Along the Arabian Sea’s storied coast, where merchant dhows once carried frankincense and saffron across continents, sisters Fatma and Maryam Al Barram embark on a new journey.
Muria, their fine-jewellery brand, becomes a channel through which the heritage of the Spice Route finds new light in Gulf modernity.
“Oman has always been a crossroad along the Spice Route,” says Fatma, Creative Director. Growing up in Oman, the exchange of cultures was woven into the lives of the siblings. “We grew up immersed in that cultural blend, so drawing from Africa, India, and the Arabian Peninsula isn’t research; it’s instinctive. The fusion isn’t forced; it flows effortlessly.”
Omani mandoos (wooden trunks) patterns, Yemeni arches and Bahraini palm-frond weaves dot the creative palette of the designer duo. Jewellery was never mere decoration in the Al Barram household. Fatma recalls the women in her family unrolling carpets, passing ornaments and heirlooms infused with stories of trading, voyages and milestones. Those evenings seeded a conviction that precious metal can safeguard narrative.
“In our tradition, giving jewellery marks a moment. It becomes a legacy,” she says. Visiting the souqs also played a big role in kindling their love for jewellery. “We were mesmerised by the colours, textures and storytelling infused in each piece that we saw.”
Trained in jewellery design and armed with a gemmology diploma from IGI, Fatma treats metal like a script. “For me, design is a language — an intimate way to capture emotion and heritage in something eternal.”
Sketchbooks read less like mood boards than storyboards: minaret silhouettes shaped up alongside spice-market hues; Yemeni stained-glass arches and windows distilled into crisp line drawings.
Maryam, who oversees business strategy and production, edits sister Fatma’s inspirations to arrive at a curated selection for production. This, says Fatma, ensures the final pieces are perfect for daily rotation. “My role is to make sure every piece is practical and refined,” adds Maryam.
The debut collections resemble chapters in a travelogue. Sacred Geometry references Islamic pattern through a resolutely feminine lens. Half-moon diamonds and circle-set sapphires trace patterns informed by Omani carved doors, chests and architectural elements. “Geometry holds energetic codes,” Fatma notes. “A circle is wholeness; a half-moon is a nod to feminine symbolism.” Rendered in 18-karat gold, the collection embodies a “harmonious dance of form and function.”
In the Vintage Mahra capsule line, rich onyx, deep malachite, rubies, sapphires and emeralds blend into an ode to Omani heritage and elegance, with bevelled edges of the gold amulet-esque pendant and a pair of earrings catching the Gulf sun.
Muria’s jewellery is crafted in Dubai, where master setters burnish natural diamonds until they appear poured into gold, not placed.
If Sacred Geometry looks outward to universal principles, Al Jawhara turns inwards to bloodline. Translating mother-to-daughter familial rituals into tactile form, the collection riffs on heirlooms and classic design. Bezels are exaggerated, yet the overall impression is sleek to reveal. “Jawhara means ‘the jewel,’ but for us it’s the bond itself that shines,” say the founders.
This collection, observes Fatma, draws on the “ancient belief in the power of jewellery as a guardian against misfortune.” The daily wear Hirz series is accented in a brushed matte gold finish and set with diamonds.
Colour arrives in Qamariya, named after the stained-glass windows that adorn Yemeni homes. Here, gems are calibrated into a kaleidoscope pattern, with the half-moon motif returning to anchor the design. “Each amulet in the collection captures the essence of a specific nation — Oman, UAE, Saudi Arabia, Bahrain and Yemen — through the use of coloured sapphires and natural diamonds, reflecting the vivid colours of Yemeni windows,” Fatma explains.
The founders of Muria work exclusively in 18-karat gold, instead of the traditional 22-karat gold, and employ natural diamonds and gems, occasionally using sapphire as accents.
“A stone’s aesthetic is important — colour, clarity and cut, but its energy and symbolism matter just as much. Sapphires, for instance, reflect wisdom and royalty. We often choose stones that speak to the story behind the piece.” Fatma favours half-moons and long baguettes — gem cuts that lend structure and a modern twist to the jewellery that is rendered using brushed and high polish finishes. Shapes carry stories, she remarks: a baguette propels the eye forward and imbues the design with structure, while a circle resolves the journey and adds cohesiveness to a piece.
Collection development begins with fieldwork, informs Fatma. The sisters haunt traditional souqs, exploring ancient jewellery, vintage pieces, analysing Omani mandoos with intricate wood and brass inlay patterns.
Part of their research also includes strolling through old neighbourhoods to study traditional doors and making regular visits to museums, immersing themselves in the visual language of the past to inform their contemporary designs. They record oral histories from elders, then retreat to the studio where Fatma works on sketches. Gemstones are sourced only once a motif is fixed; prototypes circulate between Dubai workshops and Muscat for critique. Nothing leaves the bench until story and structure align.
“We prototype slowly,” says Maryam. “Every step at Muria is about honouring the narrative,” they explain. “Each piece undergoes a thoughtful, meticulous process before it is ever released.”
Asked how Muria balances relevance and longevity, Fatma says, “we design so the piece could have existed a century ago — or a century from now.” By filtering heritage through geometry and modern craftsmanship, Muria sidesteps ornate revivalism. The result is a brand that feels modern yet somehow familiar.
Future narratives are already germinating. The duo hints at forthcoming dives into the botanical lore of the desert, the protective power of regional talismans, and the rich oral narratives shared by Gulf women. Whatever direction their design takes, Muria’s compass is set to a story — there are still so many symbols waiting to be worn.