Handmade and Homegrown: Get to Know Nandi Naya

As a product of the South African diaspora and a mother of two, Hleziphansi Zita denotes many of her stories and cultural experiences into her handmade jewelry brand, Nandi Naya. Growing up in New York City, going to Catholic school and church played a role in her upbringing, which then evolved to practicing ancestral beliefs guided by her mother. Further rendering similar connections to divine energy, Zita incorporates numerology and healing properties that are cultivated in the physical realm through her work. 

The self-taught jewelry maker first established her brand in 2015, naming it after the oldest of her two daughters, which originates from Shaka Zulu’s mother Queen Nandi of Zululand, South Africa. Translating this majestic, yet playful energy of motherhood into delicate pieces, Zita is now creating her most impactful work. Through this, she is bringing forth conversations around spirituality and individuality with alluring sculptural designs, sophisticated beadworks and minimal designs that complement the modern woman. 

Upon meeting the trio at their favorite park in Hoboken, New Jersey; warm smiles and hugs were exchanged. During the last bits of the summer sun, the girls were able to run free and fully embrace their surroundings. The oldest, Nandi, stands firm as she proclaims that she’s queen of all the land, while 2-year-old Indra is off dancing to the rhythmic chime of a nearby train’s bell. Between a few playground cries, sharing interaction lessons with Nandi and dashing off set to check on Indra’s safety; the wisdom and vibrancy of these girls continues to radiate strongly.

What is the story behind naming your brand Nandi Naya?

It’s named after my daughter. Her first name is Nandi and her middle name is Naya. My mother named her Nandi after Shaka Zulu’s mother which was Queen Nandi of Zululand, South Africa.

Many of your pieces are accompanied by unique names. What is the process that you take in naming each?

Aziza, Malia, Aida, and Fari are Islamic girl names which originate from the Arabic language. They all mean “queen” or “regal”. I did a collection called Moorish, so I made sure to name the pieces based on that; being regal and being a queen. I always have names that are African, that’s important.

Recently you’ve been doing commissions for your Fig Hand beaded necklaces with The Bibio Project. What does the Fig Hand beaded necklace signify for you?

Because of its meaning, I put in color theory. The color beads have meaning, color has meaning. You have green for wealth or in a sense of naturalism, blue for calming, white for empathy and pureness. It’s those kinds of meanings that you want to have more healing properties with you. I normally ask the person [jewelry wearer] to do their life path. It’s based on your given birth name, the day you were born, and you add those numbers together. For me, my life path is three. So, I would ask the person ‘your life path number? Three. What colors do you want?’ It resonates more with them, but with this brand, I’m just doing a mix of colors. I’m still using those same characteristics.

What inspires you most in creating new jewelry pieces?

Normally it starts with a story. Right now, what I’m doing is the Fig Hand and that is ‘An Ode to Botanica’. Growing up in New York City and being from a background of South African descent; my mother practiced ancestral beliefs. We went to church when I was younger. We also went to catholic school, but my mother was not into that at all. She was always the one making sure that we had ancestral beliefs; like lighting the candle, having frankincense rocks, and talking to the ancestors. The only place for her to get her materials was at the Botanica. That was the Spanish herb shop with everything you would need to do these blessings. 

So that’s why I called the Fig Hand, ‘An Ode to Botanica’. With this, it’s a mix of the African diaspora. You see the connections from indigenous peoples in Central America, South America, even in Asia; using beadwork. I wanted to use that and then add the charm. That little charm [Figa] is from Italy during the colonial times which was traveled down to South America.

When drafting new pieces what is your creative headspace like? What is your ideal workspace?

I work from home. I normally try to find time in between me taking care of my daughters also homeschooling Nandi. Most of the time I do light soldering, wax carving and then take it to a manufacturer to get casted in the metal.

What does the power of flow mean to you?

