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Em

@em_ilieh

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Paris
Designer & Jeweller
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Ā«Ā The Call of the VoidĀ Ā» @schiaparelli Haute Couture Fall/Winter 2026/27 by @danielroseberry Grateful to have experienced the creativity and craftsmanship behind this collection šŸŖøšŸš taken in Paris, France by @em_ilieh
3
14 days ago
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Looks from Ā«Ā The Call of the Void Ā» @schiaparelli Haute Couture Fall/Winter 26/27. Proud to have contributed to the design of the prosthetics and jewellery for this collection by @danielroseberry Thank you šŸ¤ The last image is a reference to Matthew Barneyā€™s Cremaster 5: Her Giant (1997), one of the visual references behind the prosthetics. taken in Paris, France by @em_ilieh
0
a month ago
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A true pleasure to be part of the prosthetics and jewellery collection Haute Couture Fall/Winter 26/27 Ā«Ā The Call of the Void Ā» at @schiaparelli by @danielroseberry Thank you taken in Place VendĆ“me, Paris, France by @em_ilieh
6
a month ago
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JADE HUNTING šŸ‡ØšŸ‡­ Exploring the Swiss Alps in search of jade, following the glacial moraine through the mountain terrain. A moraine is an accumulation of rocks and sediments transported and deposited by a glacier. As the ice moves through the landscape, it picks up and carries fragments of the surrounding mountains, eventually leaving them behind as the glacier melts and retreats. I found several pieces of Swiss jade in these deposits, which I later hand-cut into cabochons. #swiss #geology #jade taken in Swiss Alps by @em_ilieh
2
2 months ago
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Lost & found on a island šŸ“ø the only one @daoudvenus šŸ¤ by @em_ilieh
6
2 months ago
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ā€œCrystalā€ originates from an observation of mineral formations found deep within the Swiss Alps. Working with marble extracted from the Swiss mountains, the project reconsiders the relationship between material and origin by translating geological conditions into form. The act of cutting becomes a generative process, echoing the language of crystalline growth through a sequence of linear interventions that progressively extrude the form, reflecting the slow processes through which minerals are formed. The project invites us to enter the mountain and uncover structures shaped over long timescales, revealing a hidden architecture. A table side & a stoo made with Swiss marble in a collaboration with @cristallinadesign during my studies at @ecal_ch šŸ‡ØšŸ‡­ #3drendering #furniture #marble taken in Lavizzara by @em_ilieh
0
5 months ago
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Ā«Ā CrystalĀ Ā» originates from an observation of mineral formations found deep within the Swiss Alps, where apparent disorder conceals a rigorous geometric logic. In this subterranean context, crystalline structures emerge through processes governed by time, pressure and atomic arrangement, revealing an inherent precision embedded within matter. Working with marble extracted from the Swiss mountains, the project reconsiders the relationship between material and origin by translating geological conditions into form. The act of cutting becomes a generative process, echoing the language of crystalline growth through a sequence of linear interventions that progressively extrude the form, reflecting the slow processes through which minerals are formed. The project invites us to enter the mountain and uncover structures shaped over long timescales, revealing a hidden architecture embedded within the stone. Project in collaboration with @cristallinadesign @cristallinamarmo.ch and @ecal_ch With the support of @lemoignenicolas @xjc_xavierperrenoud @anaissulmoni @blanchemijonnet šŸ¤ Has been exhibited at @matterandshape in the jardin des Tuileries, Paris taken in Jardin Des Tuileries Paris by @em_ilieh
0
7 months ago
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STELIS Images of the shooting video made by @younesklouche āœØ I design a chain using 3D printing technology, aiming to blend technology with organic shapes. The chain is printed in a single process. Bracelet and necklace printed in ceramic 3D thanks to @ceramaretgmbh šŸ„‡ #3dprintedceramics #3dprintedjewelry #chain taken in ECAL/Ecole cantonale d'art de Lausanne by @em_ilieh
2
10 months ago
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STELIS / Process 3D ceramic printing offers fascinating possibilities, particularly the ability to print the entire chain in a single process while preserving intricate organic forms. 3D printed by @ceramaretgmbh Filmed by @younesklouche A project developed during my studies at @ecal_ch #3dceramicsprinting #jewellery #chain by @em_ilieh
2
a year ago
