Interviewe mat Nima Nazem Zomorodi

The main inspiration behind this design comes from the visual language of early digital games, especially Tetris, combined with the rhythm and atmosphere of neon signs in Japanese cityscapes. The pixel-like structures, geometric forms, and flashing visual energy of these environments inspired me to translate a distinctly digital aesthetic into the language of fine jewelry.

My main focus was to create a balance between a contemporary digital visual language and the refinement of fine jewelry. I wanted the pixel-like geometric structure and the large pear-shaped ruby to feel unexpected together, while still forming a coherent, elegant, and wearable piece.

My future plan is to keep the original Ruby Pixels piece in the gallery as a distinctive work, while potentially exploring its pixel-inspired concept in other forms, such as rings, necklaces, or even a new collection.

It took about two years from the first ideas and sketches to the final realization of the concept . Once the design was finalized, the production process took approximately three to four weeks of intensive work.

This design was not commissioned. It comes from a personal inspiration, blending pixel-like structures and early digital games, especially Tetris, with the mood of neon signs in Japanese cities. I wanted to translate that digital language into a real and precious piece of jewelry, while exploring the contrast between the structured, pixelated geometry of the upper section and the natural, fluid form of the pear-shaped ruby suspended below

This design is not being produced or used by any other company, and I do not intend to sell or lease the production rights. The piece was developed and produced under my own brand ZOMORODI, and I plan to keep its production within the brand.

What drove me was merging the visual language of early digital games with the neon atmosphere of Japanese cities, and finding a way to translate that into a real, precious piece of jewelry.

No particular designer or existing jewelry design directly influenced this work. The design developed from my own visual observations and ideas rather than from another designer’s work.

The target customer for Ruby Pixels Earrings is someone who appreciates contemporary jewelry, conceptual design, and distinctive pieces that go beyond conventional luxury jewelry.

What sets Ruby Pixels apart is the contrast between two very different visual languages: the structured, pixel-like geometry of the upper section and the classic, organic form of the pear-shaped ruby below. Bringing these two elements together gives the piece its distinctive identity.

The name “Ruby Pixels” came directly from the two defining elements of the design: the pixel-like structure of the upper part and the pear-shaped ruby suspended below. I wanted the name to be simple and to immediately reflect the visual identity of the piece.

I began with hand sketches and then developed the design in Rhino with the assistance of a 3D operator. For production, we used 3D modeling and printing, traditional jewelry casting, followed by hand finishing, polishing, and precise stone setting to complete the piece.

The most unique aspect of the design is the combination of a structured pixel-like geometry with the natural and classic form of a pear-shaped ruby. The contrast between these two very different visual languages creates the distinctive character of Ruby Pixels.

In realizing this design, I collaborated with several specialists. First, working with professional gemstone dealers and suppliers was essential, because the concept required gemstones with very specific dimensions, quality, and color. Without access to precisely selected stones, transforming the original idea into a real piece would not have been possible. I then worked with a 3D/Rhino operator to develop and refine the structure of the design. During production, skilled jewelry makers and specialists were involved to ensure the piece was executed with the required precision.

Technology played an important role in translating the initial idea into a precise and producible piece of jewelry. After developing the concept through hand sketches, Rhino and 3D modeling allowed the pixel-like structure, proportions, and stone positions to be refined with accuracy. 3D printing was then used to prepare the model for casting, while the final finishing and stone setting were completed by hand.

No, the design was not influenced by data or analytics. It developed through personal observation, visual inspiration, experimentation, and the creative design process rather than data-driven research.

One of the main challenges was sourcing gemstones with the exact dimensions, color, and quality required by the design, since the pixel-like structure depended directly on the proportions of the stones. Another challenge was transforming forms that initially existed only as sketches and mental images into a precise three-dimensional structure that could actually be manufactured. The design had to be repeatedly examined and refined in Rhino so that the visual idea could work within the technical limitations of jewelry production. Finally, precisely realizing the pixelated upper structure together with the large pear-shaped ruby, and bringing these two different visual languages into one coherent piece, was another important challenge.

Ruby Pixels wasn’t originally created for a competition. It started as a personal, exploratory project that gradually found its own identity. Once it was finished, I felt that this distinct design language deserved to be seen and evaluated on its own terms, beyond a purely commercial context. That’s why I decided to submit it to an international design competition for an independent and professional assessment, and to give the work an opportunity to be seen beyond the gallery and the local market.

During this project, I learned to be more patient with the design process and not force an idea into a final form too quickly. Ruby Pixels took almost two years to evolve from initial visual ideas into a finished piece. Working through sketches, 3D development, gemstone selection, and production taught me how to balance creative freedom with the technical realities of fine jewelry. It also gave me more confidence to follow an unconventional idea, even when its final outcome isn’t clear from the start.

For now, I plan to keep the original piece as part of my design portfolio and make it available for exhibitions or special presentations. In the future, I would also like to explore how the same concept could be reinterpreted through other types of jewelry or related design objects.