Chames Bio: jewellery as a record of women’s histories

A piece of jewellery can carry a story through its construction rather than through an inscription alone. Neida Freitas Aboud’s Origem, Força e Poder exhibition brought that proposition into São Paulo’s Galeria Filomena in 2024.

WAYFARER’s July account connected the Chames Bio pieces with three women: the designer, Chames Aboud and Filomena Matarazzo. The gallery’s name and the brand’s name already contained parts of that history. The necklaces gave it a material expression.

Silk, metal and glass appeared in the source’s description of the Sol do Líbano piece. Necklaces created for the exhibition used crocheted silk and freshwater pearls. These details allow the work to be read through the relationship between flexible structure and applied elements, not only through the symbolism attached to it.

The exhibition belonged to a specific 2024 programme and is not presented as currently open. Nor does the use of the term biojewellery establish an independently assessed environmental benefit. The stronger subject is the designer’s process of giving memory a form that can be worn. Material choices and family references meet in an object made to remain close to the body.