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Depuis les premieĢ€res pierres tailleĢes du PaleĢolithique jusquā€™aux gemmes que je facĢ§onne aujourdā€™hui, un meĢ‚me geste traverse le temps : celui dā€™un eĢ‚tre humain qui sculpte la matieĢ€re pour en reĢveĢler une fonction, une forme, une lumieĢ€re. Dans la main de lā€™Homme preĢhistorique, la pierre nā€™eĢtait quā€™un fragment brut arracheĢ au paysage, mais elle devenait deĢjaĢ€ un outil, un prolongement du corps, une solution facĢ§onneĢe par lā€™instinct et la neĢcessiteĢ. Chaque eĢclat, chaque fracture eĢtait le reĢsultat dā€™un dialogue direct entre la main et la matieĢ€re, une recherche dā€™efficaciteĢ. En 2025, mon geste appartient aĢ€ une autre temporaliteĢ, aĢ€ un savoir-faire affineĢ par la technique, lā€™optique et la preĢcision. Pourtant, il conserve la meĢ‚me essence : eĢcouter la pierre, comprendre ses tensions internes, lire ses failles et ses possibles. Lorsque je taille une pierre facetteĢe, je prolonge cette histoire du geste humain, mais jā€™y ajoute une dimension nouvelle : la queĢ‚te de lumieĢ€re, de perfection, dā€™expression sensible. LaĢ€ ouĢ€ les premiers tailleurs cherchaient aĢ€ survivre, je cherche aĢ€ sublimer. LaĢ€ ouĢ€ ils cherchaient lā€™efficaciteĢ, je cherche lā€™eĢmotion. Pourtant, au cœur de cette eĢvolution, une veĢriteĢ demeure inchangeĢe : tailler la pierre, cā€™est toujours tenter de comprendre un fragment de nature et lui offrir une nouvelle destineĢe. Image 1 : creĢateur inconnu de la preĢhistoire ayant facĢ§onneĢ un silex biface pour racler, trouer, deĢcouper. Image 2 : quartz tailleĢ par mes soins avec un diagramme reĢpondant aĢ€ lā€™index de reĢfraction du quartz. Avec quelques poussieĢ€res :( Image 3 : quartz brute Image 4 : #ultratec #flint #gemstones by @em_ilieh
3
a year ago
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Typology of the Cut #3 The Origins of the Aesthetic Gesture Carved stone tools were essential to the survival of early human communities. Shaped to cut, scrape, or pierce, they reflect a deep understanding of materials and a progressive mastery of the gesture. Certain stones: flint, quartz, obsidian, were chosen for their ability to produce sharp, clean, and linear edges. This precision was already present in prehistory: with each strike, the maker aimed to create the straightest and sharpest edge possible. We can already perceive a search for symmetry and regularity that goes beyond mere necessity. The gesture becomes more than utilitarian: it becomes meaningful. Symmetry is not only a mark of efficiency; it expresses control over the material, revealing a form of beauty born from precision. For this project, I focused on flint and quartz : two materials that exist between the functional tool and the object of contemplation. When shaped, they naturally produce sharp edges, and in the case of quartz, its transparency allows for a direct dialogue with contemporary faceting techniques. Today, the cutting of gemstones relies on complex geometric diagrams designed to master and prolong light. The goal is no longer survival, but the ability to capture, reflect, and retain light within the stone. The lapidary works with hundredth-millimeter precision to achieve ideal symmetry that maximizes brilliance. What feels ā€œmagicalā€ about the stone is this almost immaterial pursuit: the desire to possess light itself. The flint knapper and the gem cutter share a common ground. Both possess an intimate knowledge of the material they work with. They approach their craft with a deep sensitivity to gesture, and they share a desire to reveal something essential through the act of cutting. The beauty of flint lies in its controlled, utilitarian form; the beauty of the gemstone lies in its amplified light. Yet in both cases, we find the hand, the material, and the intention. šŸ“· @cheekylunaa <3 #flint #archeology #prehistorictool #tool #biface #quartz #ultratech #facetting #handmade #gemstones #light #brass taken in Suisse by @em_ilieh
4
a year ago
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Typology of the Cut #2 The Origins of the Aesthetic Gesture Typology of the Cut is a material curation and contemporary experiment that revisits ancient gestures to reactivate their presence. This research project considers stone cutting as a foundational act, tracing its evolution from the first flakes of the Paleolithic era to the precise faceting of contemporary gemstones. Metal plays an essential role in enhancing stones: it supports, protects, and intensifies their brilliance through contrast or reflection. Setting a stone does more than secure it ā€” it highlights the facets, directs light and emphasizes texture. In this project, I chose to work with polished metal plates to echo both the cutting edge and the symbolic resonance of the knife, thereby evoking the gesture of cutting. Through this evolution, the gesture changes in meaning. Originally functional, it becomes symbolic when it conveys belief, identity, or power. It becomes expressive when it embodies emotion, thought, or individuality. Over time, these objects have been removed from their original context. What once served to cut or scrape is now displayed in museums, collected and contemplated. Flint, caught between natural form and human trace, has become an aesthetic artifact. Typology of the Cut explores this transition ā€” from a gesture of survival to a gesture of light, from function to expression. It brings to light a discreet but persistent thread: that of humans shaping matter to meet a need, to convey meaning, or simply to reveal beauty. -> This piece consists of naturals quartz crystals and a flint arrowhead from prehistoric period, set on a copper plate. šŸ“ø @cheekylunaa šŸ’« #copper #naturalquartz #flint #arrowhead #prehistoric #art #archeology #duality #cut by @em_ilieh
2
a year ago
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