l'Orafo Italiano 11-12 2020

IN C AS O D I M ANC A T O R E CA PIT O I NVI ARE A L C MP D I M I L AN O RO S E RIO PE R L A R E S T IT U Z IO NE AL MI T T E NT E PRE V IO PAGAMENTO RESI

ARTL I NEA

NOVEMBRE • DICEMBRE 2020

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A NNO L X X I V N UM E RO 11/ 12 - N OVE M B RE / DI C E M B RE 20 20

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EDITORIALE

Salutiamo, di certo senza rimpianti, l’annus horribilis 2020. Non sappiamo come sarà l’anno nuovo ma vorremmo provare a immaginarlo con un po’ di fiducia e ottimismo: perché, come è sempre stato nei momenti peggiori della nostra storia, siamo certi che il settore riuscirà - come si dice con una formula forse un po’ abusata ma mai come adesso attuale - a “trasformare i problemi in opportunità”, usando le armi di sempre - talento artigianale, creatività, spirito pionieristico - e anzi aggiungendone di nuove.

La pandemia infatti ha accelerato processi che erano già in atto: la digitalizzazione, l’e-commerce, l’innovazione tecnologica, una maniera nuova di tenere vivo il dialogo con un consumatore che sempre più pretende dai brand qualità, trasparenza, sostenibilità, servizio impeccabile e personalizzato - offline e online. Non si tratta più di astrazioni e traguardi procrastinabili, bensì di valori ormai riconosciuti come fondamentali da una community sempre più vasta, in tutti gli angoli del pianeta. Per le aziende e gli store saranno cruciali la velocità e la capacità d’adattamento a un mondo che - provvisoriamente, visti gli impedimenti agli spostamenti intercontinentali - di colpo si è fatto “locale” ma che è comunque destinato a tornare globale: con negozi, spazi fisici e momenti di incontro, però, tutti da ripensare, facendo tesoro di quanto abbiamo vissuto in questi mesi e alla luce anche delle nuove aspettative e sensibilità rivendicate, in particolare, dalle generazioni più giovani. Il 2021 non inizia sotto i migliori auspici ma potrebbe portare con sé, se non altro per necessità, il superamento della tradizionale frammentazione del settore, una “rivoluzione” nel segno delle nuove tecnologie, formule di comunicazione moderne e inclusive capaci di coinvolgere i consumatori di domani: e essere così ricordato come l’anno di una vera ripartenza.

We say goodbye, certainly without any nostalgia, to the annus horribilis 2020. We don’t know how the new year will be, but we would like to try and imagine it with a bit of trust and optimism: because, as always in the worst moments of our history, we are certain our sector will find the way to “turn problems into opportunities”, to use a somewhat cliché expression, which however is truer than ever now; using the same weapons we have always used - craftsmanship, creativity, pioneering spirit - and indeed adding new ones. The pandemic has, in fact, speeded up processes which were already around: digitalisation, e-commerce, technological innovation, a new way of communicating and keeping up a dialogue with a consumer who is increasingly demanding quality, transparency, sustainability, impeccable and customised service - offline and online - from brands. It is no longer a matter of abstraction or goals which can be postponed. Now it is a question of values which are seen as fundamental by a community growing every day, in every corner of the planet. What is of the essence for companies and stores is speed and the capacity to adapt to a world which has suddenly become more “local” - temporarily, considering the halt to intercontinental travel - but is in any case fated to go back to being global: with shops, physical spaces and moments of face-to-face engagement, all of which have however to be rethought, making use of what we have been living through these months, and also in view of the new expectations and sensitivity, especially, of the younger generations. 2021 is not starting under a very auspicious star, however it could, out of mere necessity, bring with it an end to the traditional fragmentation of the sector, a “revolution” in the name of the new technologies, modern and inclusive formulas for communicating which can involve tomorrow’s consumer. In this way, it might be remembered as the year of a true new reset.

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L’ORAFO

ITALIANO

66 83

TR EN D

INTERV IEW

68 70 72

Giovanni Raspini

V ISUA L Neon Flash

The New Amazon Chain To Chain All About Colors

SOMMARIO 48 56

Vicini di lusso € 5, 00

Salvatore Ferragamo

L’orologio si fa smart

GR AN D T O U R

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Damiani, Vhernier

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Bulgari, Buccellati

I N S I DE JEW ELR Y Covid-19, riscaldamento globale e diamante sintetico

N O V E MB R E • D I C E MB R E 20 20

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FLAS H

I N C A S O DI M A NC A T O R E C A P I T O I N V I A R E A L C MP D I MI LA NO R O S ER I O P ER LA R E S T I T U Z I O NE A L M I T T E NT E P R E V I O PA G A ME N TO R E SI

MO D A

A RTLINE A

P E OP L E & B RAN D S

43 50

Matteo Ward: the true revolution Aurora Penne

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M I LAN O JEW ELR Y P R EVI EW I protagonisti della MJW

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In copertina: anelli della nuova collezione Stardust di Artlinea in oro giallo, rosa e bianco con diamanti. Completano la collezione anche orecchini e bracciali a schiava.

Cover: yellow, rose and white gold earrings with diamonds from the new Stardust collection by Artlinea. The collection also includes earrings and bangles.

xd i amond. c om

L AB GROW N DIA MON D S - I TA L IA N DE SIG N

Foto di Claudio Minenti

Falsini Art S.r.l Tel. +39 0575421260 falsiniart@falsiniart.it - Arezzo Pad.Chimera 118 A - VicenzaOro Hall 4 Stand 128

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SALVATOREFERRAGAMO

MODA

ABITI PER RIPENSARE

SÉ STESSI / di Ilaria Danieli

S In alto: Paul Andrew,

Direttore Creativo di Salvatore Ferragamo.

e Paul Andrew, a meno di un anno dalla nomina a direttore creativo di Ferragamo, ha dovuto affrontare il dramma del lockdown (come tutti - del resto - la scorsa primavera e anche oggi, seppure a singhiozzo), l’autentico Salvatore Ferragamo, oltre 70 anni fa nel pieno della sua carriera, ha dovuto affrontare una tragedia ben più grave e profonda, la II Guerra Mondiale, con tutte le privazioni che l’accompagnarono e la seguirono. All’epoca

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il talentuoso creatore di calzature era un quarantenne nel pieno della carriera, ed era già chiamato “calzolaio delle stelle” perché nei primi anni del ‘900 era emigrato negli Usa e aveva fatto fortuna con le sue scarpe a Hollywood. Il conflitto internazionale sembrava dover tagliare le gambe a molte attività, ma Ferragamo trovò una soluzione che diventò un pezzo da museo, oltre che la chiave per il mantenimento del business. Per

L’ORAFO

ITALIANO

In questa pagina, dall’alto in senso orario: la modella indossa gilet in nappa abbinato a gonna a pieghe in nappa e camoscio e stivali in camoscio, Salvatore Ferragamo FW 20/21; tracolla Trifolio in vitello con dettagli intrecciati e chiusura Gancini; orecchini Gancini asimmetrici con pavé di strass, piccole perle di vetro e ottone dorato.

la mancanza di materie prime (soprattutto l’acciaio, destinato all’industria bellica ma strategico anche per i tacchi a spillo), inventò le zeppe in sughero, con l’accorgimento fashion di rivestirle di tessuto coloratissimo.

Le indossava Carmen Miranda, all’epoca famosissima star radiofonica, che adorò le alte zeppe di Ferragamo perché era bassa di statura: la pubblicità per il brand fu garantita.

Con molto più British understatement, Paul Andrews per disegnare la stagione PE 2021 post-lockdown (almeno si spera che alla data della prossima primavera il vaccino abbia risolto gran parte dei problemi) si è affidato ai colori sobri ma intriganti e alle atmosfere surreali suggerite dai film di

Hitchcock, rivisti durante i mesi della clausura obbligata in casa. L’atmosfera rarefatta di film come Marnie o La donna che visse due volte è stata ricreata dal Fashion movie di Luca Guadagnino che ha accompagnato la sfilata alla Rotonda della Besana a Milano. Toni cromatici rassicuranti, deve aver pensato Andrew, su una inquietudine di fondo che tutti sentono, anche nelle superfici aeree e disimpegnate della moda.

Niente di più attuale. Forte di una consolidata esperienza nel mondo degli accessori, dove aveva iniziato la collaborazione con il brand prima di assumerne la direzione creativa in toto, Andrew non ha trascurato le collezioni di bijoux e orologi, che ha coerentemente

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mantenuto sul filone dell’essenzialità estrema. I gioielli in oro hanno ridotto i volumi, così come gli orologi, più o meno preziosi, hanno adottato forme morbide, classiche e tradizionali, con pochi spigoli per attutire gli scontri con le personalità più esuberanti. C’è grande attenzione per la coerenza di stile e molta insistenza su quelli che sono diventati i motivi iconici del brand, come il “gancino” (ispirato al battente in ferro presente su una facciata di Palazzo Spini Ferroni - sede fiorentina della Maison) che ritroviamo in orecchini, collane e pendenti, ma anche nei cinturini degli orologi. Tra i modelli femminili di questi ultimi, non possiamo non notare come il modello Varina riprenda il fiocco

MODA

Vara, iconico simbolo di uno dei più celebri modelli di calzature della Maison fiorentina.

«La chiamo “una specie di casual” la mia visione di un sartoriale che si semplifica verso lo sportswear. Tutto fatto a mano, tutto 100% italiano ma italiano davvero, non soltanto sull’etichetta, perché quest’azienda non prende scorciatoie. La longevità di un capo, o di un accessorio, è quello che mi interessa. I nuovi guru del fashion design spesso arrivano da altri campi – dj, rapper, skateboarder. Li guardo con attenzione, con interesse: è stimolante, ma in quel modo di lavorare per me manca la longevità. Non concettualizzano. Gli manca qualcosa».

Dunque “concettualizzare” è il mantra del direttore creativo di Ferragamo, come si vede del resto nelle scelte formali e di stile per l’abbigliamento e gli accessori: forme lineari, inclusive, che valorizzano donne e uomini di tutte le taglie, anche quelle abbondanti e imperfette. Con un occhio alla responsabilità ambientale, un plus oggi imprescindibile e richiesto anche e soprattutto dalle giovani generazioni.

Secondo Andrew «gli abiti ci definiscono, ma se scelti con criterio e senza inibizioni, sono uno strumento per sperimentare, evolvere e trasformare, dunque ripensare sé stessi. Sé stessi e l’ambiente, potremmo aggiungere. In linea con l’obiettivo di contribuire in maniera positiva alla protezione e alla salvaguardia dell’ambiente, infatti, e seguendo i principi della certificazione ISO 14064 (Carbon Footprint delle Organizzazioni), Ferragamo calcolerà l’impatto ambientale dei propri eventi organizzati nel corso del 2020 e promuoverà, nel corso dello stesso anno, progetti di compensazione delle emissioni di CO2.

In questa pagina, dall’alto: il modello indossa cappotto in cashmere abbinato a stivali in vitello con applicazioni di lana, Salvatore Ferragamo FW 20/21; borsa sailing da uomo in pelle con logo impresso.

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MODA

If Paul Andrew, less than a year after his appointment as Ferragamo creative director, had to face the tragedy of lockdown (like everyone else after all, in spring and even today, albeit in fits and starts), the real Salvatore Ferragamo had to face a much more serious and profound tragedy over 70 years ago: World War II, with all the hardships that came with it and followed it. Back then, the talented footwear maker was in his forties, at the height of his career, and was already called the “shoemaker of the stars” because in the early 1900s he emigrated to the United States and became famous making shoes in Hollywood. The international conflict seemed to have hamstrung many companies, but Ferragamo found a solution that turned into a museum piece, as well as the key to continuing his business. Due to the lack of materials (especially steel, which was meant for the war industry, but also strategic for stiletto heels), he invented the cork wedge heel, covered with colourful fabric to add a fashionable twist. They were worn by Carmen Miranda, at the time a very famous radio star, who loved Ferragamo’s high wedges because they enhanced her short stature; plenty of brand advertising was guaranteed.

With much more British understatement, to design the post-lockdown SS 2021 season (hoping that the vaccine will have solved most of our problems by the spring), Paul

Andrews has relied on softer but intriguing colours and surreal atmospheres reminiscent of Hitchcock’s films, which he watched again during the months of forced isolation at home. The rarefied atmosphere of films like Marnie or Vertigo - The woman who lived twice was recreated in Luca Guadagnino’s Fashion movie, which accompanied the fashion show at the Rotonda della Besana in Milan. These are reassuring chromatic choices - Andrew must have thought - on the underlying restlessness that everyone feels, even in the light-hearted, disengaged field of fashion. Nothing could be more current. With extensive experience in accessories, which he covered when he started collaborating with Ferragamo before being promoted to the role of creative director of the entire brand, Andrew has not neglected jewellery and watches collections, which he has consistently kept extremely essential. Gold jewellery and watches, whether more or less valuable, come in smaller sizes, and softer, classic and traditional shapes, with few edges to smooth out any conflicts with exuberant personalities.

Great attention is paid to style consistency, insisting on the brand’s most iconic marks, such as the “small hook” (inspired by the iron knocker on a façade of Palazzo Spini Ferroni the brand’s Florentine headquarters) seen on earrings, necklaces and pendants, but also in

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watch straps. Among women’s watches, we cannot help but notice that the Varina model features the Vara bow, the iconic symbol of one of Ferragamo’s most famous shoes.

“I call ‘kind of casual’ my vision of tailoring, which is simplified towards sportswear. It is all handmade, all 100% Italian and not only on the label, because this company does not take any shortcuts. The longevity of a garment, or an accessory, is what interests me most. New fashion design gurus often come from other fields - DJs, rappers, skateboarders. I look at them carefully, with interest; it is inspiring, but I can’t see longevity in that way of working.

They can’t conceptualise. Something is missing there”. “Conceptualising” is the mantra of Ferragamo’s creative director, as can be seen in his formal and style choices for clothing and accessories: linear, inclusive shapes that enhance women and men of all body types, including plus sizes. And he always keeps an eye on environmental responsibility, now essential and increasingly important, especially to the younger generations. According to Andrew, “clothes define us, but if chosen wisely and without inhibition, they are a tool for experimenting, evolving and transforming, and therefore for rethinking ourselves. Ourselves and the environment, we may add. In line with the objective of contributing positively to the protection and safeguarding of the environment, and following the principles of the ISO 14064 certification (Organisations’ Carbon Footprint), Ferragamo will calculate the environmental impact of the events it organised in 2020 and will promote CO2 emission offset projects in the same year.

In alto, da sinistra in senso orario: orecchini a cerchio con lettering Ferragamo in ottone e strass; orologio Ferragamo Boxyz che prende il nome da una delle signature bag della Maison e si ispira alla sua iconica chiusura; quadrante in smalto bianco e cinturino in pelle di vitello rosa antico. Bracciale in pelle con chiusura regolabile e ornamento Gancini dorato con borchia piramidale.

PEOPLE & BRANDS

GRAND

TOUR Viaggio a tappe nella gioielleria Made in Italy, alla scoperta di un’eccellenza artigianale unica al mondo

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DAMIANI / VHERNIER / BULGARI / BUCCELLATI

/ di Laura Inghirami

L’ORAFO

ITALIANO

DAMIANI

In questa pagina, in alto a sinistra: orecchini Blue Moon in oro giallo e bianco e diamanti, vincitori nel 1996 ai Diamonds International Awards, l’Oscar Mondiale della Gioielleria. In basso: i fratelli Damiani.

Da sinistra, Giorgio, Guido e Silvia.

Silvia Damiani, vicepresidente del Gruppo Damiani e responsabile della comunicazione, crede nel bello e nel rispetto delle tradizioni con una visione rivolta ai giovani e alle future generazioni. «Damiani è prima di tutto una famiglia, il cui credo è lavorare guardando avanti per le prossime generazioni. Insieme ai miei fratelli lo facciamo con grande passione, sentendoci responsabili di un solido patrimonio culturale. Allo stesso tempo, facendo sentire i nostri collaboratori parte di qualcosa di più grande della realizzazione di un gioiello. Citando Schultz, quando a tre persone che lavoravano nello stesso cantiere edile al medesimo compito fu chiesto quale fosse il loro lavoro, le loro risposte furono diverse. “Spacco pietre” rispose il primo; “Mi guadagno da vivere” rispose il secondo; “Partecipo alla costruzione di una cattedrale” rispose il terzo. Quando si fa impresa, è la costruzione di qualcosa che va oltre la dimensione materiale quello che è più importante. Questa è anche l’etica che ha sempre avuto la mia famiglia».

Damiani, simbolo di eccellenza orafa, è stata fondata nel 1924 da Enrico Damiani, nel cuore del distretto orafo di Valenza. E, negli anni, ha tramandato i valori di una maestria artigianale oggi conosciuta in tutto il mondo. Ancora oggi, come allora, i maestri tramandano le tecniche orafe ai giovani apprendisti, affiancandoli nei laboratori.

«L’incontro tra generazioni è importante e prezioso - continua Silvia Damiani - Noi crediamo nella forza dei grandi orefici che hanno lavorato tutta la vita con noi e che possono tramandare il mestiere ai giovani.

Non a caso il nostro Gruppo è impegnato in prima linea nella formazione attraverso la Damiani Academy, una scuola che permette alle nuove generazioni di apprendere le più importanti tecniche orafe. Ogni anno riceviamo numerose candidature da tutta Italia e al termine del corso i migliori apprendisti vengono assunti dal Gruppo. Nella nuova sede produttiva che inaugureremo a Valenza, riuniremo le nostre maestranze in un contesto tecnologicamente avanzato e avremo bisogno di ancor più giovani apprendisti. Personalmente, credo molto nei giovani e nella possibilità di condividere idee

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per creare insieme. Li incoraggio a seguire la propria passione perché è la sola cosa che porta a fare le scelte che veramente contano nella vita». Per Silvia Damiani il gioiello è una storia personalissima: «Fa parte di me fin dai primi ricordi d’infanzia. Da bambina guardavo i gioielli con occhi divertiti, appuntavo le spille sui vestiti facendo finta di essere adulta. Il gioiello è anche legato al ricordo dei miei genitori. Damiano Damiani, mio padre, comprese che i tempi erano maturi per strutturare Damiani come brand e questa sua intuizione contribuì cosi alla crescita commerciale. Oggi posso dire che il gioiello è la mia passione e coincide col mio lavoro. E che l’obiettivo condiviso dalla terza generazione è rendere il Gruppo sempre più internazionale». La terza generazione è composta da Guido, Presidente del Gruppo e nominato Cavaliere del Lavoro nel 2020, Silvia e Giorgio, Vicepresidenti. Al Gruppo oggi fanno capo sei marchi complementari che hanno le proprie radici nella stessa passione per il Savoir Faire e il Made in Italy: Damiani, Salvini, Bliss, Calderoni, Rocca e Venini. Quest’ultimo è una delle più blasonate vetrerie di Murano e dimostrazione di un forte credo della famiglia Damiani verso l’artigianato di eccellenza.

Eccellenza che Silvia Damiani definisce «un processo. Il riuscire a fare sempre quel passo in più trovando un equilibrio e nuove ispirazioni tra il know-how del passato e le sfide che il mercato attuale presenta». Per quanto riguarda il futuro del settore, Silvia Damiani non ha dubbi: «Un bene d’eccellenza Made In Italy è una garanzia: un gioiello Damiani o Salvini, una creazione Venini o un diamante Calderoni aumentano il proprio valore col passare del tempo e possono essere donati alle prossime generazioni. Come scriveva Keats: Beauty Is A Joy Forever». E tra i gioielli preferiti Silvia Damiani sceglie Blue Moon, una creazione da lei ideata. «È uno dei diciotto Diamonds International Awards, Oscar della gioielleria, vinti da Damiani: un paio di orecchini in oro giallo e bianco costellati da diamanti in apparente disordine che invece rivelano il profilo di una donna che guarda la luna. Ma è quasi d’obbligo citare anche l’anello che mio nonno disegnò ispirandosi alla Regina Margherita, un gioiello dal grande valore storico e anche emozionale!».

English translation: see page 113

passione verso l’arte e l’architettura, più in generale verso la cultura». Rispetto al periodo contingente riporta una frase che ricorda sempre alle figlie «dopo la pioggia arriva sempre l’arcobaleno. È un momento difficile, ma ne usciremo. Oggi il gioiello deve avere un approccio understated, rispettoso. Domani le persone investiranno sempre più nei beni rifugio come le pietre preziose. Le aziende dovranno invece adeguarsi alle nuove generazioni. La gioielleria vive un contesto per certi aspetti ancora un po’ ancorato a modelli del passato e ha il dovere morale ed etico di considerare i giovani».

