l'Orafo Italiano 08-09-10 2020

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I N CA S O D I M ANC A TO RE C A PIT O INV IA RE AL C M P D I M IL A NO RO S E RI O P E R L A RE S T I T UZ IO NE AL MIT T E N T E PRE VI O PAGAMENTO RESI

PO ESI A

AGOSTO • SETTEMBRE • OTTOBRE 2020

€ 5,00




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EDITORIALE

Siamo chiamati ad affrontare ancora mesi di incertezze, mettendo a punto nuove strategie per fare fronte a situazioni in mutamento costante e in larga misura imprevedibile, cercando di mettere a fuoco scenari che invece si fanno sempre più sfuggenti; siamo chiamati a sperimentare, a cercare di orientarci, a opporre ordine e razionalità al caos scatenato dalla pandemia. Il settore è chiamato, anche, a fare fronte comune, perché, come ha sintetizzato un’imprenditrice del comparto, «essere uniti non significa dividere una torta, ma allargare quella che c’è». In questo senso Voice, prima fiera orafa post Covid svoltasi almeno parzialmente in presenza, è stato un momento importante, che ha saputo riunire in sicurezza l’intera community non solo intorno a obiettivi commerciali ma anche, come ha sottolineato Marco Carniello, intorno a valori più alti, riassumibili nell’orgoglio di quel “Made in Italy” tanto ammirato in tutto il mondo. Anche la ricerca di Altagamma sui consumatori true luxury sottolinea la necessità di comunicare al mondo l’immagine di un’Italia nuovamente aperta, unita e reattiva, capace di risollevarsi dalla tragedia della scorsa primavera, di raccogliere le forze e di pensare al futuro. Nei prossimi mesi si imporranno riflessioni anche su nuove possibili fruizioni del territorio, in quell’ottica “glocal” che sarà una delle chiavi per conquistare nuovi clienti. La seconda Milano Jewelry Week, in programma il prossimo Giugno nel capoluogo lombardo, va esattamente in questa direzione: gioielli e bijoux realizzati da artisti e maestri orafi di tutto il mondo saranno i protagonisti di una serie di eventi ed esposizioni in tutta la città, che per l’occasione spalancherà le porte di antichi palazzi, botteghe storiche, boutique e gallerie d’arte: un evento in equilibrio tra arte, cultura e business, pilastri tutti italiani della tanto attesa ripartenza.

We are still called to face months of uncertainty, developing new strategies to cope with constantly changing and largely unpredictable situations, trying to focus on scenarios that are becoming increasingly elusive; we are called to experiment, to try and orient ourselves, to use order and rationality against the chaos unleashed by the pandemic. The industry is also called upon to create a common front; as one jewellery entrepreneur pointed out, “standing united does not mean that you share a cake, but rather that you try and make it bigger”. In this perspective, Voice - the first post-pandemic jewellery trade show, held at least partially in-person - was an important moment that brought the entire community safely together, not only with business objectives but also, as Marco Carniello pointed out, with higher values, summarised by the world-famous “Made in Italy” quality that makes all Italians proud. Altagamma’s research on true luxury consumers has also emphasised a need to communicate that Italy is now open again, united and reactive, capable of recovering from the tragedy of last spring, of mustering up strength and thinking about the future. The issues to address in the coming months will include the new possible uses of local areas in a “glocal” perspective, one of the keys to winning new customers. Scheduled for next June, the second Milan Jewelry Week will work exactly in this direction: fine and costume jewellery by artists and goldsmiths from around the world will be featured in a series of events and exhibitions across the city, which will open the doors of its ancient buildings, historic shops, boutiques and art galleries for an event that combines art, culture and business - the all-Italian pillars of a long-awaited restart.

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Discover Now

crieri.com

Via Monte Napoleone, 19 Milan


A NNO L XXIV N UM E RO 0 8 / 0 9/ 10 - A G OS TO/ S E TTE M B RE / OTTOB RE 20 20

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NATURAL IS FOREVER

www.worlddiamondgroup.com


L’ORAFO

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Multiple Choice

SOMMARIO L’alta gioielleria impara a volare

MO D A

P EOP LE & BR AN DS

34 40 47

Packaging: amore a prima vista

Sun of Voice: una voce per la community the Desert Dodo per Tēnaka

Re-birth through a jewel

Watchword: Perennials

I N S I DE JEW ELR Y GR AN D T OU R

27 30

Marco Gerbella, Antonio Palladino Virtual Grand Tour

47 57 68

FLASH

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Gioielli d’artista

Altagamma: i nuovi scenari www.femarsrl.it - phone + 39 0575 653239 - info@femarsrl.it

ADV 2019: il trionfo dei sentimenti Gemmologia: fluorescenza

M I LAN O JEW ELR Y P R EVI EW

90

I protagonisti della MJW

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AN N O LX XI V L’ OR AFO IT AL I AN O 08 / 10 2 02 0

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Aristo Punk

AREZZO - ITALY

HA U T E JOAI L L E RI E

15

87

Ethnic Mood

TR EN D

€ 5,00

79

TR END

AG OST O • S ET T EM BR E • O T T O BR E 2 02 0

Maman et Sophie

V ISUA L

I N C A S O DI M A N CA T O R ECA P I T O I N VI AR E A L C M P D I MI LA N O R OSE RI O P ER L A RES T IT UZI ON E A L MI T T EN T E P R EVI O P AG AM E N TO RE S I

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I N T E RV I EW

ITALIANO

POESIA

In copertina: orecchini delle collezioni Tutti Frutti, Calypso e Talia di Poesia in oro bianco, diamanti e perle. Cover: white gold earrings by Poesia with diamonds and pearls. Tutti Frutti, Calypso and Talia collections.


