170. Ileana Makri | The Language of Jewelry

Summary

---

Podcast Summary: What We Wore, Ep. 170

Guest: Ileana Makri
Host: Laura Vinroot Poole
Date: February 25, 2026

---

Overview

This episode of "What We Wore" explores the life, inspiration, and creative language of celebrated jeweler Ileana Makri. Renowned for weaving Greek symbolism, elegant simplicity, and talismanic power into her designs, Ileana shares her journey from a creative childhood in Greece to international success with iconic pieces like the thread band and the evil eye. The conversation covers her upbringing, philosophy on beauty and craftsmanship, the birth of design icons, and the role of family and Greek heritage in her 30-year career.

---

Key Discussion Points & Insights

Early Life and Athens’ Influence

• Origin Story ([00:32])
  • Ileana was born in Salonika, Greece, but moved to Athens at age 1½ due to her father's political career.
  • Growing up in Athens shaped her appreciation for multiculturalism, history, and symbolism:
    • “Athens was and still is a place where history and modern life coexist... it is not a simple city.” ([01:11], Ileana)
  • Her neighborhood is full of life—marked by old architecture, diversity, and social complexity, impacting her aesthetics.

Family Background and the Spark for Jewelry

• Creative Roots ([04:13])

  • Creativity was not overtly present in her home, though her father enjoyed flower arrangements and her mother inherited a significant art collection.
  • Art involvement appeared strongly in the next generation—both Ileana and her sister, and their children.

• First Jewelry Memory ([05:12])

  • Her obsession with the minimalist “thread band” originated in her teens, counter to prevailing jewelry trends.
  • The first version broke immediately, leading to a lasting creative partnership with a local jeweler, George:
    • “I wanted a very thin band that is not going to break.” ([06:19], Ileana)
  • Her insistence on craftsmanship and connection sparked lifelong friendships in the business.

The Language and Purpose of Jewelry

• Adornments & Talismans ([09:03])
  • In Greek tradition, jewelry is both art and amulet—a human need akin to clothing:
    • “It is adornment because you want to make yourself beautiful... for me, jewelry is the epitome of beauty.” ([09:16], Ileana)
  • Ancient Greek symbolism permeates her work, with each piece carrying deeper meaning.
  • Simplicity and power define her signature style—her thread band being a best-seller for 25 years.
    • “There is a sense that simplicity can still feel powerful. And this is something that, for me, is important.” ([10:51], Ileana)

Education & Career Shift

• Unconventional Path to Design ([11:55])
  • Studied business administration; nearly pursued a master's at Columbia.
  • Her formal start in jewelry design came at 43, taking a six-month course at the Gemological Institute in Santa Monica while her children were at camp.
    • “That is when I started doing it professionally.” ([13:21], Ileana)
  • Emphasizes commitment to traditional craftsmanship: most pieces are handmade in Greece.
  • Her ethos blends classical timelessness with playful twists, “moments of craziness.”

Becoming a Renowned Designer

• Breakthrough with Barneys ([21:35])
  • Accidental encounter: a Barneys manager spotted her thread band in New York.
  • Meeting with Barneys buyer Julie, Ileana lands a $150,000 prepaid order—her first large-scale commission.
    • “I hope this is good.”—“Yes, it is, and I want to send you an order.” ([25:59], dialogue)
  • Delivered early, launching a 20-year run as their top jewelry designer.

Philosophy of Craft and Emotional Value

• Creativity & Discipline ([29:47])

  • Balancing creativity with intense discipline was a challenge but ultimately a strength.
    • “I thought that this might take away...you want to dream. But...both of these can coexist.” ([29:47], Ileana)
  • Integrity of handmade craftsmanship and intentionality are non-negotiable.
    • “Every piece still feels intentional. Personal. Is made with care.” ([31:09], Ileana)
  • Jewelry functions as an emotional marker for personal milestones.
    • “I’m fascinated by how a small object can carry such a big emotional charge.” ([16:29], Ileana)

• Symbolism: Evil Eye and Snake ([33:15]–[42:48])

  • The Evil Eye: Introduced to Barneys customers post-9/11 as a talisman for protection. Became her best-seller in the US.
    • “I said, this is an evil eye to protect you from bad energy.” ([36:24], Ileana)
  • The Snake: Personal overcoming of fear became a collection inspired by transformation and change, again proving successful with Western audiences.
    • “The snake has a meaning...it is transformation. It changes its skin.” ([41:38], Ileana)

Family in the Business

• Daughters’ Roles ([42:48])
  • Amalia manages the website and social media, using her background in art and technology.
  • The younger daughter manages the Athens store (a concept store with curated designers), while also pursuing psychology.
  • Both involvement and support happened organically:
    • “I didn’t...consider that they would. It came naturally. They made the decision.” ([46:09], Ileana)

Pride, Legacy, and the Greek Connection

• Staying True to Her Vision ([47:26])

  • Ileana never follows trends, always led by instinct and personal connection:
    • “I don’t go by trends...when I see it, I must love it.” ([47:26], Ileana)
  • The store acts as an ambassador for Greek creativity, featuring other jewelers and artisans as well.