English translation: see page 113

Dall’alto: Isabella Traglio. Orecchini Verso, in oro bianco e diamanti. Collana Calla in ebano, oro bianco e diamanti.

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VHERNIER

È nel 1984 che uno scultore e una donna con una straordinaria conoscenza della gioielleria e delle sue tecniche più sofisticate fondano un laboratorio di gioielleria spinti dal desiderio di creare “il gioiello che non esiste”. È la nascita di Vhernier. Fin da principio i valori fondamentali sono l’innovazione, la contemporaneità, l’originalità, «una forma di resistenza alla banalità» nelle parole di Isabella Traglio, oggi vicedirettore generale di Vhernier. Questa filosofia si traduce in gioielli sperimentali ispirati alla natura, all’arte e all’architettura. Le forme richiamano le rotondità di Brancusi e i tagli di Fontana - per citare solo alcuni dei tanti artisti di riferimento nella realizzazione dei gioielli della maison.

Un approccio che inizialmente incontra il favore solo di una cerchia ristretta, di cui fa parte la famiglia Traglio che acquisisce Vhernier nel 2001, con la visione di esprimerne il potenziale a livello internazionale. Per Isabella Traglio il gioiello è «espressione dell’essere. Non a caso al mattino mi vesto a partire dai gioielli. Ma rappresenta anche una passione concretizzatasi attraverso una lunga gavetta accademica e professionale.

Dapprima a Milano, dove mi sono laureata in Lettere Moderne, poi a New York, dove mi sono diplomata al GIA. A ciò è seguito un Master in Bocconi e un’esperienza professionale all’interno di Christie’s.

Ho sempre avuto un grande senso di responsabilità verso l’azienda e chi vi lavora in termini di meritocrazia. In Vhernier ho iniziato dalla boutique e oggi da vicedirettore posso dire che la cosa più importante è condividere un progetto nel quale si crede, con preparazione, rispetto e passione». Per Vhernier, le cui creazioni sono interamente realizzate dagli eccellenti maestri artigiani di Valenza, la sperimentazione e l’ergonomia sono caratteristiche fondamentali: «Vhernier è stata tra le prime aziende a lavorare in modo inedito materiali quali l’ebano, il giaietto e il kogolong, non per ultimo ad introdurre il bronzo. La sperimentazione è protagonista anche nelle tecniche come dimostrano le nostre iconiche Trasparenze: perfette sovrapposizioni di cabochon di cristallo di rocca su pietre magistralmente tagliate in un unico pezzo. A questo si aggiunge l’ergonomia: il gioiello deve nascere comodo. Uno dei numerosi esempi sono gli orecchini Verso, che hanno un destro e un sinistro, come se fossero la prosecuzione del corpo».Tra i gioielli prediletti, l’anello Tre Re, «uno dei primi che ho visto realizzare. Ma anche tutto il mondo animalier e l’iconico bracciale Sorpresa». Un bracciale in oro lucido, le cui componenti, comprese le viti interne, sono interamente realizzate in oro e che, indossato, rivela un sorprendente pavé di diamanti. «La più grande soddisfazione è vedere lo stupore delle persone quando viene indossato. Persone, perché Vhernier parla a un pubblico genderless accomunato dalla

L’ORAFO

BULGARI

Qui sopra: collana della collezione di Alta Gioielleria Barocko in oro rosa con citrino ovale, peridot ovale, rubellite ovale, ametista ovale, acquamarina ovale; 6 tormaline, 5 ametiste, diamanti e pavé di diamanti.

In basso a sinistra: Lucia Silvestri, direttrice creativa della maison. A destra: illustrazione della collezione di Alta Gioielleria Barocko realizzata dall’artista Ignasi Monreal.

Roma. 1884: Sotirio Bulgari è un argentiere di origini greche. Le sue esuberanti creazioni non passano inosservate agli occhi dei viaggiatori del Grand Tour, che ne restano affascinati. Così, già alla fine dell’800 Bulgari raggiunge un pubblico sempre più vasto di appassionati presso il quale si conquista la fama di eccellenza italiana, per arrivare agli anni della Dolce Vita, quando diventa “il gioiellere delle celebrità”. Da quel momento in poi l’esuberanza, la forte personalità,

ITALIANO

l’accostamento di materiali insoliti decretano un trionfo inarrestabile. Oggi a raccontare la meraviglia e l’eccellenza della maison è Lucia Silvestri, la carismatica direttrice creativa che fin dalle prime parole ci tiene a valorizzare il team del quale è a capo, composto da senior e giovani talenti: «Il processo creativo è un lavoro di squadra, sempre condiviso, dove seguiamo il prodotto dall’inizio alla fine. Soprattutto con i giovani che vengono formati dai nostri senior». Lucia Silvestri nei giovani ci crede davvero, non a caso legge tutti i messaggi che riceve sui social e ne analizza curriculum e bozzetti. «È capitato più di una volta di assumere giovani promettenti attraverso Instagram: mi inviano candidature eccezionali. E io ho inoltrato quelle più meritevoli all’ufficio HR». È così che Silvestri annulla le distanze e rompe gli schemi, in linea con quell’identità rock di Bulgari che già negli anni ‘50 fu il primo a preferire il taglio a cabochon delle pietre colorate.

Nei giovani, le caratteristiche che predilige sono la determinazione e la passione nel raggiungere un risultato.

«In loro rivedo me stessa. Il mondo delle gemme è prettamente maschile e se io non avessi avuto la determinazione e la passione sarebbe stato impossibile essere qui oggi. I giovani hanno bisogno di credere in qualcosa e quando ne intravedo il talento, non posso che valorizzarli. Anche io a mia volta sono stata giovane e appassionata e come loro anche io ho creduto in qualcosa».

La sua carriera è stata lunghissima, e, come racconta, è stato proprio Paolo Bulgari a intravedere il suo potenziale e a riconoscere il suo talento. «Avevo iniziato gli studi universitari in biologia, mio padre lavorava da Bulgari quando ancora era un’azienda familiare. Spinta dal mio desiderio di indipendenza presentai la mia candidatura all’azienda per una sostituzione di maternità.

Il caso volle che andai a sostituire proprio la segretaria di Paolo Bulgari. Il mio ufficio era accanto al suo e avevo l’opportunità di potermici confrontare spessissimo. Ero giovane, avevo tanta voglia di imparare ed ero un’amante del mondo delle gemme.

Paolo e Nicola Bulgari si accorsero della mia curiosità. In quel momento stavano cercando una persona giovane ed energica e mi misero alla prova. Dapprima sulla combinazione dei colori, finché intravidero in me un feeling particolare con le pietre preziose».

Il tavolo di Lucia Silvestri è un trionfo di tormaline, smeraldi, morganiti, zaffiri di ogni colore. Le prende in mano, si avvicina alla finestra per osservarle alla luce naturale, poi gira un breve video che condivide con migliaia di persone dal suo account Instagram. Continua: «Amo tutte le pietre, ma oggi in particolare sono innamorata di queste morganiti dal colore rosa antico. Durante il lockdown mi sono riscoperta in questo ruolo di divulgatrice, mi è venuto in modo molto

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spontaneo. Mi faceva piacere mandare un messaggio di speranza, soprattutto ai giovani, e condividere con loro il bello, per abituarli alla bellezza». Lucia Silvestri conosce ogni dettaglio delle pietre che ha sopra la sua scrivania. «Le scelgo personalmente.

Una delle prime lezioni che ho imparato da Paolo Bulgari è che non si acquista mai una pietra prima di sapere come utilizzarla. Per questo quando le acquisto ho già in mente il gioiello che andranno a comporre. Le dispongo poi su una tavola di cera e da qui ne disegno i modelli. Insieme al mio team creativo spieghiamo i nostri desideri agli artigiani e loro ne condividono le difficoltà. È una sfida meravigliosa e un processo di apprendimento per tutti». L’ispirazione per Lucia Silvestri «è ovunque. Ma - continua - se dovessi scegliere due ispirazioni in particolare sceglierei le gemme, e Roma. La Roma segreta che mi strega ogni giorno e che ho avuto l’opportunità di conoscere nel suo lato più intimo durante il lockdown». La storia resta una grande fonte di ispirazione, così come l’archivio della maison, dal quale Lucia Silvestri sceglie l’iconico sautoir che Richard Burton regalò a Elizabeth Taylor insieme a un bracciale con sei smeraldi con taglio “bulgarizzato” realizzato insieme a Paolo Bulgari. «È uno dei pezzi d’arte più maestosi che abbiamo mai realizzato. In generale guardiamo l’archivio con occhio contemporaneo cercando sempre nuove sfide. Come abbiamo fatto con la collezione Barocko, l’apoteosi del gioiello con uno spirito contemporaneo e rock, che si ispira a tre elementi: la luce, il colore e la meraviglia».

Oggi la sfida per Bulgari è «avvicinare sempre più i giovani alla bellezza. Il nostro pubblico è internazionale ed eterogeneo in termini di età, ma sentiamo il dovere di rendere i giovani sempre più partecipi del bello perché con la bellezza si vive meglio. Ecco perché le collezioni come B.Zero1, Serpenti, Divas’ Dream sono diventate must have tra i giovanissimi».

L’augurio di Bulgari è che il nostro Made in Italy torni a risplendere dopo il periodo attuale. «È importante difendere la creatività e la qualità e noi continueremo a farlo perché siamo fermamente convinti che, citando Dostoevskij, la bellezza salverà il mondo».

English translation: see page 113

PEOPLE & BRANDS

della vita di un individuo». Per questo, pur credendo fortemente nei canali di vendita online, soprattutto per il mercato asiatico e americano, si fa portavoce dell’importanza dell’esperienza in store. «Per tutti quei gioielli che segnano un importante simbolo o passaggio della vita di un individuo, l’esperienza in store continuerà a essere un riferimento importante nell’acquisto».

Il gruppo, oggi di proprietà di Richemont, perpetua gli stessi valori che lo hanno reso unico nel mondo: «Il passaggio non ha avuto alcun impatto sui processi creativi e sul nostro prodotto mentre a livello di struttura l’azienda vanta oggi un top management e il supporto di un gruppo leader a livello mondiale nel nostro settore». Buccellati è positivo quando si tratta di Made In Italy: «In Italia, a differenza di altri paesi, non siamo ancora riusciti a fare sistema, ma il lato positivo di questa nostra peculiarità è che abbiamo la capacità di offrire un prodotto molto diversificato, con caratteristiche di eccellenza uniche».

Buccellati guarda al periodo contingente con sguardo attento e positivo. «Oltre al gioiello, le persone apprezzano sempre più l’oggettistica per la casa. Vedo un trend in crescita verso questo comparto perché oggi si ha il desiderio di rendere i propri ambienti sempre più accoglienti, come un vero e proprio rifugio». E Buccellati risponde a questa esigenza attraverso l’iconica oggettistica in argento, realizzata con la stessa attenzione delle magistrali tecniche di realizzazione dei gioielli. «Per noi non vi è differenza tra un gioiello o un oggetto di grande valore e un gioiello più accessibile, perché nei nostri laboratori qualsiasi creazione è realizzata con la stessa cura e attenzione». Il mercato sta cambiando. Andrea Buccellati ha uno sguardo rivolto alle proprie radici ma anche al futuro: al suo fianco la figlia Lucrezia contribuisce allo sviluppo creativo delle collezioni ispirate al mondo dell’arte e portando sempre uno sguardo innovativo nella Maison. «Mia figlia ha dato e continua a dare un importante contributo all’azienda nella sfera creativa. Per lei come per me è molto importante l’attenzione verso i temi del gioiello easy going e dell’indossabilità, caratteristiche che permettono di indossare un gioiello ogni giorno e senza preoccupazioni».

Nessuna preclusione rispetto ai nuovi mezzi di comunicazione, quei social media che anzi Andrea Buccellati accoglie con entusiasmo e convinzione: «È importante che attraverso questi nuovi mezzi di comunicazione l’azienda comunichi alle nuove generazioni il prodotto e ciò che sta dietro il prodotto, sia in maniera diretta sia attraverso gli influencer, vere e proprie icone moderne che, come un tempo gli attori di Hollywood, riescono a influenzare centinaia di migliaia di persone». Per Buccellati il futuro sarà scandito nel segno dell’unione: la Maison ha inaugurato a Settembre la nuova sede a

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Qui sopra: Andrea Buccellati con la figlia Lucrezia.

Sotto, fasi di lavorazione di una etrenelle e di una creazione in argento.

BUCCELLATI

Andrea Buccellati, Presidente e Art Director di Buccellati, una delle aziende nell’Olimpo della gioielleria, ha a cuore l’Italia, l’eccellenza, l’alto artigianato e la trasmissione del valore simbolico legato al gioiello. Proprio l’eccellenza - spiega - è stata per Buccellati una magnifica ossessione fin dagli albori della Maison, fondata nel 1919 da Mario Buccellati, suo nonno. Negli anni l’azienda si è trasformata in un impero, dalla prima boutique in Largo Santa Margherita inaugurata nel 1919 da Mario Buccellati, alle aperture in Europa, USA e Asia negli anni ’70 per mano di Gianmaria Buccellati, figlio di Mario.

Tutto è stato costruito passo dopo passo appunto sotto il segno dell’eccellenza, che oggi Andrea Buccellati definisce «una sfida quotidiana. Il risultato di una continua ricerca che porta a migliorare sé stessi, la propria tecnica, il proprio bagaglio di conoscenze e competenze». Andrea Buccellati condivide questo modus operandi con i maestri artigiani dell’azienda, coi quali lavora fianco a fianco e che definisce parte della famiglia.

«Lavoriamo insieme da generazioni. Oggi con i figli degli artigiani che lavoravano con mio padre e che hanno imparato il mestiere dai loro genitori. Per questo, il legame che si crea va oltre il semplice rapporto lavorativo. Siamo sempre alla ricerca di nuovi talenti artigiani e prediligiamo i giovani appassionati, che, una volta entrati, restano a fare esperienza per tanti anni con noi. Lavorare da Buccellati credo costituisca per loro qualcosa di unico e diverso perché tendiamo a lavorare sempre fianco a fianco, ma allo stesso tempo lasciamo che gli artigiani esprimano la loro personalità e il loro talento. E la passione è il punto da cui si parte ogni giorno insieme». Per Andrea Buccellati, cresciuto in una delle più importanti famiglie di gioiellieri, la passione è cultura e vissuto. «Da bambino non ho mai amato giocare con i giocattoli, invece mi piaceva creare gioielli e osservare mio padre realizzarli. Ricordo che a dodici anni dissi a mio padre che sarei voluto diventare gioielliere. E ho avuto la grande fortuna di avere proprio lui come maestro». I gioielli di Buccellati ben rispecchiano quella maestria tramandata di generazione in generazione.

In più di cento anni Buccellati è stato in grado di conservare e tramandare quelle tecniche orafe che lo hanno reso unico al mondo, lavorazioni iconiche come quella del tulle, un processo che consiste nel ritagliare l’oro a nido d’ape e poi impreziosirlo con diamanti e pietre preziose e che richiede centinaia di ore di lavorazione. «Tutto in Buccellati è maestria e precisione, la stessa incassatura - spiega Andrea Buccellati - non si limita all’inserimento del diamante nel metallo ma consiste nell’eliminare il metallo che circonda la gemma per rendere il gioiello leggero». Per Andrea Buccellati il gioiello è «un oggetto dal valore simbolico inestimabile che riesce a segnare i momenti più importanti

Milano, nel palazzo realizzato da Portaluppi nel 1919, proprio nell’anno di fondazione dell’azienda. «È stato un passo importante che ha segnato, dopo cento anni di storia, l’unificazione di tutte le nostre produzioni».

Ed è proprio dalla nuova sede milanese che Andrea Buccellati conclude con un messaggio rivolto ai giovani: «Ricercate la qualità, ricercate la storia, ricercate sempre la cultura dell’artigianato di eccellenza».

English translation: see page 113

le idee sono sempre più preziose

oraggio, ichiede c r à it v ti a La cre e nel elle idee d io g g a r il co ragione se con la s e in e r crede follia. isionaria v i d ’ o p e un derle o per ren m ia r o v Noi la iose. più prez sempre

www.edro21.it

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L’ORAFO

ITALIANO

LEAD WITH PURPOSE . INSPIRE WITH TRUST CONTRIBUTE TO DEVELOPMENT

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PEOPLE & BRANDS

REVOLUTION / di Antonella Garello

Il tema della sostenibilità è cruciale, riguarda tutti i settori e anima una community sempre più vasta e consapevole di consumatori, che si aspettano dai brand azioni concrete, onestà e trasparenza.

Matteo Ward, co-founder del marchio ecosostenibile Wråd, spiega la necessità di guidare il cambiamento

L’INTERVISTA

THE TRUE

L’ORAFO

L

aureato in Economia Internazionale all’università Bocconi di Milano e in Business Sustainability Management alla University of Cambridge, nel 2009 Matteo Ward ha cominciato a lavorare per Abercrombie and Fitch, arrivando a ricoprire il ruolo di Senior Manager in Germania e co-amministratore del Diversity and Inclusion Council del brand. Nel 2015, col fotografo di moda (ex Abercrombie and Fitch) Victor Santiago e la designer (ex Etro) Silvia Giovanardi, ha fondato Wråd, start up innovativa di moda sostenibile e gender free. È vice presidente per l’Italia di Fashion Revolution, ONG che dal 2013 si batte per una riforma del sistema moda in un’ottica sostenibile, in particolare per una maggiore trasparenza della filiera.

Invited speaker in contesti di primo piano, come la Commissione Economica per l’Europa delle Nazioni Unite (UNECE), lo scorso settembre ha portato la propria esperienza di imprenditore sociale anche a Voice. Wråd ha vinto Best of the Best 2017 al prestigioso RedDot Design Award con la T-shirt WRÅD GRAPHI-TEE Endorsed by Perpetua, la prima T-shirt, certificata GOTS, tinta con polvere di grafite di recupero, ed è stata finalista ai Green Carpet Challenge Awards 2018 con un abito in cotone biologico e fibra di menta.

ITALIANO

Wråd si è imposta all’attenzione del mercato con la T-shirt Graphi-Tee, che concretizza concetti importanti come sostenibilità, innovazione, responsabilità. Come è nato questo progetto?

Abbiamo recuperato un’antica tecnica di tintura, usata dagli antichi romani e tramandata nel paesino di Monterosso Calabro che ospita una miniera di grafite naturale: siamo andati lì a imparare la tecnica e, grazie alla sinergia con PerpetuaWe had to invent it siamo passati a utilizzare polvere di grafite di scarto, entrando in una logica di economia circolare: questo processo ha richiesto lunghi tempi, ricerca, tecnologie ma i risultati sono stati davvero lusinghieri.

Ma come è avvenuto il suo passaggio da un brand come Abercrobie and Fitch, che non era certo in prima linea quanto a ecosostenibilità, a Wråd, che dell’etica e del rispetto per l’ambiente ha fatto la propria mission?

Nel 2013, anche in seguito alla tragedia del Rana Plaza di Dacca, ho cominciato a prendere coscienza di quello che sta dietro a un capo d’abbigliamento, tutte quelle problematiche nascoste dietro alle immagini scintillanti e glamorous degli stili

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di vita che la moda ci comunica ogni giorno: parlo dello sfruttamento in tutto il mondo di milioni di persone, di un inquinamento e di sprechi fuori da ogni controllo, della totale mancanza di trasparenza di una filiera complessa come quella del tessile. Quando riconosci che c’è un problema, non puoi fare finta di niente. Quindi abbiamo cominciato a informare e sensibilizzare i ragazzi usando i social media, dando vita a una community di attivisti consapevoli. Andiamo anche a parlare nelle scuole - oggi raggiungiamo in Italia più di 10 mila studenti all’anno: illustriamo ai giovanissimi l’impatto che i loro vestiti hanno sull’ambiente e sugli esseri umani che li producono e al tempo stesso diamo loro gli strumenti per promuovere un cambiamento e far parte della soluzione».

I numeri possono aiutare a far capire l’entità del problema?

Certamente sì. Basti pensare che, secondo rapporti certificati da enti e organizzazioni di assoluta autorevolezza come UNECE, McKinsey & Company, Ellen MacArthur Foundation, l’industria della moda è la seconda industria più inquinante al mondo dopo quella petrolifera e che è responsabile, tra l’altro, del 10% delle emissioni di anidride carbonica e del 20% dello spreco globale

PEOPLE & BRANDS

Pagina a lato: un modello delle collezioni Wråd e i tre fondatori del brand. In questa pagina: la collezione sostenibile realizzata da WRÅD Endorsed by Perpetua in occasione dell’apertura della Starbucks Reserve™ Roastery di Milano.

di acqua. Produce più gas serra di tutti gli spostamenti di aerei e navi a livello mondiale.