Š Forevermark Limited 2018. Forevermark TM, TM

e TM

sono marchi commerciali utilizzati su licenza concessa da De Beers Group.

NATURAL IS FOREVER



HAUTE JOAILLERIE

L’ALTA GIOIELLERIA HA IMPARATO A

VOLARE / di Ilaria Danieli

Le presentazioni, reali o virtuali, della Couture Week a Parigi hanno mostrato una comune ricerca di estrema leggerezza, in grado di vincere la forza di gravitĂ . Facendo ricorso a maestria tecnica e anche a materiali misteriosi creati per la Nasa


L’ORAFO

ITALIANO

Nella pagina precedente: ispirata a un’opera di James Turell, la collana Fenêtre sur ciel della collezione Contemplation di Boucheron è realizzata in maglia morbida di titanio. Sulla sua superficie, un disegno di nubi tempestose in madreperla e diamanti che spiccano sul fondo aerografato con lacca mista ad ardesia. Al centro, una tanzanite da 35 carati. In questa pagina: mono-orecchino in oro con diamante taglio a cuore e pavé di diamanti della collezione Voltige di Messika.

F

orse per esorcizzare la pesantezza del lockdown la gioielleria si è fatta più leggera, ma solo apparentemente. Mai come ora si è vista, tra presentazioni reali e virtuali, tanta ricerca di smaterializzazione, pur senza privare i gioielli del loro effettivo valore materiale. È vero che molte maison hanno puntato su collezioni daywear e poco impegnative economicamente, ma chi è rimasto sull’alta gioielleria (che in genere nel mese di Luglio presenta i suoi tesori) ha cercato di vincere la gravità e ha preso, metaforicamente, il volo. Boucheron, per esempio, ha voluto letteralmente “catturare un pezzetto di cielo”, facendo propria una tecnologia elaborata dalla Nasa per raccogliere polvere di stelle. Si tratta di un aerogel con cui la maison ha realizzato un

ciondolo praticamente senza prezzo che ha richiesto due anni di lavoro e ricerca: il materiale misterioso è composto al 99,8% da aria e silice e il suo colore varia in base alla luce, dall’azzurro al bianco al violetto. È stato incapsulato in un guscio di cristallo di rocca guarnito con diamanti e sospeso a un girocollo anch’esso modellato in cristallo di rocca e diamanti. Questo pezzo unico è disponibile anche come collana lunga con cordoncino in seta: il bracciale cabochon abbinato alla collana incorpora anch’esso un pezzo di cielo del XXI secolo. Il collier Goutte de ciel non è d’altra parte l’unica sorpresa della collezione Contemplation a cui la designer, Claire Choisne, ha dedicato i suoi ultimi mesi. Tutta la sua contemplazione creativa si è infatti rivolta all’assenza di peso che cattura il

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passaggio di una nuvola, il volo di un uccello, la carezza di una piuma. Ecco allora che gli orecchini asimmetrici En passant, in parure con un collier a sciarpa, creano l’illusione di un passaggio di nubi sovrapposte, sopra e sotto il lobo. Ispirata all’opera “Open Sky” realizzata da James Turell a Naoshima, la parure Fenêtre sur ciel è invece composta da una collana in piccole maglie di titanio che la rendono morbida come un tessuto e che, una volta posato, forma un rettangolo perfetto. Sulla sua superficie, in madreperla e diamanti, Claire Choisne ha disegnato nubi tempestose aerografate con lacca mista ad ardesia. Da citare anche Nuage en apesanteur, una collana in oro bianco, titanio, diamanti e biglie di vetro che sembra fluttuare intorno al collo. Per crearla Boucheron ha chiesto a un programmatore di creare un algoritmo ad hoc e sono serviti ben due anni di lavoro per lo sviluppo dei materiali. È composta infatti da 7000 steli in titanio alla cui estremità


HAUTE JOAILLERIE

In questa pagina: orologio della collezione Wings of Light di Piaget che richiama il blu e il verde della vegetazione tropicale, questa volta però con un maestoso opale nero usato come quadrante e nei dettagli. L’asimmetria è guidata dalle mani di un maestro gioielliere e completata da zaffiri taglio baguette e diamanti.

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L’ORAFO

ITALIANO

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HAUTE JOAILLERIE

Pagina a lato: i nuovi anelli di fidanzamento ispirati alle Isole Borromee di Mellerio dits Meller. Alcuni prendono spunto dalle reti dell’Isola dei Pescatori, altri dai giardini dell’Isola Madre, ma tutti rivisitano lo standard dell’engagement ring in modo originale. In questa pagina: anello di Buccellati con castone centrale a forma di goccia in oro giallo e circondato da un motivo traforato in oro bianco. Stelo scalare in oro bianco, con fascia centrale in oro giallo. È composto da 104 diamanti tondi taglio brillante, diamanti gialli e kunzite centrale di 14,51 carati. Nella pagina seguente, è di Boucheron l’orecchino in oro, pavé di diamanti e madreperla che trafigge il lobo.

sono stati innestati più di 5000 diamanti e 2000 piccole biglie di vetro che simulano le goccioline. Sulla stessa linea di pensiero Valérie Messika, giovane designer che ha sempre lavorato sulla leggerezza dei diamanti e sull’effetto di movimento, li ha resi addirittura “acrobatici”. La brochure della sua ultima collezione Voltige (Volteggio) è costellata di immagini di trapezisti, funamboli, danzatori in pose plastiche, ai quali si accompagnano foto di gioielli in cui i diamanti sembrano giocare contro la gravità, esattamente come gli atleti con i loro attrezzi. Tanto il danzatore rotola in equilibrio all’interno di un cerchio, così i diamanti di grande taglio sembrano sospesi nel vuoto all’interno degli orecchini Hoops

