Jewelry in Egypt has never been as true to its own cultural identity as it is today.
Armenian and Italian jewelers once left a legacy of fine European taste and sensibility, causing a shift in the public’s focus away from local jewelry crafts deemed too simple or balady, a word which once referred to locals but then took on the connotation of un-cosmopolitan and inelegant.
One woman, however, diverted Egypt’s attention back to the beauty and delicate craftsmanship of local ethnic jewelry. For 30 years, the Azza Fahmy brand has brought the richest of Egyptian jewelry history to the forefront, most recently with her Rumuz collection.
Rumuz, “symbols in Arabic, is used by Fahmy to refer to talismans worn to ward off evil spirits, bring good luck or attract good fortune. For many they were not simply accessories, they were serious weapons in fighting evil and sustaining hope, attempting, as Fahmy says, “to induce well being and happiness which would then translate to people’s personal lives. A philosophy along the lines of the Law of Attraction: think positive reap positive.
The collection is based on 18 symbols, varying from chilli peppers, scissors, evil eyes, lizards and others which were all carefully selected during a rigorous research phase that lasted months.
The lizard symbolizes one’s desire to acquire wisdom as a lizard desires the warmth of the sun; chilli peppers hanging in a house ward off evil spirits, for example. Each symbol used in the collection has a complex history and connotations.
A charm necklace where you can add your own pick from the Rumuz collection is a favorite. The scorpion pendant is said to provide courage and self confidence for its wearer. Against popular belief, the scorpion is not intended to haunt those with phobias of creepy crawlies but to protect the wearer from such daunting dangers.
Scissors would be snipped over brides’ heads during weddings to ward off evil words, and so a pair of scissors symbolizes the metaphorical cutting of wagging tongues that are spreading malicious gossip about its wearer.
A wolf fang suggests bravery and fearlessness, and a horse shoe hung upside down is a vessel for catching good luck; while hung upright it lets negative energy drip away.
A fish carries with it heavy Biblical connotations of prosperity, and the addition of blue stones representing the evil eye was thought to repel danger, because it is quickly reflected back on the evil curser.
Another prominent Biblical and Quranic symbol is the hoopoe bird. It recalls the story of Solomon and the Queen of Sheba when the hoopoe carried messages between the two, revealing secrets; hence the hoopoe as a symbol of wisdom and knowledge.
Fahmy spent two years fleshing out the collection from the inspiration and conception phase, to research and the creation of the prototypes. “As we say in Arabic, a collection can never be boiled overnight, says the designer.
Fahmy has a lot of empathy with the simplicity of the people who inspire her jewelry lines. Simple and humble in her demeanor, it’s not difficult to imagine how she was able to blend in at the ancient workshops of Khan El Khalili in the 1960s and early 1970s when she learned a craft limited to men until this very day. She herself only wears bold ethnic jewelry, citing Moroccan, Nepalese and Indian among her favorites.
Her thorough research and extensive encounters with the various Bedouin tribes in Egypt’s deserts culminated in a comprehensive coffee-table book “Enchanted Jewelry of Egypt, published recently by the American University in Cairo Press. Replete with images, it is an astounding achievement of scholastic research and preservation of a history once in danger of being lost.
One of Fahmy’s two daughters, Amina, is heavily involved in the design process, yet Fahmy says she will only ever give over the helm to her daughter when she feels that she has fully absorbed the cultural extremity of it all.
And all Fahmy’s effort has not been in vain. The Rumuz collection, she says, is selling like hot cakes, with Fahmy struggling to keep up with customer demand for the various pieces.
What was traditionally deemed ordinary and commonplace, Fahmy was able to turn into eagerly desired collectors’ items.
It saddens, yet flatters her that other designers attempt to imitate her: “There’s a place for everyone to design jewelry, yet it is a credit to me and points to the success of the Azza Fahmy brand.
There is indeed a playful element to this collection: a paper doll talisman often used to return curses of evil eyes is made into a keychain; poked and pierced as it would be in reality before burning to release all the negative energy directed at a person. An astounding ring is composed of five separate pieces: a spiral signifies the continuity of the universe; a central square grid is inscribed with “affection symbolic of the charms placed under husbands’ pillows to encourage affection towards their wives. Also, the saying “khamsa w khmesa (indicating the number five commonly believed to ward off the evil eye) is boldly etched amongst other details on the ring in both gold and silver. The unique ring highlights the characteristic element of Fahmy’s style which catapulted her to success for the novelty and aestheticism of her early days when she worked with only three craftsmen in a small shop.
Fahmy’s use of Arabic proverbs and calligraphy in jewelry, in addition to the dual usage of both gold and silver in one piece together was her initial claim to fame, yet she continues to develop this innovate approach to all her pieces until this day. The effect is striking and wholly original, yet it still retains a very modern feel that is easy to pair with contemporary fashion.
Her pieces are strong statements on personal identity and passionate adherence to Egyptian cultural heritage. Rumuz is exceptional in both its playful tone and respectful nod to a rich tradition of folklore and superstition, elevating what was too often discarded as belonging to a bygone era to the status of coveted pieces of luxury.