Utilizza microfibre, sostanze chimiche, metalli pesanti e coloranti nocivi per la nostra stessa salute - l’OMS ha stimato che l’8% circa delle malattie dermocutanee derivi proprio dal contatto della pelle con queste sostanze - e per l’ambiente: l’inquinamento devastante dei fiumi da parte dell’industria della moda è ben illustrato dal docufilm RiverBlue di David McIlvride. Per non parlare del fattore umano: l’industria della moda impiega oltre 75 milioni di lavoratori in tutto il mondo: la maggior parte di loro, nei Paesi in via di sviluppo, sono sfruttati economicamente e costretti a lavorare fino a 16 ore al giorno, in condizioni non rispettose della loro salute e della loro dignità.

Gli attuali ritmi di produzione sono giustificati?

No! Bisogna riconoscere e dire a chiare lettere che non abbiamo alcun bisogno di nuovi prodotti. Ogni anno vengono realizzati dagli 80 ai 100 miliardi di capi d’abbigliamento: capi che vengono utilizzati in media solo sette volte per poi essere buttati e che solo nell’1% dei casi sono riciclabili. E l’enorme mole dei capi non venduti finisce per lo più distrutta. La comunicazione e il marketing della moda ci trascinano ad acquistare in

misura molto maggiore rispetto a qualche decennio fa, i brand ci offrono collezioni sempre nuove a un ritmo impressionante e a prezzi sempre più bassi.

Ma qualcuno paga il vero prezzo di una T-shirt venduta al pubblico a 4 o 5 euro: un ambiente sempre più inquinato, lavoratori sempre più sfruttati.

Cosa possono fare i consumatori finali per contribuire al cambiamento?

Bisogna uscire da una logica di economia lineare - compro, uso e butto - per abbracciare una logica di economia circolare e sostenibile.

Secondo una definizione canonica, per sostenibilità si intende uno sviluppo che permetta alla generazione presente di soddisfare i propri bisogni, agendo in maniera tale da non precludere queste stesse possibilità alle generazioni future. Se si entra in quest’ottica, è evidente che andrò ad acquistare prodotti non di consumo ma “di servizio”, che possono aiutare a dare risposte ai problemi. Prodotti fatti per durare più a lungo, oppure realizzati con materiali meno impattanti o recuperati oppure assemblati e ingegnerizzati in maniera da essere riciclabili. Il consumatore deve cominciare a chiedersi “Chi ha fatto questa T-shirt? In quali condizioni? Quanto è stato pagato?” E

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pretendere risposte a queste domande.

Anche il mondo del gioiello è messo in discussione, quanto a sostenibilità…

Il gioiello, come ho già avuto modo di dire, ha il grande vantaggio di non essere un oggetto usa e getta e, anzi, di essere creato per durare nel tempo, portatore di simboli e valori eterni. Ma, anche qui, il consumatore ha il diritto di essere chiaramente informato sulla provenienza delle materie prime, delle pietre, dei metalli. La tecnologia potrebbe aiutare a tracciare ogni passo nella vita di un gioiello, creando un dialogo efficace tra il produttore e chi è intenzionato ad acquistarlo. A breve sarà dibattuta una direttiva europea, promossa dal parlamentare europeo Raphael Glucksmann, con una serie di clausole realmente vincolanti sulla due diligence e la corporate responsibility delle aziende tessili.

La sostenibilità non è più qualcosa di astratto e lontano, ma una necessità concretissima per tutti i settori, che sta muovendo una community sempre più vasta e consapevole nel mondo.

English translation: see page 113

FLASH

A fianco, un gioiello di Antonini Milano. Il brand ha organizzato un servizio delivery per la propria clientela in città con prova a domicilio. Residenti a Milano e non possono contattare la maison e prendere visione delle singole creazioni tramite il sito, il profilo Instagram @AntoniniMilano e Whatsapp.

VICINI DI LUSSO / di Federica Guccini

saurita la breve parentesi estiva, la paralisi degli spostamenti internazionali si è ripresentata in tutta la sua gravità. Le ripercussioni sul turismo e su tutto il suo indotto sono particolarmente pesanti in un Paese come l’Italia, prima della pandemia visitato ogni anno da milioni di viaggiatori stranieri. Sparita questa clientela internazionale, brand e retailer hanno rivolto nuove attenzioni ai consumatori locali e studiato strategie per conquistarli: inevitabilmente il “territorio” viene vissuto con maggiore consapevolezza, le sue peculiarità vanno riconosciute e valorizzate. Così, marchi internazionali hanno lanciato prodotti o intere collezioni dedicandole a specifiche città o quartieri o rendendole disponibili solo in determinate aree - sfruttando i dati raccolti dai loro e-commerce che hanno permesso l’identificazione di trend e aspettative “locali”; analogamente, punti vendita anche non particolarmente strutturati analizzano i profili della loro clientela per lanciare campagne a breve raggio focalizzate su determinati brand o tipologie di prodotto; marchi e punti vendita organizzano dimostrazioni con artigiani per spiegare dal vivo le peculiarità dei propri articoli, basati su tradizioni e tecniche locali da spiegare e riscoprire. Impediti negli spostamenti, i viaggiatori cosmopoliti riscoprono il fascino delle radici comuni: turismo di prossimità, negozi di vicinanza e senso di appartenenza si sono ripresi la scena. Quello che prima, nell’ottica della globalizzazione, era avvertito come localismo e vincolo geografico oggi è la parola chiave per conquistare gli unici possibili consumatori.

Once the short summer break ended, the paralysis of international travels represented with all its seriousness. The consequences on tourism and its whole induced activity are particularly heavy in such a country as Italy that, before the pandemics, was visited, every year, by millions of foreign visitors. When these international clients disappeared, brands and retailers turned new attentions to local consumers and designed new strategies to win them: the “territory” is inevitably lived with a greater awareness and its peculiarities must be acknowledged and given the right value. Therefore, international brands have launched products or whole collections dedicating them to specific cities or districts or making them available only in certain areas - using the data collected by their e-commerce that allowed the identification of “local” trends and expectations; at the same time, even not particularly structured stores analyse the profile of their clients to launch campaigns focused on specific brands or product types; brands and stores organise live demonstrations involving artisans to explain the peculiarities of their own items, based on local traditions and techniques that are worth being rediscovered and explained.

Prevented from moving, the cosmopolitan travellers rediscover the charm of common roots: proximity tourism, neighborhood shops and a sense of belonging are again under the spotlight. What before, under a globalisation perspective, was perceived as localism and a geographical limit is now the keyword to win the only possible consumers.

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Patrizia Corvaglia, jewelry designer romana, ha dedicato un’intera collezione alla sua città natale.

In alto a sinistra: Il Mandarin Oriental di Milano ha lanciato Staycation by M.O., un’offerta “per scoprire la città rivolta anche agli stessi milanesi, alla ricerca di una coccola a 5 stelle”.

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FLASH

AURORA

IL VALORE INTANGIBILE D E L M A D E I N I T A L Y / di Antonella Garello

arlare di Aurora significa celebrare una di quelle all-italian stories sempre più rare e tanto più preziose: fondata a Torino nel 1919, prima azienda italiana a produrre una penna stilografica, Aurora è una manifattura indipendente guidata a partire dagli anni ‘50 dalla famiglia Verona - oggi alla quarta generazione con Cesare Verona, presidente e AD - e vanta una produzione 100% manuale e Made in Italy, direttamente controllata in ogni fase, dal design al prodotto finito.

«Abbiamo sempre mantenuto italiana tutta la filiera - spiega Cesare Verona - non per un senso malinteso di localismo o nazionalismo, ma perché sappiamo che quella creatività e quella artigianalità italiana che ancora fanno la differenza si nutrono di una relazione quotidiana col territorio e con le persone che lo abitano, con la nostra storia e le meraviglie artistiche che noi italiani abbiamo la fortuna di “respirare” ogni giorno. Per questo abbiamo un senso unico del bello, che si nutre di armonia ed equilibrio ma anche di tecnica e ricerca».

Aurora si è sempre distinta per la modernità delle scelte e una visione non convenzionale del futuro: fin dagli esordi si è avvalsa della collaborazione di artisti affermati che hanno firmato una comunicazione all’avanguardia

e di mostri sacri del design come Marcello Nizzoli, Marco Zanuso, Giorgetto Giugiaro, Albe Steiner, Giampiero Bodino che hanno sviluppato modelli entrati nella storia della scrittura - tra i tanti, le penne Hastil e Thesi, esposte al MOMA di New York. L’anno scorso le Poste Italiane hanno anche emesso un francobollo celebrativo in occasione del centenario aziendale. «Nella nostra evoluzione sta il valore intangibile di una marca che racconta storie di verità: nel nostro patrimonio centenario fatto di competenze, artigianalità e innovazione il pubblico riconosce la sicurezza della qualità, del prodotto affidabile “bello e ben fatto”.

Questa relazione basata sulla qualità e sulla fiducia è la stessa che ci lega a tutti i nostri collaboratori e a tutti i nostri rivenditori, i quali sanno di poter contare su un servizio di assistenza all’insegna della massima collaborazione». In un mondo dominato dalla tecnologia digitale, nulla potrebbe sembrare più lontano dai consumatori di penne a sfera e stilografiche, ma il mercato racconta una realtà molto diversa: «Da un punto di vista anagrafico, gli acquirenti di strumenti di scrittura sono in media persone di 30 / 40 anni, che adoperano col medesimo piacere e disinvoltura stilografiche, iPad, PC, Moleskine… Le hanno date per spacciate in tante occasioni, ma le penne convivono felicemente con la tecnologia: in un’epoca

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di estrema massificazione, sempre più persone avvertono il bisogno di lasciare un segno personale. Non a caso, lo strumento più richiesto è la stilografica e non a caso nei primi otto mesi del 2020 abbiamo venduto più del doppio degli inchiostri rispetto allo stesso periodo del 2019». Oggi Aurora esporta il 90% della produzione ed è presente in più di 50 Paesi con un assortimento completo, attraverso una rete di negozi specializzati, shop-in-shop, cartolerie selezionate e gioiellerie, un canale sempre più interessante.

Le strategie degli ultimi decenni hanno dato nuovo impulso all’azienda, con una razionalizzazione e un riposizionamento che stanno dando grandi soddisfazioni anche in tempi di pandemia. «Per ora le perdite dovute ai lockdown si aggirano appena intorno al -4%. La nostra Officina della Scrittura è visitata quotidianamente dalle scuole e avvicina i giovani alla storia del segno: è un ponte importante con le nuove generazioni. L’anno scorso abbiamo festeggiato un secolo di vita, ma nella nostra visione il 2020 non è il 101° anno di Aurora, bensì il primo dei suoi prossimi cento anni: siamo sempre curiosi, aperti all’ascolto e al cambiamento, pronti ad affrontare ogni nuova sfida con l’entusiasmo e la freschezza di una startup!»

English translation: see page 113

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GOLDPLACE

INSIDE JEWELRY

JEWELERS GO ONLINE

L’

evoluzione digitale è già in atto. Fino al 2019, secondo i dati emersi dalla recente convention nazionale ECOMM FASHION 2020, le gioiellerie con un sito web e un profilo sui social raggiungevano appena il 48,1% e quelle con un’e-commerce il 53,1%: oggi, anche se i dati aggiornati al 2020 non sono ancora disponibili, queste percentuali hanno subito, a causa dell’emergenza sanitaria, una forzata evoluzione dettata da restrizioni locali e mondiali che hanno impedito le vendite tradizionali in negozio. Le gioiellerie, nell’ultimo anno, si sono trovate costrette a rivedere la propria strategia online migliorando il proprio e-commerce o, molto spesso, avviandolo da zero. In questo particolare momento di transizione, S&S Trade Group ha pensato di supportare le piccole e medie realtà con un nuovo progetto in grado di lanciarle online con semplicità e in sicurezza. «Nessuno ha mai parlato chiaramente delle difficoltà e dei costi del digitale – hanno commentato Sergio Sorrentino e Valentino Annunziata, ideatori del progetto – Per questo motivo negli ultimi due anni il team di S&S ha lavorato a un sito e a una app in grado di agevolare i gioiellieri nella vendita online». È nata così GoldPlace, una piattaforma che, in pochi e semplici passaggi, permette al gioielliere di aprire il proprio

negozio virtuale. Al momento il bacino d’utenza è l’Italia, le prospettive però sono a livello mondiale. Una volta attivato gratuitamente il profilo, il gioielliere può caricare le foto dei prodotti che intende vendere. «Si crea così una vetrina alla portata di tutti e fruibile h24. Il cliente finale avrà la possibilità di scegliere, sul nostro sito web o sull’app disponibile per Android e iOS, tra centinaia di negozi e prodotti di tutte le categorie, potrà effettuare l’acquisto direttamente dal proprio dispositivo o contattare il venditore sempre dal nostro portale». Il servizio è disponibile anche per il mondo delle pietre preziose con la piattaforma Gem-App, su sito web e app dedicati. L’esperienza di acquisto del gioiello a 360° supera così qualsiasi confine: al cliente finale non resta che aspettare l’acquisto comodamente seduto sul divano di casa.

The digital evolution is ongoing. Until 2019, according to the data evidenced during the recent national ECOMM FASHION 2020 convention, only 48.1% of jewelleries had a website and a social profile and 53.1% used e-commerce: today, even if the 2020 updated data are not available yet, due to the medical emergency, it has undergone a forced evolution determined by local and global restrictions that stopped the traditional in store sales. Over the last year, jewelleries had to rethink their on line strategy improving their e-commerce or, very often, starting it from scratch. In this peculiar transitional moment, S&S Trade Group decided to support the small

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/ di Simona Infantolino

and medium businesses with a new project able to launch them on line in a simple and secure way. «Nobody has ever clearly spoken about the difficulties and costs of digital Sergio Sorrentino and Valentino Annunziata, project designers, commented. For this reason, over the last few years, the S&S team has worked on a site and an app that could facilitate jewellers in on line sales». This is how GoldPlace was created, a platform that, in few and simple steps, allows the jeweller to open his own virtual shop. Though Italy is the current customer base, the project evidences global level perspectives. Once the profile is activated for free, the jewellers can upload the images of the products they want to sell.

«This is how you can create a window that is h24 accessible and enjoyable by everyone.

The final clients will be given the chance to choose, on our web site or on the app available for Android and iOS, among hundreds of stores and products in all categories, they will be able to purchase directly from their devices or contact the seller always from our portal». The service is also available for the world of precious stones through the Gem-App platform on a dedicated web site and app. The 360° purchase experience of a jewel overcomes then any border: the final customers are only left to wait for the purchase comfortably sitting on their sofa.

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ITALIANO

GEMMOLOGIA

L’ORAFO

COVID-19

RISCALDAMENTO GLOBALE E DIAMANTE SINTETICO IN GIOIELLERIA

I

/ di Luigi Costantini Coordinatore Nazionale Settore Formazione Italia IGI - International Gemological Institute Anversa Belgio

nsolita inter-relazione, quella fra i tre elementi del titolo. Quale, vi chiederete? Semplice: nei confronti di tutti e tre s’è ingaggiata battaglia, in quanto ritenuti flagelli da estirpare. Ma tutti e tre hanno un minimo comun denominatore: non sono eliminabili ma solo ovviabili, nei loro effetti presenti e futuri. Se volete sapere il perché, per il primo andatevi a rivedere la storia delle varie pandemie negli ultimi 2.000 anni; per il secondo, effettuate una ricerca tramite Google inserendo la voce “Glaciazioni e cambiamenti climatici planetari nell’ultimo milione di anni”; per il terzo, leggete un po’ qua sotto. Qualcuno ricorda i campanelli d’allarme freneticamente scossi – a riguardo – su questa rivista nel secondo semestre del 2018? Ebbene, ci siamo: Messer il Diamante Sintetico “da gioielleria” è definitivamente tra noi e ci rimarrà in maniera permanente. Ipotesi? No, fatti, cifre che dovrebbero parlar chiaro: il nuovo impianto della Element Six di Portland, Oregon, USA, “braccio produttore di Diamante Sintetico” della De Beers, ha tagliato i nastri di partenza e, una volta a pieno regime (al costo di 94 milioni di dollari), assicurerà alla Element Six ben 500.000 carati annui di grezzo di Diamante Sintetico da gemma (per ora ci si accontenta di 200.000 ct).

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Questi andranno ad aggiungersi a quanto già sfornato dagli impianti E6 statunitensi di Santa Clara (California) e Houston (Texas), e a quello di Maidenhead (U.K.). Il tutto poi confluirà, secondo i piani, nel “braccio distributore al dettaglio di gioielleria montata con Diamante Sintetico” della De Beers, la Lightbox Jewelry. Secondo voi, tale dispiego di forze e di risorse, tale potenza di fuoco del titano De Beers viene accampata affidandosi agli aruspici oppure a seri studi di tendenza? Per capirlo, è sufficiente andare a vedere cosa ci dicono i numeri, a proposito del Diamante Naturale. Cosa ci dicono, i numeri? Che le riserve, a livello globale, ammontano a 1,1 miliardi di carati; che la domanda corrente è di circa 155 milioni di carati annui, domanda che raggiungerà i 200 milioni di carati annui entro i prossimi 6 anni; che pertanto le riserve si esauriranno fra circa 5 anni; che l’80% delle riserve mondiali di Diamante Naturale son detenute da solo 3 Paesi: Russia 650ml di carati (52%), Congo 150ml di carati (13%) e Botswana 90ml di carati (8%); che il resto degli 1,1 miliardi di carati è nelle mani del Sud Africa 54ml (4,9%), Australia 39ml (3,5%, e ora che la Miniera di Argyle ha chiuso i battenti?), Canada e altri; che, se nuovi giacimenti verranno nel frattempo scovati, i tempi per la messa in coltivazione si aggireranno mediamente sui 10 anni, alterando di poco le previsioni che danno il Diamante Sintetico prevalere (in volumi di vendita) sul Naturale, entro l’anno 2030. È così difficile immaginare, con questi dati alla mano, quale possa essere la risposta a tutti gli interrogativi posti dalla presenza del Messere, ivi compreso quello relativo alle reali motivazioni che hanno

INSIDE JEWELRY

indotto la De Beers a buttarsi a capofitto nella produzione e nella commercializzazione del Diamante Sintetico da gemma, sino a pochi anni fa non solo ostracizzato ma demonizzato (tenendo pure conto dei Paesi nei quali essa De Beers esercita un controllo sulla produzione)?

Acclarato, quindi, che il Diamante Sintetico è planato sui nostri banchi di vendita per rimanerci, quali sono mai le misure da adottarsi per ovviare ai loro effetti presenti e futuri? Come soddisfare ai requisiti etici di trasparenza e correttezza che stanno alla base d’un altrettanto fondamentale principio etico: la tutela del cliente/acquirente finale?

Come assicurare la valenza della funzione primaria d’un “Documento d’Analisi Qualitativa” (il cosiddetto “Certificato”) che consiste nell’assolvere a finalità d’ordine identificativo (“Certificato” quale Carta d’Identità della pietra) offrendo all’acquirente la possibilità di disporre di dati utili a fini assicurativi (se richiesti), spartitori in assegnazione di assi ereditari, oppure riconoscitivi in caso di smarrimento, furto, indebita sottrazione o altra azione criminosa? Risposta? Adottando le precipue finalità d’un Ente di Normazione, qual è l’italiano UNI, che son quelle di fornire, alla filiera del comparto economico gioiellier-orafo, delle linee guida atte ad assicurargli certezze operative – nell’immediato e nel futuro – anche e soprattutto per quanto attiene l’aspetto etico della tutela del consumatore finale. Linee guida che son contenute in una Normativa specificamente dedicata al Diamante Sintetico e messa a punto (caso unico finora a livello planetario, da quel che ci risulta), appunto, dall’UNI (gratias tibi agimus, ti rendiamo grazie…).

