When we speak to entrepreneurs and designers, we usually see only the polished end result — beautiful, yes, but it rarely reveals the journey: the missteps, the doubts, the spark that started it all. The same is true for Emirati jewelry designer Noora Shawqi, whose brand — launched over seven years ago — is rooted in travel as inspiration. And we are here to change that, once and for all.

This conversation was sparked by her recent collaboration with Tanagra, created in celebration of Emirati Women’s Day — but that is far from the only thing we touched on. What went wrong with her very first piece, how she turned jewelry from a simple hobby and studies into a fully fledged brand, and — on a lighter note — whether her designs really do come to her in the middle of the night sometimes.

— Do you remember your earliest memory connected with jewelry?

— As a child, I wasn’t really playing with jewelry, but there were a few pieces I adored and still remember vividly. For instance, when I dressed up as Pocahontas, I had a pair of sunflower earrings. They were among the very first pieces I owned, and I absolutely loved them. Being such a big fan of Pocahontas, those earrings quickly became my favourite.

I also had a simple gold piece that I wore every single day without ever taking it off. In so many old photos from different years, I can still see it in me. It was a real staple — something that felt like part of who I was. I had almost forgotten about it for a while, but looking back at those photos reminded me just how much it meant to me.

— And what was the first piece you created for yourself?

— After studying, I wanted to put into practice everything I had learnt. In books, everything is neatly planned out, but when you design a real piece you have to consider every detail: the design itself, the manufacturing, how it will be worn, the measurements of each element, how thick or thin you want it, the proportions. Learning is one thing, but applying those techniques in reality is something else entirely.

While I was designing, I created a piece which I still keep to this day. It was my very first piece: an emerald earring with diamonds. It could be worn in two different ways — either as a simple emerald, or with an additional gold-and-diamond element attached. I loved it, but as a first design I made a couple of mistakes.

The first was the diamond setting. I had drawn it on paper, and the factory produced it exactly as I had sketched it. But in reality, it didn’t look right. The second mistake was not considering cost. For a piece that was small to medium in size, I used a lot of gold, which pushed the price far too high compared to what people would expect. Because of that, I wouldn’t sell it as it is, but it is something I would like to revisit and adjust in the future. And that is something I definitely want to explore again in a future collection, so I can't show the pictures here.

— Before launching your jewelry brand, did you ever consider another career path?

— Yes, before moving into jewelry I worked in an office job. When I first started studying, it was purely out of passion rather than with the intention of building a business. I took two courses, and when I was about to take a third, my husband encouraged me to start something of my own. At the time I wasn’t sure, as I have always been someone who prefers to stay in my comfort zone. Launching a business was never part of my plan.

The education itself was very hard because I had a baby at the time. The course was nine to five every day, with two hours of homework in the evening. It was difficult to balance studying and motherhood, but I was very lucky that my mother supported me and helped care for my baby. Without her, it would have been impossible.

Even though it was tough, I enjoyed it so much. I told my husband that it was the first time I had studied something so hard but never once complained about the workload. Unlike in school or university, where I would always find myself grumbling, with this course I would happily stay up until 11 pm doing the homework.

But he gave me the push I needed. He is now the co-founder of the brand and we work really well together. I focus on the design and looking after clients, while he handles the business and financial side. As I was completely new to running a business, his guidance made all the difference. He encouraged me to take on challenges and helped me learn things I would never have managed on my own.

— What was the biggest challenge in starting the brand?

— At the time, I was also a mother, which made it even more demanding. On top of that, working together as a team takes effort — we constantly had to ensure the creative side and the uniqueness of the brand were maintained.

It isn’t just about design; there are so many other factors involved. For instance, if you create something, how do you put it out there? If you are holding an event, how do you reach the right clients? How do you target your audience? All of these elements come together, and that is where the real challenge lies.

And as for designing — it is the most enjoyable part of my work, but it can also be challenging in its own way.

— Do you have any rituals when you design — perhaps a cup of tea or specific music?

— Honestly, I don’t have a set ritual when I design. Ideas often come to me at random. Quite often, just as I am about to fall asleep, a design will pop into my head. I will then quickly sketch it on Snapchat with the pen tool so I don’t forget, and the next morning I will go back to it and sketch it properly on my iPad. From there I sometimes look online for more inspiration and ways to develop the idea. If it is a completely new design, I make sure to draw it quickly so it doesn’t slip away. If it is just a detail I want to add to an existing piece, I will note it down as a reminder: "Add this to that design."

When it comes to creating a whole collection with a deadline, that is when I dedicate proper time to it. I like to be in a quiet space, completely on my own. I prefer silence and full focus so I can really get into it. That is when I do my research, sketch properly, and explore the materials.

— What does the full design process look like, from idea to final piece? Do you share your work along the way?

— At the start, I usually keep the idea and development completely to myself. Once I have something more tangible — like a wax sample or a silver rough from the factory — I will then share it with a very small circle.

The first person who sees the piece is always my husband. He has an incredible eye for detail, especially on the technical side — how the piece moves and how the diamond sits. I also turn to my sister, who has great taste in both fashion and jewelry and always knows what is on trend. This is where I always get honest, constructive feedback.

I have learnt not to show my designs too widely before launching. In the past, I made the mistake of asking too many people, and of course everyone had a different opinion. It left me feeling confused and stuck. Now I keep it to just two or three trusted voices. Sometimes they all agree, sometimes one might suggest something I choose not to take on board, but even then it can inspire a small adjustment.

