Jewellery between the idea and the making
- Nour specialises in the technique of grand feu enamel
- Her creations draw on diverse traditional jewellery making methods
- She finds inspiration in fashion, architecture and raw minerals
From drawing to wax modelling, Nour Mira builds her gold and silver jewellery around raw stones and grand feu enamels. After spending ten years perfecting her craft in a Parisian workshop, Nour opened her own boutique-studio in 2022 to bring her creations to life. “Sometimes I start with a raw or cut stone and visualise it mentally at length before testing certain options through drawing. I move on to model making. Other times, I explore by sketching multiple possibilities or by directly experimenting with the material," she says. Nour creates unique pieces or very limited series designed to stand the test of time. "I value handmade objects, talisman jewels, and gems that can be kept and passed on," she says.
Discover her work
INTERVIEW
My grandmother was a jeweller and enameller. Although she did not train me directly, she passed on her tools to me, which I started using as a teenager without any formal training.
The design phase that comes after the idea and before the making – the know-how that brings me as close as possible to the initial vision and helps me decide which techniques to use. I really enjoy this type of mental gymnastics.
The emergence of 3D technology has profoundly changed jewellery making. While 3D design offers vast creative freedom, many bench jewellers now mostly rework cast pieces with great precision, while soldering, shaping and building mechanisms have become rare. At the same time, the field embraces materials once seen as non-precious, which opens up many creative possibilities.
As a craftsperson, transmission has helped solidify my know-how by requiring me to explain it clearly. It also allowed me to approach this practice through its emotional dimension, which helps me understand the importance of feeling and listening to the tools and materials I use.