• Jewelry as Legacy ([31:24])

  • She cherishes hearing from clients who never take her jewelry off—proof her pieces become part of people’s lives.

---

Notable Quotes & Memorable Moments

• On Athens’ aesthetic complexity:
  “You have the everyday visual language, a lot of symbolism out of mythology, architecture, ... I would describe Athens, it is not a simple city.” ([01:16], Ileana)

• On jewelry’s universality:
  “You can see that putting a piece of jewelry on you ... was a human need even before clothing.” ([08:20], Ileana)

• On emotional power of stones:
  “There has been a moment in my life...when I realized that all living things are connected. For me, there is like a universal breath that goes through ... stones.” ([19:26], Ileana)

• On discipline and creativity:
  “Both of these two things can coexist. It doesn’t have to be the one or the other.” ([29:47], Ileana)

• On the evil eye in America:
  “I said, this is an evil eye to protect you from bad energy.”—“We need that.” ([36:24], Ileana & Barneys staff)

• On transformation, symbolized by the snake:
  “The snake has a meaning. It is transformation. It changes its skin.” ([41:41], Ileana)

---

Timestamps for Important Segments

• [00:32] — Ileana’s early years and Athenian life
• [05:12] — First jewelry creation (thread band) and early relationship with craftsmanship
• [11:55] — Transition from business to jewelry; education and late start
• [21:35] — Barneys breakthrough and international exposure
• [29:47] — Challenges balancing creativity, discipline, and growth
• [33:15] — Introduction of evil eye and snake jewelry symbolism
• [42:48] — Daughters’ roles and family dynamics in business
• [47:26] — Philosophy on trends, pride, and staying true to herself
• [49:06] — The Athens store as a showcase of Greek creativity

---

Final Reflections

The conversation with Ileana Makri weaves together the personal and cultural stories behind her designs, offering rich insights into the importance of authenticity, symbolism, and tradition in jewelry. Her legacy is deeply tied to her Greek roots, commitment to craftsmanship, and the emotional resonance her pieces create for wearers worldwide.

---

Transcript

[A]

I'm Laura Vinrute Poole, and this is what we wore. Eliana Macri is a jewelry designer whose unique pieces blend her rich Athenian heritage, the energy of stones, symbolism and personal instinct. She transformed the jewelry industry with pieces like her signature thread band and her use of symbols like evil eyes and serpents. Ileana, tell the listeners where you're from. Were you born in Athens?

[B]

I was born in the north of Greece in a city called Salonika, which is a big port in the north of Greece. A beautiful city. My parents lived there at the time. My father was a lawyer, but we moved very early on. I moved from Salonika at the age of 1 1/2 because my father got involved in politics. So we moved to Athens, where I grew up and where I lived for the rest of my life, with some small intervals, living in Paris, London and New York.

[A]

And tell me about growing up in Athens.

[B]

What was it like at the time, Lisa? And Athens was and still is a place where history and modern life coexist. You know, it is a city that is safe. It's a safe city. I mean, you know, you really walk. I live all the way downtown Athens. My building is totally empty except for my apartment on the top floor. Why is that? Because it's a very old building, and the people that have bought it are not willing to start renovation work now. Only the top floor was renovated where I moved in, and the rest, they have left the way it is. So I live in that part of the city with a lot of homeless people, a lot of drug addicts around, you know, but it is so lively and so much in Athens, you have the everyday visual language, is a lot of symbolism out of mythology, architecture, you know, all of these different languages combined. The way, you know, I would describe Athens, it is not a simple city. It has a lot of different things. And now especially that you have a lot of immigrants moving into the city. You have all this combination of multiracial,

[A]

multicultural, which it has been since the beginning of time. Right. I mean, a port is.

[B]

It has been since the beginning of time. Yes, exactly. Yes.

[A]

So this mishmash of cultures and importing

[B]

and exporting, but this cultural layering, which also deeply affected my aesthetic, is there especially in the area where I live now, because there are also areas that were built later, are more modern. But at the time when I was growing up, all of Athens was like the area where I live today. And I think I kind of miss it.

[A]

Yeah.

[B]

That is why I had to move here. And I still have to get in touch with that part of the city,

[A]

is it near the store where you live?

[B]

It is near the workshop. Okay, it is near the store in the sense that. I mean, it's maybe two miles from the store, but I walk every day, yeah, back and forth. But it is one block from my workshop and from the office, which is where I spend most of my time.

[A]

And so your dad was a lawyer and in politics. Mine was too. Tell me. Oh, yes, yes. Yeah. Tell me about creativity in your home. Was creativity present? Was it encouraged?