There is an unusual connection between the three elements in the title. Which one, you ask? That’s simple: a battle was waged against all three, as they were considered scourges to be eradicated. But all three have something in common: they cannot be removed, but only worked around, when it comes to their present and future effects. If you want to know why, for the first aspect, go and check out the history of pandemics over the last 2,000 years; for the second one, Google “Glaciations and planetary climate changes over the past million years”. For the third one, please read below. Can anyone remember the alarm bells frantically ringing - in this respect - on this very magazine in the second half of 2018? Well, here we are: Sir “Gem-Quality” Lab-grown Diamond is definitely here with us, and it’s here to stay. A conjecture? No. It’s facts and figures that speak for themselves: the new Element Six plant in Portland, Oregon, USA, De Beers “Lab-grown Diamond arm”, has cut the ribbon and, once fully operational (for a cost of 94 million dollars), it will produce 500,000 carats of rough lab-grown gems a year (for now, they’re good with 200,000 ct). These will add up to those already churned out by the E6 plants in Santa Clara (California), Houston (Texas), and Maidenhead (U.K.). According to plans, it will all flow into Lightbox Jewelry, De Beers’ “industrial arm for lab-created diamond jewellery”. Do you think that titan De Beers’ firepower has deployed massive forces and resources by relying on haruspicy or on some serious trend analysis? To understand it, just go and see what numbers tell us about Natural Diamonds. What do numbers tell us? They say that global reserves amount to 1.1 billion carats; that the current demand is about 155 million carats per year, and will reach 200 million carats per year within the next 6 years; that, as a result, reserves will run out in about 5 years; that only three countries hold 80% of global diamond reserves: Russia with 650 M carats (52%), Congo with 150 M carats (13%) and Botswana with 90 M carats (8%). The remaining 1.1 billion carats is in the hands of South Africa with 54 M (4.9%), Australia with 39 M (3.5%, without counting that the Argyle Mine is now closed), Canada and others. Numbers also tell us that, if new deposits are discovered in the meantime, it will take around 10 years on average to start production, only slightly altering the forecasts that see labcreated diamonds prevail (in sales volumes) over natural diamonds by the year 2030.

With these data at hand, is it so hard to figure out the answer to all the questions posed by the presence of the above-mentioned Sir, including the real reasons that led De Beers to plunge headlong into the production and marketing of gem-quality Lab-grown Diamonds, not only ostracised but even demonised until a few years ago (also considering the countries in which De Beers controls production)? So, having ascertained that Lab-grown Diamonds have landed on our sales counters to stay, what are the measures we can adopt to remedy their present and future effects? How can we meet the ethical requirements of transparency and fairness that lie behind an equally fundamental ethical principle, that is to safeguard customers/end purchasers? How do you ensure the primary function of a “Quality Analysis Document” (the so-called “Certificate”), which is designed for identification purposes (“Certificate” as in a gem’s ID), offering the purchaser useful data for insurance (if required), hereditament, or recognition in the event of loss, theft, misappropriation or other criminal conduct? The answer? By adopting the main purposes of a Standardisation Body, such as the Italian UNI, which are to provide the jewellery supply chain some guidelines designed to ensure operational certainties - in the present and future - also and above all as regards the ethical aspect of safeguarding the end consumers. These guidelines are contained in a Regulation that is specifically dedicated to Lab-grown Diamonds (the only one worldwide, as far as we know) and written precisely by UNI (gratias tibi agimus, we give you thanks...).

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SMARTWATCH

L’ORAFO

S

ITALIANO

L’OROLOGIO

SI FA SMART

econdo un recente report di Counterpoint Research, nel corso del primo semestre 2020 le vendite globali degli smartwatch - in controtendenza rispetto ad esempio a quelle degli smartphone - sono andate a gonfie vele, registrando un netto +20%, per un totale di 42 milioni di esemplari movimentati in tutto il mondo. L’orologio si è trasformato grazie alle nuove tecnologie e alla tradizionale funzione di segnatempo ha aggiunto una serie di feature che ne fanno un “accessorio” sempre più indispensabile. In tutto il mondo la pandemia da Covid-19 ha dato vita a una maggiore attenzione per la propria salute, a

/ di Antonella Garello

un rinnovato interesse per le attività sportive, al desiderio di un nuovo, più consapevole rapporto col proprio corpo: health, fitness e wellness sono in cima ai pensieri delle persone, che sempre più spesso scelgono di monitorare con continuità le proprie prestazioni sportive, i battiti cardiaci, il livello di ossigeno nel sangue, le fasi del sonno e molto altro ancora con un orologio “smart”: che magari consenta anche di ricevere messaggi e telefonate o di effettuare pagamenti. Il mercato offre ormai modelli di grande affidabilità, adatti a tutti i look e a tutte le tasche.

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TECHMADE Kosmos Con le linee morbide e classiche del quadrante e i cinturini in metallo, il Kosmos rientra tra gli orologi eleganti delle collezioni Techmade. Si presenta in diverse colorazioni (Silver con tre cinturini differenti, Black e Gold) per soddisfare i gusti di un pubblico sia maschile che femminile. È dotato di avviso di chiamata e notifiche, cardiofrequenzimetro e tante altre funzioni. È compatibile con smartphone iOS 9.0 o versioni superiori e Android 5.2 o versioni superiori, munito di batteria 150 mAh Li-polymer, G-Sensor e tecnologia waterproof IP68.

FLASH

FOSSIL GEN 5E Piattaforma Qualcomm® Snapdragon Wear™ 3100 con tecnologia Wear OS by Google™. Android 6.0 e versioni successive (Go Edition esclusa) e iOS 12.0 e versioni successive / Speaker /Modalità smart della batteria / Capacità totale di archiviazione 4 GB / 1 GB RAM / Sensore per il battito cardiaco / Pagamenti NFC — Disponibili in mercati selezionati / GPS non integrato / Sincronizzazione wireless / Ricarica rapida (80% in 50 minuti) / Ricarica magnetica / Capacità della batteria 300 mAh / Connettività Bluetooth® e Wi-Fi / Microfono / Notifiche audio / Resistente all’acqua/swimproof (fino a 3 ATM) / Accelerometro / Giroscopio / Torcia LED / Gestione e archiviazione della musica / Notifiche calendario / Quadranti social e quadranti personalizzabili / Meteo / Applicazioni preinstallate, tra cui Spotify, Noonlight e Cardiogram / Connessione ai dispositivi domestici smart: usa l’Assistente Google per controllare i dispositivi Google Nest, le luci e molto altro, direttamente dal polso.

HYBRID WATCH GARMIN VÍVOMOVE LUXE Dotato di profili sport per attività indoor come yoga, pilates e forza funzionale, fornisce informazioni tipiche di fitness band, come calorie bruciate, passi compiuti, piani di scale saliti. Profili sport preimpostati per jogging, walking, yoga, cardio e altro.

La funzione Menstrual Cycle aiuta le donne a stabilire una connessione tra la fase del ciclo, i sintomi fisici ed emotivi e l’allenamento, fornendo consigli sull’alimentazione. Rilevazione cardiaca direttamente al polso tramite tecnologia Garmin Elevate™ e funzione Body Battery™, che fornisce il dato relativo alla propria riserva energetica.

Determina la qualità del sonno notturno e il livello di stress giornaliero e guida in esercizi di respirazione che aiutano nei momenti di particolare agitazione.

Consente la rilevazione del livello di idratazione del proprio corpo e la ricezione di avvisi di e-mail, SMS, chiamate in arrivo e notifiche push. Possibilità di pagamenti contactless tramite Garmin Pay™.

SWATCHPAY! Il pagamento contactless SwatchPAY! utilizza un chip radio NFC (Near Field Communication) integrato nel quadrante dell’orologio.

Per completare la transazione, basta avvicinare l’orologio al POS e inserire il PIN della carta solo per le transazioni superiori a 25 euro. Il lettore acquisisce le informazioni di pagamento dal chip dell’orologio.

L’energia necessaria per l’operazione viene fornita dal terminale, per cui, a differenza di quanto avviene con gli smartphone, il segnatempo può essere utilizzato per il pagamento senza preoccuparsi della batteria. Resiste all’acqua fino a una profondità di 30 metri, dimostrando una flessibilità ineguagliata dagli altri metodi di pagamento. L’associazione di una carta di pagamento all’orologio Swatch può avvenire in qualunque Swatch Store. La funzione di pagamento di SwatchPAY! può essere sospesa o riattivata in qualunque momento con un solo tap dal proprio smartphone o tablet tramite l’app mobile SwatchPAY!. SwatchPAY! elimina qualsiasi contatto con altre superfici e oggetti, un valore aggiunto importante in questo momento storico.

Partner di SwatchPAY!: Mastercard. Banca partner: Intesa Sanpaolo.

FESTINA SmarTime F50002/1 Smartwatch ibrido femminile / Cassa acciaio PVD oro rosa del diametro di 41,20 mm / Zirconi sulla lunetta / Lancette meccaniche / Tecnologia Bluetooth / Display Touch Screen a colori / Personalizzazione del quadrante / Cardiofrequenzimetro / Compatibile con i sistemi operativi Android e iOS / Impermeabilità fino a 30 metri / Due cinturini intercambiabili LOTUS SmarTime 50013 Smartwatch unisex / Personalizzazione del quadrante / Display Touch Screen da 1,3” / Cinturino in silicone traforato rosso + cinturino aggiuntivo in silicone traforato blu / Tecnologia Bluetooth / Ricarica Magnetica / Tempo di ricarica: 2 ore / Compatibile con i sistemi operativi Android e iOS / Certificazione di impermeabilità IP68 / Funzionalità speaker per rispondere alle chiamate attraverso lo smartwatch.

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FLASH

MONTBLANC Summit 2 Qualcomm Snapdragon Wear 3100 / Wear OS H-MR1 / Display circolare AMOLED 1.3” / Memoria 1 GB / Spazio d’archiviazione 8 GB / Connettività: Bluetooth 4.2 (BLE), Wi-Fi (802.11b/g/n ), GPS / GNSS, NFC (con SE), 3G, LTE (solo Android) / Compatibilità iOS 10+ e Android 6.0+ (esclusa l’edizione Go) / Cardiofrequenzimetro, GPS, barometro per l’altitudine, accelerometro, giroscopio, luce ambiente / Speaker, microfono / Google Pay, disponibile a seconda dei Paesi e delle Banche partner / App Timeshifter® / Resistenza all’acqua IPx8 bar / Cassa in acciaio pregiato colore bronzo, due pulsanti. Diametro 43,5 mm, spessore 14,3 mm / Corona girevole con pulsante / Cristallo zaffiro / Peso 93,9 gr. / Fondello: Vetro e vetroresina, incisioni, cardiofrequenzimetro e connettori di ricarica / Cinturino in pelle di vitello Sartorial con fibbia déployante/ Nella confezione: Summit 2+, base per ricarica magnetica, cavo USB-C, manuale di sicurezza, guida rapida, scheda della garanzia / Garanzia 2 anni in tutto il mondo.

HUBLOT Big Bang e 440.NX.1100.RX Titanio Qualcomm® Snapdragon WearTM 3100 Versione: quad core fino a 1.094 GHz ; RAM: 1GB / 8GB Flash (ePoP) / Batteria Ioni di litio con ricarica a induzione, durata ~ 1 giorno / Capacità: 300 mAh Tempo di ricarica: ~2 ore e 30 per la ricarica completa / Cassa in titanio lucido e satinato. Diametro: 42 mm, Spessore: 12,80 mm, Impermeabilità: 3 ATM (30 m) / Vetro zaffiro / Cinturino in caucciù nero foderato / Tecnologia del display: AMOLED / Compatibilità: Android 6.0+ e superiori iOS 12.0+ e superiori (Le funzionalità supportate potrebbero variare a seconda della piattaforma e dei

paesi) / Sensori: Accelerometro, Giroscopio, Microfono, Motore DC (Vibrazione), LLOB (Sensore del corpo a bassa latenza) , ALS (Sensore di luminosità ambientale), OTS (Sensore di tracciamento ottico) per la corona rotante / Connettività: Bluetooth 4.2 con compatibilità BLE WLAN 2.4 GHz 802.11 B/G/N - NFC.

According to a recent report by Counterpoint Research, during the first half of 2020 global sales of smartwatches - in contrast with smartphones, for example - went very well, registering a net + 20%, for a total of 42 million items around the world. New technologies have transformed watches by adding a

series of features to the traditional timepiece function, making them an increasingly essential accessory. Around the world, the Covid-19 pandemic has led to greater attention to health, a renewed interest in sports, and a desire for self-consciousness and body awareness. Health, fitness and wellness are at the top of people’s thoughts,

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who increasingly choose to monitor their sports performance, heart rate, blood oxygen levels or sleep phases with a “smart” watch, which may also allow them to get messages and phone calls or make payments, like a normal credit card. The models available on the market are now exceptionally reliable, designed for all looks and for all budgets.

SWA ROVSKI

VISION

Editor’s Letter

Parola d’ordine: stupire! Abiti e bijoux si sottraggono alle incertezze del momento per comunicare concretezza ed energia.

Una donna agguerrita come un’amazzone d’altri tempi o una moderna Lara Croft completa il proprio look armandosi di borchie, punte di freccia e bracciali-polsiere in pelle o metallo oppure seduce trasformando catene dorate in abiti e accessori, tra esagerazioni che ricordano gli anni Ottanta e più recenti contaminazioni. L’uomo sottolinea senza timori la propria identità, abbandona gli outfit più classici e per non passare inosservato sceglie abiti e dettagli dai colori accesissimi, che spaziano con disinvoltura dal verde smeraldo al blu elettrico, dall’arancione al giallo al rosso. Infine, desta meraviglia anche una singolare collezione di 21 collane, volutamente esagerate e “stupefacenti”, che, in una sorta di Wunderkammer dei nostri giorni, restituiscono la complessità e la bellezza di tutto quello che ci circonda.

The watchword is: amaze! Clothes and bijoux escape the uncertainties of the times, communicating concreteness and energy. A warrior woman, like an amazon from another age or a modern Lara Croft completes her look arming herself with studs, arrowheads and bracelets/wristbands made of leather or metal, or seduces turning gold chains into clothes and accessories, amidst exaggerations reminiscent of the 1980s and more recent contaminations. Men fearlessly stress their identity, abandoning more classic outfits, and so as not to pass unnoticed, they choose clothes and details with bright colours, ranging uninhibitedly from emerald green to electric blue, from orange to yellow to red. Finally, there is a stunning and unique collection of 21 necklaces, deliberately exaggerated and amazing, which in a kind of Wunderkammer of our times bring back the complexity and beauty of everything around us.

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FA S H I O N J E W E L L E R Y unoaerre.it

magiepreziose.it

Il taglio tondo ha raggiunto la sua perfezione.

Solo per veri intenditori.

VISION

G I O VA N N I di Antonella Garello

Raspini

Aretino, architetto per studi e formazione, argentiere per vocazione e sensibilità, antiquario e collezionista per passione, Giovanni Raspini ha dato vita a un’azienda che produce oggetti per la casa e gioielli progettati e fatti a mano con amore e cura artigianali. Negli ultimi anni ha regalato al pubblico mostre di ornamenti lontane da ogni convenzione, veri e propri percorsi concettuali intorno ai temi di Wild, Vanitas Mundi, Nautilus. Lo scorso Novembre ha presentato - necessariamente online, causa Covid - i suoi “Gioielli da una Wunderkammer” (www.gioiellidaunawunderkammer.it) che ha destato grande interesse: 21 collane realizzate coi materiali più diversi e inaspettati, 21 pezzi unici dichiaratamente eccessivi e sorprendenti. Un bel volume illustrato, con prefazione di Franco Cardini, ripercorre la storia delle “Stanze delle Meraviglie” e illustra il progetto e i pezzi in mostra.

Come è nato questo progetto? Le Wunderkammer non sono un po’ passate di moda? È vero che oggi col web tutto è a portata di mano. D’altra parte questa disponibilità illimitata porta con sé il rischio dell’indifferenza, dell’incapacità di orientarsi, della sazietà. La Wunderkammer invece ha sempre avuto molto a che fare con l’ignoranza, nasce con l’intento di destare meraviglia, senza dare un ordine agli oggetti, e in questo il suo fascino è ancora vivo. Il segno del magico e della bellezza può essere dappertutto, anche in un gioiello.

In effetti non c’è alcun filo conduttore che leghi i gioielli esposti, a parte il fatto che si tratta di sole collane.

Le collane hanno la capacità di decorare il viso e il corpo e per le loro dimensioni e visibilità sono i gioielli più adatti a una mostra. Quanto al resto, ho pensato di trasformare in veri gioielli - realizzati con le più accurate tecniche dell’oreficeria e dell’argenteria - alcuni materiali “straordinari” che sono la mia passione come fossili, pietre dure, cristalli… Quello della Wunderkammer è un terreno praticamente infinito, che mi ha permesso di passare dall’archeologia al cinema, dalla storia alla fantascienza. Il pezzo unico lascia spazio alla passione e alla fantasia, svincola da ogni schema e obbligo. Insomma, diciamo che c’è stato parecchio da divertirsi e sperimentare.

In questa pagina, in alto: Giovanni Raspini al lavoro nel suo laboratorio. A sinistra: collana Iguane, in Bronzobianco e cristalli di fluorite.

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Le collane sono tutte fatte a mano e diverse uno dall’altra. Quali competenze hanno richiesto?

Ogni collana è frutto di un progetto specifico e ha richiesto un insieme di attenzioni e la “regia” di diversi talenti, ognuno insuperabile nella sua specializzazione. Ecco che veniamo a parlare di Made in Italy. Perché qui in Italia abbiamo un’artigianalità unica al mondo, in tutti i settori, dal vetro alla pelletteria, dalla gioielleria alla moda. La nostra azienda realizza la produzione interamente in Italia proprio perché i nostri artigiani sono insostituibili. Ed è nelle loro mani e nella loro visione, in una lavorazione rara e pregiata, che è insito il concetto stesso di “prezioso”. L’artigiano dona agli oggetti un valore e un senso.

Sta già lavorando ad altri progetti “straordinari”?

Ho cominciando a pensare alla prossima mostra… Tornerò a Verne con “Il giro del Mondo in 80 gioielli”. E poi sto per ultimare, a Monte San Savino, il restauro della casa-studio di Andrea Sansovino, geniale scultore e architetto, legatissimo al nostro territorio. Vi trasferirò il mio studio e le creazioni realizzate in azienda.

I N T E RV I EW

Trained as an architect, born to be a silversmith, with a passion and sensitivity for antiques and collecting; originally from Arezzo, Giovanni Raspini has founded a company that makes home accessories and jewellery. Each piece is carefully and lovingly designed and handcrafted. In recent years, he set up impressive exhibitions of ornaments far from all conventions, real conceptual paths featuring the themes of Wild, Vanitas Mundi, Nautilus.

In November, he presented - necessarily online, due to Covid-19 - his “Jewellery from a Wunderkammer” (www.gioiellidaunawunderkammer. it) which aroused great interest: 21 necklaces made with the most diverse and unexpected materials, openly over-the-top and unique. A beautiful illustrated book, with a preface by Franco Cardini, traces the history of the “Cabinets of curiosities”, explaining the project and the pieces on display.

How did this project come about? Aren’t Wunderkammers a bit out of fashion?

It is true that, with the web, everything is within reach today. On the other hand, this unlimited availability brings with it the risk of indifference, the inability to orient oneself, fullness. Wunderkammer, on the other hand, has always had a lot to do with ignorance; it was born with the intention of amazing, without giving objects a precise order, and its charm in doing so is still alive. Magic and beauty can be everywhere, even in a piece of jewellery.

There seems to be no common thread between the pieces on display, except that they are all necklaces.

Necklaces can decorate the face and the body and, because of their size and visibility, they are the most suitable type of jewellery for an exhibition. As for the rest, I thought I would transform some “extraordinary” materials that have always been my passion - such as fossils, semi-precious stones, crystals - into real pieces of jewellery, made with accurate gold and silver jewellery making techniques. Wunderkammer is a virtually infinite world, which allowed me to move from archaeology to cinema, history and science fiction. A unique piece leaves room for passion and imagination; it helps you break out of the mould. In short, there was plenty of fun and experimentation.

The necklaces are all handmade and different from each other. What skills did they require?

Each necklace is the result of a specific design and required attention and supervision by different talents, the best in their area of expertise. And here is where the concept of Made in Italy comes into play. Because Italian craftsmanship is unique in the world, in every sector, from glassware to leather goods, through to jewellery and fashion. Our company manufactures every piece entirely in Italy, because our craftsmen are irreplaceable. The very concept of “valuable” is inherent in their hands and in their vision, in their rare and refined workmanship. A craftsman gives objects a value and a meaning.

Are you already working on other “extraordinary” projects?

I’m starting to think about the next exhibition… I’ll go back to Verne with “Around the World in 80 Jewels”. I am also about to complete the restoration of the house-studio of Andrea Sansovino, in Monte San Savino.

He was a brilliant sculptor and architect, a symbol of our land. I will move my studio and the creations made in the company there.