(che è il nome della creazione ma anche un suono onomatopeico per esprimere il volteggio). Un altro virtuosismo è l’anello Two fingers, la cui struttura resta impercettibile, a tutto vantaggio dello splendore delle gemme a cui viene dato massimo risalto. A metà tra il piercing raffinato e l’orecchino couture, ma asimmetrico e bohémien, ecco i Single Earrings che si possono indossare, anche multipli, in qualsiasi punto del padiglione auricolare. Si ispira infine non solo alle acrobazie di movimento ma anche a quelle architettoniche il Trio ring con tre diamanti (uno bianco e gli altri due fancy) che mostra il grande expertise sui diamanti di casa Messika, marchio nato diamantaire con il padre di Valérie, André.

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Il volo di Piaget si concentra sul piumaggio degli uccelli tropicali, intrecciando il lavoro dell’artista plumassière Nelly Saunier con quello degli artigiani incastonatori della maison. Il risultato è un mosaico di colori e texture, che va a decorare, per esempio, le superfici della parure Majestic Plumage, separabile anche in collier più orecchini. Le gradazioni dei colori e la delicatezza del lavoro manuale si esprimono al meglio anche nella parure Rainbow Light che vanta sia una preziosa finitura Palace incisa a mano sia un inedito intarsio di pelle, legno e madreperla eseguito da Rose Saneuil. In tema di leggerezza non si può dimenticare, infine, il tulle di Buccellati, un fine lavoro a traforo eseguito sempre rigorosamente a mano. Quest’anno la collezione Haute Couture si è arricchita di bracciali, orecchini e anelli in oro bianco a ricamo, pezzi unici di grande maestria. La tradizione di stile è iniziata con il fondatore Mario, l’orafo preferito di D’Annunzio, ed è oggi portata avanti dal nipote Andrea. A conclusione di questa rassegna di leggerezze acrobatiche, materiali avveniristici e virtuosismi artigianali, citiamo una maison che da quattrocento anni non cerca di stupire, le basta vestire di gioielli i nomi più blasonati del mondo. Si tratta di Mellerio dits Meller, marchio francese fondato nel 1613 e ancora oggi in mano alla stessa famiglia, di origini italiane. Pur fedele alla sua tradizione di restare fuori dalle mode correnti, anche Mellerio quest’anno ha alleggerito la sua collezione Bridal, giocando con i pieni e i vuoti negli arabeschi dei suoi anelli di fidanzamento, italianamente ispirati ai giardini delle Isole Borromee. English translation: see page 123


L’ORAFO

ITALIANO

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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


L’ORAFO

ITALIANO

WATCHWORD:

PERENNIALS / di Simona Infantolino

G

randi personaggi femminili del passato tornano - o forse non si sono mai davvero allontanati - a dettare tendenza nel mondo della moda; nuove figure over 60 si affacciano all’universo digitale con uno stile sempre più unico. Le Perennials, donne il cui fascino sembra non invecchiare mai, sono le nuove star di sfilate e social media. I brand di moda fanno a gara per averle in passerella o come protagoniste delle proprie campagne pubblicitarie: una più energica che mai Jane Fonda – che di anni ne ha 82 e che è attivamente impegnata sul fronte del cambiamento climatico con manifestazioni, proteste online e il nuovo libro Cosa posso fare? La verità sui cambiamenti climatici dedicato alla propria esperienza come attivista per la tutela dell’ambiente – è, per esempio, il volto del nuovo progetto sostenibile Gucci Off The Grid mentre una raffinatissima Maye Musk, a più di 70 anni, è tornata a ricoprire il ruolo di modella per Dolce&Gabbana. Seppur la classificazione delle Perennials avvenga per età anagrafica,

queste donne sono tutte accomunate da un’attitudine che va ben oltre la loro data di nascita e che le colloca per stile, animo e natura tra le icone più influenti e riconosciute del momento, a discapito di giovani TikToker o influencer. Le tendenze le dettano loro, con canali Youtube da milioni di visualizzazioni in cui celebrano l’età e non l’anti-age (vedi la youtuber, blogger e scrittrice Tricia Cusden) e attraverso blog in cui danno spazio alla propria creatività. Essere Perennials non è tanto una questione di età o di fama ma piuttosto un “talento” che si può celare nelle persone dalle professioni più comuni e nella vita di tutti i giorni: si prenda ad esempio una normale professoressa sessantenne di New York la cui passione per una moda originale e molto personale ha attirato la curiosità dei fotografi durante una passeggiata tra le vie della Grande Mela in occasione della Fashion Week. È cosi che, in maniera del tutto casuale, Lyn Slater è diventata famosa e ha deciso di inaugurare un blog che ha chiamato, appunto, Accidental

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In queste pagine, da sinistra: Tricia Cusden, youtuber, blogger e scrittrice inglese, promuove sui suoi canali online i tutorial di make-up per valorizzare la bellezza a ogni età; L’Oreal Paris sceglie di portare in passerella, durante la Fashion Week parigina dello scorso anno, l’attrice Helen Mirren che a 75 anni è il perfetto simbolo di selfempowerment; Jane Fonda, il cui spirito attivista è sempre vivissimo, è una dei protagonisti della nuova campagna pubblicitaria e del progetto sostenibile Gucci Off The Grid che vede l’utilizzo di materiali riciclati biologici e di fonti sostenibili.