[B]

No, it is a strange thing where creativity was not present in my home. Although I would say, I mean, my father had some type of. He loved flowers and flower arrangements. He spent hours putting flowers in all the vases of the house, things like that. My mother, on the other side, inherited the big collection of paintings from her father, who was an art lover, but none of them really got involved in art. However, the next generation, my sister and myself and our children are all involved in art in a way or another.

[A]

Interesting. And do you remember. Do you remember, Ileana, the first piece of jewelry or gem that you fell in love with or you noticed?

[B]

Yes, I remember it very well because it was a big disaster. My first one was what I call today the thread band, the thinnest diamond band that anybody could make. So I went to this workshop that I had started working with and I said, I want to do a thread band with this size of stones. This size of stones at the time, nobody cared about. And I had my friends that were wearing diamond bands, one carat stone each stone, you know, it was a different look. And I said, I want the completely opposite of that. So he looked at me, he said, you know something? These stones, nobody really cares about. Why are you going to lose your time to do it? I said, it doesn't matter, I want to do it. We did it. I take the ring, I'm very happy. I leave. The next morning, I go to do something in the kitchen, the ring breaks into. I go back. George was his name. He has passed two years ago. Very nice man. I said, george, it doesn't work. This. He said, but this is what you wanted. I said, I wanted a very thin band that is not going to break. So anyway, we worked on that anyway.

[A]

How old were you? Iliana.

[B]

And this is. I, maybe 14. Wow. 13.

[A]

And so he was like your family jeweler. You knew him from growing up here. He was a neighborhood person. That he made things for your mom?

[B]

No, no, it was somebody, a friend of mine. I don't know how I was Introduced to him, it was, you know what it was a jeweler, a family jeweler.

[A]

Yeah.

[B]

That thought, you know, Ileana is going to play around with some of the stones that she has and all of that. And he gave me that man and he told me, well, I have to tell you one thing, he's not easy. So, you know, and I think also that's why he introduced me, because he thought, I'm not going to do anything with this guy. We became best friends. I'm still working with his son. And he did some beautiful things for me, and we never had the slightest problem. It was just a person that loved his work. And when he found somebody else that did love their work also, he connected. It wasn't somebody that he would tell, you do that, whether you like it or you don't. He wouldn't, and he shouldn't, even at 14.

[A]

But is goldsmithing, I mean, is it. Is that a Greek? Is that typical of.

[B]

There is history.

[A]

There is history.

[B]

Thousands of years of jewelry. And, you know, you can see that, you know, putting a piece of jewelry on you, whether it was at the time a bone, a stone, a piece of wood, was something that was a human need, even before clothing.

[A]

Yeah.

[B]

We have designs on antique clay pots of men or women that are naked or have a piece of cloth around them. And then the. There is their neck, they have a little piece of something.

[A]

Yeah.

[B]

This has been a need forever. It is a human. A human need.

[A]

Do you think it's adornment?

[B]

Beautiful.

[A]

Yes. You think it's adornment, or do you think it's talismans? It's both, probably.

[B]

It is both. Yeah, it is both. It is adornment because, you know, you want to make yourself beautiful. And to be honest with you, for me, Julia is the epitome of beauty.

[A]

Yes.

[B]

In every sense. It is not only the value that is precious. Yeah. There is value on the metal, on the stones, but there's also. It's microsculpture.

[A]

Yes.

[B]

There is art in it. If you take a piece of jewelry that is that small and it has all these little things on it, you can see that this is a work that is art.

[A]

I agree.

[B]

And a lot of people see that and the talisman part, because in Greek culture, we have a lot of symbolism. In mythology, we have a lot of symbolism. I mean, mythology is full of symbolism. You have a whole story that is one symbolism after the other. And it was like teaching people about life and about the value of things. And, you know, all of that is part of Our upbringing. So there was. There was. And when you see the excavations of the old city in Crete, or in the south of Peloponnese, or in Delos or in Delphi, there is always jewelry involved. Yes, always. I mean, people liked to have jewelry, of course, of a certain simpler aesthetic, you know, the classical aesthetic. There is. There is, you know, a sense that simplicity can still feel powerful. And this is something that, for me, is important, I think. I mean, this little thread band that I did was the simplest piece of all. It is my best seller for 25 years.

[A]

I wear one. I do. I wear one every day. I never take it off. But so. And so when you. Ileana, when you made that original thread band, did you have any indication that this would be a segue into to making jewelry, or did you switch direct? No, you went. And what did you study at university?

[B]

Business administration.

[A]

Good.

[B]

I have a bachelor's degree. And then I left for New York, and I was going to do master's in business and at Columbia University. But this never became real because I moved at the time, at the age of 24, with my husband at the time, and I got involved into other things. I had my kids in New York. You know, I just didn't study. I went to Studio 54 very often. So this was another type of education there. And then I did the jewelry design at the Gemological Institute in Santa Monica.

[A]

When you were. When you had children and married and.

[B]

Yes.

[A]

And you were living in New York or did y' all move?

[B]

No, I had come back. I was divorced already. And then my kids were going to camp in the summer, and then they would spend time with their dad or with my mother. And then I had this time for me, and I went to. To Santa Monica and I did this course that I wanted to do for a while.

