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InterviewJewelleryArt

by Alexandra Mansilla

Historical Jewelry Hides Stories. Meet Farah Bastaki, Artist And Jeweller

9 Jul 2025

Farah Bastaki has quite an interesting story. She is a Kuwaiti artist who has been passionate about art since childhood. When it came time to choose a career, she decided to study accounting in the US — but her passion for creativity was stronger, and she never actually worked in that field. Instead, Farah became an artist and, later, a jewelry designer, launching her own brand, Farbasta.
Farah loves history and museums — that is why her brand draws inspiration from mythology, fine art, and ancient civilisations. Each piece is crafted using the rare and intricate technique of Paillonné enamel. Each piece looks like it could have been discovered centuries ago, still shining with life — or like it has been handed down from woman to woman, generation after generation.
— Farah, could you tell me a bit about yourself — where did you grow up, and what was your childhood like? Maybe it shaped your perception of beauty and art!
— So, I am an artist from Kuwait, and I spent nine years of my life in the United States. I have always been drawn to art since childhood, and creativity has been a natural part of how I view the world. I grew up experimenting with different styles and mediums, always curious to try something new. Early on, I explored digital art and photo manipulation when I was 12 years old, then transitioned to watercolour, which I studied professionally for two years with Russian artist Irina Smulevitch in the United States.
She was the one who introduced me to the world of watercolours, and it was because of her that I fell in love with it. Her teaching style left a deep impression on me; I even adapted it in my own classes with my students. Irina was incredibly kind and generous, always eager to help us grow and become better artists.
Also, museums have played a big role in shaping my artistic identity; seeing historical artworks up close left a deep impression on how I understand beauty and craftsmanship.
— Could you tell me about these museums? Which of them specifically impressed you so much and why?
— I am drawn to classic museums, those that celebrate timeless art, antiques, and rich historical narratives. The Metropolitan Museum of Art in New York City left a lasting impression on me; it feels like a journey through the history of the world, with its vast collections and exceptional curatorial depth. The Victoria and Albert Museum in London stands out for its remarkable jewelry collection an entire section dedicated to the evolution of jewelry through the ages, which I found especially captivating given my own work in the field.
In Florence, The Uffizi Gallery, holds a wealth of Renaissance treasures that bring that era to life in a truly immersive way. And as a passionate admirer of the Art Nouveau period, visiting the Alphonse Mucha Museum in Prague was a dream. His delicate lines, ethereal figures, and mastery of design made the museum experience unforgettable it felt like stepping into the spirit of the era itself.
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— Were there any people in your family or close circle who inspired you to pursue a creative path?
— There wasn’t a single person who directly inspired my artistic journey; my creativity has always come from within, driven by a vivid imagination and a deep curiosity for beauty in all its forms. Still, my father had a quiet yet meaningful influence. Though an engineer by profession, he has a sincere love for art, literature, and culture. His appreciation for creativity, paired with the freedom he gave me to express myself, helped me see art not just as a pastime but as an essential and meaningful part of life.
— I know that you studied accounting in the U.S. — did you ever work in that field? And how did you eventually transition into the world of jewelry?
— No, I actually never worked in accounting. I discovered jewelry about eight years ago through vitreous enamel and metal clay, and it instantly captured me. I took a few classes at the Indianapolis Art Centre, and that was it; I was hooked. What started as a hobby quickly became a passion. I continued learning through online courses and workshops in places like Georgia and Russia. I began by creating pieces for myself, and soon people were asking to buy what I wore. After seven years of exploring and refining my craft, I officially launched my jewelry brand in February 2025.
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— Is there anything you want to say with your jewelry?
— I was inspired by the beauty of museum collections and the untold stories behind historical jewelry. I wanted to create pieces that feel like they belong in history books jewelry that tells stories, blending ancient techniques with a modern voice.
— You create the pieces in the Paillonné enamelling technique. Why?
— Paillonné is one of several ancient enamelling techniques I work with alongside cloisonné, plique-à-jour, and enamel painting. Each one has its own magic. What draws me to them is how timeless they are; they require patience, precision, and a deep respect for craftsmanship.
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— How do you select the themes for your collections, like Sadu, Arabic Calligraphy, or Doors to the Past?
— I follow my curiosity. Each theme reflects my love for history, culture, and the art of storytelling. Sometimes it is a motif I have seen in a museum, a forgotten tradition, or a personal memory that sparks a whole collection.
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— And you also do amazing art!
— Oh yes, I have been doing digital art and photo manipulation for years, but with the rise of AI, the excitement I once had has faded a little. It used to take me hours, sometimes days, to create something truly original. Now that this kind of art has become so easily accessible and replicated, it no longer feels as meaningful to me.
— Anyway, I would love to talk about your amazing artworks. It is clear that they are very different. Let me ask this: how would you compare yourself at the beginning of your artistic journey to where you are now?
— At the beginning, my work was more experimental, less polished, more instinctive. Over time, it is become much more professional, clean, and detailed. I have learned to trust my hands and my vision. Becoming a skilled enamelist takes time, and I dedicated years to exploring, failing, and learning the secrets of this medium. That process shaped not just my work, but who I am as an artist.
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— What themes or topics do you usually explore through your art? Are there ideas or emotions you keep returning to?
— I often return to history and ancient civilisations, forgotten craftsmanship, cultural motifs, and especially jewelry from the golden age of enamel, like Art Nouveau. Enamel itself feels timeless, and through it, I explore stories that bridge past and present.
— You painted a portrait of the oldest date seller in Al-Mubarakiya Market — could you tell me more about him and what made you want to capture his image?
— Al-Mubarakiya is one of the most cultural and historic places in Kuwait. It is full of stories, people, and textures that inspire me. When I saw the oldest date seller there, something about his presence felt symbolic. I wanted to honour him — not just as a person, but as part of the soul of that place.
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— A bit of a random one — I saw that you stayed in a 750-year-old castle in Scotland. What was that experience like?
— I have always been fascinated by the past, how people lived, what they made, how they saw the world. Staying at Dalhousie Castle in Edinburgh was like stepping into another era. It was spooky in the best way, filled with history and charm. I love places where you can almost feel the stories in the walls. For me, those experiences feed my creativity and connect me to something deeper and more human.