For Karl Chiniara, the Founder of Karlito, jewellery is more than a fusion of metal and gemstones—it is an artistic dialogue between culture and innovation. Karlito embraces Cubism, one of the most disruptive art movements, to craft a bold new visual language in jewellery. His revolutionary approach translates Cubist principles into geometric forms, a breathtaking collision of structures sculpted in metal and gemstones showcasing characteristic fragmentation of Cubism.
The Abu Dhabi-based revolutionary artist envisions his brand as part of a movement redefining high jewellery as an art form. His creations speak to connoisseurs who see jewellery as an expression of identity and legacy rather than mere luxury commodities.
One moment, he’s selecting gemstones to spin a narrative into every piece, and the next, he’s pioneering fintech solutions that redefine financial systems—both fuelled by the same relentless pursuit of precision and disruption.
Meet the bold provocateur who challenges traditional aesthetics, and unveils avant-garde designs that redefine the industry.
Tell us more about yourself, Karl. Are you a first-gen jeweller? Why and how were your drawn to the jewellery designing field?
I am a first-generation jeweller, and my journey into this world was anything but conventional. I was never formally trained — I learned through passion, trial, and error, constantly pushing myself to refine my vision and technique. What initially drew me to jewellery was its ability to transform an idea into something tangible, personal, and everlasting.
My love for high jewellery was first sparked by my uncle, Nabil Mouzannar, a renowned generational jeweller. Attending one of his expositions opened my eyes to the true artistry of jewellery, which is beyond just luxury or ornamentation.
While I did not train under him, his work deeply influenced my taste for uniqueness and originality, pushing me to step away from traditional, commercial aesthetics and instead create something bold, architectural, and avant-garde.
Rather than following a traditional path, I built my skills by immersing myself in high jewellery — studying craftsmanship, understanding materials, and exploring design from an architectural and sculptural perspective. Every piece I create is a testament to learning through doing, refining through exploration, and never settling for the expected.
When and where did you establish Karlito, your first boutique?
Karlito was just an idea long before it materialised into a brand. I founded Karlito as a bespoke high-jewellery house, creating one-of-a-kind, made-to-order pieces for a select clientele.
While I initially operated through private commissions and exclusive showcases, I am now working towards establishing my first boutique in Abu Dhabi. The boutique will not only be a space to experience the collections but also a curated destination for wearable art — where craftsmanship and concept intersect in a truly immersive setting.
Tell us about your design philosophy.
Jewellery is not a mere accessory; it’s a statement of art, identity, and innovation. My design philosophy is about breaking away from tradition while still honouring craftsmanship. I refuse to be constrained by the idea that luxury must be predictable. Each piece I create is a conversation between geometry, symbolism, and movement — a balance between boldness and refinement. I embrace avant-garde architecture, sculptural forms, and the unexpected to create pieces that challenge conventions yet remain elegant and wearable.
Are you an architect to begin with? Since many painters like Picasso and Braque were influenced by architecture…
I wouldn’t call myself an architect in the formal sense, but architecture plays a massive role in my design process. I have always been drawn to structured compositions, bold geometry, and the way light interacts with form. I see jewellery as miniature sculptures — wearable architecture, where every line, angle, and negative space matters. Like Picasso and Braque, I take inspiration from architecture’s ability to transform space and redefine perception.
Your collections are inspired by Cubism, a radical art that often plays with sharp angles and fragmented shapes, yet jewellery is expected to be wearable and harmonious. How do you translate this concept into the structure and composition of your avant-garde high jewellery pieces?
This is the challenge that excites me the most—how to take something inherently disruptive, like Cubism, and refine it into a wearable, luxurious statement.
The key is in balance and contrast.
I embrace the architectural nature of Cubism but refine it with fluidity, craftsmanship, and gemstone placement that enhances the human form.
My Kubism collection, for example, is built on hollow cube structures, maintaining their bold presence while ensuring they are lightweight and comfortable.
I also use gemstone inlays and negative space to play with dimension, so each piece feels dynamic rather than rigid. The result is a harmony between abstraction and elegance, where jewellery becomes both art and adornment.
Your commitment to using the finest gemstones is evident. Do you work with custom-cut gemstones to enhance the Cubist nature of your designs, and how does the choice of cut influence the overall composition?
Absolutely. I work closely with master lapidaries to custom-cut gemstones that align with the structural integrity of my designs. Traditional gemstone cuts are designed to maximise brilliance, but I often take a different approach — shaping stones to fit within architectural compositions rather than just maximising carat weight. I use a mix of step-cut emeralds, trapezoid-cut sapphires, and geometric fantasy cuts to create seamless visual symmetry within my designs. These cuts enhance the Cubist-inspired forms, creating pieces where the metal and gemstones interact in an almost sculptural way.
Tell us the thought process that goes from concept to creation in your one-off pieces / collections? What kind of innovations do you employ to make them stand out?
Every piece starts with a concept rooted in artistic expression, rather than trend or market demand. I approach each design like a sculptor, thinking about form, proportion, movement, and the story behind the piece. I sketch, model, and refine each element — pushing boundaries while maintaining wearability and balance.
One of the innovations I employ is the use of unconventional gemstone settings, integrating multi-dimensional structures and incorporating negative space to give depth to the designs. I also explore experimental metalwork techniques, blending high polish surfaces with textured elements to create striking contrasts.
Technology plays a role, but it never overshadows craftsmanship; 3D prototyping helps refine precision, but the true artistry happens in the hands of master jewellers who bring the designs to life with painstaking detail.
What role does personalisation play in your design process?
Personalisation is at the core of true luxury. Every high-jewellery piece I create is tailored not just to the client’s tastes, but to their story, symbolism, and individuality. I believe jewellery should be deeply personal — it should feel like a second skin, a statement of identity. Whether it’s through engraved details, custom-cut stones, or a design inspired by a personal narrative, every bespoke piece I create is a one-of-one masterpiece that reflects the wearer’s essence.
Do you believe that artistic jewellery—rather than traditional luxury—will define the future of high-end collectors?
Absolutely. The modern high-jewellery collector is no longer interested in just big names and big stones — she seeks meaning, uniqueness, and artistic expression. The idea of luxury for the sake of status is outdated; today, true connoisseurs want pieces that tell a story, that push boundaries, that feel truly their own.
I believe we are at the cusp of a new era of jewellery —where collectors invest in pieces that are not just valuable, but visionary.
Art should not be confined to galleries; it should be worn, experienced, and lived.
If you were not a jewellery designer, who would you be? What are your other hobbies and what is a day in the life of Karl?
If I weren’t a jewellery designer, I’d still be an innovator—just in a different field. Beyond high jewellery, I’m also a tech founder, constantly seeking ways to disrupt and elevate industries through creativity and precision. Whether it’s redefining financial transactions or envisioning the future of high jewellery with Karlito, my passion lies in pushing boundaries.
A day in my life is never the same — one moment, I’m deep in gemstone selection, ensuring every piece tells a story, and the next, I’m strategising fintech solutions that challenge traditional banking systems. Innovation, whether in jewellery or technology, is about breaking away from the ordinary, and that’s the philosophy I carry in everything I do.