[A]

And so how old were you when you did the course?

[B]

I was 43.

[A]

Wow, that's amazing.

[B]

That is when I started doing it professionally.

[A]

That's incredible. I didn't know that.

[B]

Yeah.

[A]

And so when you went to Santa Monica, did you have ideas of what you wanted to make and why? I mean, were they. There were things that were not in the market that you wanted to wear or that you. I mean, you had to create?

[B]

First of all, I. I believe that jewelry, the craftsmanship in jewelry has to be the best. In Greece, you still have craft, people still work with their hands. Yeah, we. In our workshop here, we do most of the pieces by hand.

[A]

Yeah.

[B]

But I. I wanted to preserve this. And I also, you know, I have A feeling that is the classical beauty, something that is timeless. And at the same time it has a little bit of a twist. The playfulness, which. Which I like in general in life. I mean, I am a rather disciplined and serious person, I would say. But I love moments of craziness. And I also like this in my work. There has to be a moment that we don't take everything so serious.

[A]

Yes. And so you did that course in Santa Monica over the summer while the girls are at camp?

[B]

Yeah, it was. It was a six month course. Oh, wow.

[A]

Okay.

[B]

Yeah.

[A]

And was it clear from that point exactly what you wanted to do and how you were gonna set, who you were gonna sell it to, how you're gonna market it?

[B]

No, nothing was clear. I came back and I said to myself.

[A]

And you came back and you reached out to George, right?

[B]

Yes.

[A]

Yeah. And was he like, are you serious?

[B]

He was still around George at the time? Yes, of course. And he was extremely happy. And because I told him, I said, listen now, before I knew what I wanted, but I couldn't put it on a piece of paper. So there were moments that I got back something that wasn't 100% was 95%. Now I'm going to give you details.

[A]

Yes.

[B]

So now it's going to be 100%. This for me was an amazing moment. I thought I went to the moon and back. And yes, I was very proud of myself that I could do that. And I had a teacher in Santa Monica that told me, I told him, I said, listen, I need to also do gemology, so I might want to take a course in gemology. I have to find the time. So he turned around and said, you know something, now you go back and you go for it. It's finished studying. I said, okay, I do that then. And my daughter did gemology afterwards.

[A]

Wow.

[B]

So we have also a gemology person in the family. But, you know, I was very. I was. You know, jewelry are three things. As I told you. It is the precious metal, it is the stones, and it is the meaning. Because, you know, you can. I. I'm fascinated by. By how a small object can carry such a big emotional charge. You never think is a moment in life that things change. It is a moment in life, good or bad. Because, you know, there is jewelry that is for mourning. Yes, There is jewelry that is for happy moments. And all these pieces mark a very important moment in your life. Or somebody gave you this on a special day. So stones. Because I want to come back to that. For me, stones are alive.

[A]

Yeah.

[B]

It is not just green stone, red stone. It is. It has life.

[A]

Yes.

[B]

That's why every single stone, individuality, every single stone is different. There are no two stones the same. None of them. Unless you make them in a laboratory, and then you put in the same amount of this, that and the other thing, and you get the same result. But I like natural stones, to be honest with you, because I think there is. There is a connection.

[A]

I agree. Well, I want to tell you, it's. I always find it so funny when clients lose, especially a piece from Marie Helen de Tayak or the Gem palace, and they lose one of their earrings, and they say, can you send this back and have them make a mate for me?

[B]

And.

[A]

And every time it's almost impossible. Like, Marie Helen won't do that. I'm so sorry. She'll make you two more, but not.

[B]

Yes.

[A]

And it's so hard for a Western or American mind to understand that it took. It took us almost 30 years to train people.

[B]

That.

[A]

That's not you.

[B]

Yes.

[A]

You can't just replace it.

[B]

Yes. You cannot. You cannot. And, you know, one time, I remember in the Museum of Natural History in New York, I stood in front of a case with an emerald, and my eyes started running, and I didn't know why. It was so emotionally. I was so emotionally overwhelmed by the beauty of this piece. Because, you know, there is a moment. There has been a moment in my life, at least, where I realized. And this was Turning Point, I realized that all living things are connected. And for me, there is like a universal breath that goes through, whether it is human, animals, plants, dirt, you know, all these things that are alive. Stones.

[A]

Yeah, especially stones. Thousands of years of gases trapped inside of stone.

[B]

Yes, yes, stones. So all of that, when you realize that, then you have a kind of communication with the stone. And there are moments that. And that is why when I go to look at stones, I'm always scared that it's not a fear anymore. It is for sure that I will get over my budget. There's no way I will stay within budget because I cannot say goodbye to some of them. Yes. I have to take them back with me.

[A]

Yes.

