Sarah
Ysabel Narici
Sarah Ysabal Narici is a British-Italian designer and founder of New York based brand DYNE. From her one-of-one designs to her conceptual collections, Sarah’s work is a unique ode to space in a greater context, as experienced through time, transparency, texture and tacitly, but also through contemporary culture, technology and the digital world. She cites the axis of ancient history and hyper futurism as the main catalyst for creativity.
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You describe your jewelry as ancient and futuristic. Are there specific ancient cultures that interest you or are you constantly digging through material to find inspiration?
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H
The LOVERGLYPHS© universe in inspired by ancient history and anthro-pology. I am very interested in ancient mark making, whether it be hieroglyphics, petroglyphs or tiny mosaics, anything that is pictorial or symbolic that you can recognize now and in the past - but overall something pictorial that lasts through time and tells a story.
1
9
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I believe that everyone is born creative and then for some, it’s sort of beaten out of them through the current design of educational systems and professional environments - I say that because you initially were going to be a lawyer but something called to you on a visit to St. Martins at University of Arts London - can you describe that experience?
S
A
R
A
H
It was always quite clear to everyone else but myself that I should
do something creative.
I look back now and realize I used to spend all my time redesigning things - like my parents house where I wanted to put up walls that were aquariums - but as I got older, I didn’t know how a creative pursuit could be a career and more than that
I didn’t know what a creative career even meant - no one in my family was creative
so it didn’t make sense to me.
But my mother encouraged me to go visit Central Saint Martins in London on an open day. We walked into the jewelry space and it really resonated with me.
Jewelry was a cross between something extremely conceptual and understood in
a fine art context, but it was also made for the body - made to be worn so there was
a commercial twist to it too.
1
9
9
3
How did you keep your creativity alive as you got older?
S
A
R
A
H
I was constantly drawing and sketching, I was constantly going to galleries - I was really interested and curious and that’s never left me. That inner child that spoke to me as I grew up, still speaks to me now.
There was a really beautiful quote I read recently about filling your well with a number of different things that you are collecting, experiencing, and seeing - and when you constantly do that, you are keeping that creative curiosity alive.
1
9
9
3
Have you ever thought of creating a digital extension of DYNE like NFTs or something in the Web3 realm?
S
A
R
A
H
Yes definitely a digital extension. I used to play a lot of video games as a kid and loved the idea of getting lost in that tiny world. I love digital art and all the possibilities that exist within it. It is something that will definitely be a pivotal part of my practice. What’s interesting to me is engaging an audience or digital landscape or universe for a physical piece - what does the digital twin of the piece that you own look like? How can you interact with it? These are questions that really excite me.
1
9
9
3
Space as both a subject matter and childhood memory seem to draw a lot of inspiration for you. Can you touch on that?
S
A
R
A
H
My dad worked at NASA growing up and the first real experience I recall -
I think I was 5 years old - was the launch
of the Space Shuttle Columbia and I just remember seeing this thing take off into space and as a 5 year old that was mind blowing - to think that this space ship was heading into unexplored parts of space. Even today, it remains a huge source
of inspiration to me.
In fact, my final collection at CSM was called 2050. The story of 2050 was about
a tribe of humans who have to leave planet Earth and have to put together things that were meaningful to them that they would carry onto the next planet. The collection was meant to be a sort of cabinet of curiosities or time capsule.
Funny enough, this concept is still a through- line of the designs I create today.
1
9
9
3
I find that owning a business and being creative can be hard roles to coexist. Did you find that when you started DYNE?
S
A
R
A
H
It is not an easy transition and
I think there’s a really fine line between fulfilling your creative mission and sustaining a business. Advice I would give to someone starting their careers would
be not to rush - it feels like everyone
is an entrepreneur these days, but there
is real value in learning by working with amazing mentors and colleagues. There are different ways to fulfill your creative vision and needs in a sustainable way until you are able to take it on in a larger capacity.
But never stopping it altogether.
1
9
9
3
The internet as a tool for research offers such a wealth of knowledge and inspiration but it feels that there are increasingly blurred lines between someone being a curator and someone being a creator. How do you feel about the internet’s role as a research tool?
S
A
R
A
H
I love research - the hunt for information I didn’t have before really inspires me. Reaserch is a pivotal part
of my creative process.
I don’t think anything compares to experiencing something first hand.
If I’m researching something on the internet, the peak of curiosity in myself
is kind of just scratched, it does not compare to that feeling of uncovering something. Experiences like this are more common for me when I go to a gallery
or I’m subjecting myself to something different. In my head, I describe internet research as lazy.
One thing I’m so grateful for during my
time at Alexander McQueen was the importance of quality of research. Because when you’re researching something it’s
so easy to just skim through things online but getting lost in old books from a gallery or exhibition catalogs - it’s so much richer of an experience and you respond to it
in your own way.
It’s not an algorithm feeding you the next image. It’s you doing the work.
1
9
9
3
Looking back at your experience at St. Martins, do you feel art school was a necessary step to get you to where you are today?
S
A
R
A
H
Yes absolutely. My experience at CSM was one of the most eye opening experiences I’ve had in my life. I left feeling like I wish I could have done it for another three years.
I felt so out of my comfort zone at all times. Interacting with people that had completely different point of views on so many things, and who felt comfortable to challenge your own viewpoints, make you think and accept things in a very different way - that was very inspiring.
It’s just so interesting to constantly meet people that aren’t necessarily like you.
1
9
9
3
Last question - your experience in fashion begs the question - what’s your favorite piece in your closet right now?
S
A
R
A
H
My mother in law gave me this incredible jacket from the 70’s - it’s made of this canvas material and it has these animals all across it. It has so much volume - I don’t wear it often because I don’t want to damage it but I love it.
