Sarah Emilie Müllertz – A Dialogue Between Intuition and Structure

July 22, 2026
Fashion & Beauty
Online Exclusive
Words:
Georgina Oller
Editor in Chief
Maria Joudina-Robinson

For Sarah Emilie Müllertz, Creative Director, Founder and Designer of KINRADEN, the world of jewellery acts as a bridge between people and planet, material and meaning, beauty and responsibility. At the core of KINRADEN, there is a commitment to transparency, preserving nature, and using materials already at hand or easily renewable. Shepherd by her background in architecture, each piece is approached though structure, purpose and longevity, allowing the materials to guide the conversation.

 

 

 

Georgina Oller: Your background was originally in architecture. How did you find your way into jewellery design, and what aspects of architectural thinking still inform your practice today?
Sarah Emilie Müllertz: Architecture taught me that every object exists in relation to its surroundings and to the people who interact with it. I was fascinated by materials long before I was interested in jewellery, and over time I realised that jewellery offered a much more intimate scale on which to explore those relationships.
I still approach design architecturally. I think in terms of structure, proportion, balance and longevity rather than decoration. A piece should have an inherent logic – something that feels inevitable rather than arbitrary. Whether it’s a building or a ring, good design should improve with time and reveal new qualities the longer you live with it.

 

GO: Your work often seems to begin with a material rather than a trend or season. What makes a material worth listening to?
SEM: A material becomes interesting when it has both integrity and character. I have never been interested in designing around trends or seasons – they pass too quickly. Materials, on the other hand, carry stories that can last for generations.
At KINRADEN, our universe has always been built around a carefully considered palette: upcycled sterling silver, 18k gold and FSC-certified Mpingo Blackwood. Each material behaves differently, ages differently and asks something different of the designer.
Rather than forcing an idea onto a material, I try to understand its inherent qualities and let those guide the design.
Recently, we introduced sapphires into the collection for the very first time. That wasn’t because we wanted to add gemstones – it was because we found a way of working with sapphires that felt true to our philosophy. They bring a new dimension to the material dialogue without ever becoming decoration for decoration’s sake.
GO: When designing a piece, how much of the process is guided by intuition and how much by structure? Does a stone tell you where it belongs, or do you determine its role before the making begins?
SEM: It’s always a dialogue between intuition and structure. Architecture gave me a framework, but intuition is what gives a piece its presence.
That has become especially true as we’ve started working with sapphires—our first gemstone at KINRADEN. Rather than treating each stone as an individual centrepiece, I think of them as part of a larger composition. The collection is built like a brickwork, where every sapphire finds its place in relation to the others. Colour, proportion and rhythm become just as important as the individual stone itself.
No single sapphire tells the story alone. It’s the conversation between the different hues – the way one colour enhances another- that creates depth and harmony. Only when they come together does the final composition emerge. In many ways, it’s a very architectural way of thinking: every element has its own identity, but its true purpose is revealed through its relationship to the whole.
The goal is never for the stone to dominate. It should become part of a balanced composition where every material contributes equally.

 

GO: KINRADEN has recently introduced Silnova – a next-generation circular material made from recycled industrial resources – into its material universe. How did your first encounter with the material come about?
SEM: I’ve always been interested in materials that challenge our understanding of what luxury can be. When I first encountered Silnova, it wasn’t simply its circular origin that fascinated me – it was the material itself.
It has an unexpected tactility and depth that immediately sparked my curiosity.
At KINRADEN, every new material has to earn its place alongside our core materials: upcycled sterling silver, 18k gold and Mpingo Blackwood. Silnova felt like another natural evolution of that material universe – an innovative material that sits comfortably alongside traditional craftsmanship . All of our pieces are made from durable, high-quality materials and are crafted to last for generations and Silnova is the perfect addition to our silver pieces.