[B]

And, you know, I have a very dear and nice accountant that I think is taking a little pill every now and then because of this. But this is the truth. There is. There is some connection that I cannot say. Okay, so I want the green, the blue and the red, and the rest you can take back. I can't. No, I can't. I can't leave that behind. It Is like, you know, it has to come with me. So this is a little bit of a problem, but I understand why.

[A]

Yes, I do too. So you start working with George again. You've, you've gotten your, you've, you've studied gemology, you've studied goldsmithing. And then do you just start making things and, and where are you selling them?

[B]

Yeah, I started making things. I also wanted to learn to make them myself, so I started studying with somebody. I, I got like, there is a special table that you use for goldsmithing. So I had one of those tables at home and, and I had somebody who would come and we had lessons. And I have a couple of pieces that I did by myself. I mean, rather simple pieces, like a silver band with a little. I don't remember what it was, some type of animal I had put on top in gold and things like that. But you know what happened. Barney's at the time saw this thread band. It was on a trip that I did in New York. A friend of mine had the showroom with clothing, and I had a store in Athens that I had all one of a kind jewelry that I was making at the time. I was making just one of a kind pieces and clothes, different types of clothes and stationery and candles. You know, this type of.

[A]

It was the store Ileana Mocri was it.

[B]

The store was Magia.

[A]

Magia.

[B]

Magia. Magia is Magic Love.

[A]

Okay.

[B]

And the night before I had the opening, a friend of mine passed from there and he looked at the store and said, how did you call it? I said, magic. Ah. Says, well, you couldn't buy it, so you decided to sell it. I say, yes, I'm going to sell magic now. And this is how this started. This is a. Back in 1987, wow. Was my first store.

[A]

And so you were in New York.

[B]

I am in New York and I'm wearing a thread band. And the manager of the store said, I left that Ileana. Where did you get it? I said, I make it. Can I buy it from you? I said, yes, of course you can. So I gave her the threadband. It fit perfect, fine. Next day she calls me and she says, you know, I went to dinner last night with the buyer, jewelry buyer of Barneys. She's so my ring, she loves it and she wants to meet you. Do you have any more pieces with you? I had three or four pieces. And I always travel in little plastic bags. I don't make them look like something important. So I say, okay, I'll call her. She gave me her number. I called, I got an answering machine. I left a message. Nobody called me back. I called one more time, the same. I forgot about it. Then I went back to the showroom two days later. And she said, did you speak with Julie? I said, no, because I called, I left my name, said, did you say that you make the threadband? I said, no. I didn't say on the answering machine, why would she know you? I said, you are right. Wait, I'll call her. She calls her Julie. I have Ileana here. Can she come tomorrow at 12? Next day at 12, I'm inside the taxi on my way to the offices of Barnes. And I look at my things. I had four or five things in the plastic bag. It looked pathetic. I said, I cannot take out all these plastic bags. And I'm trying to see how I'm going to present my collection. So I was wearing a beautiful scarf. And I said, I'm going to put the scarf and I'm going to put the things. So I. I've made the whole thing. So I put the scarf and the thing. She comes in, she tells me, do you mind if I take these pieces for five minutes? I bring them back. I said, of course I don't mind. She leaves and five minutes later she comes back with this tall blonde lady, Judy Collins, goes like this. She opens her arms, takes me in her arms and said, I'm so happy to meet you. You're the person I'm looking for. To be honest with you, I didn't understand what this meant. I just said to her, I hope this is good. And she said, yes, it is, and I want to send you an order. But it was February, it was this time of year, beginning of February. And she said, but I need it in store by April 7th. Okay? I said, okay. So I called George now, seven hours difference. I. I tell George, by April 7th, we have to have an order. Because I also had bangles, bracelets, rings, little hoops, the classic cross. It was all the classic collection. And I said, I'm not calling you to ask you if you can do it. I'm just telling you that we are doing it. So he said, okay. So why did you call me then? I said, just to inform you.

[A]

Do they give you a deposit for that or do you.

[B]

That is. That is where I want to go, yes. And. And I. Before she left the room, I said, rudy, I have a problem. Whatever your order is, I would need a deposit. Yeah. Because I won't be able to do it. So she said, that's Not a problem. She left. I go back to the hotel, and they give me my key. And the fax was. A fax at the time. Yeah. The fax was an order from Barney's for $150,000. At that time, everything prepaid.

[A]

What?

[B]

Into my account. Everything prepaid into my account. A week from the day of the invoice.

[A]

Wow.

[B]

So what I want to say with this story is that the people that knew their job well.

[A]

Yeah.

[B]

And they knew when they saw an opportunity. Exactly. And they knew how to support somebody who was young and didn't have the means to put all the money needed because it's an expensive business. Maybe she could see that I'm not going to run away with the money, but at the same time, she took a risk. Yeah. Because maybe I wouldn't run away, but maybe I couldn't deliver. You know, it was my first order.

[A]

And how did it. Did you deliver it on time and was it perfect?

[B]

I delivered it a week earlier. I wasn't going to mess that up.

[A]

No.