MODA

Icon. Meno accidentale, ma sicuramente dal riscontro mondiale, è l’iconicità di Iris Apfel, 99 anni da poco compiuti e un’anima da vera adolescente. Alle spalle vanta una carriera come arredatrice della Casa Bianca, numerose collaborazioni con famose riviste di moda e d’interni, una mostra a lei dedicata dal Costume Institute e un documentario sulla sua vita. E a testimonianza che per le Perennials l’età non è di certo un limite, Iris Apfel gestisce autonomamente i suoi profili su Twitter, Facebook e Instagram, ha collaborato solo qualche anno fa a uno spot

automobilistico, nel 2011 ha ispirato una linea di make-up e ha da poco siglato un accordo con l’agenzia americana IMG Model per progetti futuri come testimonial e modella. Great female characters of the past are back, or maybe they have never truly disappeared, to set the trends in the fashion world; new over-60 figures approaching the digital universe with an increasingly unique style. Perennials, women whose charm seems to never get old, are the new stars of fashion shows and social media. The fashion brands

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compete to have them on runaways or as protagonists of their advertising campaigns: for example, Jane Fonda, more energetic than ever at 82, is actively committed on the front of climate change, taking part into demonstrations, on line protests and her new book What can I do? The truth on climate changes dedicated to her own experience as activist for environmental protection and is the ambassador of the new sustainable project Gucci Off The Grid, while a refined Maye Mask, over 70 years of age, came back to work as a model for Dolce&Gabbana.


L’ORAFO

ITALIANO

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MODA

Though Perennials are classified based on age, these women have in common an attitude that goes well beyond their date of birth and includes them, for style, soul and nature, among the most influential and recognised icons of this period, to the detriment of young TikTokers and influencers. They set trends, with Youtube channels with millions of views where they celebrate age and not anti-age (see Tricia Cusden, youtuber, blogger and writer) and through blogs giving space to their creativity. Being Perennial is not just a question of age or fame, but rather a “talent” that can be hidden in people doing the most common jobs in daily life; take for example an ordinary sixty-yearold teacher from New York whose passion for an original and truly personal fashion has attracted the curiosity of photographs while walking around the streets of the Big Apple

during the Fashion Week. This is how, in a fully accidental way, Lyn Slater has become famous and has decided to open a blog that she named precisely Accidental Icon. Less accidental, but surely with a worldwide success, is Iris Apfel’s iconicity. She has just turned 99 and has a true teenager soul. In the past she worked as an interior decorator for the White House; she can boast various collaborations with famous fashion and interior design magazines, a personal exhibition dedicated to her by The Costume Institute and a documentary filmed on her life. And as evidence of the fact that, to Perennials, age is in no way a limit, Iris Apfel personally manages her profiles on Twitter, Facebook and Instagram; a few years ago she collaborated to a car commercial, in 2011 she inspired a make-up line and has recently signed a contract with the American

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IMG Model agency for future projects as ambassador and model. In queste pagine, da sinistra in senso orario: Lyn Slater, creatrice del blog Accidental Icon; Maye Musk, a più di 70 anni, incanta le passerelle di Dolce&Gabbana (in foto), Philipp Plein e Christian Siriano; Iris Apfel posa per la campagna della collezione di make-up nata in collaborazione con MAC Cosmetics. La linea - in dettaglio nella pagina a fianco - rispecchia alla perfezione alcuni degli elementi che l’hanno da sempre contraddistinta: rossetto e smalto rosso e ombretto coloratissimo; la campagna #ComeAsYouAre_Rsvp firmata da Gucci per la Cruise 2020 è un inno alla festa senza etichette o classificazioni. Tra i protagonisti figura anche Benedetta Barzini (nella foto, a destra), giornalista, modella e icona di stile.



GRAND

TOUR / di Laura Inghirami

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

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MARCOGERBELLA / ANTONIOPALLADINO

PEOPLE & BRANDS


ITALIANO

MARCOGERBELLA

L’ORAFO

In alto: un momento della lavorazione all’interno del laboratorio di Ravenna; anello della collezione Piccole Gioie in oro e diamanti con cuori intrecciati. A destra: Laura Inghirami e Marco Gerbella.

Il laboratorio di Marco Gerbella si trova a Ravenna, città dei mosaici bizantini e sede di sepoltura di Dante Alighieri. La sua arte è apprezzata in città da una clientela amante dell’alta gioielleria più ricercata, quella gioielleria in grado di trasmettere emozioni anche attraverso un solo filo d’oro. Il percorso dell’artista inizia da lontano, da una passione per la navigazione che ha poi influenzato il suo modo di fare impresa. «Sono fortunato perché ho avuto in dono la curiosità e la passione che mi hanno accompagnato sin da piccolo quando, a scuola, osservavo i gioielli delle maestre e sognavo di poterli realizzare. Così a 14 anni ho iniziato a lavorare in una bottega dove ho imparato le basi dell’arte orafa. Crescendo ho lavorato per