In questa pagina, dall’alto: collana Luna Park, realizzzata in Bronzobianco dorato, e collana Phoenicia, in ottone dorato con paste vitree fenicie (VII sec. a.C.).

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VISION

THE NEW

AMAZON

PRADA

di Domenico Festa

MICHAEL KORS

LES GEORGETTES B Y A LT E S S E

KURSHUNI

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TREND

BALMAIN

VA L E N T I N O

ALEXANDER MCQUEEN

SEE BY CHLOE

Una nuova eleganza al femminile arriva da accessori in pelle, frange e maxi mantelle in total black che richiamano le amazzoni del passato in un’ottica contemporanea di fascino e raffinatezza. Gli accessori risaltano grazie a lucenti finiture dorate

HERMĂˆS

S A LVA T O R E F E R R A G A M O

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VISION

TO CHAIN S A LVA T O R E F E R R A G A M O

di Domenico Festa

RETURN

PRADA

MABINA

UNOAERRE

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TREND

BALMAIN

B OT T E GA V E N E TA

DION LEE

M O R E L LATO

Direttamente dagli anni ‘80 le catene ritornano a dettare tendenza e non sono mai state così versatili. Sottilissime e a centinaia diventano abito, più massicce si trasformano in cintura e, per una serata speciale, brillano grazie a zirconi e cristalli

VERSACE

JW ANDERSON

HERMÈS

GUCCI

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VISION

ALL ABOUT di Domenico Festa

COLORS FENDI

BOSS

SECTOR NO LIMITS

GUCCI

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TREND

Un’ondata di energia invade l’armadio dell’uomo che al classico completo scuro preferisce i colori sgargianti: rosso, blu elettrico, arancione e giallo accendono le stagioni più fredde e fanno sognare l’arrivo dell’estate ancora lontana.

PAU L S M I T H

MSGM

A - C O L D - WA L L *

H O M O I TA L I A

PRADA

E L I A PA R R I

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AGENTI ONLINE - BOUTIQUE ONLINE - FIERA ONLINE

LA GIOIELLERIA DIGITALE

SCOPRI XLIVE! ePlay – For Luxury Manufacturers Valenza | Italy T.+39 0131 53.22.83 | M. +39 329 33.52.413 www.eplaylab.it | eplay@eplaylab.it

Art&sofT – �For Luxury Retailers Valenza | Italy T. +39 0131 95.01.62 | M. +39 393 33.05.865 www.art-soft.it | info@art-soft.it

VISUAL

/ di Domenico Festa artwork Laura Sala

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VISION

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In apertura: orecchini di Federica Rossi Jewels placcati in oro con cristalli. Pagina a fianco: orecchini di Claudio Canzian in ottone placcato oro con cristalli. Collezione The Long Ones.

In questa pagina: orecchini Rhombus di Liase in bronzo placcato oro con agata e dettagli smaltati. Pagina seguente: orecchini della linea Sinuous di Breil in acciaio lucido IP gold dalla doppia vestibilitĂ , con e senza frange.

VISUAL

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VISION

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orafoitaliano.it/vision

Milano Jewelry Preview

MILANO JEWELRY

PREVIEW / ITALY milanojewelryweek.com @milanojewelryweek

Anger Piece double sided brooch

by Studio Ching-Hui Yang

Milano Jewelry Preview is a new editorial project by Prodes Italia, a company specialized in the realization of projects aimed at the international sponsorship and promotion of companies operating in the high jewelry, art, design, fashion and wine fields.

In this supplement there are only some of the fascinating creations that will be exhibited from 3 to 6 June 2021 during the Milano Jewelry Week. The event is configured as a hub of a qualified, real, glamorous, efficient and effective “jewelry network”. The calendar is engaging and varied and includes many events held at several locations in the centre of Milan - high jewelry ateliers, goldsmith workshops, academies and art galleries, schools and design showrooms and fashion boutiques - in which thousands of industry professionals, journalists and jewelry lovers from Italy and abroad take part. Collective and personal exhibitions, vernissages, exhibitions of international galleries and schools, awarding nights, workshops, cocktail parties and performances offer different points of view on the history and techniques of the goldsmith’s art, restoring a multifaceted and accessible image of jewelry to which also

non-experts can easily get passionate. To involve anyone who has the desire and the curiosity to approach this field, important teachers and personalities of the sector, also offer workshops and lectures.

The collective exhibition Artistar Jewels reconfirms its presence in the schedule of Milano Jewelry Week which, with the participation of over 160 international artists, sees its eighth edition in 2021. Artistar Jewels is the international reference point for all contemporary jewelry artists and designers, a global and transversal project, unique in its kind, which uses many complementary strategies, useful for an optimal dissemination of the creativity of each artist.

Absolute news, however, are The Jewelry Hub and Jewelry Drops. The former, born from the desire to give more space to the world

of precious jewelry, is aimed at selected brands of jewels, bijoux, accessories and precious creations that within their own exhibition corner offer for sale their creations to visitors and potential buyers. The latter, dedicated to jewelry in all its variations, sees the participation of international artists and designers through the physical but also virtual presence of their works within a dynamic and original exhibition space. The Milano Jewelry Week wants to enhance through numerous quality contents also the emerging talents who find space within the Talent Show organized within the Galdus school in Milan and open to all international schools and academies of jewelry, both public and private, who want to present the concepts of their students. While waiting for next June, we just have to flip through the following pages to immerse ourselves in this fascinating world of jewelry.

Milano Jewelry Preview

LE

TOLENTINO / BRAZIL letolentino.com @letolentino_jewels

Meteor ring

Inspired by the beauty of astronomy, this Meteor ring mixes a raw stone, gemstones, pearls and 950 silver, in a clear reference to meteors. The Galactique Atmosphère collection remind us about that old habit lost by the megalopolised citizens: watch the sky.

Letícia graduated in jewelry design, she continued her studies by attending various courses, among which the Alchimia, in Florence. Based in São Paulo, she is currently part of the emerging designer team on the British platform Not Just a Label. In addition to her brand, she also develops projects for customers in Europe and Asia.

Under the brand LeTolentino she feels free to explore and produce her work more intuitively, in a way that some exclusive pieces are often transferred directly to the metal without even being drown before, preserving the creative impulse essence a bit. Her line of aesthetic research notably refers to geometry, architecture, astronomy and ancient nomad civilizations.

Fallingwater necklace

The collection ‘Modernist 01’ is inspired by the architect Frank Lloyd Wright. The raw stones and sparkling gemstones stand out together in a volumetric offset planes representing the Fallingwater House. It’s made with 950 silver, black rhodium plated, black tourmaline, pyrite and quartz crystal.

Vertex bracelet

Atmosphere ring

Handcrafted with 950 silver, and prasiolite stone, this piece is part of Vertex collection.

It seeks the elegance of the forms generated by the encounter between the line, the plane

This piece is handcrafted with 950 silver with green and black raw tourmaline and quartz crystal inspired by galaxy atmosphere.

Its creative process seeks the elegance of the contrast between shapes and textures, building jewels with personality.

and the point, essential elements of geometry construct forms with personality by the interaction with light and its reflexes.

Milano Jewelry Preview

ASCENDANT JEWELRY

STUDIO

/ UNITED STATES ascendantjewelry.com @ascendant.jewelry

Primordia: Golden Lava Flow ring

Bang. A big one. Meteors crashing on newly born lava rock beaches. Dark oceans rippling with golden lava flows. A vision of early Earth, desolate yet dynamic. The chaos of creation, like her artistic process. Little landscapes emerging, sometimes violently, in silver and gold.

Melissa Hampton is a jewelry artist from St. Louis, Missouri. She became fascinated with jewelry and the idea of adornment after inheriting her grandmother’s collection of vintage costume jewelry as a young girl. She went on to explore this field and earned a Master in Fine Arts: Studio Art from the Southern Illinois University, Edwardsville where she majored in Metals and Jewelry Design. She uses traditional techniques to express big ideas in the form of wearable sculpture. In her work, she strives to visually express the power of creation stories to merge the physical, geological, and spiritual and how these stories often become powerful metaphors for human experience.

Primordia: Original Roots earrings

The chaos calms for a moment. Molten golden lava cools and becomes dark, cold, hard. The alchemy of creation often involves upheaval.

But, even on these new lands, hostile and rough, earthy roots begin to run deep, holding such promise for a future lush and green.

Illumination: Last Ember ring

Beams of golden light flicker. A smoldering orange fire opal nestles in a safe refuge of forged silver and gold. An eternal glowing ember. The heart of creation. Our own hearts can feel like this: burning and vulnerable kernels surrounded by steely resolve.

Primordia: Forged Lands cuff

The stones wait. Knowing, tough and heavy as may be, they are not forever. Earthy green moss makes a slow crawl across the landscape. But

the golden fire is never far. It erupts to the surface, bringing its cleansing and creative force. A scene in constant flux. New lands forged before our eyes.

Milano Jewelry Preview

SU JEONG

BAEK

/ SOUTH KOREA sujeongbaek.blogspot.com @clecel_1000

Regeneration of time-I bracelet

This bracelet expresses the image of time and recurring memories. The intertwined lines symbolize the recurring memories of the past, and gold symbolizes freedom from regeneration. It is made of silver and 24k keumboo and is hollow and lightweight.

Born in 1970, Seoul, South Korea. She obtained a bachelor’s degree in metalwork from Hongik University and a master’s degree from the same graduate school. In her studies she learned to use silver as a soft cloth texture and the traditional Korean goldoveray technique where gold is applied by heating without soldering gold to a texture expression such as crumpled paper. Both techniques are important expressions in her jewelry making. She is designing jewelry with the theme of regeneration of time and memory using silver and gemstones. She has exhibited in solo and group exhibitions mainly in galleries, domestic and international craft fairs, and department stores.

Texture of mind brooch

Black pearl in the form of teardrops represents tears that symbolize a pleasant or unpleasant atmosphere. The black finish of silver and black pearl colored with potassium sulfide contrast with the yellow of pure gold, creating an elegant and unique brooch.

Window of mind brooch

Regeneration of time-II bracelet

This brooch is designed in the shape of a square window to represent the mind. Using traditional Korean techniques, 24k gold was

This piece reflects the image of time and recurring memories. The lines that intersect horizontally and vertically symbolize old memories from the past, and the gold represents freedom from regeneration. Lightweight and empty inside, it’s made of silver and 24k keumboo.

made as thin as paper, heated and pasted without soldering. Onyx black, silver white and gold yellow accentuate the color contrast.

JEANNE

LAUMIER / ITALY jeannelaumier.com @jeanne_laumier

Designer, GIA gemologist and founder of Jeanne Laumier, maison launched in honor of her great-grandmother, Giulia Rastello, creates bespoke and unique pieces with attention to details using different materials such as titanium, gold and platinum as well as colored stones pearls and diamonds. All of her jewels are entirely produced and made in Italy by master goldsmiths.

The maison aims at fulfilling the wishes of its customers so that the creation reflects the customer’s personality and uniqueness. According to Jeanne Laumier jewelry must be flexible, wearable on any occasion and versatile.

Titanium Swirl earrings

Forever ring

These earrings are made of Titanium with a green and blue iridescent galvanic, 750K gold and finished with 0,20 carats white diamonds brilliant cut. Titanium allows for big volumes to keep a light weight on the lobe when the earrings are worn.

This ring was tailor-made by master goldsmiths for an anniversary in 750karat white gold with a central 2.63 carat brilliantcut white diamond and white diamonds as pavĂŠ for 0.50 carats. The central diamond has a HRD international certificate.

FEDERICA ROSSI

JEWELS

/ ITALY federicarossijewels.it @frjewels

Federica Rossi was born in Arezzo, daughter of textile entrepreneurs working in the fashion industry, after graduating in 2010 she decided to build a jewelry company. Her creations

always keep into account the fashion trends, because she jealously treasures the origins and teachings of her parents who were her first teachers. Each piece is made exclusively by expert craftsmen from Arezzo who give the jewel excellence in processing. Quality,

craftsmanship and continuous research are the values that they want to give to each creation. Not only innovation and creativity, but also tradition. This is their philosophy.

L - Ring from the Nature Collection handcrafted in Tuscany with the lost wax technique, handenameled with crystal stone and plated with 18-karat gold. The plating is protected with a method that leaves the color unchanged over time. It is an adjustable ring.

Nature Collections ring

R - Ring from the Nature Collection created with the lost wax method, hand-enameled with onyx stone and plated with 18-karat gold. The plating is protected by a method that leaves the color unchanged over time.

Adjustable ring made in Tuscany.

Nature Collections ring

ELINE FRANSEN

JEWELLERY DESIGN / BELGIUM elinefransen.com @jeweldesigneline

The brand was established in 2010, and has since attracted a devoted clientele, acknowledging the artist’s unique ability to create contemporary and sophisticated jewellery set with colorful gemstones, pearls and diamonds.

Eline’s playful, one of a kind pieces are inspired by nature, architecture and by small details in life that catch her eye.

Fusing the desires of her clients with her own artistic inspiration, resulting in unique and wearable works of art is a dream coming true. As a perfectionist, Eline strongly believes in the importance of handmade jewelry. “Jewelry should make you feel bold and confident, I like to make one of a kind jewelry for unique people.”, she says.

Aqua bracelet

Vortex earrings

Wavy and curly lines that indicate the endless flow of water ripples were the inspiration to create an 18k red golden bracelet. The Aqua bracelet exists out of one of a kind and spontaneously hand forged links partly with scratched and polished surfaces.

Inspired by the flow of an ocean vortex Eline handcrafted this 18k golden earrings. They are set with exatraordinary hand-cut blue topazes. These exclusive gems were designed and hand carved in the shape of rotating water. Red gold was chosen to enhance the vibrant blue color of the topaz.

MARIA GAIA PICCINI

PONTEVECCHIO / ITALY mariagaiapiccini-pontevecchio.it @mariagaiapiccini_pontevecchio

Maria Gaia Piccini PonteVecchio was born in September 2016 in Florence. The artist’s intention is to create dynamic and contemporary pieces of jewelry that radically differ from the themes of

high jewelry and the Florentine tradition.

In her collections you will find symbolic, precious and playful geometries and in particular interchangeable triangles and circles. A single object with multiple possibilities, which aims to represent modern men and women in their

continuous and wonderful evolution. In every piece she creates the symbolic embrace of her past, present and future is treausured.

L - “4 vents d’amour” (quatre vents d’amour) is a band composed of 4 rings in red gold and black enamel. The fan opening and the union of the rings in a single point want to represent the multiple forms and diversities of love: Love is Love. This piece won the Première Oro Arezzo 2019 “Menzione Speciale”.

4ventSd’amour ring

R - Double - face pendant: front antique miniature on burnished 925 silver, back in red lacquer always on 925 silver and circles with lunar processing (stylistic signature of the brand) and enamel. “Memory & Design, Tradition & Innovation, a harmonious whole for a Re-start in the name of eSsenza.”

eSsenza pendant

VALERIA

BENALCÁZAR / ECUADOR @valeria_benalcazar_sola

Valeria Benalcázar is a jewelry artist and art restorer based in Quito – Ecuador.

She has been awarded by the Chilean Contemporary Jewelry Association “Joya Brava”. To create her pieces, she is inspired by nature and living organisms.

Her proposal is the result of a creative process that allows her to capture her inner world in works that can be carried on the body or that interact with it.

Her main interest is to transform the materiality to create unique pieces with their own identity, exploratory and artistic character, rescuing the symbolic value of the jewel with an emotional and personal connection. In other words, the piece chooses its wearer and he makes it his own.

Incarnate Nature necklace

Incarnate Nature brooch

Piece inspired by the morphology of the body cavities and their complexity. In an intuitive way, adhesives and polymers stand out as a technical solution and in combination with organic materials they create their own language. The translucent layers of material reveal the ducts and capillaries.

Experimental piece created with rubber, polyvinyl acetate, steel, cotton thread, vegetable dye, cornstarch, oats, and fluff; these materials are a mean of expression that obeys the feelings of the author. The versatility of rubber allows her to obtain unexpected shapes and textures.

ASEEM

GIOIELLI / INDIA aseemgioielli.com @aseem.gioielli

With traditions of worshipping nature and its priceless resources, with soulful cultural values together with magnificent art & architectural heritage, the designer envisions India

as core inspiration to the world. Aseem Gioielli was incepted in Italy inspired from the magical city of Firenze, the epitome of love and art. Aseem is crafting conceptual jewellery, while keeping the main Indian essence intact.

He experiments with several different

textures in unconventional forms. The brand is a fusion of Sanskrit with Italian being true to the name. Aseem Gioielli is Crafting “Limitless Jewellery”.

L - This piece is inspired by the beautiful symbiotic relationship in living organisms, and how human can learn from them, with their mutualistic relationship living in harmony and taking care of each other while thriving on the providence of another.

Maitri - In Love me & you brooch

R - With the plight of the proxy war’s, displaced humans, extinction of the wild, coming in the nuclear age, these pieces draw inspiration from the mighty weapon of Indra. Being a symbol of spirituality it fondles around like a bouquet of blossoming buds, being an armour of love for the warrior within.

Astra ring

DRIFTLAND

JEWELRY

/ RUSSIA @driftland

The whole brand is about the song of the sea and the wind, the breath of rain and the dance of snow, the music of love, and wandering. And most importantly – it’s about dreams, adventures, and fairy tales, woven into our lives. Its pieces reflect the happiness of freedom and impermanence: like a fresh wind tangled in your hair, shimmering on the cheeks of the sun and salty songs of the sea, which echo in the heart with sparks of transparent-happy thoughts. The ocean glass of DriftLand is melted in the fire by glass artist Lada Tazetdinova. She creates her artworks in St. Petersburg, Russia. She is a member of the Russia Artists Association and the Russia Designers Association.

Mermaid Tail in Wave necklace

The Pacific Ocean Wave ring

A wave of glass from which a mermaid silver tail emerges. Sometimes you really want to believe in a fairy tale! The transparent texture of the glass and the metallic luster of the anodized silver set off each other and help to believe that the fairy tale is real.

This glass ring is from DriftLand Big Waves collection. It was created to always keep and have the ocean with you. Its colors resemble the shining water color and the sea foam shimmers. In the depths of the ring the secrets of the ocean are cleverly hidden.

EMILY

ZIYU JIANG / CHINA emilyjiang.net @emilyj.jewelry

M.F.A jewelry design candidate with a B.A degree in fashion marketing and management at Savannah College of Art and Design (SCAD). In the next stage of her life, she hopes to focus on

sustainability in both the fashion and jewelry industry. Emily was raised in Beijing until 2010, when she moved to Hong Kong. After graduating from high school, she moved to Savannah, GA, in the USA to start her university journey.

Due to her multicultural background,

having experienced both traditional Chinese culture through living in Beijing and a metropolitan lifestyle in Hong Kong, she is very open to exploring everything the world has to offer her.

L - As a Chinese citizen, Emily realizes Chinese is not only part of her culture, but it has also been part of her blood. Chinese character arts is often present in Chinese Calligraphy.

Using Chinese characters, using three time the word “wood” create the word “forest”.

Forest brooch

R - Emily turns Chinese language into jewelry to allow people to physically touch the character and feel the strokes of each character. is a lucky word in Chinese, three “gold” combined means you wish someone to have a lot of money in Chinese.

Wish You Have A Lot of Money brooch

Milano Jewelry Preview

XUN

LIU

/ CHINA xunliustudio.com @xunliu26

Drifting brooch

The exaggerated gesture, expressiveness and various colors of antique fishing lures are very inspiring for the artist. They remind her the childhood. She wants to be the bridge to connect them with the world, which help them to speak out by giving them individual characteristics in the form of jewelry.

Jewelry artist, designer and educator.

Her work has been shown internationally, including the United States, Spain, Greece, Australia, Portugal, and China.

She received her Master of Fine Arts in Jewelry from Savannah College of Art and Design in Savannah, Georgia USA, and her Bachelor of Arts in Art and Design from Wuhan University in Wuhan, China. Xun Liu’s early investigation and time spent focused on public art such as sculptures and installation works have provided a different perspective while designing and creating jewelry for her current pieces. Storytelling and her creative imagination are huge aspects of her work.

Dancing brooch

Cherish brooch

She began by creating stories and sketching.

Her process explored alternative materials to complement the stories in her mind. Combining precious metals and stones with alternative materials allowed each work to have value through traditional jewelry bench techniques.

This collection is driven from antique fishing lures which the artist found at various places.

She crafted a story with each fishing lure to

Relax ring

Her artistic process creates jewelry that evokes a sense of playfulness, joy and imagination.