— How long does it usually take for a piece or a collection to be launched?

— It really depends on the collection. The Japan collection, for example, took me well over a year and a half because of the handmade details and the movement that had to align perfectly. I changed the concept at least twice before arriving at the final version.

At one stage I even produced an entire collection but decided not to go ahead with it. When I saw the pieces, I felt nothing – no excitement, no spark. Normally, when you look at a design you should sense some potential, but with that first batch I simply wasn’t confident, so I chose not to launch it.

— So confidence plays a big role in deciding whether to launch?

— Yes, absolutely. If I am not confident in a piece, I can’t promote it, sell it, or even speak about it properly — it shows straight away in my face and in my voice. Even if someone says, "This is lovely," I might answer with hesitation, and people pick up on that.

For me, confidence is everything. If I am not happy with a design, I simply can’t launch it. Our brand is about telling stories through jewelry, and if I don’t feel excited to share that story, then the piece won’t serve the brand in the right way.

— Many of your collections are inspired by travel – places like Japan and the Maldives. How do you preserve memories from your travels and turn them into jewelry?

— The whole concept behind the brand is to "travel through jewelry." Each collection is based on a destination I have visited and the inspiration I found there. I don’t always bring back a keepsake, but sometimes I do. For example, in Ceylon I was searching for a particular stone before I had even started the jewelry line. I bought it for myself, and in the hotel I sketched ideas on the notepad they leave by the bed. That is where the inspiration began.

In the Maldives, I came across a seashell that I thought was beautiful. I kept it, photographed it, and my daughter even plays with it sometimes. That seashell became the inspiration for the Maldives collection. We used its outline and shape as the foundation and then built on it with further research.

For Morocco — and I feel this is my favourite one — I didn’t bring anything physical back, but I took countless photos of the architecture. The colours, details and patterns really struck me. Later, I dug deeper into the history and stories behind the places, exploring different angles and recurring motifs in the architecture. That became the basis for the collection.

— You produce all your jewelry in the UAE. Why is that important to you?

— Producing in the UAE makes sense in terms of feasibility, and I am very happy that we have companies here that can help us produce jewelry at such good quality. For me, it is also about pride. Just mentioning that a piece is “Made in Dubai” or “Made in the UAE” carries a lot of meaning, especially as an Emirati.

As a brand aiming to go international, having my pieces produced in my country is very important to me. It is the least I can do to represent my country through my work, and I feel proud every time I say it.

— Sustainability is also a distinctive feature of your brand. Can you tell me more about that?

— Absolutely. Our brand is all about giving back — whether that is through sustainable practices or supporting communities in need. Each collection is dedicated to the country that inspired it.

Take the Maldives collection, for example. We wanted to help protect marine life, so we adopted coral frames to encourage reef growth. The Maldives has extraordinary marine ecosystems, but the rapid development of hotels has put them under pressure. Through our website, people can adopt their own coral frame — not for profit, but simply by connecting them directly to the supplier. Every few months they receive updates with photos showing how the coral is thriving, how fish are gathering around it, and the positive impact even a single frame can have.

In Morocco, we partnered with the Al Noor Centre, which supports women in need, many of whom live with disabilities. The centre teaches them skills such as knitting and stitching, helping them to earn an income and gain access to essentials like health insurance. Together, we created thread bracelets and anklets for the summer: they designed and made the pieces, and we added gemstone charms as the finishing touch. We then sold these online, allowing people to support the women directly through our platform.

— Let’s talk about your latest collaboration with Tanagra. How did that come about?

— For Emirati Women’s Day, Tanagra approached me to create something special that would celebrate both of our brands. I felt a jewelry box would be perfect — something beautiful, timeless, and rooted in our heritage.

I designed it using a traditional Emirati weaving technique known as "Sadu weaving". It is a craft often found in furniture and textiles, traditionally made and sold by older women. I wanted to pay tribute to their handwork while also connecting it to Tanagra’s world of homeware and accessories. The pattern we chose was inspired by "Sadu weaving", creating a link between Emirati women’s craftsmanship, Tanagra’s vision, and my own.

Tanagra took care of the production, and they were wonderful to work with. They created the boxes for their VIP clients, and we also designed a travel pouch in the same pattern for their in-store customers.

— Have you ever designed special pieces for friends or family?

— Yes, absolutely. I think jewelry is one of the most meaningful gifts you can give. Even if two things cost the same — say a dress and a ring — the ring will always feel more valuable. Jewelry can be worn every day, it is durable, and it lasts a lifetime. Clothes eventually wear out, but gold can always be polished to look brand new. That is why jewelry feels more personal and lasting, and why gifting it carries so much meaning.

For friends and family, I have created quite a few engagement rings, especially classic diamond solitaires. I recently designed one for a close friend. I love making engagement rings because I enjoy working with larger diamonds. In my collections I usually focus on fine jewelry with intricate design details rather than big stones. But in fact, my passion for jewelry began with diamonds — the very first course I took was all about them. So, creating engagement rings for friends and family is something I do out of passion, not business. It allows me to revisit my love for diamonds, refresh my knowledge, and really enjoy the process of working with them.

I sometimes customise existing pieces too, though I don’t usually design something completely from scratch unless a client brings me a clear mood board. Designing is very time-consuming, so I prefer to have a direction to start from.