aziende molto importanti come modellista, finché nel 1994 ho deciso di creare il mio personale laboratorio e, nel 2014, ho dato vita a Piccole Gioie». La linea di gioielli Piccole Gioie è dedicata a una clientela giovane per la quale Gerbella ha pensato a un piccolo cuore realizzato con un sottile filo d’oro. «Mi piacciono i giovani perché sono curiosi e capaci di emozionarsi. Piccole Gioie vuole trasmettere loro proprio quell’emozione che cercano». Tornando alla navigazione, e allo stretto legame che questa ha con il suo lavoro, Marco Gerbella ama pensare al proprio laboratorio come a una nave e ai collaboratori come a un equipaggio: «Non era pensabile per me affrontare il mare aperto senza un equipaggio di cui potermi fidare ciecamente e che condividesse con me l’idea di andare insieme verso l’altra sponda del mare. Alcune ragazze lavorano con me dall’inizio, altre si sono aggiunte col tempo al nostro team, poi c’è mio fratello che mi ha sempre sostenuto. Tutto ciò che abbiamo fatto e che facciamo non sarebbe possibile se non fossimo tutti assieme. Come in una barca a vela, anche in azienda tutti i ruoli sono fondamentali: io sto al timone perché so dove la barca deve andare, ma raggiungere l’obiettivo è possibile solo se ognuno contribuisce con il proprio ruolo». Marco Gerbella’s workshop is in Ravenna, the city of Byzantine mosaics and burial site of Dante Alighieri. His art is appreciated in town by a clientele which loves the best high quality jewellery, the jewellery is able to transmit emotion even through a single gold thread. The artist’s career began far away, from a passion for sailing which has

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influenced the way he does business. «I am lucky, because I have the gift of curiosity and passion, which have accompanied me ever since, as a child at school, I used to look at the jewels my teachers were wearing, and dreamt of making them myself. So, when I was 14, I started working in an atelier where I learned the basics of the jeweller’s art. As I grew up, I worked for very important companies as a designer, until in 1994, I decided to create my own atelier, and in 2014, I gave life to Piccole Gioie». The Piccole Gioie line of jewels is dedicated to a youthful clientele, for whom Gerbella has designed a small heart made using a thin gold thread. «I like young people because they are curious and capable of being moved. Piccole Gioie intends to transmit them the emotion they are seeking». Going back to sailing, and its close connection to his work, Marco Gerbella loves to think of his atelier as a ship, and those who work with him as a crew: «I could never have thought of facing the open sea without a crew I could blindly trust, and which shared with me the idea of voyaging together to the other side of the sea. Some girls have been working with me from the outset, others joined our team later, then there is my brother who has always supported me. Nothing we have done or are doing would have been possible, if we had not all stuck together. Like on a sailboat, in our company every role is fundamental: I am at the steering wheel because I know where the ship is sailing to, but the goal can be achieved only if all contribute in their different roles».


Born into a family of jewellers in Naples, Antonio Palladino then moved to Arezzo, the city of the skilled Etruscan master goldsmiths, where, together with his father, he began to create his first jewellery pieces. «I was only a boy, but I still remember the thrill of seeing people standing in a queue, waiting to come into our atelier to buy our jewels». His passion for jewellery then gave room to allow processing less precious metals, costing less, such as silver and bronze, which have equally managed to give lifeblood to creations reminiscent of the animal world. The octopus bracelet, for example, hugs a wrist like the real animal would do with its tentacles, fitting the hand perfectly. The crocodile necklace rests delicately on the neck, with a closure which sees the head bite the tail, the glance of the panther brings back all the royal nature of this animal, and

ANTONIOPALLADINO

Nato a Napoli da una famiglia di orafi, Antonio Palladino si è poi trasferito ad Arezzo, città degli abili maestri orafi etruschi dove, insieme al padre, ha iniziato a creare i suoi primi gioielli da banco. «Ero solo un ragazzo ma ricordo ancora l’emozione di vedere le persone in fila che aspettavano di entrare nel laboratorio per acquistare i nostri gioielli». La passione per la gioielleria ha poi lasciato spazio alla lavorazione di metalli meno preziosi e dai costi più contenuti, come l’argento e il bronzo, che sono riusciti ugualmente a dare linfa vitale a creazioni che richiamano il mondo animale. Il bracciale polpo, per esempio, abbraccia il polso come farebbe il vero animale con i tentacoli, adattandosi perfettamente alla mano. La collana coccodrillo si adagia delicatamente sul collo con una chiusura che vede la testa mordere la coda, lo sguardo della pantera restituisce tutta la regalità di questo animale e, infine, razze e meduse sembrano essere appena uscite dal mare. «Non esiste un animale che non sia bello ed è proprio questa la mia più grande passione: realizzare attraverso il metallo animali che sembrano vivere davvero!». Come un moderno Noè sulla sua arca, Antonio Palladino nel suo studio dedica tutta la sua attenzione e ore di lavoro alla realizzazione dei propri animali attraverso una lavorazione che definisce “luminosa” perché in grado di replicare l’effetto del pavé di diamanti anche senza l’utilizzo di pietre preziose. L’entusiasmo dell’artista è evidente in tutto ciò che crea, anche nei tantissimi quadri su cui riversa ogni ispirazione. «Ho centinaia di quadri, quando l’ispirazione chiama non posso che rispondere creando. Mi capita spesso di svegliarmi di notte con un’idea, un nuovo gioiello da realizzare. Allora mi chiudo nel mio studio e dipingo». Proprio da quello studio nascono poi pantere, cavalli, ragni, granchi che convivono in un unico universo come se fossero di una stessa specie, accomunati tutti dal movimento.

finally, rays and jellyfish seem to have just come out of the sea. «No animal exists that is not beautiful, and this is my greatest passion: using metal to make animals who seem truly alive!» Like a modern Noah on his ark, Antonio Palladino in his studio dedicates his full attention and hours of work to making his animals, through a kind of processing which he calls “luminous”, since it can replicate the effect of diamond pavé without even using precious stones. The enthusiasm of the artist appears clearly in everything he creates, also in the many paintings on which he casts every inspiration. «I have hundreds of paintings, when inspiration summons, I can only answer by creating. I often wake up at night with an idea, a new jewel to make. Then I lock myself up in my studio and paint». It is this kind of study which gives birth to panthers, horses, spiders, crabs, which live together in a single universe as if they were one species, all sharing movement.