Xun Liu’s work is not just about a piece of jewelry. People can read the story through the work but also play with it; have fun while thinking about what once was meaningful for them and what they have abandoned.

create an intimate relationship and bring jewelry to an art form rather than be focused on the idea of conventional wearability.

STINA

SIQIONG WEN / CHINA stinajewelry.com @stina_jewelry

The artist is a M.F.A student at the Savannah College of Art and Design in Jewelry, for which she received the Achievement Graduate Scholarship and Academic Honors Scholarship.

Although she was trained in traditional metalsmithing in her undergrad study, she is passionate about exploring alternative materials and observing everything in her daily life that infuse her creative process. As a designer who was born in China and studied around different countries, she has experienced diverse cultures in her life. Stina attends the Smithsonian American Craft Show and Philadelphia MoA Contemporary Craft Show annually, and her works have been exhibited in United States, China, and Italy.

Convergence I brooch

Convergence IV brooch

Jewelry is a communicative tool that brings visual and haptic quality through being contrasted with alternative materials. Concrete is the main material she works with. Although it’s a common material, she manipulates it in her own way to challenge its color, softness, and tactility.

Concrete is not austere and bland but a flexible and shape-able material for me. The transition of material from coarse to soft creates a transitional color saturation that intrigues viewers to see and touch. She invokes the way to create a dynamic interaction in between wearer and viewer.

CHING-HUI YANG

STUDIO

/ THE NETHERLANDS chinghuiyang.com @inachinghuiyang

The artist is eager to explore different materials, skills and modes to challenge boundaries of what defines jewellery. She always gets a lot of inspiration from investigating people.

She is interested in focusing on the relationship between body, object and the absence of an object. Ching-Hui Yang believes jewellery can be a way of communicating emotion between people. She would like to document and visualise emotion itself - for example a

feeling such as denial, anger, bargain, depression or shame. Her aim is for this process and the resulting art pieces to enable a rethinking of the definition of empathy.

L - ‘Im-perfect’ collection is based on the five stages of grief that encourage empathy and allow us to embrace diversity. This 3d printed double sided brooch is inspired by the second stage of grief. When the first stage of denial cannot be maintained any longer, it is replaced by feelings of anger.

Anger Piece double sided brooch

R - As hard as it is, people going through these stages need the time to grieve and cope. Knowing the phases of grief can help normalise your life-changing experience. This integrate 3d printed necklace is inspired by the fourth stage of grief. Shame is the fourth stage of adjustment of the grieving process.

Shame Piece necklace

KAZUHITO SOMA

ANTILLE / JAPAN @antille_jewelry

The artist was born in the Aomori Prefecture, Japan. With his brand, Antille, he created wedding and engagement rings. Ever since he first saw the aurora, he has wondered if it could be expressed in metal. One day when he was researching a miraculous technique that no one could do and experienced many failures and setbacks, he received the inspiration to create a gradation ring called Aurora and he immediately developed it. The idea of this Aurora band is to fuse all people and things to express harmony and peace, and to make jewelry with a warm love from cold metal, a brilliant image just like aurora was created. And his Aurora story began internationally innovatively.

Auroa color version rings

Auroa ring

Lime and black are refreshing mojito, and cocktail words quench your thirst. Rose and black express the romantic atmosphere of the setting sun. The image of green and black is olive as a symbol of peace. Yellow-black is a life full of affection that never happens like a full moon.

The fantastic and beautiful brilliance of the aurora is expressed in metal. The meaning of this wedding ring is that the colors mix with each other and become one complete product that never separates.

The green and rose gold express the future of 2 people who mature from green to red apples.

GIOIELLI

HUMANAS

/ ITALY humanasgioielli.it @humanasgioielli

Artistic and conceptual project applied to jewelry. Driven by the idea of the human being as a conscious manifestation of universal thought, the Roman artists Guido Sitta and David Damiotti conceive their works

as thought-forms that are first microsculpted by hand in wax and then melted in precious metals. Male and female nudes, at the same time meticulously detailed and faceless, represent conscious entities belonging to the spiritual sphere. Humanas looks

for the divine in the human, for what makes him eternal in his temporary manifestation. Each jewel is a symbol of the potential in human nature, an amulet that inspires inner research and self-improvement.

L - Made of 375 gold and 925 sterling silver, this ring represents the eternal movement of life, thought that becomes action, energy in constant transformation. Faceless identities open their senses to more subtle worlds, they chase each other in that sublime longing of what is separated to feel one again.

Men in Loop ring

R - Made of black rhodium plated 925 sterling silver, this necklace shows invisible connections, energy streaming in an unceasing flow of life. In the Veins collection the idea of union becomes extremely material, representing the multiple forces that link all forms of consciousness together.

Veins necklace

ZURI

PERLE / USA zuriperle.com @zuriperle

At Zuri Perle the artists handcraft authentic wearable art that expresses the diversity of African accessories. The brand was established by Nigerian born designer Atinuke Adeleke, an alumni of the Gemological Institute of America, a member of the Society of North American Goldsmiths who is currently pursuing her MFA at the University of North Texas.

She initially created the brand to cater to African brides and grooms looking for traditional African jewelry in the United States. She has since expanded the brand to incorporate a balance of her Nigerian traditional aesthetic and western experience, which includes CAD and 3D printing, making the Zuri Perle accessory perfect for any occasion.

Iri necklace

Iboju ring

Inspired by the shape/texture of the staghorn coral and the beauty of the ocean. Unfortunately, we keep seeing rapid depletion and destruction of beautiful coral reefs all over the world, directly or indirectly due to human activity, the IRI necklace is symbolic of our need to do better.

This piece is inspired by African masks. Masks have always played an important role in African tradition and are used in various occasions to capture a person’s essence/spirit.

This broken mask motif represents the freeing of the essence/spirit of black excellence.

TERUYUKI

SANO

/ JAPAN sanoteruyuki.shopselect.net @sano_teruyuki

He doesn’t just make jewellery “beautifully”. Things that are only beautiful become less beautiful when you look at them many times. Simply put, beautiful things are something you

get used to and get tired of seeing. The artist thinks that the true beauty lies in something hidden inside us. So you never get tired of jewellery. Jewellery is the closest “wearing” art to humans.

People have the miracle of loneliness moment by moment. Things that he

felt, things that impressed him, things that were difficult to put into words. He has left it as jewellery so that he will not forget these things.

L - This piece is made out of tins using the tin casting technique. We control the machines with our hands. And the machines were originally made by man. Everything we make is artificial. This hand that the artist created, is the hand that made all of this jewellery thus far. He casted his own hand.

Handmade pendant

R - One of the artist’s friend got a new life in his womb. He says that he feels a new life in his womb and the fetus moves. When people wear this necklace, the motif of the necklace comes to the same position where the womb is. Inspired by pregnancy, this pieces is made of 925 silver through the wax carving technique.

Conception pendant

PILAR

FIGUEROA / CHILE pilarfigueroa.com @_pilarfigueroa

Her artistic training began as a makeup artist, but wanting to create more durable art for the human body, her interests turned towards jewelry. She attented the Claudia Correa School, and WALKA, both located in Chile. Pilar has exhibited in Chile and Artistar Jewels during the Milano Jewelry Week will be her first international exhibition.

For her, jewelry is more than materials taking form, it has intention, expression, confidence, and story. Each piece of jewelry has a personal experience attached to it. Each piece should bring a strong confidence to the wearer, and that is when a connection is formed between artist and user.

Circling Back ring

The Long Shortcut brooch

The image our decisions make The outline it starts to create Sometimes it all feels so small, That is when I look at it all. Look what my actions have become The weaving web of decisions past. I thought that I was far away But circling back was the only way. Silver, Enamel Paint.

I think I must be on my way, I must decide which path to take. There is a shortcut there you see, It is the right way for you and me. You must not go the other way It’s filled with grey uncertainty But then I thought and then I said The long shortcut is not my way. Silver, Enamel Paint.

VIVIAN

S.Q.

/ UK siqijewelry.com @vivian.zsq

She is a maker and artist based in London. Most of her projects are about social hot topics (environmental issues, consumerism issues) or vulnerable groups. Vivian hopes that her works

can arouse public’s attention. Their audience may be the empathetic parties, communicators in the stream of consciousness, or those who alert themselves. Jewelry is her window for conveying aesthetics, emotions, identities and attitudes to

the outside world. It is not only a form, but also content, which discusses the relationship between people and objects, people and people, people and society, and people and the world.

L - This is a real moment of witnessing death.

The death of the sparrow was magnified in an instant and huge pain, and blood splashed.

She uses jewelry to record this moment. A real skull is combined with metal. The way to wear is to hold it in the palm of your hand, and the metal ‘flows’ down with your arm.

The Death of Mr.Sparrow ring

R - This is a brooch/pendant inspired by a Green Anaconda (a kind of snake). The real skull and deformed metal bones are organically presented in a twisted way. Like a mutated double-headed snake entwined together. Is it possible that species are slowly mutating due to human involvement in nature?

Green Anaconda brooch - pendant

CARMEN

TAPIA

/ MEXICO carmentapia.com @carmentapia.mx

Educated under the influence of the tradition of modern Mexican goldsmithing, Carmen studied philosophy and arts. Her work has obatined awards in her country and has been exhibited in the world. She has built up solid, theoretical, formal and technical scaffolding, which has allowed her to synthesize her ideas in the language of the contemporary jewelry. Her creative process starts from investigating and manipulating the topological and plasticity properties of metallic surfaces. Through folds and twists she discovers a harmonic order similar to the order of natural organic forms. Currently, Carmen runs her workshop, where, together with a group of silversmith artisans, she gives shape to her ideas.

Candela necklace

Candela brooch

The necklace unfolds and articulates its paraboloid membranes in a game of folds, until it forms a gorget-like circumference, halfway between the organic ornament and the 0.925 silver armor that girdles the neck; its brilliant lines describe a harmonious undulatory movement.

This piece is based on a paraboloid membrane, a reference for the architecture of Candela and Calatrava; such reference is transported to a smaller scale, without losing the monumentality and structural lightness of silver .925, which is evidenced by the sinusoidal movement of its pattern lines.

THE NATURAL ELEGANCE

LAJEWEL / THAILAND lajewel-official.com @lajewel.official

With the aim to redefine luxury in jewelry, Sasivimol Chaidaroon , Lajewel’s founder & designer, sets out on a journey since 2013 to create award-winning designs with real conviction.‘Natural elegance’

is the key philosophy of Lajewel, always emphasizing unconventional simplicity.

Elements inspired by nature are brought to life through creativity and innovative jewelry production process, by working with the local glass-maker resulting in impressive jewelry creations that

radiate in any space. The designer creates each collection by capturing shapes of droplets from nature and innovatively reinventing them using glass as its medium.

L - Inspired by the beauty when light hits the dew droplet after rain, pure water was captured and permanently sealed within the borosilicate glass body as water gems.

Moving the ring to be touched by light will create impressive reflection and at an angle of 42 degrees, a tiny rainbow appears.

Rainbow creator droplet ring

R - A bundle of glass beads necklace embellishes with round glass pendants filled with pure water as precious gems. The necklace shape is inspired by the formation of water droplets as clouds. With the movement of the body, the necklace will glitter once touched by light like a shifting diamond.

Droplet queen necklace

AHMAD

MAJING

/ CHINA @ahmadmajing

He was born and raised in Beijing, China, and currently studying jewelry design at Umass Dartmouth in America. He became involved in the jewelry world around ten years ago when his brother opened their first family-own jewelry boutique in Beijing. Through the years, he has gained experience in many jewelry skills and techniques. Ahmad found himself having a passion to use jewelry design as media to create and express art. He also has interned in some major jewelry companies and studios in New York City. His dream is to have a future career as an iconic jewelry artist and help the family maintain a successful jewelry business.

Tank - Freedom & Chaos collection necklace

Tank - Freedom & Chaos collection ring

The collection is inspired by the Tiananmen Square Protest happened in Beijing in 1989. The spirit of the tank man is a symbol of freedom and chaos, which gives faith to those people who have the passion and believe in the value of individuals against the authority of the system.

The concept of a tank represents the authority of government, which seems invincible but is challenged by the tank man, who is heroically standing in front of the hegemony. The design is inspired by Art Deco jewelry, which reflects the movement of the mechanism invented in the tank.

LOIS

LO

/ HONG KONG loislo98@gmail.com @lo_x_lo_gallery

The artist was born and raised in Hong Kong, and her ambition to create fine jewellery led her to attend Central Saint Martins in London. As an artist, she finds the most meaning in developing a project from conception to creation,

and to understand and decide every detail that goes into the pieces. The collection she shows here represents her philosophies in challenging traditional approaches to fine jewellery.

She believes there are an infinite number of ways to set gemstones, so

she explored the possibilities of setting stones using unconventional methods.

What challenged her in this collection is to use only a single sheet of brass to make wearable pieces while securing the gemstone on top.

L - This piece is an imitation of commercial rings, but a visual feature doubles as the main method of securing the gemstone. A thinner ring band provides wearer comfort. The satin finish diminishes the saturated colour of the brass, emphasising its intended purpose for everyday wear.

Criss Cross ring

R - This piece has a simple yet striking design, for showcasing the flexibility and creative capacity of metal. A single sheet of brass is wrapped around the gemstone, like a precious gift delivered as a wearable present. This statement ring aims to impart a significant visual impact onto the viewer.

Knot ring

TRINITY

ENGLAND

/ UK trinityengland.com @_trinityengland

The brand was founded by Sonia Popiolek, a traditionally trained silversmith and jewellery designer based in beautiful Devon, England. The Ignota collection was inspired by the macabre Victorian trend of wearing Memento Mori jewellery. Rings and ornamental objects were worn as reminders of one’s mortality often featuring secret compartments, hidden messages and detailed imagery signifying death, memory and mourning. Seeking to create a contemporary interpretation of these beautiful works of art, aspects of the original pieces combined with influences from myth and nature are combined creating evocative modern artefacts or objects of contemplation to intrigue and delight.

Poison ring

Dreamscape earrings

Inspired by the poison rings of the middle ages this exquisitely hand crafted hinged ring is made using solid bronze and set with a beautiful emerald. Gaze into the vanitas mirror set within, either to contemplate your mortality.....or just to check your lipstick!

Elegant sculptural earrings handcrafted in wax and cast in solid bronze. Coloured glass gems lie embedded in the dark recesses of the dreamscape design. The surface areas are highly polished creating a striking contrast. These pieces are one of a kind, mysterious and timeless.

MORITZ

GANZONI / SWITZERLAND moritz-ganzoni.ch @ganzonimoritz

The artist was born in 1960 in Glarus, Switzerland. In 1984 he completed an apprenticeship as cabinetmaker.

Currently, he’s working in a management position in the machine industry in addition to his handicraft

activities. For more than 35 years he has been making jewelry almost exclusively with the Ashanti casting technique.

He’s inspired by nature and he looks for simple powerful forms, which should also include the quality of charms and amulets. All his works are unique and

made through the lost wax process in the old handicraft tradition from wax, with the help of fireproof clay, horse dung and charcoal. He deliberately produces handmade works and with as few technical aids as possible.

L - The oval earrings were created in 2019

by Moritz through the usage of the ancient Ashanti technique. They decorate the wearer with joyful sparkles. They are handcrafted in gold which has been subsequently treated with liquid salt.

Oval earrings

R - This ring is cast in gold using the ancient Ashanti technique, which originated in Africa.

Beeswax, clay, charcoal and horse dung are also part of the fascinating game - as well as elaborate handicraft. Original and contemporary elements are shown in a unique way.

Fingerring Eros ring

Milano Jewelry Preview

GABRIELA PITLIUK

AYA JOIAS / BRAZIL ayajoias.com.br @ayajoias

Moon necklace

The moon was fundamental for ancient civilizations in many ways. It ruled the tides, indicated when to harvest certain foods, and was the natural source that indicated the best period for women to generate precious lives.

Black rodium constrasting with the Zircons and golden natural pearls.

Gabriela, 29, authorial mind behind the brand which was born in 2016, is able to bring back references from different time periods and transmute that into jewels for the modern woman. Her jewels, made only by natural materials, are a manual and technical fusion. The most complex pieces are developed in a 3D program, printed on resin and finished by hand. Oscillating between an elaborate and clean style, she develops pieces that can stroll in different worlds. The same piece can be used on several occasions, giving the freedom for women to choose their mood. Her main objective is to make women when wearing the jewels, sometimes loaded with meaning, have those precious minutes dedicated just to herself.

Red Garnet and Black Agathe ring

Tucan earrings

Fully carved on natural black Agathe stone, this ring finished with a bright red Garnet can look modern and contemporary with t-shirt, jeans and leather jacket, or vintage and classic with tulle and laces.

Tucan, a tropical bird. The beak, strong identity, fundamental for its survival, inspired the designer with its vibrant and attractive color and unmistakable shape.

Scarab necklace

In Ancient Egypt, scarabs were sacred beings, being used as amulets related to life after death, resurrection and the Sun god. It symbolizes the death and rebirth, the new star, the strenght that we need in our daily life obstacles. 18k gold platted scarab adorned with colorful precious stones.

Aligned with its curvature, she choses to use colored stones referring to the chakras of our body, fundamental for our well-being.

ROBERTA DE MARTIN

TELES PUPPIN

/ BRAZIL @robertabyroberta

Brazilian designer passionate about art, Roberta studied painting, ballet and piano when she was young. The combination of her studies with the constant quest for perfection led her to develop an accurate aesthetic sense.

She graduated in Dentistry helped by her manual skills. Jewelry was a consequence of her deep love for design. She started designing pieces just for herself. Her inspiration, curiosity and the need to curate the process of making one’s own pieces has found a new challenge in the course for Jewelry and goldsmithing.

Roberta tries to combine the technical competence and attention to detail acquired from her training with the art of jewelry.

Jacarandá earrings

Ilha do Frade ring

Earrings from the Jacarandá collection realized in re-used noble wood, natural pearls, emerald and 18k gold. These earrings are inspired by her passion for nature and the longing for the family furnitures, all made of precious “Jacarandá” wood and now on the verge of extinction.

Translation “Island of the Friar”. This piece combines a shell found on one of the stunning beaches of her home, baroque pearls and yellow gold 18k and is from her collection Lungo Il Mare whose pieces have names of the Italian and Brazilian beaches.

Tribute to Italian immigrants arriving in Brazil.

FABIO

FANFANI

/ ITALY fabiofanfani.it @fabiofanfanigioielli

The company was born in 1970 in Florence in the heart of the city.

Three generations have contributed to the growth of the company by always bringing new techniques and

inspirations. Today they produce 18 kt gold jewelry with diamonds and precious stones but with a design that looks at the future and at new trends, ranging from classic to modern jewels with passion and great attention to detail. They love to amaze the wearers

theirselves in creating new shapes, drawing inspiration from fashions and from the wishes of the customers. Their collection is made up of unique pieces all created in their workshop.

L - The piece was inspired by a world still to be explored, pink gold circles that create the idea of the desert soft and warm sand, shining around an oasis of green water dazzling a palm grove on the horizon. Three beautiful baguette-cut tourmalines joined together in perfect synchrony.

Dubai ring

R - This piece was born from the company’s passion for opal, a stone with sparkling colors that floods us with strong sensations.

Rose and white gold earring with diamonds surrounding a pair of beautiful black opals. A pair cut in a unique and skilful way.

Australia ring

SZIDON

ZSAKÓ / ROMANIA szidonzsako.com @szidonzsako

Jewelry brand established by goldsmith and conservator artist Pál Szidónia.

She has been following her love for art, jewellery, design and creating since she was 7 years old. Her creation’s process stands in playing with shapes, forms, different materials and techniques, whilst moulding inspirations, experiments and experiences into wearable, interactive pieces of art.

Szidon thinks that a piece of jewellery has to be part of the person who is wearing it, that is why she also works closely with her clientele, designing and creating the pieces to fulfill unique visions of a personal piece of bespoke jewelry.

Orbits ring

Insert ring

These pieces are inspired by space, by planets circulating on they orbits due gravitation. The rings are made of sterling silver, stainless steel and marbles made of semiprecious gemstones, representing the moving figures in the gravitational field of the human body.

The rings are actually “boxes” in which different pieces made from different materials like wood, bone and polycarbonate can be inserted. These pieces can also be worn individually. They are held together by the wearers finger and when not, they come apart.

CAROLINA

LEYTON / CHILE calabijoux.cl @calabijoux

Carolina is the creator of the brand CALA BIJOUX, she’s an architect by profession and jeweler at heart. She has dedicated herself to various artistic techniques, finding in jewelry a way of convergence

of all the arts, where she has applied geometry, technical drawing, structure, architecture, science and technology.