[B]

And as I told you, I'm very like. I'm like that when I have to do something. I have a very. A strong sense of duty.

[A]

Yeah.

[B]

And I'm disciplined, so I do things. I. I like doing a little bit of that, but. But when it has to happen, it happens.

[A]

And then you're off to the races. I mean, then it was. And I think you were their. Their biggest jewelry designer by far. Yeah. Yeah.

[B]

For many years.

[A]

Many years.

[B]

For 20 years. Yeah, for 20 years.

[A]

So tell me, what's been the biggest personal or professional challenge during those first 10 years of business?

[B]

Listen, the one thing that I thought that would clash would be creativity and discipline at the same time. Because most of the creative people that I hang out with or are my friends, they are much more, you know, relaxed in certain ways than I am. I can work for 24 hours consecutively. I don't mind that. I mean, if I have to do something, I will do it. And I thought that this might take away because, you know, you want to dream. And when you are too disciplined, you look at things in a way that is reality. And you feel that maybe you are not as free to dream as you would like to, but I realized with time that both of these two things can coexist. It doesn't have to be the one or the other. And this was a big challenge. And also to protect the integrity of the craft while growing the business.

[A]

Yeah.

[B]

It is a priority for me that every piece still feels intentional. Personal is made with care. Somebody relates to it as being his piece. Her piece.

[A]

Yes.

[B]

Because I meet people that tell me, you know something, I haven't taken this off since I bought it. And for me, this is the biggest proof that something is done right here. Because if you don't want to part with. Everybody feels the energy of something. The energy. I mean, if a carpenter makes this table, his energy is here. While he was doing it, he made the shape and he made it, whatever he made, but his energy also comes with it. So for people that are sensitive, they feel that energy and they relate to it. They like it or they dislike it, you know. But I meet a lot of people that say, this is my peace. It has become their peace. This, I think, is important. And of course, also because I have worked with symbolism, and there is a lot of symbolism in life in all cultures, in the Greek culture as well, a lot. But you realize sometimes that you create a personal talisman. Where the work feels bigger than the product, where the person that has it and wears it and cherishes it and is thinking of maybe handing it down to the next generation afterwards is important. I look at jewelry like that. It is not only, you know, value.

[A]

Yes. But I also think, Ileana, you were really the first person, I think, to introduce Americans to the evil eye and to the serpentine.

[B]

I was? I was the first.

[A]

Oh, you really were. You really were. And I mean, tell me about that process of, you know, when that happened.

[B]

That also happened at Barney's. And I was in New York on September 11th. Wow. And I had the photo shoot in Tribeca H. So I left. My photo shoot was at 11 in the morning. And I left the house around 10ish and a little bit before 10. And everything was blocked. All the streets were blocked. I couldn't find the taxi. I said, what's going on? I hadn't opened the tv. I didn't know that the first plane had already fallen on. On the street. I asked somebody, I said, why is this happening? What's going on? And they said, well, an accident down at the towers. Okay. I started walking and. And also the sirens, you know, in the back. It was something strange. So about 8th street, somewhere like that and 2nd Avenue, there was a big window with TV screens all over and people in front. So I stood with them and I started looking. I didn't know what we were looking at, but we were looking at one of the towers with smoke coming out. And at that moment, a second plane came and went through the second tower. Everybody froze. A guy behind Me said, this is worse than Pearl Harbor. And I said, well, something is not right here. So I left. I continued walking. Of course, there was no photo shoot anymore, as you can understand. A friend of mine called me. He was living in Connecticut, and he said, please don't use any public transportation. I said, okay, I'm walking. I'm not going to go into any car or train, subway. And the next morning, and I have pictures of Grand Central, which is empty. I'm the only person in Grand Central totally empty. I took a train that was totally empty, and I went to Connecticut to my friends, and I stayed there at night. And then I came back and I stayed in New York for another 10 days.

[A]

Wow.

[B]

I went to Barney's and I was wearing a little blue evil eye with diamonds around. And one of the girls asked me, what is this? I said, this is an evil lie to protect you from bad energy. And said, we need that. I said, I think you do. So that is. I think the first shipment of evil eyes to Barneys was before the holidays of 2001.

[A]

Wow.

[B]

This happened in September. And I send them the evil eyes in October or November.

[A]

And that became your biggest.

[B]

And they didn't know what it was?

[A]

No.

[B]

They had a clinic. I had to go in the morning and tell them what it was. And at the time, there wasn't, you know, the mobile phones and the Internet where you could look it up in a minute. You had to explain what it is, what it does. It's a protection from bad energy. And bad energy comes through the eyes. So it cancels that.

[A]

Yes.

[B]

So this was the first time.

[A]

And what about the serpentine? The snake?

