Founded in 2012 by the Ivorian-born, Paris-based designer Akébéhi Kpolo, jewellery brand Ohiri explores the diversity and commonality found across different West African cultures. ‘I was raised by parents who were in love with African culture, art and design,’ she says. ‘My friends used to say my house was like a museum because there were so many different forms of art. I don’t have a French name, I just have an Ivorian name as embracing our culture was so important.’
(Image credit: Neil Godwin at Future Studios for Wallpaper*)
Kpolo articulates this through the lens of the Akan, an ethnic group present primarily in Côte d’Ivoire and Ghana. ‘I wanted to present the Akan culture in three different parts: firstly, via their making techniques, secondly, through the material they use, which is principally gold, and finally, the symbolism behind the pieces.’
(Image credit: Neil Godwin at Future Studios for Wallpaper*)
Kpolo’s S/S23 collection, Outlines (2), is a companion series to Outlines (1), her A/W22 art-jewellery ‘offering’ to an imaginary ‘crocodile king’. While the designer is from the Bété ethnic group, she has been interested in the jewellery of the Akan since she first encountered it on a family road trip aged 11. ‘We went for a traditional wedding in an Akan village. I was very impressed by the men and women wearing huge, beautiful gold jewellery.’
The Akan are known for adinkra, a system of symbols depicting concepts, mythologies and aphorisms often appearing in jewellery and textiles. The crocodile is sometimes depicted solo – denkyem – conveying its adaptable nature of living in both water and land, or as a pair with a conjoined abdomen – funtunfunefu denkyemfunefu – a visual exposition of the need for co-operation and compassion.
(Image credit: Neil Godwin at Future Studios for Wallpaper*)
Kpolo decided to take a less didactic approach. ‘I started questioning the information we have and give. Maybe sometimes there is too much, and we are overwhelmed.’ This led to pieces that were less animalia and more interpretative. ‘I always use abstract forms. There is only one piece where there is a crocodile-like head and tail. For the other pieces, it is the texture, the movement. It’s like a conversation between the body and the pieces. I let people have the freedom to decide what they see and feel.’ The pieces are crafted in gold and lapis lazuli, which she was drawn to because, in her research, she found historical confluences between ancient Egypt, known for its affinity to the gemstone, and the Akan people.
