How Does a Jeweler Design the Perfect Home? It's in the Details
When looking at the jewels Nikos Koulis designs, you often find yourself asking, “Wait, what is that?” The Greek-born jeweler is known for his way with innovative materials. Is it onyx or jet outlining that emerald? A proprietary enamel, actually. Is that diamond collar set in aluminum? That happens to be blackened gold softened with a steel brush.
A similar line of inquiry occurs to you when you walk through his newly renovated apartment in the Kolonaki neighborhood of Athens. Is that bar antique? Actually, it’s custom built and designed by Koulis himself, from wood and bronze, and deep consideration. Is the carved wood door at his entrance original? No, but it was redone to perfectly match the ones in the lobby from the building’s 1935 opening. While we’re at it, note also that the marble in the building entrance as well as the banisters, staircases, and windows, were all revamped by Koulis. “I was so happy,” he says, “that the other owners trusted me to refine the elegance of the building with grace and substance.” One look at the modern elegance of Koulis’s jewelry, and we all would likely have done the same.
Followers of his work have chronicled its evolution, the introduction of new materials, the increasing boldness of shape and volume. A similar shift has taken place in his surroundings. “I have designed three houses so far,” Koulis says, “and each one reflected a certain period of my life. I’m the same person, but my taste has evolved and my needs have changed. Now I emphasize comfort more than ever. My previous apartment was more idiosyncratic, with bold Art Deco elements. It also mirrored my jewelry creations at that time.”
His new place is only about two blocks from the old one, but the energy and aesthetic are miles away. “I was drawn by the light in this apartment, and by the vision of a seamless indoor and outdoor space. I imagined a country house in the heart of Athens.”
He gathered images of old villas in the French and Italian countrysides, and, much as he does in his jewelry work, he played with texture and palette to achieve the specific breed of beauty he was after. “I wanted bright colors,” Koulis says, “soft, textured fabrics, warm, rich woods, and quiet patterns. The wraparound veranda was transformed into a garden, so I wanted the interiors to be smooth and airy, urging the eye to gaze outside. I dreamed of a soothing, protected cocoon, where I would detach from the hectic pace of the city.”
From that vast terrace Athens, with its ancient wonders and decidedly modern rhythm, is clearly visible. Koulis has created an oasis that is both active witness to the city’s historic glory and contemporary sprawl, and an escape at the same time. “The spots I enjoy the most,” Koulis says, “are the outdoor sofas where I have my morning and evening coffee. It’s a yearlong ritual. The heart of the place? It’s the five-meter carob tree in the middle of the veranda that is like a symbol of the house.”
As the central force in a growing global jewelry house, Koulis does need to engage frequently with the metropolis and beyond. The dining room table, he says, often functions as his desk, and his shop and atelier and workshop are all stops on daily walks through the city. “Athens is asymmetrical and chaotic, full of contrasts and contradictions,” he says. “Athens gives you a strong and welcoming sense of place. In spite of the craze around us, there is an often unrecognized openness and ease in life here.”
Over lunch with Koulis and his inner circle on the terrace—there are perfectly layered spanakopita, hand-rolled dolmades, and his signature veal lemonato—the talk inevitably, after detours to Greek singers, politicians, and summers, turns to jewelry, and how, or if, a room is like a necklace.
“Look at the meticulous work and passion of the craftsman who painted the ceiling,” Koulis says. “He’s 73 years old, and he didn’t stop doing his thing until he reached his own standard of perfection. His work was flawless, but he insisted on working 10 more days, for his own satisfaction. I felt that we had a common perspective in our work. This quality is what makes our creations different, in how we celebrate the value of handmade and one-of-a-kind pieces. There are so many layers of work behind the end piece,” he says.
“My eye gets sharper but my touch softer. This penthouse may have intricate ceilings and wooden coverings, myriad bespoke details with different materials and finishings, but the end result is uniform and light-filled. This is where I stand in my jewelry creations, too, at the moment. I am interested in minimalistic forms, and I’m focused on seamless cohesion. The stones bring the light in the solid gold. There’s a lucid thread between my life at home and my work in the atelier: a luminous effect. My instinct was right: It’s a heartwarming home. Less about stories, more about emotions.”
This story appears in the May 2024 issue of Town & Country. SUBSCRIBE NOW
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