CALA BIJOUX is inspired by the beauty of the organic and abstracts the botanical forms of perishable, cacta and succulent flowers, endemic to the

phenomenon of the “Magic of the Florid Desert of Atacama”, the driest in the world. Her pieces are made of noble materials, silver and semiprecious stones obtained from the same mining territory of Chile.

L - Organic jewelry set composed of hoops and wraparound necklace, inspired by the geometry of the wild flower called heliotrope, which spontaneously blooms every 5 or 10 years in the desert, made of silver with the fold forming technique and carnelian stone setting.

Heliotrope set

R - Handmade silver bracelet, with yellow calcite stone setting. The protagonist of the piece is a central flower. The piece has an ergonometric design on the arm, inspired by the wild flower of coastal desert areas, known as Encelia canescens, or crown flower of the friar.

Wild flower bracelet

PAULINA

BASCH

/ BRAZIL paulinabasch.com.br @paulinabasch_joias

Is she a doctor? Or is she a jeweler?

Paulina Basch is a brazilian jeweler, with a physician background. Her family was a jewelers family in Europe, that immigrated to Brazil after the Second World War. She discovered her gift as jeweler recently, and now is an author jeweler. She uses her sensitivity to understand the clients, their moment of life and their dreams. And their stories are the fuel that inspires the creations, exclusive and full of meaning. She is also inspired by nature and the magical numbers of Fibonaci sequence, that are present in everything in the world.

Her work is totally handmade, from the metal alloy to the finishing details.

Really an experience to live!

Butterfly Effect pendant - necklace

Chaos Lake ring

The butterfly effect seems to be insignificant, but it is responsible for changes that we cannot even imagine. Its transformational power is incredible, transmuting energy from the world and bringing new meanings, smooth flows and grateful perceptions to life.

This piece was inspired by the human being egos trying to climb at any cost. But up close, unfortunately they seem empty, hollow. And in the lake, there is beauty, peace and lots of life, you have just to open your eyes and soul to see it. And get out of the shadow zone.

TEREZA

ČERMÁKOVÁ

/ CZECH REPUBLIC terezacermakova.com @terezajewellery

Her way to the jewellery world was not a straight line. Only after many years traveling, Tereza found her way to the profession she loves. It happened at the Academy of Costume and Fashion in Rome where she studied jewellery

design. She works with the lost wax technique, which allows to produce very fluent and organic pieces. Creativity, as she lives it, is a long and emotional, soul searching process that transforms a vision into a reality. Since she likes surprises and secrets, she brings them

into her jewellery, hiding elements that can only be seen at a second glance.

After several years spent in Italy and Prague, she has recently moved to Warsaw, where she runs her own studio.

L - Inspired by Sarracenia, a carnivorous pitcher plant, this piece represents a lethal, yet attractive and irresistible object of desire.

Two contradictions one often has to deal with. As humans, we usually have the choice though. The ring is made of silver and hand carved acrylic glass.

Poisonous ring

R - This piece represents longing for surprises and treasures. These can be found at every step, inside of simple and plain-looking objects. The human desire for exploration involving far less than a travel to space. The ring is made of silver and hand carved acrylic glass.

Hidden ring

MATTEO VITALI

DESIGN / ITALY @jewelrydesignmv

He comes from a family that draws its origins from Valenza Po and Rome.

Matteo has always breathed the air of Roman creativity and Piedmontese concreteness. From the fusion of these two realities and thanks to goldsmith studies but also to the most modern production systems such as 3d, comes his half-breed art. His artistic path has always been supported by contiguous passions such as music and sculpting but also by apparently divergent activities such as the art of boxing which taught him the perseverance and discipline necessary to pursue the path of designer and maker.

Babilonia pendant

Babilonia earrings

The concept of the Babilonia line speaks to us of tasks, commitments, appointments in today’s globalized world. Many duties that translate into numbers on the skin and become structural making us lose our humanity.

The pendant is made of silver and gold.

These objects were born to have an update on the back in 9kt gold, two small settings in place of the eyes with two black diamonds and a coating on the front. The numbering of the two elements that make up the earrings is different, to represent the individual entropy of each of us.

GABRIELLE DELILLE

JEWELRY CREATIONS / ITALY gdjewelrycreations.com @gd.jewelrycreations

Parisian by birth, Roman by adoption, the magical and fruitful encounter with the jewel took place in 2010, attending a course in design and goldsmith art of Claudio Franchi. The improvement of the techniques of metalworking and lost

wax, at the Scuola delle Arti Ornamentali in Rome, in the following years, opens up new creative hypotheses, combining technical and artistic research, under the sign of contemporary jewelry, intended as an expressive and material, as a sign of identity and story. Today, in

the wake of this philosophy, she has her own brand GD Jewelry Creations and she participates in group and personal exhibitions and prestigious events such as AltaRoma.

L - Bronze, gold plated, slate, stones.

Architectural and asymmetrical, inspired by the geometric structures of Aztec temples and the colors of Mexico, the shapes of this ring undergo minimal but decisive variations, in the slippage of the floors and in the alteration of the colors between stones and slate.

Cielo Atzeca - Black Ardesia Collection ring

R - Gold plated silver, slate, aquamarine and apatite. In the asymmetry between the planes of the side sections and in the contrast between the blue and brilliant stones and the black and porous slate, lies the nocturnal, deep and dark poetics of this ring from the Black Ardesia collection.

Blue Stars under a Black Sky - Black Ardesia Collection ring

Milano Jewelry Preview

JACQUELINE

YAJING YAO / CHINA jyjyjewelry.com @Jacqueline.euvoce.jewelry

BREATHE IX ring

The artist draws inspiration from the world and moments that she experiences. Whatever experiences she goes through, they create emotions in her and that is what triggers her to create jewelry pieces. Handmade can build a special relationship with jeweler and wearer.

The artist is studying for an M.F.A. at Savannah College Of Art And Design. Her target is to create long-lasting jewelry and accessories that aren’t just roughly beautiful but also have a soul passed on from generation to generation. Drawing inspiration from music subculture, philosophy, and art, Yao continuously seeks the perfect balance between meaning, beauty, and function while cherishing the heritage of making things by hand in the best possible way.

Jewelry expresses a possibility that few observers have ever noticed: its ability to touch people. She uses a simple way to express complex thoughts, and she believes handmade can build a special relationship with jeweler and wearer.

BREATHE X BLACK ring

Silver wire is a very beautiful way to form expression. For Jacqueline, the design process is related to how she sees, what she sees and translate into metal.

Additionally, they evoke in her a sense of soft feel and soft touch but is quite strong.

BREATHE XIVIII brooch

BREATHE XVI object

Dreams require courage. Courage is a quality that we tend to associate with conflict. It is a psychological courage that requires us to stand up uninvited and express our feelings

The process tells the artist story, while she builds a space to extend her jewelry to the world, as a tiny wearable sculpture. She wants to use a simple way to express complex thoughts. She hopes her pieces want to give her audience enough space to connect themselves.

and thoughts in a public audience to a hostile audience. Piece from the series Space, made of silver wire.

DIAN

CHEN

/ CHINA dianchenjewellery.com @dianblue111

Graduated from MA Jewellery Design in Central Saint Martins UAL, Dian Chen is now working as an independent jewellery artist in London. She uses conceptual jewellery and other bodylinked objects as her primary media to explore the role of jewellery in the bodyoutside dynamic world relationship.

Materializing bold imaginations, Chen gives a thoughtful debate about the topics of posthumanism, feminism, LGBTQ movements, identity and gender equality. In 2017, Chen established her own brand – Ddesign in a vision of combining conceptual jewellery with business publicity. In 2019, her graduation project “Queer Beard & Cyborg Rainbow” was acquired by CSM Museum for permanent collection.

Cyborg Rainbow necklace

Cyborg Rainbow bracelet

Informed by philosophers like Rosi Braidotti and Donna Haraway, she utilizes the concepts of the cyborg, cyber-punk and science fiction in pop culture to construct this super surreal series to discuss the question of fluidity of gender and identity in post-human age with flexible

adoption of industrial manufactured materials, the pieces are completely constructed by interchangeable parts. She intends to construct a context in which the wearer can not only wear but can also participate a fluid relationship between body, objects and identity.

EVELYN

CERYS

/ ROMANIA evelyncerys.com @evelyncerys1

She has always been attracted to everything that means beauty, harmony and creativity. Up to jewelry she has been creating accessories, clothes, bags, etc. When discovering contemporary jewelry, she felt like

discovering the widest possibility of artistic expression. The intangible world of beauty can thus be brought closer to people on the one hand while on the other hand it expresses the beauty essence of each wearer. Creating jewelry allows the expression of an idea,

mood or personality. She has started studying jewelry 7 years ago within Assamblage in Bucharest, Romania and participated in various fairs and trades.

She has recently exhibited works at Romanian Jewelry Week 1.0.

L - Having the shape of a seed this ring wants to remember us about the growth and regeneration in nature as a force that assures us that everything will come to its place. Plants grow from a small seed.

It depends on us to extract hope from certainties, laws and stay on the right path.

Seeds hope ring

R - Hope, growth and trust in the future is a must for each one of us now. When the happenings in the world go in a direction that we have no power to influence directly, we have to turn our head around and give our attention to something else, like nature.

Thriving towards the sun is one of the seed laws.

Nature regeneration earrings

ELLI GIOIELLERIA

CONTEMPORANEA

/ ITALY elliateliergioielleriacontemporanea.blogspot.com @legioiedielli

Born in Bologna in the seventies, the artist lives in Ferrara. Graduated in languages, she has always loved art but above all she dreamed of the jewelry world. At the age of 40, after experiences in the linguistic field, courses in ceramics, painting and drawing, she began to learn the techniques of counter goldsmithing, fired enamels, design and wax sculpture. She approaches shapes and materials with freedom, without preconceptions about “beauty”, about what can “like”. She’s inspired by Art Déco, the East, the Venetian jewelry of the mid-twentieth century, the suggestion of abstract geometries and textures, irregular, chiaroscuro surfaces ... And in her mind every moment and fragment of life can take the shape of a jewel.

Studio di geometrie e texture pendant

Creature da un mare sognato earrings

Large brass pendant created through the lost wax technique. It is a study on shapes that take their place in the space and on three-dimensionality in the interaction with a texture with a subtle chiaroscuro effect. Freely inspired by the geometries that surround us.

Silver earrings, turquoise jade cabochon and amethyst, made with the lost wax technique.

The inspiration in this case is organic. The shapes recall those of imaginary marine creatures. The sea is always present in the artist’s imagination.

IT’S ALL ABOUT THE DETAILS

RA BY MOUNES JAZI / TURKEY ragoldgallery.com @ragoldgallery

As a fashion lover who was always inspired by details the designer decided to create her own jewelry brand in 2015 in Iran, which became known as ‘RA’ to show how little pieces can make big changes. Studying industrial design

in university she was intrigued with modern art and different materials.

Growing up with a rich Iranian culture makes her interested in creating a combination between this rich historical culture and modern art. As a jewelry designer Mounes wanted to

maintain the traditional definitions of jewelry: being worthful and precious not just for soul but also for the materials.

She began to use different materials with gold to create modern experience of traditional definitions.

L - The poppy flowers and the black beads in this gold necklace are handmade with glasses-lampwork technique. The delicacy and the wild soul of the Poppy flower is a good synonym for nature of glass as a material.

This combination is the sign of elegance and freedom.

Wild Poppy necklace

R - This piece is inspired by Khayyam Neishabouri, the great Iranian poet-tomb.

The diamonds symbolize these precious moments and the combination of Neishabour Turquoise with the green of chrysoprase is an affirmation for the life Khayyam talked about.

Khayyam earrings

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PEOPLE & BRANDS

GRAND

TOUR Viaggio a tappe nella gioielleria Made in Italy, alla scoperta di un’eccellenza artigianale unica al mondo

DAMIANI / VHERNIER / BULGARI / BUCCELLATI

/ di Laura Inghirami

THE GRAND TOUR Made in Italy excellence See page 35

DAMIANI Silvia Damiani, vice president of the Damiani Group and head of communication, believes in beauty and respect for traditions, with a vision for young people and future generations. «Damiani is first of all a family, whose creed is to look ahead to the young generations.

My siblings and I do this with great passion, feeling responsible for a solid cultural heritage. At the same time, we like to make our employees feel part of something greater than the creation of a piece of jewellery. Quoting Schultz, three people were at work on a construction site. All were doing the same job, but when each was asked what the job was, the answers varied. “Breaking rocks”, the first replied. “Earning my living”, the second said. “Helping to build a cathedral”, said the third. What matters most when doing business is the construction of something that goes beyond the material.

This is the same ethics that my family has always had». A symbol of jewellery excellence, Damiani was founded in 1924 by Enrico Damiani, in the heart of the jewellery district of Valenza. Over the years, the company’s craftsmanship has been handed down from generation to generation and is now known worldwide. Now as then, jewellery masters pass on their techniques to young apprentices, working on their side. «Bringing different generations together is very important to us - Silvia Damiani continues - We believe in the strength of the great goldsmiths who have worked with us all their lives and who can pass on their expertise to younger people. It is no coincidence that our group is at the forefront of training through the Damiani Academy, a school where young generations can learn the most important jewellery techniques. We receive numerous applications from all over Italy every year and at the end of the course the Group hires the best apprentices. The new production site that we will open in Valenza will bring together our workers in a technologically advanced context and we will need even more young apprentices. Personally, I strongly believe in young people and in the opportunity of sharing ideas to create something together. I encourage them to follow their passion,

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because it is the only way to make the choices that truly matter in life». For Silvia Damiani, a piece of jewellery is a very personal story: «It has been part of me since my earliest childhood memories. As a child I looked at jewellery amused; I would add brooches to clothes pretending to be an adult. Jewellery is also linked to the memory of my parents. My father, Damiano Damiani, understood that the time had come to structure Damiani as a brand and his intuition contributed to our growth. Today, I can say that jewellery is my passion and it coincides with my work. And also that the shared goal of the third generation of our family is to make the Group increasingly international». The third generation is made up of Guido - President of the Group and nominated Cavaliere del Lavoro in 2020 - Silvia and Giorgio, Vice Presidents. The Group has six complementary brands that have their roots in the same passion for Savoir Faire and Made in Italy: Damiani, Salvini, Bliss, Calderoni, Rocca and Venini. The latter is one of Italy’s most renowned Murano glass factories and demonstrates the Damiani family’s firm belief in excellent craftsmanship. Silvia Damiani defines this excellence «a process. It means to be able to always take that extra step, finding a balance and new inspirations between traditional expertise and the challenges of today’s market». As for the future of the industry, Silvia Damiani has no doubts: «An excellent Made In Italy product is a guarantee: a Damiani or a Salvini jewel, a Venini creation or a Calderoni diamond, will become increasingly valuable over time and can be donated to future generations. As Keats wrote, Beauty Is A Joy Forever». One of Silvia Damiani’s favourite pieces is Blue Moon, a creation that she designed herself. «It is one of the eighteen Diamonds International Awards, the Jewellery Oscars, won by Damiani. It is a pair of yellow and white gold earrings studded with a seemingly random diamond arrangement, which in fact reveals the profile of a woman looking at the moon. However, I can’t help but mention the ring designed by my grandfather, inspired by Queen Margherita, a jewel of great historical and emotional value».

VHERNIER In 1984 a sculptor and a woman with an extraordinary knowledge of jewellery and sophisticated techniques founded a jewellery shop driven by a desire to create “jewellery that is not there”. That is when Vhernier was founded. Since the very beginning, the brand’s core values have been innovation, modernity, originality, «a form of resistance to banality» in the words of Isabella Traglio, now Deputy Director General of Vhernier. This philosophy translates into experimental jewellery inspired by nature, art and architecture. Their shapes evoke the roundness of Brancusi’s sculptures and Fontana’s cuts - to name just a few of the many artists who inspired the brand’s jewellery. Initially, this approach attracted only a small circle, including the Traglio family, which acquired Vhernier in 2001 with the vision of expressing its potential worldwide. For Isabella Traglio, jewellery is an «expression of being. Not surprisingly, when I get dressed in the morning, I start from jewellery. But it is also a passion that has materialised through a long academic and professional career. First in Milan, where I graduated in Modern Literature, then in New York, where I graduated from the GIA. I then completed a postgraduate course at Bocconi and I had professional experience at Christie’s.

I have always had a strong sense of responsibility for my company and for those who work there in terms of recognising their merit. At Vhernier, I started in the boutique and now, as Deputy Director, I can say that the most important thing is to share a project you believe in, with skill, respect and passion». For Vhernier, whose creations are entirely made by excellent master craftsmen from Valenza, experimentation and ergonomics are essential: «Vhernier was one of the first companies to work with materials such as ebony, jet and kogolong in new ways, and even to introduce bronze. Experimentation is also reflected in the use of different techniques, as demonstrated by our iconic “Trasparenze”: rock crystal cabochons perfectly layered over gems, masterfully cut into one piece. This adds up to ergonomics: jewellery must be comfortable. The Verso earrings are just one of many examples; there is a right and a left earring, as if they were an

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extension of the body». Her favourite jewellery includes the Tre Re ring, «one of the first pieces I saw being made. But also the whole animalier world, and the iconic Sorpresa bracelet». It is a shiny gold bracelet; all the components, including the internal screws, are entirely made of gold. When worn, it reveals surprising pavé settings. «The greatest satisfaction is to see people’s surprised faces when they wear it. I said people, because Vhernier speaks to a genderless audience united by a passion for art and architecture, and for culture in general». When asked about her thoughts of the current situations, she answered with a quote that she always says to her daughters: «There is always a rainbow after the rain. It’s a tough time, but we will get through it.

Jewellery today must be understated and respectful. Tomorrow, people will invest more and more in safe-haven assets such as precious stones. Companies, on the other hand, will have to adapt to the younger generations. The jewellery industry is still somewhat anchored to models of the past and has a moral and ethical duty to look to young people».

BULGARI Rome: 1884: Sotirio Bulgari is a silversmith of Greek origin.

Travellers on the Grand Tour did not fail to notice his exuberant creations, and were fascinated by them. Thus, already in the late nineteenth century, Bulgari was reaching an ever wider public of enthusiasts, and gaining the fame of Italian excellence, finally becoming the “celebrity jeweller” of the Dolce Vita years. From then on, the exuberance, the powerful personality, the juxtaposition of unusual materials led to an inexorable triumph. Today, the wonder and excellence of the maison is told by Lucia Silvestri, the charismatic creative director who, right from her first words, highlights the value of the team she is leading, consisting of senior and young talents: «The creative process is a team job, always shared, where we follow the product from the beginning to the end. Especially with young people who are trained by our senior staff». Lucia Silvestri truly believes in young people, it is no coincidence she reads all the message she received on social media and analyses their curricula and sketches.

«More than once, we have hired promising young people through Instagram: they send me extraordinary applications. And I have sent the most deserving on to the HR office». This way, Silvestri cuts down distances and breaks out of the mould, in line with Bulgari’s rock identity - back in the 1950s, Bulgari was the first to prefer cabochon cutting of coloured gemstones. Among young people, the characteristics she prefers are determination and passion in achieving a result. «I see myself in them. The world of gemstones is a clearly male one, and if I hadn’t been so determined and passionate, I would never be here today. Young people need to believe in something, and when I glimpse talent, I try to get the best out of it.

I too was young and passionate like them once, and I too believed in something». Her career has been very long and, as she tells us, it was Paolo Bulgari himself who caught sight of her potential and recognised her talent. «I had begun studying biology at the university, my father was working with Bulgari when it was still a family business.

Driven by my desire for independence, I submitted an application to the company to take the place of an employee away on maternal leave. By chance, the person I replaced was Paolo Bulgari’s secretary.

My office was next to his, and I had the opportunity to talk to him very often. I was young, I had a great wish to learn and I loved the world of gemstones. Paolo and Nicola Bulgari realised how curious I was.

At the time, they were looking for somebody young and energetic, so they put me to the test. First with colour combinations, until they glimpsed in me a special feeling for gemstones».Lucia Silvestri’s table is a triumph of tourmalines, emeralds, morganites, sapphires of every colour. She picks them up in her hands, goes to the window to observe them under natural light, then shoots a short video which she shares with thousands of people on her Instagram account. She proceeds: «I love every kind of stone, but I am especially in love with these ancient pink coloured morganites. During the lockdown I found myself with this role as a populariser, it came naturally to me. I was happy to send

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a message of hope, especially to young people, and to share beautiful things with them, make them used to beauty». Lucia Silvestri knows every detail of the stones on her desk. «I choose them personally.

