Interviews with Amirali Meysami

I was born into a family of artists. My mother was a painter and my father was an artist, and I was interested in art since I was a child. I studied industrial design at university, and from then on, design became more serious for me.

Ten years ago, I became interested in jewelry design in the field of design and researched this topic and thought I could have my own brand with a different design than what was on the market. I established a jewelry design, production and sales company that designed the products myself and tried to find my place in the market with minimal and avant-garde designs. Now, after 10 years, this company has grown with more and more special designs and a silver jewelry line called sanjaaq seem has been added to our products.

For me, design is a tool for others to judge me.

Tasks that are more related to people's daily lives and where form is highly significant.

I like different designs, but it depends on their design.

Interior design for a clothing store.

My favorite material is wood.

When the design I have created has achieved success.

Form and volume

Peace and enjoyment

Excitement and success

The visual impact of the design in the viewer's mind in terms of aesthetics and innovation.

Form and aesthetics

It is responsible for keeping the surrounding environment away from monotony and visual inconsistency, and for elevating the community's taste.

The field of design is constantly changing, influenced by cultural and technological changes.

My latest design was related to the display line for my silver jewelry, for which I held an unveiling event in December 2024.

Geometry and architecture. In my designs, I adhere more to geometry and volume and always try to enhance my creativity by considering my surrounding environment in society.

My designs are mostly structural, geometric, and architectural. The features of these designs involve the use of simple and complex shapes, which are often utilized in modern architecture and are employed to combine form and function.

I live in Tehran. I was born and raised in Iran. Iran, with its thousands of years of civilization, has had various styles of architecture throughout the years, and undoubtedly, some of these works have influenced the formation of my design approach.

Since I established my jewelry brand, I have been busy expanding it and haven’t had the opportunity to collaborate with other companies.

Every day, numerous young and creative designers enter the field of design worldwide, and one way to discover a good designer can be through competitions and festivals.

Unlike many others, when I start designing, I don’t choose a specific subject. I begin sketching freely until I reach my desired form and then develop it.

Furniture, vessels, lighting.

my days are usually a mix of work, observation, and finding new ideas. I spend a lot of time thinking about forms, materials, and how an idea can become a real object. I enjoy sketching, working with my hands, and exploring different ways of developing a design. I also find inspiration in art, architecture, nature, and sometimes in very simple things I notice during the day. I don't have a very fixed routine, because creativity doesn't always follow a schedule. Some days are spent deeply working on a piece, while other days are more about observing, thinking, and collecting ideas for what comes next

Paying attention to the surrounding environment and details for designing.

A designer is always judged by others, which makes their job as a designer difficult, but at the same time, it makes them pay more attention to the details of the world around them

Adherence to aesthetics and composition

The ability to draw what is on their mind.

Pen and paper

For me, design is an escape from daily emotions. It helps me free my mind from the issues and problems around me, which is why I don’t set a specific schedule for designing.

There is no specific time; one can design a simple object for hours and still keep improving it.

One of the questions I am asked most often is, “Where do your ideas come from?” I think it is difficult to give one simple answer to that. Sometimes an idea comes from a poem, a piece of art, nature, or architecture, and sometimes it comes from something very small that catches my attention. What matters to me is how I develop that first idea and turn it into a form that can be experienced as a piece of jewelry. I think the most interesting part of being a designer is this process of turning something abstract into something real

Establishing my own brand, Sanjaaq

Various jewelry brands

Those related to daily life where one can be creative

A single-product brand: designing a product that alone can define a brand

In the past, I used to design alone, but recently I collaborate on developing others' designs and also use the input of the creative designers in my team to develop my own designs.

I have several works, and I’m trying to introduce a new collection from among them

Email and Instagram page.

matmeysami@gmail.com Instagram id :@matinmeysami

I would like to add that for me, jewelry is not only about decoration. I see it as a way to express an idea, a feeling, or a story through form. I am interested in creating pieces that have a meaning behind them, but can also be experienced simply as beautiful objects. I am still exploring my own language as a designer, and I think every collection teaches me something new. For me, that process of learning, experimenting, and finding new ways to express an idea is what makes design exciting

Rumi's Dance of Atoms inspired me to explore the invisible energy that connects everything around us. Rather than illustrating the poem literally, I translated its spirit into elegant curves and continuous forms that suggest rhythm and transformation. My intention was to create jewelry that allows people to wear not only gold, but also a timeless philosophical idea expressed through contemporary design.

Handcrafting was an essential part of the concept. The subtle variations created by the human hand give every piece its own character, reflecting the uniqueness found in nature itself. Although working with 18-carat gold at such fine dimensions required great precision, I believed this process was the only way to preserve the warmth, authenticity, and emotion behind the collection.

I believe great literature speaks beyond its own time. Instead of using historical symbols, I transformed Rumi's ideas into a clean and contemporary visual language. This allows the collection to connect with modern lifestyles while carrying a deeper cultural meaning that anyone can appreciate, regardless of their background.

Every piece begins as molten 18-carat gold that is transformed into wire, rolled into thin strips, and shaped entirely by hand. Achieving the ideal thickness of 0.37 mm required many experiments to balance elegance with durability. The final polishing was equally demanding, as every curve had to be refined carefully without altering the original form.

Creating jewelry that feels effortless to wear was just as important as its artistic expression. I refined the proportions and structure through repeated testing until each piece felt light, comfortable, and durable. This balance allows the collection to become part of everyday life while preserving its sculptural quality.

The biggest turning point came when I realized I should express the emotion of the poem rather than its imagery. From that moment, every design decision focused on creating a sense of rhythm and continuity. Continuous prototyping helped me find the balance between aesthetics, craftsmanship, and wearability.

I developed a single visual language based on fluid lines and organic movement, then adapted it to the function of each piece. The ring, earrings, necklace, and collar each express the same concept in their own way, allowing the collection to feel unified without becoming repetitive.

Saanjaq Gallery's minimalist identity naturally complemented my design philosophy. Instead of adding decorative details, I focused on creating expressive forms with simplicity and precision. This approach respected the gallery's aesthetic while introducing a new cultural narrative inspired by Rumi's poetry.

Because every surface curves continuously, polishing became a highly delicate process. I worked gradually by hand, checking each piece repeatedly to maintain its precise geometry while achieving a soft, even shine. Although time-consuming, this stage was essential to preserving the elegance of the final design.

I hope the Rumi collection encourages designers to look at literature, philosophy, and cultural heritage as living sources of inspiration. For me, this project is the beginning of an ongoing dialogue between storytelling and jewelry design. I believe meaningful design can carry ideas across generations while remaining relevant to contemporary life.