Sins,” and design features like serpents and poison green colored stones, is it fair to say that there’s a vein of darkness or sinfulness that runs through some of your designs?
AM: As I mentioned, my parents played a large role in shaping the environment that I grew up in. With a conservative Catholic mother and a religious Muslim father, there was always talk about the comparison between “good” and “evil,” and the reasons for labeling someone a sinner. I found it fascinating that even from such different cultures and religions, my mother and father shared similar beliefs and values. Yet, I myself felt like an outsider, constantly analyzing them and their concept of morality.
It was my father’s early telling of the Adam and Eve story that triggered an obsession with my perception of our relationships to life, God, religion, sex, pleasure, death, heaven and hell. After learning how the evil serpent tricked Eve into eating the forbidden fruit and committing a sin, that theme remained relevant. As I was introduced to dark metaphors in religious stories and old works of art, this obsession (or fascination) grew stronger. I’ve always loved the Seven Virtues and Seven Vices fresco painting series by Giotto di Bondone in The Scrovegni Chapel in Padua, Italy. I remember studying these works in art history classes and being deeply moved.
JF: Easily your best known piece — in that it’s been photographed on countless fingers — is your “Damian” ring. Tell me the story behind it. What inspired the piece? What went into its creation?
AM: I was looking for gemstones when I came across these beautiful hand carved black onyx tusks. I didn’t know exactly what I could do with them, but I loved them and I just had to have them. They sat on my desk for a few months. One day while I was working, I wondered what the tusks would look like if they curved on top of my hand. For the design, I wanted a strong, sculptural looking piece and so I referred to a gold Nefertiti pendant that my mom brought back from Egypt. When she thought I was old enough to wear it, she gifted it to me, and it’s always been a cherished gift, considering my adoration for the queen Nefertiti; partly because I was obsessed with Egyptology as a child, and partly because my mom’s sister, Yoli, looked exactly like Nefertiti with a long, elegant neck, fierce cheekbones and strikingly beautiful features.
As inspiration for the shape of the metal part of the ring, I used Nefertiti’s crown. Then I sculpted a wax model to figure out the proportions and make sure the ring was comfortable when worn. After the wax model was complete, we created a 3D rendering of the design with sharper, cleaner angles. From there, we went on to make the silver model.
Even though the design started with Nefertiti as inspiration, I felt that the design sort of morphed into something of its own, so I needed to come up with a more suitable name for it. When this black onyx ring is worn, the powerful crystal stones’ energy gives the wearer a feeling of power and confidence. But the look of this ring when worn, to me, says “royalty” and “domination.” That’s when the name “Damian” came to me. It means “the one who tames; subdues.” It was perfect.
JF: Tell us a bit about your background in jewelry design. How did you get started? What inspired the decision to pursue it as a career? Did jewelry always hold an attraction for you, or was it something that you discovered along the way?
AM: I’ve always thought of myself as an artist. Throughout my youth, my creativity was expressed through drawing, making robots, sculpting and fixing cars and electronics. By the age of five, I had my own sewing machine and made my own clothes and costumes. When it came time to think about building a career, I realized that I didn’t know anyone in the fashion industry. And so, I decided to enroll in art school at Pratt Institute to study art and communications design with a concentration in advertising. I worked to develop the skills necessary to earn a position that would provide decent pay and independence.
After graduation, I began my career working at Lloyd & Co., a luxury advertising agency, where I transitioned from intern to freelance designer. I had the amazing opportunity to work on branding, advertising and packaging design for luxury brands such as Gucci, Yves Saint Laurent, Max Mara, Estée Lauder, Movado, John Varvatos, and hotels such as The Standard and The James.
Years later, while working on a freelance gig, a colleague of mine showed me the collection she was creating while studying jewelry. Impressed that she was making gold and diamond jewelry herself, I decided to sign up for classes at the fine jewelry school too. I was fortunate to study under a Finnish master jeweler, who was teaching at the school. It wasn’t until participating in these classes that I realized my passion for jewelry. I found sitting at the jewelry bench to be a very meditative experience. I spent hours a day there; I was hooked. Everything fell into place. My family has a history of collecting gold jewelry and gemstones. I was wearing 22k gold bangles and earrings as a child – I learned how to test the genuinity of gold and I was taught about metal weights and carats. Instead of collecting the latest toys, I was collecting gold. This was my norm. I never thought about designing, but I always had a love and appreciation for gold jewelry. I came to the conclusion that I am happiest when making and designing jewelry and that I should continue to do what I love. I have never felt so passionate about anything else.
JF: Describe the process that goes into conceiving, designing and crafting a new piece.
AM: There are so many steps in creating a piece of jewelry. I love explaining the jewelry-making process to people because they take for granted the many hours spent crafting each piece and the many gifted hands of artisans that carefully work on each piece before they are complete. Each of my pieces goes through a different process from start to finish.
I begin with an idea that I sketch on paper. Then I create a wax model to figure out the exact size and fit of the piece. If I have gemstones, I design and sculpt the wax around the gemstone. The wax model sculpture is then refined with my wax tools, including my hot wax pen, files and sandpaper. I work on the wax piece until I am happy with the design and work on the surface until it’s smooth.
Some of our pieces are made from manipulating metal. For example, our Laela Chokers are made by melting metal and making wire by running it through a rolling mill, then hand forging the metal into shape. Our Roman Chokers are each made by hand sawing sheets of metal and manipulating them.
