Throughout history, we have rarely seen female jewelry designers of color celebrated in mainstream media; at least not nearly as much as they should be. Thankfully, social media has created a well-deserved platform for so many budding artists of color. One artist in particular is Chicago-native jewelry designer, Martine Ali. Ali is successfully running her business and using her social media presence to showcase her work in hopes of inspiring others to not be afraid of embracing their own personal styles.
At a young age, Martine is reaching new heights and carving out a distinct path for herself through the creation of a gritty, unconventional jewelry line. Once Martine moved to New York, she was inspired by the industrial energy of the city, sparking her desire to create with metals and chains. The jewelry fluently communicates Ali’s vision as it reflects the offbeat, and rustically urban souls of New York City’s downtown youth. It comes as no surprise that her pieces have gained attention from the likes of Kendrick Lamar, Rihanna, Cardi B, Goldlink and many more.
If Martine Ali Jewelry were a musical genre, it would be noisy, experimental jazz because “it isn’t so linear” and her “process in creating isn’t so linear either.” Wearing one of her original wallet chains that she effortlessly turned into a necklace, Martine explains to me how one can truly wear the pieces however they please. With her days of interning at DKNY long behind her, Martine Ali has made a name for herself beyond creating one-of-a-kind jewelry. She has also mastered the art of staying in touch with her customers, and refuses to allow stereotypical ideas about what a person in charge looks like stop her from being the innovative boss that she is.
A: Did you study design in school?
M: It was my major my freshman year, and then I changed it because it was tedious and annoying. I chose to study visual arts and it was a really broad major that included drawing, painting, film and photography. The whole purpose of it is to really be able to visually convey a story and a message, and that has been so important now with having my brand. The most important thing I learned was graphic design and later I was able to do my website.
A: I read that your babysitter had a big influence on your interest in jewelry making. At that time, did you ever think it was something that you could do as a career?
M: It was completely just for fun. I tried a little of everything but the jewelry [making] really stuck with me. I realized it was something I could make into a career pretty early on because I was making pieces and my mom would be like “I wanna buy that!” And then she would bring them to her friends and they’d be like, “I wanna buy that!” It was an organic start, but the moment I realized I could make money too I was like yeah, that’s what I wanna do!
A: What has been your favorite part about seeing stars like Kendrick Lamar and Cardi B wearing your pieces?
M: Kendrick is everything. With his stylist, we made a DAMN jewelry wardrobe. For all of his press events for the DAMN album and for all of the videos, he was wearing the jewelry. He’s also not your typical iced out rapper. He’s actually quite minimal. He’ll wear just a hoodie and jeans so the jewelry really pops and that makes [the jewelry] more visual in a lot of ways.
Cardi B is hilarious and she is also having a “moment.” That’s what I’ve realized… it’s really about having relevant people wear my pieces.
A: Do you have any celebrities that you hope to see wearing your pieces next?
M: It was Rihanna but then, she wore it! She’s just everything. She’s so beautiful and such a style icon. She is so comfortable in her own skin and I feel like that is a great inspiration. She’s not purposefully trying to have her tits out. It’s kind of just how she lives her life. It’s really empowering. She’s all about embracing her sexuality as opposed to flaunting it. I want to be able to collaborate with her more or make her custom pieces.
A: What was your most valuable take away from interning at DKNY?
M: When I worked there, I would wear my jewelry around the office and people would be like “oh, what’s that? Wanna make some stuff for the runway?” So that’s kind of how it started actually.
My most valuable takeaway was that the fashion editor, stylist and the head creative director saw something in me and gave me a chance. So now, with the people that I’m working with, it’s really important to me to give those chances to others too. I want to help them grow and allow them to do what they want to do while also meeting the needs of the business. I can never really repay someone for giving me that opportunity… I feel like I can only pay it forward.
A: Do you feel like that experience has influenced the way you make jewelry now?
M: Absolutely. When you’re making products for a global brand with mass distribution, it’s not just about a cool idea, it’s about how the idea is going to address multiple needs and if it’s eye-catching. I think starting out at that kind of company was great because there was this mass consideration that now I’m always hyper-conscious of.
A: When you first started out, what kind of materials would you use to create your jewelry? Were you always interested in metal?
M: I was mostly working with stones. I was beading a lot at the time. In general, it’s really hard to keep natural elements consistent. Chains came out of being able make a lot of pieces. Metal is a really abundant material. You can add your own flair to it.
A: What would you say is the hardest part about being a designer during this current political/fashion climate?
M: I feel like there are two things right now that are very tangible. One is social media. It impacts sales so much. There’s such a sense of commerce that’s beyond the traditional wholesale and retail. Social media is completely shoppable. It really empowers smaller brands and gives us this platform that we would probably otherwise never have. A lot of these bigger brands don’t know how to communicate directly with their consumers. And when you’ve come into your business in the era [of social media], it’s really empowering.
Another thing I think about a lot is being a woman in charge. I feel like I’m so used to, and we’re all so used to, having these more authoritative, scary male figures in suits or whatever. Especially because I’m a petite woman, and I look young, people will come over to me and say, “oh… you’re the designer! Not the intern?” And that’s what’s been really interesting. It works for and against me. It’s been a constant hurdle to cross because people are very quick to underestimate you.
It’s a really important time for more women to start being in more positions of power and for more women to feel like they can be in control. With our current administration, we’ve taken so many steps backwards and I feel like women are being put into this very objectified space that we haven’t really been overtly put into in so long. We keep seeing these stories of crazy men in charge and now I’m like, honestly, no man should ever be in charge! It’s crazy. I would never make anyone who works for me sexually uncomfortable. And so I think more women need to be in positions of power because maybe unnecessary things would happen less.
A: What would you say is the biggest fashion faux-pas?
M: Girls thinking they need to look sexy to look good. I think the more you just embrace your personal style, and the more you feel comfortable in your own clothing, it almost makes me want to look at someone more! Right now, with all of the contouring, waist trainer belts, and lip fills… I’m just like, can we chill? I like when people are just really unconventionally beautiful, but they are just comfortable in their own skin. There’s definitely a power in the suggestion of something as opposed to the blatant look. Don’t get me wrong… I love a slutty look, but, for me, it’s more about having confidence and a security within yourself.
A: Do you have advice for any young jewelry designers just starting out?
M: Just try it! I feel like a lot of creative people get really hindered by the possibility that something won’t work out. There’s so many things I’ve done that have just happened. I call them “creative accidents.” People get so caught up in the “What if?” It’s really important to just give yourself the time and space to produce and then figure out the next steps. So many people stop themselves before they even start. I think it’s important to not even go there. There’s so many parts of my business that make sense way after I do something.
A: What’s in store for 2018?
M: We are moving into Japan a little bit more which I’m really excited about. I also hope to move into other parts of Asia. I’m excited to start working on meshing jewelry with handbags, accessories and outerwear too. As a long term goal, I really want to create an experience around the jewelry and bring the consumer into the creative process more. My dream is to have a studio-retail space where you can’t tell whether you’re in someone’s studio space or if you’re in their store.
A: What do you want your legacy to be?
M: I really want people to be a little bit less in a box in terms of how they move through their personal style and [instead,] do things that make sense for them. That’s really how I’m trying to build and structure my business. I really wish that was something people embraced more. I understand people aren’t as comfortable living in a gray area, but I really think that things aren’t so black and white.
Photographer: Akram Shah
Styling: Martine Ali