Antonio Palladino e le sue creazioni realizzate con una speciale lavorazione in grado di ricreare l’effetto luminoso dei diamanti.

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L’ORAFO

GIOVANNICORVAJA

Durante i mesi più difficili del Covid-19, un lungo lockdown ci ha fisicamente divisi. Il Grand Tour tra le città italiane per incontrare le migliori eccellenze del gioiello Made In Italy ha subito quindi una momentanea interruzione. Per mantenere viva la libertà dell’arte l’appuntamento, fino ad allora organizzato in presenza, è diventato virtuale permettendo, attraverso dirette live su Instagram, il confronto e l’incontro anche durante una forzata separazione fisica.

Giovanni Corvaja Il primo appuntamento virtuale con il Grand Tour ha fatto tappa a Todi, all’interno di un edificio medievale che ospita il laboratorio del maestro orafo Giovanni Corvaja. Il racconto della sua storia inizia dall’infanzia vissuta a Padova spesso visitando i laboratori dei genitori che erano ricercatori e professori di chimica. Dopo il trasferimento a Londra per studiare al Royal College of Art, nel 1992 Giovanni Corvaja decide di tornare a Padova e aprire il proprio laboratorio. È lì dentro che inizia la magia, dalla fusione di un lingotto il cui metallo assume una vera e propria identità racchiusa in spessori piccolissimi. «I gioielli che creo racchiudono centinaia di chilometri di filo d’oro o di platino il cui spessore è sottilissimo, fino a 0.05 millimetri. Mi piace ricercare sempre il contrasto nei materiali in modo che la vastità e le dimensioni ridotte possano coesistere in un’unica realtà». Ne è un esempio il bracciale Cuff in cui il metallo è talmente allungato e sottile da ricreare al tatto la sensazione di una pelliccia. «Ho realizzato questo bracciale in 1250 ore di lavoro. È composto da più di un milione di fili in oro che, nel complesso, raggiungono una lunghezza di 68 chilometri».

ITALIANO

Cleto Munari Cleto Munari è un artista visionario che fin dagli esordi ha concepito il gioiello come un’opera d’arte indossabile, risultato di una ricerca avanguardistica delle forme e dei colori. Dopo un’adolescenza dedicata agli studi, ai cavalli e al biliardo, a quarant’anni ha sentito il desiderio di costruire qualcosa di proprio. «Ho iniziato ad avvicinarmi al mondo del design spinto dalla curiosità – ricorda lo stesso Munari – In quegli anni a Milano frequentavo Giò Ponti, Marco Zanuso, Ettore Sottsass, amici che poi sono diventati pietre miliari del design e dell’architettura. Ma è stato Carlo Scarpa a riconoscere in me il dono dell’equilibrio e della proporzione, a farmi capire che il design poteva diventare la mia strada». In quegli stessi anni è nata la passione per i gioielli: durante una visita al MoMA di New York un gruppo di visitatori si è avvicinato alla moglie perché incuriosito da un gioiello che indossava. Era un anello che Munari aveva realizzato per lei. «È così che ho iniziato ad appassionarmi al gioiello: per fare dei regali a mia moglie». L’individualità che lo ha sempre contraddistinto è anche il consiglio che l’artista si sente di dare ai giovani designer: «Non bisogna guardare a ciò che fanno gli altri ma seguire le proprie idee. Solo così ci si può affermare nell’arte. Non è un caso che io non visiti mai le fiere di settore e le mostre, non voglio farmi influenzare».

CLETOMUNARI During the most difficult months of Covid-19, a long lockdown divided us physically. The Grand Tour of Italian cities to meet the best Made In Italy jewellery products was temporarily suspended. To keep the freedom of art alive, the previously physical event has become virtual, using Instagram live streams to have conversations

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and meetings even while forced into isolation. Giovanni Corvaja The virtual Grand Tour made its first stop in Todi, inside a medieval building that houses the goldsmith’s workshop Giovanni Corvaja. He told his story starting from his childhood in Padua, when he used to go see his parents, who were researchers and chemistry professors, at work in their labs. After moving to London to study at the Royal College of Art, Giovanni Corvaja decided to return to Padua and open his own workshop in 1992. That is when the magic began: from a molten gold ingot, whose metal takes on a real identity enclosed in very low thickness. «My jewellery pieces contain hundreds of kilometres of very thin gold or platinum wire, down to 0.05 millimetres thick. I always like to seek contrasts in materials, so that vastness and small size can coexist in a single reality». An example is the Cuff bracelet, in which the metal is so elongated and thin that it feels like fur to the touch. «It took me 1250 hours of work to make this bracelet. It is made up of more than a million gold threads, reaching a total length of 68 kilometres». Cleto Munari Cleto Munari is a visionary artist who has always conceived jewellery as a wearable work of art, the result of avant-garde research in shapes and colours. After spending a long adolescence studying, riding horses and playing ball pool, at the age of forty he felt a desire to build something of his own. «I began to approach the world of design driven by curiosity - Munari recalled - In those years, in Milan, I used to hang out with Giò Ponti, Marco Zanuso and Ettore Sottsass, friends who then became milestones of design and architecture. But it was Carlo Scarpa who saw in me a gift of balance and proportion; he helped me realise that design could become my career». While visiting the MoMA in New York, a group of visitors approached his wife because they were intrigued by a piece of jewellery that she was wearing. It was a ring that Munari had created for her. «This is how I started to get passionate about jewellery: to get gifts for my wife». His unique, unmistakeable style is also the advice that the artist would give to young designers: «Don’t look at what others are doing, but follow your own ideas. This is the only way to make a name for yourself as an artist. It is no coincidence that I never go to trade shows and exhibitions; I don’t want to be influenced».