 

GO: Your recent collaboration with Harris Tegl during Copenhagen Design Week explored the transformative power of materiality. Is there something materials can teach us that people sometimes cannot?
SEM: Materials don’t pretend to be something they’re not. They teach patience, honesty and attention.
Whether you’re working with wood that’s taken decades to grow, precious metals that have already lived previous lives, crafting bricks from clay with ancient techniques (As Harris does) or developing something entirely new through material innovation, every material asks you to slow down and listen. They remind us that lasting beauty often comes from restraint rather than excess.
Perhaps that’s what fascinates me most – they encourage humility. You don’t master a material; you learn to collaborate with it.
GO: KINRADEN pieces have appeared alongside fashion designers on the runway. How did those collaborations come about, and do you see the brand continuing to operate within those collaborative spaces in the future?
SEM: The collaborations have always happened organically through shared values rather than commercial ambitions. I’m interested in working with people who have a strong point of view and who care deeply about craftsmanship, materials and responsible creation.
Fashion provides an exciting context because jewellery becomes part of a larger narrative. As long as collaborations remain meaningful and rooted in genuine creative exchange, I would love to continue exploring those conversations.

 

GO: Copenhagen has become one of the world’s most influential creative capitals, particularly in design. How has being based there shaped KINRADEN, and what is it about the city’s creative community that continues to inspire you?
SEM: Copenhagen has a culture where design is part of everyday life rather than something exclusive. There is a respect for functionality, longevity and craftsmanship that has naturally shaped KINRADEN.
At the same time, the creative community here is remarkably generous. People are curious, collaborative and willing to share knowledge across disciplines. That openness creates space for innovation without losing sight of quality or purpose.
GO: You’ve said that London feels like home to you. What might a London-inspired KINRADEN collection look like?
SEM: London has always felt wonderfully layered to me. It’s elegant and rebellious at the same time, refined yet wonderfully unpredictable.
A London-inspired collection would probably embrace stronger contrasts – high polish against textured surfaces, precious materials paired with unexpected ones, sharp architectural lines softened by organic forms. It would have a certain confidence, but never feel loud. Like the city itself, it would reveal itself gradually.
GO: When someone wears a KINRADEN piece, what do you hope stays with them long after they’ve stopped thinking about jewellery altogether?
SEM: I hope it becomes part of their life rather than simply part of an outfit.
Jewellery is deeply personal because it stays close to the body. Over time it absorbs memories, becomes familiar to the touch and quietly accompanies different moments in life. I like the idea that someone might eventually forget they’re even wearing it – not because it disappears, but because it has become part of who they are.
Whether it’s the warmth of Mpingo Blackwood, the weight of recycled precious metals or now the subtle brilliance of a sapphire, I hope the piece continues to reveal itself over the years. The best objects don’t ask for constant attention – they reward a long relationship.

 

 

GO: Your work brings together advanced innovation, ancient materials and craft traditions. Do you see technology as a way of reconnecting us with nature, or as something we increasingly use to escape it?
SEM: Technology itself is neither good nor bad – it’s simply a tool. What matters is how we choose to use it.
For me, innovation is meaningful when it helps us work more intelligently with natural resources, whether that’s giving precious metals a second life or finding responsible ways of introducing exceptional natural materials like sapphires into our collections.
I’m not interested in technology replacing nature. I’m interested in technology helping us appreciate nature enough to use it with greater care and respect.
GO: What are you excited for next for KINRADEN?
SEM:  I’m excited by the evolution of our material universe.
Introducing sapphires this year has opened an entirely new creative dialogue for us. At the same time, our foundation remains unchanged: upcycled sterling silver, 18k gold and Mpingo Blackwood continue to define who we are.
Going forward, I hope we continue to surprise people – not by following trends, but by discovering unexpected relationships between materials, craftsmanship and contemporary design. That’s where I find the most exciting possibilities.
It’s also an exciting moment for KINRADEN beyond the collections themselves. We’re beginning a new chapter with our presence at Liberty in London, and there are more developments on the horizon – including a space of our own that we’re very much looking forward to sharing when the time is right. For me, it’s less about growing bigger and more about creating meaningful places where people can experience the world of KINRADEN in its fullest sense.
Words: Georgina Oller
Editor in Chief: Maria Joudina-Robinson

 

 

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