If the piece requires more precision, we’ll use the wax model as a reference for the 3D modeling. We often use 3D modeling to achieve details that are difficult or impossible to achieve by hand. We design our models using Rhino or AutoCAD software. The designs are then printed in a 3D printer in wax.
The wax model is then taken to a metal casting facility, where I have them cast the wax for me in sterling silver. This is called the “lost wax process” because the wax is burned away and is replaced by the metal.
We give the first silver casting a high polish and refine all the details to make it as perfect as possible. This will be the master model. Next, we make a mold, either from silicone or rubber. Once the mold is complete, we inject hot wax into it and create wax models. These new wax models will then be cast into any metal we choose, like gold, silver or platinum.
The castings are then polished and the gemstones are hand set by our stone setters. The piece is given a last finishing polish before we engrave our logo into it.
Many of our pieces have custom cut stones (all pieces with black onyx and white agate, and most pieces with chrome diopside and tourmalines). These stones require the use of a lapidary to cut our stones from larger pieces of rough stone. We also work with amazing gemstone dealers that source beautiful stones from all around the world such as Canada, Australia, Brazil, Thailand, and Africa.
JF: Who is the customer you envisioned when you first established Diaboli Kill, and how has she/he evolved as the collection has evolved?
AM: In the beginning, while I was developing my style, it was a bit darker. I was inspired by dark, avant-garde designers like Rick Owens, Ann Demeulemeester and Alexander McQueen, as well as timeless heritage brands like Georg Jensen and Hermes. The more I crafted my own style, my OCD took over and I realized how much I love creating refined looking pieces. Over time, my style eventually became a fusion of timeless, seductive designs with an edge.
I always knew that my customer would be someone who appreciates design, craft and quality over just a brand name or logo. I wouldn’t say my clients have evolved, but rather as my brand grew, my client base grew and I got to know them better. I quickly learned that my clients are collectors and see my jewelry as an art form and craft. They are not people who follow; they are individualistic and unique. They are very interesting women and men from all different age groups and professions, ranging from celebrity artists, musicians, and art buyers to doctors, lawyers, and business executives and owners.
JF: What are some of your favorite materials to work with (and why), and what are some of the materials you’d like to incorporate into the designs in the future?
AM: I am allergic to most metals found in costume jewelry, so I choose to only work with fine metals: gold, platinum and silver. I love to use gold because it’s a gorgeous metal to work with and has a good weight to it. It polishes smooth like butter and, with care, it will last forever. I also love to use silver because it’s a beautiful, long lasting precious metal and much more affordable than gold and platinum, which makes it fun to experiment with.
I recently started incorporating platinum in my bridal collection because it’s a strong, durable metal and it’s pure white, so it won’t turn yellow (unlike white gold). White gold is naturally slightly yellow and is plated in white rhodium to make it whiter. But over time the plating wears off and the jewelry may have a slight yellowish tint, which I think is beautiful, but others may desire a white metal and choose to wear platinum jewelry.
JF: If you had to define the Diaboli Kill style, how would you? What does it represent? What is the message you’re working to convey with your pieces?
AM: The Diaboli Kill style is timeless elegance with a dark romantic edge. I want people to feel confident, powerful and sexy in their own skin when they wear my jewelry.
JF: Were there any particular challenges you faced early on in launching the brand, or are there any that have developed as the brand has continued to grow?
AM: Yes, I was a new mother when I first launched my jewelry brand. It was so hard to balance my work life as a freelance art director and a new business owner and my personal life as a new mom. I was constantly tired, filled with “mom guilt” and trying to do everything on my own. It wasn’t until I realized that there is no such thing as a work/life balance and gave up on that fantasy, that I embraced my life as a “mompreneur.” My focus: simply get done what needs to be done. To make the most of my time with my son, I often bring him along with me to work, and he loves it. Being a mother has forced me to improve on time management and make use of every minute of the day, because time is precious. I make these crazy long To-Do lists every morning, and I feel a great sense of accomplishment when I cross off each task.
As the brand grows, there are new challenges that I face – the biggest one may be coming to terms with the fact that I can’t do everything on my own. I try my best to delegate work to others and understand that it’s okay to ask for help. Fortunately, I’m surrounded by a great team of people.
JF: Compared to clothing and accessories, where trends often change direction within a season or two, how do trends within the fine jewelry market evolve? Would you say that it’s less restricted by trends as we know them, or is the pace of change more of a gradual evolution when contrasted with the rapid-fire changes we see on fashion runways?
AM: I think a lot of fine jewelers do things on their own time. We don’t have the same pressure as fashion jewelry brands to produce a collection every season. You can do what you want and spend a year working on just one piece. I am so inspired by artists like JAR; he does his own thing and is better at it than anyone else. There are some things that you just can’t rush, like creating timeless art pieces that will outlast us. With fine jewelry, I don’t think being on trend for a short time holds as much importance as remaining relevant for years to come.
JF: Is there anything that you feel is currently missing from or lacking in fashion that you’d like to see make a return?
AM: Quality. When I purchase something new, I choose to buy wisely and spend my money on better quality products that will last longer. Today, a lot of brands (not just in fashion) are using the cheapest materials and the cheapest labor possible. People should care enough to learn more about what they are buying.
JF: What does the future hold for Diaboli Kill, and for Angie Marei as well?
AM: For brides and hubbies-to-be who are looking for something different, I’ve been focusing on designing a new bridal collection. I’m excited to launch these pieces throughout the year. I’m also opening a studio/showroom space in the heart of Dumbo, Brooklyn, where I’ll be taking private appointments.
La Marei 