Gianni De Liguoro Gianni De Liguoro è nato a Milano nel 1938 e sin da adolescente ha dimostrato di avere una personalità estrosa e tenace. «A 15 anni i miei genitori, che avevano una sartoria, hanno deciso di farmi imparare il mestiere in un laboratorio artigianale – ricorda De Liguoro – A 19 anni ho poi lavorato come aiuto tagliatore in un’importante casa di moda dove non sempre venivo ascoltato, così ho deciso di spingermi oltre e di iniziare a studiare. Dopo il diploma ho conosciuto Valentino Garavani il cui perfezionismo mi ha ispirato e spinto a creare la mia attività». È nata così nel 1963 la De Liguoro, azienda di accessori e bijoux gestita insieme alla moglie Angela Locatelli. Tra le sue creazioni più famose si ricorda la spilla Topino, che la Perugina scelse nel 1963 come sorpresa per le uova pasquali, e il portachiavi Calimero, distribuito dentro i fustini di un detersivo. Il successo è decollato negli anni ’70 con lo showroom milanese Voi da Noi pensato per permettere a clienti e grossisti di scegliere autonomamente i bijoux selezionandoli dai cestelli. Era un’idea del tutto nuova per quegli anni che ha riscosso un enorme successo. Poi sono iniziate le collaborazioni con il mondo della moda e con il concorso Miss Italia, per il quale ha realizzato le corone dal 1984 al 1990. Oggi l’azienda continua grazie alla passione delle figlie Francesca e Cristina che portano avanti la storia di famiglia. Gianni De Benedittis È difficile che i gioielli dei film di Ferzan Ozpetek passino inosservati! Proprio quelli sono disegnati da Gianni De Benedittis: creazioni che seguono le sue personali visioni artistiche e mai le mode del momento. È nel cuore di Lecce che nascono i gioielli futuroRemoto, brand che De Benedittis ha fondato nel 2001 dopo aver vinto il concorso WHO’S ON NEXT? di Vogue e Altaroma. I suoi gioielli prendono

spunto da temi di attualità e invitano sempre a riflessioni personali. La linea Carnivorous, per esempio, nasce dall’idea che oggi viviamo tutti in una dimensione che ci porta a divorare qualsiasi cosa senza soffermarci a pensare. Dal profondo legame con la Puglia nascono, invece, altre sue creazioni. «L’anello Fotovoltaico è un gioiello di denuncia con il quale ho voluto testimoniare il momento in cui ho visto riempirsi il territorio salentino di pannelli solari che ne hanno, inevitabilmente, modificato l’aspetto». Della stessa linea sono anche i gioielli ispirati ai tamburelli salentini, gli anelli che richiamano i battenti dei portoni di Lecce e i ciondoli a forma di pumo. L’artista è attualmente impegnato a sostenere le nuove generazioni con il Futuro Remoto Award che aiuta economicamente i giovani talenti a entrare nel mondo della gioielleria. Gianni De Liguoro Gianni De Liguoro was born in Milan in 1938 and he has proved to be whimsical and determined since he was a teenager. «At 15 my parents, who had a tailor’s shop, decided to make me learn the craft in an artisan’s workshop - De Liguoro recalls – At 19, I worked as a cutting assistant in a major fashion house, where they would not always listen to my ideas, so I decided to take a step further and to start studying. After graduating, I met Valentino Garavani whose perfectionism inspired me and pushed me to set up my own business». So, he founded the De Liguoro accessories and fashion jewellery company in 1963, which he run together with his wife Angela Locatelli. His most famous creations include the Topino brooch, which the Perugina chocolate factory chose in 1963 as a surprise in their Easter eggs, and the Calimero key ring, distributed with laundry detergent bottles. The business took off in the 1970s with the Voi da Noi showroom in Milan, designed to allow customers and wholesalers to choose their

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own fashion jewellery by picking them from their baskets. It was an entirely new idea for those years and met with enormous success. The company then began to collaborate with the fashion industry and with the Miss Italia beauty pageant, making crowns from 1984 to 1990. The company continues to grow thanks to the passion of the founder’s daughters Francesca and Cristina, who carry on the family tradition. Gianni De Benedittis The jewellery seen in Ferzan Ozpetek’s films will never go unnoticed! And those jewellery pieces are designed by Gianni De Benedittis, following his own artistic visions rather than current fads and trends FuturoRemoto is the jewellery brand founded by De Benedittis in the city of Lecce 2001 after winning the WHO’S ON NEXT? contest organised by Vogue and Altaroma. His jewels are inspired by current topics and always aim to stimulate reflections. The Carnivorous line, for example, arose from the idea that today’s world brings us to devour anything without stopping to think. On the other hand, his other creations stem from his deep bond with the region of Apulia. «The Fotovoltaico ring is a piece of protest jewellery, evoking the moment when I first saw the Salento area filled with solar panels, which inevitably changed its landscape». The same range includes jewellery inspired by Salento tambourines, with rings evoking the typical door knockers of Lecce and pumoshaped pendants. The artist is committed to supporting new generations with the Futuro Remoto Award, providing financial support to young talents to help them enter the jewellery industry.