One of the first lessons I learned from Paolo Bulgari is that you should never buy a gem unless you first know what you want to do with it.

This is why when I buy gemstones, I already have in mind the jewel I want to make with them. Then I put them on a wax table, and from here I draw the models. Together with my creative team, we explain our wishes to the craftsmen and they share the difficulties involved.

It is a wonderful challenge and a learning process for everybody».

Lucia Silvestri says she draws her inspiration «from everywhere. But if I had to choose two special sources of inspiration, I would say, gemstones and Rome. The secret Rome which bewitches me every day, and which I had the chance to get to know in its most intimate aspect during the lockdown». History is a great source of inspiration, as are the company archives, where Lucia Silvestri chooses the iconic sautoir which Richard Burton gave to Elizabeth Taylor, together with a bracelet with six emeralds with a “Bulgarised” cut made together with Paolo Bulgari. «It is one of the most majestic artworks we ever made. Generally, we look at the archive with a contemporary eye, always seeking new challenges. This is what we did with the Barocko collection, the apotheosis of jewellery with a contemporary and rock spirit, inspired by three elements: light, colour and wonder». Today, the challenge for Bulgari is «to bring young people closer to beauty.

Our public is international and mixed in terms of age, but we feel it is our duty to make young people share more in beauty, because with beauty, one lives better. This is why collections like B.Zero1, Serpenti, Divas’ Dream have become a must for young people». Bulgari hopes our Made in Italy will shine again after the current moment. «It is important to defend creativity and quality, and we shall continue doing so, because we are firmly convinced - to quote Dostoevskij that beauty will save the world».

BUCCELLATI President and Art Director of Buccellati, one of the world’s leading fine jewellery companies, Andrea Buccellati cares about Italy, excellence, excellent craftsmanship and in passing down the symbolic value of jewellery. For Buccellati, excellence has been an amazing obsession since the very beginning of the business, founded in 1919 by his grandfather Mario Buccellati. Over the years the company has been transformed into an empire; from the first boutique opened in Largo Santa Margherita in 1919 by Mario Buccellati, to stores opened in Europe, the USA and Asia in the 1970s

by Mario’s son Gianmaria Buccellati. Everything has been built step by step to pursue excellence, which Andrea Buccellati now defines «a daily challenge. The result of continuous research that leads to improving ourselves, our technique, our wealth of knowledge and skills». Andrea Buccellati shares this approach with the company’s master craftsmen, with whom he works side by side. He defines them as part of the family. «We have been working together for generations. Today, I work with the children of goldsmiths who worked with my father, who learned the trade from their parents. This is why our bond goes beyond just business. We are always looking for new talented craftsmen and we prefer young enthusiasts who can stay in the company and gain experience with us for many years. I think that working at Buccellati is unique and different for them; we always tend to work side by side, but at the same time we let our artisans express their personality and talent. Passion is what unites us and it is our starting point every day». For Andrea Buccellati, who was raised in one of Italy’s most important families of jewellers, passion means culture and experience. «As a child I never loved playing with toys; I preferred creating pieces of jewellery, or watching my father make them. I remember when I was twelve I told my father that I wanted to become a jeweller. And I was very lucky to have him as a teacher». Buccellati’s jewellery reflects the craftsmanship and skills handed down from generation to generation. In more than a hundred years, Buccellati has been able to preserve and pass on techniques

that have made the jewellery company unique worldwide; these include the iconic ‘tulle’ process, which consists of cutting out gold in a honeycomb pattern and decorating it with diamonds and precious gemstones, requiring hundreds of hours of work. «Everything at Buccellati is craftsmanship and precision; even stone setting explains Andrea Buccellati - is not just about setting a diamond into metal. It involves removing excess metal around the gem to make the final piece feel lighter». For Andrea Buccellati, a piece of jewellery is «an object that holds a priceless symbolic value, marking the most meaningful moments in a person’s life». For this reason, while strongly believing in online sales channels - especially for Asian and American markets - he advocates the importance of the instore shopping experience. «For jewellery designed to celebrate a meaningful moment in life, the in-store experience will continue to be an important step of the purchasing process». Now owned by Richemont, the group upholds the same values that have made it unique in the world: «The transition had no impact on our creative processes and on our product, while on a structural level the company can now count on a first-class management and the support of a world-leading group in our industry». Buccellati is positive when it comes to ‘Made In Italy’: «In Italy, unlike other countries, we have not yet managed to create a system, but the positive side of this is that we can offer a very diversified product, with unique and excellent features». Buccellati looks at the current period with an attentive and positive attitude. “In addition to jewellery, people are increasingly interested in home decoration. I see a growing trend towards this area because today people are trying to make their home feel warmer and welcoming, like a real shelter». Buccellati responds to this need through iconic silver items, made with the same care and attention as their outstanding jewellery. «For us there is no difference between high jewellery or a valuable object and more accessible jewellery, because every creation in our workshops is made with the same care and attention». The market is changing. Andrea Buccellati has an eye on his roots, but also on the future: his daughter Lucrezia helps create collections inspired by the world of art, always bringing an innovative look to the brand. «My daughter has made and continues to make an important contribution to the company’s creative side. Both she and I pay close attention to easy going jewellery and wearability are very important; we create jewellery that can be worn every day with casual outfits». This approach does not exclude social media, which Andrea Buccellati embraces with enthusiasm and conviction: «It is important for the company to use these new means of communication to show the product and what lies behind it to the new generations, both directly and through influencers, real modern icons that can influence hundreds of thousands of people like Hollywood stars used to do in the past». For Buccellati, the future will be marked by union: the brand inaugurated their new headquarters in Milan in September, in the building designed by Portaluppi in 1919, when the company was founded. «It was an important step that marked the unification of all our production lines after a hundred years of history». From the new Milan headquarters, Andrea Buccellati concludes with a message for young people: «Seek quality, seek history, and always seek the culture of excellent craftsmanship».

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PEOPLE & BRANDS

REVOLUTION / di Antonella Garello

Il tema della sostenibilità è cruciale, riguarda tutti i settori e anima una community sempre più vasta e consapevole di consumatori, che si aspettano dai brand azioni concrete, onestà e trasparenza.

Matteo Ward, co-founder del marchio ecosostenibile Wråd, spiega la necessità di guidare il cambiamento

L’INTERVISTA

THE TRUE

AD WITH PURPOSE . INSPIRE WITH TRUST CONTRIBUTE TO DEVELOPMENT

Wråd The true Revolution See page 43 Graduated in International Economics at Università Bocconi in Milan and in Business Sustainability Management at the University of Cambridge, in 2009 Matteo Ward started working for Abercrombie and Fitch as Senior Manager in Germany and co-administrator of Diversity and Inclusion Council for the brand. In 2015, together with fashion photographer Victor Santiago (previously working at Abercrombie and Fitch) and designer Silvia Giovanardi (previously collaborating with Etro), he founded Wråd, an innovative startup in the field of sustainable and gender free fashion. He is Vice President for Italy of Fashion Revolution, an NGO that, since 2013, has been fighting for a reform of the fashion system based on a sustainable perspective, advocating, in particular, a greater transparency of the supply chain. Invited speaker in such first rank contexts as the UN Economic Commission for Europe (UNECE), last September, he brought his own experience of social entrepreneur also to Voice.

Wråd won the Best of the Best 2017 at the prestigious RedDot Design Award thanks to the WRÅD GRAPHI-TEE Endorsed by Perpetua t-shirt, the first GOTS certified T-shirt dyed with recycled graphite powder and was finalist at the Green Carpet Challenge Awards 2018 with an organic cotton and mint fibre dress.

Wråd attracted the attention of the market with the GraphiTee T-shirt that put into practice such important concepts as sustainability, innovation, responsibility. How was this project born?

We rediscovered an old dying technique, used by ancient Romans and passed down in the small village of Monterosso Calabro, hosting a mine of natural graphite: we went there to learn this technique and, thanks to the synergy with Perpetua-We had to invent it we decided to use the recycled graphite powder adopting the circular economy logic: this process took a long time, research and technologies, but the results were truly rewarding.

But how did you pass from such a brand as Abercrombie and Fitch,

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which was certainly not on the front-line as for sustainability, to Wråd, whose mission is precisely focused on ethics and respect for environment?

In 2013, also following the tragedy of Rana Plaza in Dacca, I started to become aware of everything lying beyond a piece of clothing, all those hidden problems behind the sparkling and glamorous pictures of life styles we are daily offered by fashion: I am talking about the worldwide exploitation of millions of people, of pollution and waste now out of control, of the total lack of transparency of such a complex supply chain as the textile one. When you realise that there is a problem, you cannot pretend that nothing is happening. Therefore, we started to inform and make young people aware using social media, creating a community of conscious activists. We also talk about such issues in schools. In Italy, we now reach more than 10 thousand students a year: we explain the youngsters the impact of their clothes on the environment and on the human beings manufacturing them.

We also provide them with all the tools to promote a change and be a part of the solution.

Can figures help understand the extent of the problem?

Of course. Just think that, according to the reports certified by such authoritative bodies and organisations as UNECE, McKinsey & Company, Ellen MacArthur Foundation, the fashion sector is the second most polluting industry after the petrol one and it also accounts for 10% of the carbon dioxide emissions and for 20% of the global water waste. It produces more greenhouse gases than all the travels by plane and ship on a world level. It uses microfibres, chemicals, heavy metals and colouring agents that are noxious for our own health - WHO calculated that about 8% of skin diseases comes precisely from the contact of the skin with such substances - and for environment: the devastating pollution of rivers by the fashion industry is well documented in the film entitled RiverBlue by David McIlvride. Not to mention the human factor: the fashion industry employs over 75 million workers throughout the world: most of them, in the developing countries, are exploited and obliged to work up to 16 hours a day, in conditions that do not respect their health and dignity.

Is the current manufacturing pace justified?

No! We must recognise and clearly say that we do not need new products. Every year between 80 and 100 billion pieces of clothing are manufactured: they are used, on average, only seven times to be then thrown away and only in 1% of the cases can be recycled.

The huge volume of unsold pieces is mostly destroyed. Fashion communication and marketing drive us into buying in a much higher quantity when compared to some decades ago, we are offered by brands increasingly new collections at an appalling pace and at lower and lower prices. But someone pays the true price of a T-shirt sold to the public for 4-5 Euros: an increasingly polluted environment as well as increasingly exploited workers.

What can the final users do to give their contribution to the change?

We must abandon a linear economy logic - buy, use, throw - to adopt a circular and sustainable one. According to a classic definition, sustainability means a development that allows the present generation to meet its needs, acting in such a way as to not deny the same opportunities to the future ones. If we follow this perspective, we will obviously favour “service” over “consumption” products. This choice can help give answers to our problems. Products made to last longer, or with lower impact materials, recycled or assembled and engineered as to be recycled. The consumer must start wondering: “Who made this T-shirt?” Under what conditions? How much were they paid?” And expects that these questions are answered.

Also the world of jewels is questioned, as for sustainability...

Jewels, as I have already said, have the great advantage of not being disposable objects, but, on the contrary, are created to last over time as they bear eternal symbols and values. But, even here, the consumer has the right to be clearly informed on the provenance of rough materials, stones and metals. Technology could be of help to trace every step in the life of a jewel, establishing an efficient dialogue

ENGLISH TEXT

between the manufacturer and those willing to buy it.

A European directive will be soon discussed, proposed by Raphael Glucksmann, a member of the European Parliament, with a number of provisions truly binding to the due diligence and the corporate responsibility of textile companies. Sustainability is no longer something abstract and remote, though a highly concrete need for all the sectors that is involving an increasingly wide and aware community in the world.

FLASH

AURORA

IL VALORE INTANGIBILE D E L M A D E I N I T A L Y / di Antonella Garello

arlare di Aurora significa celebrare una di quelle all-italian stories sempre più rare e tanto più preziose: fondata a Torino nel 1919, prima azienda italiana a produrre una penna stilografica, Aurora è una manifattura indipendente guidata a partire dagli anni ‘50 dalla famiglia Verona - oggi alla quarta generazione con Cesare Verona, presidente e AD - e vanta una produzione 100% manuale e Made in Italy, direttamente controllata in ogni fase, dal design al prodotto finito.

«Abbiamo sempre mantenuto italiana tutta la filiera - spiega Cesare Verona - non per un senso malinteso di localismo o nazionalismo, ma perché sappiamo che quella creatività e quella artigianalità italiana che ancora fanno la differenza si nutrono di una relazione quotidiana col territorio e con le persone che lo abitano, con la nostra storia e le meraviglie artistiche che noi italiani abbiamo la fortuna di “respirare” ogni giorno. Per questo abbiamo un senso unico del bello, che si nutre di armonia ed equilibrio ma anche di tecnica e ricerca».

Aurora si è sempre distinta per la modernità delle scelte e una visione non convenzionale del futuro: fin dagli esordi si è avvalsa della collaborazione di artisti affermati che hanno firmato una comunicazione all’avanguardia

e di mostri sacri del design come Marcello Nizzoli, Marco Zanuso, Giorgetto Giugiaro, Albe Steiner, Giampiero Bodino che hanno sviluppato modelli entrati nella storia della scrittura - tra i tanti, le penne Hastil e Thesi, esposte al MOMA di New York. L’anno scorso le Poste Italiane hanno anche emesso un francobollo celebrativo in occasione del centenario aziendale. «Nella nostra evoluzione sta il valore intangibile di una marca che racconta storie di verità: nel nostro patrimonio centenario fatto di competenze, artigianalità e innovazione il pubblico riconosce la sicurezza della qualità, del prodotto affidabile “bello e ben fatto”.

Questa relazione basata sulla qualità e sulla fiducia è la stessa che ci lega a tutti i nostri collaboratori e a tutti i nostri rivenditori, i quali sanno di poter contare su un servizio di assistenza all’insegna della massima collaborazione». In un mondo dominato dalla tecnologia digitale, nulla potrebbe sembrare più lontano dai consumatori di penne a sfera e stilografiche, ma il mercato racconta una realtà molto diversa: «Da un punto di vista anagrafico, gli acquirenti di strumenti di scrittura sono in media persone di 30 / 40 anni, che adoperano col medesimo piacere e disinvoltura stilografiche, iPad, PC, Moleskine… Le hanno date per spacciate in tante occasioni, ma le penne convivono felicemente con la tecnologia: in un’epoca

di estrema massificazione, sempre più persone avvertono il bisogno di lasciare un segno personale. Non a caso, lo strumento più richiesto è la stilografica e non a caso nei primi otto mesi del 2020 abbiamo venduto più del doppio degli inchiostri rispetto allo stesso periodo del 2019». Oggi Aurora esporta il 90% della produzione ed è presente in più di 50 Paesi con un assortimento completo, attraverso una rete di negozi specializzati, shop-in-shop, cartolerie selezionate e gioiellerie, un canale sempre più interessante.

Le strategie degli ultimi decenni hanno dato nuovo impulso all’azienda, con una razionalizzazione e un riposizionamento che stanno dando grandi soddisfazioni anche in tempi di pandemia. «Per ora le perdite dovute ai lockdown si aggirano appena intorno al -4%. La nostra Officina della Scrittura è visitata quotidianamente dalle scuole e avvicina i giovani alla storia del segno: è un ponte importante con le nuove generazioni. L’anno scorso abbiamo festeggiato un secolo di vita, ma nella nostra visione il 2020 non è il 101° anno di Aurora, bensì il primo dei suoi prossimi cento anni: siamo sempre curiosi, aperti all’ascolto e al cambiamento, pronti ad affrontare ogni nuova sfida con l’entusiasmo e la freschezza di una startup!»

English translation: see page 113

Aurora An intangible Value See page 50

Speaking about Aurora means celebrating one of those all-Italian stories that are becoming increasingly rare, making them all the more valuable. Founded in Turin in 1919, the first Italian company to make fountain pens, Aurora is an independent manufacturer led by the Verona family since the 1950s - now in its fourth generation with President and CEO Cesare Verona. All products are 100% handmade in Italy, directly controlled in every stage of the production process, from design to the end product. «We have always kept our entire supply chain Italian - explained Cesare Verona - not out of a misunderstood sense of localism or nationalism, but because we know that, to make a difference, Italian creativity and craftsmanship need a direct, daily relationship with the land and with the people who live there, with our history and with the artistic masterpieces that we Italians are lucky enough to soak up every day. This is why we have a unique sense of beauty, which is nourished by harmony and balance as well as by

technology and research». Aurora has always stood out for its modern choices and unconventional vision of the future. Since the very beginning, it has partnered with established artists who have created avant-garde communication and with top-notch designers such as Marcello Nizzoli, Marco Zanuso, Giorgetto Giugiaro, Albe Steiner and Giampiero Bodino, who developed models that have entered the history of writing instruments - the Hastil and Thesi pens, exhibited at the MOMA in New York, among many others. Last year, the Italian Post Office even issued a commemorative stamp on the occasion of the company’s 100th anniversary. «Our evolution is based on the intangible value of a brand that tells true stories: in our centenary legacy, made up of skills, craftsmanship and innovation, customers recognise the certainty of high quality, with reliable products that are ‘beautiful and beautifully made’. This relationship based on quality and trust is the same as the one we have with all our employees and dealers, who know they can count on our constant support and full collaboration». In a world dominated by digital technology, nothing could seem further away from modern consumers than ballpoint and fountain pens, but the market tells a different story: «In terms of age, people who buy writing instruments are on average 30/40 years.

They use fountain pens, iPads, PCs, Moleskine diaries with the same pleasure and ease... They were given up for dead on many occasions, but pens happily coexist with technology: in an era of extreme standardisation, more and more people feel the need to leave a personal sign. Not surprisingly, the most requested instrument is the fountain pen and it is no coincidence that in the first eight months of 2020 we have sold more than double the number of ink bottles compared to the same period in 2019». Aurora currently exports 90% of its products and is present with a full range in more than 50 countries, through a network of specialised shops, shop-in-shops, selected stationery shops and jewellery stores, which are an increasingly interesting channel. The brand rationalisation and repositioning strategies adopted in recent decades have given new impetus to the company, leading to satisfying results even during the pandemic.

«For now, losses due to lockdowns are just around -4%. Our Writing Workshop welcomes visiting school groups every day, bringing young people closer to the history of the writing; it is an important bridge with the new generations. Last year we celebrated one hundred years of activity. However, in our vision, 2020 is not Aurora’s 101st year, but the first of its next hundred years: we are always curious, ready to listen and change, ready to face every new challenge with the excitement and buzz of a start-up!».

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l’Orafo Italiano con Amani per garantire casa, scuola e salute ai bambini e alle bambine di strada di Nairobi, Kenya e Lusaka, Zambia.

Questo calendario è dedicato al centro Mthunzi che da vent’anni, a Lusaka, accoglie bambini di strada altrimenti senza speranza.

I proventi sono destinati a loro.

Per ricevere questo calendario Amani Ong Onlus Via Tortona 86, 20144 Milano tel. +39 02 48951149 bottega@amaniforafrica.it www.amaniforafrica.it

12-16 Marzo 2021

DESIGNER FABIO ANTONUZZI

Via Cristoforo Colombo, 27 To r b o l e C a s a g l i a ( B S ) - I t a l i a

®

+39 030 2650828 + 3 9 3 4 8 3 0 6113 2 ARCHITET TURA D’INTERNI PER GIOIELLERIE

info@designsrl.com

@Designsrl

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D&sign Srl

www.designsrl.com

A woman’s face with

A woman’s face with

Hast thou, the master-mi-

thou, the master-mistress of my

Nature’s own hand painted Nature’s own hand painted Hast

stress of my passion; A wo- passion; A woman’s gentle heart,

man’s gentle heart, but not but not acquainted With shifting acquainted With shifting

change, as is false women’s fashion; An eye more bright than theirs, less fal-

se in rolling, Gilding the

change, as is false women’s fashion; An

eye more bright

than theirs, less false in

rolling, Gilding the object

object whereupon it gazeth;

whereupon it gazeth; A man in

his controlling, Much steals

Much steals men’s eyes and

A man in hue, all ‘hues’ in hue, all ‘hues’ in his controlling,

men’s eyes and women’s souls women’s souls amazeth. And for

amazeth. And for a woman a woman wert thou first created;

wert thou first created; Till Till Nature,as she wrought thee,

Nature, as she wrought thee, fell a-doting, And by addition fell a-doting, And by ad-

me of thee defeated, By adding

dition me of thee defeated,

one thing to my purpose nothing.

purpose nothing. But since

women’spleasure...

By adding one thing to my But since she prick ’d thee out for

Via Monte Napoleone, 19 Milan