It’s confusing me because I normally just say that ‘I go with the flow’ meaning that I go based on my energy as a person. If I feel inspired to create, I’m going to create. I solely just listen to the way I feel.

In some of your pieces, you pull inspiration from architecture, one specifically the Fari ring inspired by Hausa Adobe architecture. With your background studies in architecture, what drew you to pull inspiration from these specific styles?

When I was in high school, I went to a vocational school. I was in the pre-engineering/architecture program. I got really into it when I got to college. I was taking architecture classes, but I decided to take an interior design class because I wanted to still have creative freedom. Architecture can be very straightforward and really disciplined. I felt like I couldn’t be a person sitting behind a desk all the time doing CAD work or blueprint work. I thought that interior design would be nice for me, but I didn’t end up doing any of that. I admire Adobe architecture specifically the Hausa Tribe dwellings. I like the decorative symbols on their homes and buildings. That’s what captivates me the most, the symbols.

What are some songs that were frequently played when you were growing up?

Anything that was electronic, dance, clubby music like M.I.A, 808 STATE and Crystal Castles. If I would listen to rap it would have to be the 90s like De La Soul or A Tribe Called Quest.

What kind of music do you share with your own children now?

Miriam Makeba, Fela Kuti, Dorothy Ashby, Sun Ra, Blood Orange, Solange, Kelela, Radiohead; a lot of afro-beats, afro-fusion, and jazz. I’m so selective. Anytime a person becomes too mainstream I just automatically don’t listen to them. Lately, I’ve been playing a lot of Thom Yorke. I play his new album often for them. I like music that’s with minimal singing. So I normally do an instrumental or frequency music [Solfeggio] when I really need to relax. I don’t like getting overly distracted.

If you could incorporate another material into your pieces, what would it be? Why?

I would love to work with gold. It doesn’t tarnish and people are not hyperallergic to it. I want to work with gold but it’s so expensive. I just stick to brass and sterling silver for people that are allergic to brass.

In what ways would you say your motherhood has had an influence on your brand?

I feel like it’s made me do what I’m doing today. If I didn’t have Nandi, I would not be doing jewelry. It has a strong impact. Also, the freedom of me being able to do jewelry and have my children along the way. All the time, when I do drop-offs or pick-ups they’re right there. We go to the Diamond District. I talk to her [Nandi] about different stones, gems and materials. Nandi, especially, is constantly wanting to learn about the business. It’s nice that I have them come with me, experience it, meet different people and even meet the asshole people. 

What are the most valuable lessons you have learned from being both a mother of two children and your brand?

Patience and pacing myself. I feel like that is important because my mind is constantly going with different ideas. Being able to have the balance that I can have my endeavors and my kids have their own. They’re doing modeling and my daughter [Nandi] is learning from home and from the outside world. I feel like I’m more patient than I was when I was a teenager, I listen more and I’m more empathetic. I’ve always been empathetic but it’s completely different. I’m just more aware of certain things when it comes to my daughters, especially Nandi since she is seven years old. Yeah, I must have more patience.

What does community look like to you?

I’ve lived in Costa Rica and when I lived there I had more of a sense of community. I had people to lean on, rely on; I had more allies. Now I really don’t. I’m either by myself or with my children and my partner. Basically, that’s it. As the three people in my life, they are my community. When I am out and about, I make sure to extend a hand and help other people who are in need. I give back in that sense of form. But I don’t really hang out with people anymore. As a mother, I’m not in that alignment of the people I knew or considered friends and I am content.

What messages do you hope to continuously mark in this lifetime as an individual, mother, and with your pieces?

When it comes to jewelry and creating it will always be about storytelling; trying to cultivate new connections. I am here to guide my daughters to know their natural selves but also they are teaching me what is unconditional. In the near future, we will be transitioning into the phase of us leaving this paradigm into building a homestead outside the states which will allow us to truly live in the moment.

Photographer: Shanelle Infante

Stylist: Adekemi Savage