♱ project journal ♱
2026. Season II. Grishigiano.
The second collaboration begins in France.
Grishigiano is a sculptor. His hands work in volume and weight the same language Óde has spoken since the beginning. When we found each other, the conversation was already halfway done.
This is what Óde is built for. Not endorsements. Not styling. Artist to artist finding the people whose instinct for material matches ours, and making something neither could make alone.
Season II starts here.
03.02.2026. New York Fashion Week. Flying Solo Show
The noise of the week subsides, leaving only the permanent weight of the metal. We forced our architecture onto their grid.
BRACT collaboration. The Black Pine. The Unidentified Spaceship Brooch.
We do not linger for the applause. This is the documentation of the aftermath. The operation is complete
25.01.2026. NYFW. Latvia to New York
Flying Solo exists to put independent designers in front of magazine editors, influencers, photographers, and the Flying Solo fashion industry’s decision makers. We applied. We were selected. We went.
Óde on a runway in Manhattan pieces made in Riga, conceived between two artists in a studio, now moving under American lights. The Amber Road continued west.
It was the first time the work left Europe. It wouldn’t be the last.
14.12.2025. Riga
He doesn’t just style the piece. He lets it speak for itself.
The Amber River brooch – capturing the fluidity of amber, shaped by gold and diamond elements.
20.04.25. RIGA.
The heavy lifting precedes the silence.
Tension in the lapel. The sheer gravity of the garments. Isolation in the spotlight.
We do not explain the process. The architecture speaks for itself.
02.10.25. LONDON.
London doesn’t care what you’re wearing. That’s the point.
The ring was the only thing that caught the light. Everything else disappeared.
15.02.2025. Paris Fashion Week.
Flying Solo. La Galerie Bourbon.
Paris before New York.
La Galerie Bourbon — over 70 independent designers from across the globe, under the same roof. Fashion Week Online Óde among them. A Latvian jewelry brand built on artist collaboration, on a runway inside one of the city’s most elegant classical interiors.
The pieces didn’t need to explain themselves in Paris. They just had to be there.
They were.
02.05.25. RIGA.
The heavy lifting precedes the silence.
Tension in the lapel. The sheer gravity of the garments. Isolation in the spotlight.
We do not explain the process. The architecture speaks for itself.
28.11.2025. GERMANY
Gold moves. Stone holds.
Made to catch light in rooms you’ll never forget.
18.02.2025. Milano Jewelry Week. Palazzo Bovara.
The fifth edition of Milano Jewelry Week transformed Milan into a living gallery a citywide journey through showrooms, ateliers, and independent spaces where craftsmanship, innovation, and art intersected. Thejewellerytraveller
Óde was selected by four independent galleries from across Europe and the world. Not applied to. Selected. Galleri Sebastian Schildt. Objects Beautiful Gallery. Ruup & Form Gallery. Four curatorial voices, four different visions of what contemporary jewelry can be all pointing to the same work. Milan confirmed what we already knew. The work travels.
13.07.2025. RIGA.
STUDIO.
Not every piece needs a room. Some just need a face willing to hold the weight.
02.05.2025.KUKSI.
Rooms like this don’t exist anymore. Neither do nights like that.They were.
031.11.2025. kuksi.
The team
The pieces didn’t need to explain themselves in Paris. They just had to be there.
They were.
11.03.2025. Kukši.
We shot Amber Road here.
The collection draws from something older than jewelry the ancient trade route that carried Baltic amber south through Europe to Rome, to Egypt, to hands that had never touched this coastline. Latvian resin on Mediterranean skin. The exchange of worlds.
The kids at the table don’t perform it. They inhabit it bored, beautiful, as if they were born into rooms like this. Lobster untouched. Candles burning. The pieces on their bodies the only things that traveled to get here.They were.
12.06.2024. PARIS.
Jewelry doesn’t belong in a case. It belongs somewhere stranger than that.
Kocmoc. Season I. Right: Māris Šustiņš & Valdis Brože for Óde.
16.02.2024. JURMALA.
The sketches became this.
Iridescent titanium shifting between blue, violet, copper orbiting gold. Each piece built like a small cosmos: a center of force, appendages reaching outward, diamonds at the points of tension. They don’t sit still on the eye. They move with the light.
Māris and Valdis didn’t make jewelry. They made specimens from somewhere else. Objects that feel discovered rather than designed.
Kocmoc. The first collection. The proof of what Óde is for.
02.01.2024 LOCATION.
Māris Šustiņš doesn’t explain his work. He just talks until it makes sense.
This is one of those conversations.
08.07.2019. Riga.
Māris at the table pencil, compass, silence. The first marks of what will become Kocmoc. Two artists thinking through form together, before anything is cast or cut. The drawings look like star maps. Like something between science and myth.
This is where Óde begins. Not in a factory. Not in a brief. In a room, with an artist who takes his time.
Kocmoc: 18-karat gold, eco diamonds debuts later that August.
02.03.2019. Brandenburg.
Ancestral memory forced into the laboratory.
We bypassed the earth extracting elemental carbon directly from the fallen chestnuts of a castle garden. Through violent alchemy, heat and pressure turned organic decay into high-clarity diamond.
Māris built the architecture as a living reliquary. A dark, hand-sculpted shell – Rostock craftsmanship mimicking the protective burr. It fractures only to exhale the brilliant gravity of a royal bloodline.
Commissioned for a Princess of Brandenburg.
Profound luxuries are not stumbled upon in the dirt. They are grown.