[B]

Ah, this is another. I hated snakes. I hated three things. Two of them I have mastered. The third one I'm still not sure. The one is heights to look down when I'm on. I mean, I couldn't do budget jumping, for example. Impossible. Yeah. Which my daughter does, but not me. The second was snakes and the third was injections. Injections I had to give to myself when I had an accident. And I had to give to myself every day an injection for three months. So you got it. That was over. Yeah, I got over that. And snakes. It's summer on an island in Greece with my two daughters again. And we see a tent in the port that says snake exhibition. So snake exhibition. They want to see the snake exhibition. I say, okay, let's see the snake exhibition. We go in and there are these glass boxes with these poor snakes curled. They cannot move. And you know, it. It even Though I didn't like snakes, I hated seeing them like that. You cannot do that to an animal anyway. And I say, okay, these are the snakes. Let's go. On our way there, my daughter. My younger daughter was asking me if snakes are bad animals. And I answered a politically correct answer, that no animal is a bad animal unless you hurt the animal, then it can hurt you. But all animals are good. Yes, but what happens when it bites you? Well, I said, snakes have a venom that can be very dangerous, so you have to be careful. So we go in, we see the snakes. I say, let's go for dinner. And at that moment, this lady comes behind the curtain, comes out, has a huge snake around her neck, is wearing these things that are moving all over, and goes to my younger daughter and says, do you want me to give you the snake? My daughter said, no, no, no, no, no, I don't want. It has the venom. It will bite me, and it's dangerous. And she said, no, no, because we took it out. There is no venom. And I. Instead of saying nothing, I said, oh, if it's. If the venom is there, take it. And she turns to me and she said, if the venom is taken out, you take it. I almost died at that moment. I almost died. But I wasn't going to disappoint her to that extent. I took it. I took it. And there is one thing that I must say. I was so surprised. I had so misjudged the feeling of this animal that I almost fell in love with it. I said, this is a wonderful animal. I mean, the skin, the softness, the temperature, all of it. Yeah, it was amazing muscles. And that is when I did my first lucky snake and again with Barneys, because when I went to see them, they said, you know, our clientele doesn't like snakes. I said, I know, but I tell you one thing. I didn't like snakes either. And I'm going to leave two little pendants for you just to try them. Okay? If you want to leave them. The pendants sold. The first month, nothing happened. The second month, both pendants old. They asked me for more, and we did a whole snake collection that up to this day is selling everywhere. Yes. And the thing is, because the snake, besides the story, that is a personal story, the snake has a meaning. It is transformation. It changes its skin. Yep. And it is transformation. And in every culture, you have a symbolism with a snake. From darker to lighter, from power to protection to change. There is a variety of symbols that goes with the snake. So that is how I Did I love it.

[A]

Speaking of your daughters, I want to hear about them working in the business, how that happened and what they do and how that's supported you.

[B]

They came into the business. My daughter Amalia has started in England and then she moved to Brooklyn and worked there. She has started the first jewelry design in Spain, Barcelona. Then she went to London and did computer animation and graphic design. And then she moved to New York and she lived there for a couple of years. And one day a friend of mine from Barnes told me, no, Ileana, you need to make a site. I said, I have no idea how to make a site. This is a long time ago. And I was talking to my daughter, I said, amalia, Mo, how do I make a site or an Instagram or any of those things? So she said, mommy, I think you really need that. And I have been thinking of moving back to Athens. I don't know if I will move for good, if I will move for a couple of years, but I'm going to come and set it up for you. And that's what she did. She came. She's the one that is doing our site, and she's very talented. She does a great job. The Instagram, everything. I'm handicapped in that sense. It is the truth. I am. But she is like. I mean, I talk to her, she's looking at two computers at the same time, plus her phone, plus this. So this saved my life.

[A]

Yeah.

[B]

My other daughter, who is in charge of our store here, our flagship store in Athens, she's also doing a master's in psychology. So she is in the business and she keeps up the store because it is mostly concept store. No clothing. Yeah. But also accessories.

[A]

You know, it's other designers, right? It's not just your other designers.

[B]

Yes. Friends of mine that I adore their work. So, you know, it is. It is something that she curates and she's good at that. And I'm mostly in the office anyway, because the workshop is also here, and I like being around and seeing when something is made and making changes on the spot and all of that. So they are both involved in that sense. But they both have families now. Yeah. My eldest daughter has two kids. The younger one has a little boy, and they do a few things together, but they are very much on my side. When I need something, they're there, both of them.

[A]

Did you ever think that they would work in the business? Did you ever consider that they would? Doesn't sound like.

[B]

No.

[A]

No. Yeah.

[B]

No, I didn't. I didn't. It Came. It came naturally. They made the decision. Yeah, my younger daughter made the decision first. And you know, she's good at what she does. She also does websites for other people. It's not that she does it only for me. And because she has been working with. Now I think she's doing Lalaunis, which is another big Greek brand. She's doing their website, but she knows what to do because she has this expertise on jewelry websites.

[A]

Right.

[B]

You know, once you work with the product over and over, you know exactly what has to be done.

[A]

Exactly.

[B]

So she does that. And of course she does our website and all our social media. And it is, it is great help because the reality is that I'm not good at that, nor will I ever become. So it's. It's okay. I don't mind it.

