Amazigh allure: Inside the world of Miryam Labiad

There’s an elusive quality to the works of Moroccan jewelry designer Miryam Labiad. Since founding Mimia LeBlanc Jewelry in 2016, her designs have garnered a reputation for their timeless appeal—each piece is destined to become a cherished heirloom. Last year, she celebrated a significant milestone by opening her first-ever boutique in Casablanca, Morocco, following her brand’s presence at coveted locations like Printemps in Paris and Burj Al Arab in Dubai.

It seems a natural fit that Miryam was invited to join creative forces with Qatar’s Years of Culture initiative to craft jewelry pieces that honor her cultural intonations. The collaboration emerged from the Qatar-Morocco 2024 Year of Culture, which features a range of artistic partnerships aimed at fostering a mutual exploration of cultures, creative industries, and social development. “As a Moroccan jewelry designer, I was honored to be invited to participate in this global celebration of our shared heritage,” she says.

Miryam has designed three distinct pendants that serve as a thoughtful meditation on the rich tapestry of Moroccan, particularly Amazigh and Andalusian, culture. These creations will be on display at the Museum of Islamic Art in Doha, coinciding with the ‘Crafting Design Futures’ exhibition that begins on 30 November.

“I immersed myself in traditional Amazigh designs, studying pieces from the ‘Berber Jewellery Collection from the Royal Palace’, which was exhibited at the Museum of Islamic Art at the start of the Qatar-Morocco 2024 Year of Culture,” Miryam reveals. “My goal was to honor these ancient traditions while infusing them with a contemporary flair. I sketched initial concepts in collaboration with the Year of Culture team before selecting the perfect materials and gemstones to bring each design to life.”

The pendants are an artistic triumph, delicately weaving together the intricate strands of Moroccan visual vocabulary in 18k yellow gold. Each piece boasts exquisite finishes—hammered, sandblasted, or brushed—and is complemented by a stunning array of gemstones, including turquoise, coral, lapis lazuli, and diamonds. “These choices reflect the rich color palette of Morocco, and the traditional materials used in Amazigh jewelry,” she explains.

Miryam has imbued each design with a unique leitmotif. The first piece draws inspiration from the Amazigh tradition of using coins as adornment. “I had been holding onto a rare and precious coin depicting His Late Majesty King Mohamed V, the grandfather of the current King Mohammed VI of Morocco, which I’ve incorporated into this pendant,” she notes. Crafted to perfection in 18k frosted yellow gold, the pendant is bedecked with round-cut diamonds, emeralds, mother-of-pearl, baroque pearls, and cabochon rubies.

The second piece soars with elegance, inspired by the ancient Moroccan necklace called ‘serdouk’, which embodies the majesty of an eagle. Shaped like the noble bird—a notable symbol of strength and prestige—this type of necklace was among the most popular and expensive in northern Morocco. It’s decorated with opal, peridot, brown diamonds, and fancy sapphires, all enhanced by a brushed gold finish.

A true visual marvel, the third and final pendant pays homage to a work displayed during the ‘Berber Jewellery Collection from the Royal Palace’ exhibition at the Museum of Islamic Art earlier this year. This handcrafted statement piece offers a contemporary take on the geometric forms characteristic of traditional Berber jewelry.

At its core is a rhombus design, adorned with grey diamonds, turquoise cabochon, and deep rubies, elegantly complemented by mother-of-pearl inlay. It’s tastefully topped with a rectangular element in 18k sandblasted and hammered gold that glimmers with torsade and lapis lazuli. Connecting the two motifs is a smaller rhombus in coral cabochon that adds a harmonious finish to this exquisite piece.

 “The Museum of Islamic Art has an incredible collection of Amazigh jewelry, much of which will be on view for the first time during the ‘Splendours of the Atlas’ exhibition, which opens on 2 November 2024,” states Miryam. “You’ll witness a variety of brightly-colored stones like turquoise and lapis lazuli that were so favored, as well as the common use of coins in jewelry-making, which inspired my own creations.”

As a prominent figure in the cultural realm, Miryam plans to showcase the designs through her social media channels to her expanding global audience. “I’ll be sharing insights into the creative process, historical inspirations, and cultural significance of materials and motifs used for the pieces in a series of videos,” she reveals. This content will also be featured across the digital channels of the Years of Culture program once the creations are unveiled at the Museum of Islamic Art.

Miryam considers such collaborative adventures essential for preserving Morocco’s vibrant history and contemporary spirit. “As present-day Moroccan creatives, we have a responsibility to be cultural ambassadors. Our role is to celebrate our rich heritage while pushing the boundaries of innovation. By reinterpreting traditional motifs, techniques, and stories through a modern lens, we keep our culture alive and relevant,” she comments.

 “We can educate younger generations about our history and inspire pride in our heritage. Global platforms like Years of Culture are crucial to showcasing our work worldwide and fostering a cultural dialogue on Morocco’s artistic legacy.”

The ‘Crafting Design Futures’ exhibition runs from 30 November 2024 until 7 January 2025 at the Museum of Islamic Art in Doha, Qatar.

Visit Mia.org.qa, Yearsofculture.qa, and Mimialeblancjewelry.com, and follow @Miaqatar, @Yearsofculture, @Mimialeblanc, and @Mimialeblanc.jewelry on Instagram.