Sarah
Ysabel Narici
Sarah Ysabal Narici is a British-Italian designer and founder of New York based brand DYNE. From her one-of-one designs to her conceptual collections, Sarah’s work is a unique ode to space in a greater context, as experienced through time, transparency, texture and tacitly, but also through contemporary culture, technology and the digital world. She cites the axis of ancient history and hyper futurism as the main catalyst for creativity.
1
9
9
3
You describe your jewelry as ancient and futuristic. Are there specific ancient cultures that interest you or are you constantly digging through material to find inspiration?
S
A
R
A
H
The LOVERGLYPHS© universe in inspired by ancient history and anthro-pology. I am very interested in ancient mark making, whether it be hieroglyphics, petroglyphs or tiny mosaics, anything that is pictorial or symbolic that you can recognize now and in the past - but overall something pictorial that lasts through time and tells a story.
1
9
9
3
I believe that everyone is born creative and then for some, it’s sort of beaten out of them through the current design of educational systems and professional environments - I say that because you initially were going to be a lawyer but something called to you on a visit to St. Martins at University of Arts London - can you describe that experience?
S
A
R
A
H
It was always quite clear to everyone else but myself that I should
do something creative.
I look back now and realize I used to spend all my time redesigning things - like my parents house where I wanted to put up walls that were aquariums - but as I got older, I didn’t know how a creative pursuit could be a career and more than that
I didn’t know what a creative career even meant - no one in my family was creative
so it didn’t make sense to me.
But my mother encouraged me to go visit Central Saint Martins in London on an open day. We walked into the jewelry space and it really resonated with me.
Jewelry was a cross between something extremely conceptual and understood in
a fine art context, but it was also made for the body - made to be worn so there was
a commercial twist to it too.
1
9
9
3
How did you keep your creativity alive as you got older?
S
A
R
A
H
I was constantly drawing and sketching, I was constantly going to galleries - I was really interested and curious and that’s never left me. That inner child that spoke to me as I grew up, still speaks to me now.
There was a really beautiful quote I read recently about filling your well with a number of different things that you are collecting, experiencing, and seeing - and when you constantly do that, you are keeping that creative curiosity alive.
1
9
9
3
Have you ever thought of creating a digital extension of DYNE like NFTs or something in the Web3 realm?
S
A
R
A
H
Yes definitely a digital extension. I used to play a lot of video games as a kid and loved the idea of getting lost in that tiny world. I love digital art and all the possibilities that exist within it. It is something that will definitely be a pivotal part of my practice. What’s interesting to me is engaging an audience or digital landscape or universe for a physical piece - what does the digital twin of the piece that you own look like? How can you interact with it? These are questions that really excite me.
1
9
9
3
Space as both a subject matter and childhood memory seem to draw a lot of inspiration for you. Can you touch on that?
S
A
R
A
H
My dad worked at NASA growing up and the first real experience I recall -
I think I was 5 years old - was the launch
of the Space Shuttle Columbia and I just remember seeing this thing take off into space and as a 5 year old that was mind blowing - to think that this space ship was heading into unexplored parts of space. Even today, it remains a huge source
of inspiration to me.
In fact, my final collection at CSM was called 2050. The story of 2050 was about
a tribe of humans who have to leave planet Earth and have to put together things that were meaningful to them that they would carry onto the next planet. The collection was meant to be a sort of cabinet of curiosities or time capsule.
Funny enough, this concept is still a through- line of the designs I create today.
1
9
9
3
I find that owning a business and being creative can be hard roles to coexist. Did you find that when you started DYNE?
S
A
R
A
H
It is not an easy transition and
I think there’s a really fine line between fulfilling your creative mission and sustaining a business. Advice I would give to someone starting their careers would
be not to rush - it feels like everyone
is an entrepreneur these days, but there
is real value in learning by working with amazing mentors and colleagues. There are different ways to fulfill your creative vision and needs in a sustainable way until you are able to take it on in a larger capacity.
But never stopping it altogether.
1
9
9
3
The internet as a tool for research offers such a wealth of knowledge and inspiration but it feels that there are increasingly blurred lines between someone being a curator and someone being a creator. How do you feel about the internet’s role as a research tool?
S
A
R
A
H
I love research - the hunt for information I didn’t have before really inspires me. Reaserch is a pivotal part
of my creative process.
I don’t think anything compares to experiencing something first hand.
If I’m researching something on the internet, the peak of curiosity in myself
is kind of just scratched, it does not compare to that feeling of uncovering something. Experiences like this are more common for me when I go to a gallery
or I’m subjecting myself to something different. In my head, I describe internet research as lazy.
One thing I’m so grateful for during my
time at Alexander McQueen was the importance of quality of research. Because when you’re researching something it’s
so easy to just skim through things online but getting lost in old books from a gallery or exhibition catalogs - it’s so much richer of an experience and you respond to it
in your own way.
It’s not an algorithm feeding you the next image. It’s you doing the work.
1
9
9
3
Looking back at your experience at St. Martins, do you feel art school was a necessary step to get you to where you are today?
S
A
R
A
H
Yes absolutely. My experience at CSM was one of the most eye opening experiences I’ve had in my life. I left feeling like I wish I could have done it for another three years.
I felt so out of my comfort zone at all times. Interacting with people that had completely different point of views on so many things, and who felt comfortable to challenge your own viewpoints, make you think and accept things in a very different way - that was very inspiring.
It’s just so interesting to constantly meet people that aren’t necessarily like you.
1
9
9
3
Last question - your experience in fashion begs the question - what’s your favorite piece in your closet right now?
S
A
R
A
H
My mother in law gave me this incredible jacket from the 70’s - it’s made of this canvas material and it has these animals all across it. It has so much volume - I don’t wear it often because I don’t want to damage it but I love it.