[A]

I know, I know you're proud of them and should be. Tell me, tell me what you're most proud of in creating in your 30 years of business.

[B]

You know something? I'm proud of one thing I do not. I don't go by trends. I don't. I mean, I, I follow my feeling, I follow my instinct. I follow. It is something that when I see it, I must love it. I'm not saying that because we have so many different things today. I'm not saying that every single piece is a big love of mine, but in everything, there is something that I like. Yeah. And even though, you know, I'm not, I mean, I'm not like from top to bottom in jewelry. Yes, I like jewelry, I wear jewelry. But in the summer, for example, I wear nothing. I wear a little diamond hoop in which I swim, in which I do everything. I don't wear anything else. But every single thing, even the little hoops with the three small diamonds, is something that I have close to my heart. And this is one thing that I am proud of. I haven't, you know, said, ah, you know what? China, let's go. Doesn't matter. This one, you know, it's. It's not, it's not about that because for me, the, the way towards the end product is so important that if you take that away, it doesn't mean anything to me.

[A]

I also think you're having been to your store, I feel like you're sort of an ambassador for Greece. I mean, to visit the store feels like it's such a proud representation of the creativity and of you and your friends.

[B]

Yes, yes, yes. And you know, I always say, because they tell me, but why do you carry other people's jewelry I said, I'll tell you why. Because I love jewelry. I love jewelry. This doesn't mean that I only love my jewelry. I love antique jewelry. I love classical. I love modern. I love a friend that does animals. I like another friend that does beads. I like another friend. I mean, I like all these things. Yeah. So why not the store?

[A]

Yeah.

[B]

Yes. And when you have a store where somebody comes in that is also a jewelry lover, give them the opportunity to browse. And the way the store is made, it is easy for somebody to just browse around and, you know, find things. It is also a matter of finding.

[A]

Yes. And letting people have that discovery. Yeah, exactly. Eliana, in all of our podcasts, we ask people what they were to the prom. And I don't. I can't. Do you have proms in Greece? Do you know what a prom is?

[B]

You know, I have to tell you one thing. It is many years back. I thought maybe you should ask this question to some of your younger people. I do not. I had. I had the prom because I finished the American College.

[A]

Oh, yes.

[B]

Yes. Okay. This. This was the school I finished. But if you kill me, I don't remember what I wore. I don't remember what I wore. Well, I. I cannot give you an answer. I'm sure I made myself beautiful on that day, but it's a while ago.

[A]

Do you have a favorite piece of jewelry that you've made?

[B]

At times it is a different one. For many, many, many years, it was a thread band. I never left the house without my threadband. Now I tell you, now I have this emerald. This is a round emerald which I found in India a couple of years ago. And around emeralds of that size are not easy to find, usually pear shape or square or. So I did that and I did it for the store because they had asked me for an emerald ring, but I loved so much the weight of it, the way it sits on the finger, and the fact that, you know, I feel good. I think that this stone has some very good energy that I have kept it for the time being and I wear it every day. I love it for the last two years. This is my piece.

[A]

It's beautiful. Is there, is there anything that I haven't asked you that feels important to share?

[B]

No. I think we spoke about a lot of different things and the different moments.

[A]

I could talk to you for two more hours.

[B]

I can talk to you. I'm so. For a long time.

[A]

Thank you for doing this, Ileana, so much. I appreciate it very, very much.

[B]

I thank you Laura very much for inviting me to do that. I really enjoy every time we have a little talk together.

[A]

I do, too. Yeah. I've known you for a long time.

[B]

I don't know if you are planning to come back to Greece anytime soon, but you are more than welcome. And I would love to. To show you more of Greece if you decide to be here again.

[A]

Thank you. I would love to do that.

[B]

And I'm planning to visit you again in North Carolina. Yes. And this time, hopefully, we can be together.

[A]

We will. We will. And, you know, I don't know if I told you this before. You know, Charlotte has one of the largest Greek communities in the United States. I think we're like third or fourth.

[B]

Because my friend. My friend that I told you is the president of this CEO. Yeah. Of this ngo. She lived in Charlotte with her parents for three years when she. Between seven and ten. When she was between seven and ten. Now she's much older. She's an older woman. She's in her early 80s. And when I came, she says to me, ah, you're going to Charlotte. Such a beautiful place. I say, Marina, it's 80 years back. You were there. I'm sure it's different.

[A]

No, it's so beautiful.

[B]

And then she calls me and said, tell me, has it changed? I said, I don't know if it has changed, but it's still very beautiful.

[A]

Thank you.

[B]

Thank you.

[A]

We have. We have the most beautiful Greek churches and yeah, we really. Next time you come, I'd love to show you more.

[B]

Yes, I will.

[A]

Thank you, Eliana.

[B]

Thank you very much. Thank you.

[A]

Really, really appreciate you and all that you do and all that you are.

[B]

Thank you, Laura, for everything. Bye. Bye. Bye.