Interview to Ana Janković – Hota Hota Jewellery, from Belgrade, Serbia
How did your journey into art jewelry and craft begin? Was there a moment or influence that set you on this path?
I would say my path into art jewellery wasn’t accidental — it was shaped by influences I was exposed to from a very early age. My father was a jeweller, and my mother a fine art teacher, so growing up in that kind of environment, it felt natural to develop a deep love for both art and craft.
That interest led me to attend a school for applied arts, where I studied in the department of artistic jewellery. There I developed technical skills as well as a deeper understanding of design, materials, and the expressive power of form.
Hota Hota jewellery was born out of a personal need to create with my hands — to shape something lasting, meaningful, and strong. I often work with steel because of its durability and understated elegance. Each piece is thoughtfully conceived and carefully crafted, uniting raw material with intentional, sculpted form.
Do you work alone or in collaboration with other makers or artisans? How does that dynamic shape your creative outcomes?
Hota Hota is a design duo — a collaboration between me, as an artist and maker, and Dragan Janković, who comes from a background in science. Our creative process is deeply collaborative from the very beginning. While I work more hands-on with the materials, Dragan contributes from a more conceptual direction.
This constant exchange shapes everything we create. It pushes our work beyond what either of us would do alone, and allows the pieces to evolve in unexpected, often surprising way. Collaboration is not just part of the process — it’s the essence of Hota Hota.
Your work beautifully merges handcraft with storytelling. How do you usually begin a new piece—does it start with a visual idea, a narrative, or something else entirely? Can you describe your typical creative process?
Hota Hota jewellery emerges from creative interaction between me and Dragan. My process usually begins with form — I’m inspired by architecture, sculpture, and contemporary design. While I occasionally sketch, I more often go straight into working with metal, because I’m drawn to the immediacy of the material and the way it interacts with the body.
Dragan approaches the work from a different perspective — his inspiration stems from theory, science, and natural systems, which he reinterprets into artistic structures and concepts.
Our designs are shaped through that ongoing exchange, and I would say they are the result of a true synergy between our complementary sensibilities.
What drives the aesthetic language of HotaHota? Is there a recurring theme or emotion you find yourself returning to?
The aesthetic of Hota Hota is shaped by the interplay of form, meaning, and function. I’m drawn to shapes that are minimal, bold, and deliberate — geometry that doesn’t dominate the body, but rather enters into a subtle dialogue with it.
Emotionally, I often return to the idea of contrast. I see jewellery as micro-architecture for the body: sculptural, wearable, and quietly expressive.
When was your brand created, and how did it all begin? What inspired you to transform Hota Hota from a personal practice into a brand?
The name Hota Hota first appeared in 2009, when I began exploring form and ergonomics in jewellery design. Through those early experiments, I started developing my own approach and relationship to the medium — with a focus on both functionality and aesthetic value.
In 2013, Dragan Janković joined the project, bringing an analytical perspective and conceptual depth. That moment marked a turning point, as Hota Hota evolved from a personal creative practice into a clearly defined brand. Our collaboration laid the foundation for what the brand has become today.
What were some of the biggest challenges (or surprises) you faced while building your own creative brand?
One of the biggest challenges in building the brand was my initial lack of managerial skills. As an artist, I naturally focused on the creative side of the work. Over time, I realized that running a brand requires much more than artistic expression — it also demands business skills like marketing, time management, and financial planning, which were not my natural strengths. Learning to navigate that side of things was essential for the brand to grow and remain sustainable.
Another ongoing challenge — and source of insight — has been understanding how people experience and connect with the jewellery. Interacting with customers has taught me a lot. Through those conversations, I’ve learned how important it is to step into the perspective of the wearer, to truly understand their needs, and to create a meaningful connection through design.
How do you approach visibility and consumers/audience building, especially as a niche craft-based practice?
Building visibility as a niche, craft-based brand is a slow and intentional process — and that’s something I’ve come to embrace. I don’t believe in shortcuts or trends that don’t align with our values. Instead, I focus on building an authentic connection with people who truly resonate with our aesthetic and philosophy.
Storytelling plays a big role — whether through visuals, conversations, or the way each piece is presented. I’ve found that the audience for Hota Hota tends to grow organically, often through word of mouth, thoughtful collaborations, and carefully chosen platforms like Wolf & Badger that support independent design.
It’s not about reaching everyone — it’s about finding the right people, those who recognize the intention, depth, and connect emotionally with our jewellery.
Where do you see Hota Hota heading in the next few years—are there ideas or directions you’re excited to explore?
I see Hota Hota continuing to grow — becoming even bolder and more boundary-pushing, constantly redefining the language of contemporary jewellery design.
Another exciting direction is expanding into new markets and connecting with a wider international audience. We’re especially interested in collaborations with other artists, designers, and thinkers — people from different disciplines who can bring new perspectives and challenge our ways of working. That kind of cross-pollination is where the most unexpected and powerful ideas often emerge.
Also we’re currently developing a Hota Hota VR gallery — an immersive virtual space where jewellery becomes part of a larger, experiential narrative.
Contacts Hota Hota
Instagram: https://www.
Facebook: https://www.
Website: https://hotahota.com