GIANNIDEBENEDITTIS

GIANNIDELIGUORO

PEOPLE & BRANDS


FLASH

GIOIELLI D’ARTISTA

/ di Antonella Garello

alle contaminazioni della gioielleria con le arti figurative - con tutto il loro bagaglio storico, culturale e sociale - sono nate nel corso del tempo creazioni innovative e iconiche, opera di brand internazionali, designer e artisti del gioiello. Questi rimandi tra presente e passato sono vivi e ben riconoscibili nella prima collezione di anelli e gemelli in argento brunito e bronzo, pensati per l’uomo ma perfetti anche per il gusto femminile, di CōDICEDS, brand nato dall’incontro professionale dei fondatori Leonardo Davighi e Filippo Sanpaolesi, accomunati dalla passione per il design, l’arte antica e contemporanea, l’archeologia e le tradizioni artigianali italiane. I gioielli CōDICEDS, “materici e imperfetti”, sono realizzati a mano e vengono venduti ciascuno abbinato a un set iniziale di otto diverse collezioni di pietre, facilmente sostituibili grazie a un meccanismo sotto domanda di brevetto. Originale anche il packaging, in feltro riciclato da bottiglie di plastica, cartone riciclato biodegradabile e cotone. I gioielli della piccola collezione Wearable Architectures di Eleonora Botta, fondatrice dello studio svizzero AnD - Arts and Design, si ispirano invece alle realizzazioni dei più

grandi maestri dell’architettura. Qui sopra è riprodotto l’anello in oro e smalto che rende omaggio al Rifugio del Pellegrino, un progetto tra i meno noti del celebre architetto Le Corbusier. Si tratta di un piccolo edificio ai piedi della Chapelle Notre Dame du Haut a Ronchamp (dal 2016 sito UNESCO Patrimonio dell’Umanità) che fu costruito da Le Corbusier per accogliere gli operai impegnati nella costruzione della cappella. La geometria e la palette dei colori del Rifugio sono riproposti in un anello che riesce a trasmettere tutta l’armonia del progetto di Le Corbusier. Over time, innovative and iconic creations have been accomplished by international, brands, jewel designers and artists, from the contaminations of jewellery and figurative arts, with all their historical, cultural and social background. These cross-references between present and past are alive and well recognisable in the first collection of rings and cuff links made of burnished silver and bronze, designed for men, though equally perfect for women’s taste, by CoDICEDS, the brand established from the professional meeting of founders Leonardo Davighi and Filippo Sanpaolesi, sharing the same passion

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for design, ancient and contemporary art, archaeology and Italian artisan traditions. CoDICEDS jewels, “materic and imperfect”, are handmade and each is sold together with an initial set of eight different collections of stones, easily replaceable thanks to a patent pending mechanism. Also the packaging is original, made in felt recycled from plastic bottles, biodegradable recycled cardboard and cotton. The jewels of the small Wearable Architectures collection by Eleonora Botta, founder of the Swiss agency AnD - Arts and Design, take, instead, their inspiration from the creations of the greatest masters of architecture. Above we can see the gold and enamel ring, homage to the Pilgrim’s Refuge, a project among the least known of famous architect Le Courbusier. It is a small building at the foot of Chapelle Notre Dame du Haut a Ronchamp (since 2016 UNESCO World Heritage site) built by Le Courbusier to welcome the workers involved in the building of the chapel. Both the geometry and the colour palette of the Refuge are reproposed in a ring able to communicate all the harmony of the project by Le Corbusier. In alto: anello C08 di CōDICEDS in argento brunito disponibile anche in bronzo - della collezione APE, ispirato a un anello frammentario romano di epoca imperiale. Sotto, il Rifugio del Pellegrino e l’anello di Eleonora Botta ispirato all’edificio.



PACKAGING

L’ORAFO

N

ITALIANO

AMORE A PRIMA

VISTA

/ di Antonella Garello

Mean Jeans, vinile, 2019. Spiega Paolo Proserpio: «Il gruppo americano Mean Jeans ha dedicato al locale di Bergamo Edonè due canzoni d’amore, una felice, una triste. L’amore brucia, sempre. Ho quindi studiato un packaging realizzato come una scatola di fiammiferi, con vinile ovviamente rosso».

Cosa la colpisce in un packaging? Direi la grafica, i materiali, l’innovazione strutturale, la diversità e anche l’attenzione al rispetto dell’ambiente - senza farne un’ossessione. ato a Milano nel 1977, a 12 anni Paolo Proserpio vede Ritorno al futuro, parte II e, come racconta lui stesso, resta folgorato dal protagonista Marty McFly che per recarsi a scuola si serve di un mezzo originale come lo skateboard: è così - ricorda - che inizia la sua passione per arte, musica e tavola, incoraggiata da una famiglia creativa e aperta. Dopo tre anni di Accademia di Architettura a Mendrisio, nel 2002 si diploma in Graphic Design presso l’Istituto Europeo di Design di Milano. Durante il triennio presso lo I.E.D. vive la prima importante esperienza nella moda, tre mesi presso l’ufficio grafico di Londra di Gucci, che all’epoca si avvaleva della direzione creativa di Tom Ford. Appena diplomato comincia a lavorare per Versace e da allora non ha mai smesso di collaborare con la maison. Da circa 8 anni è titolare di uno studio grafico focalizzato sulla progettazione grafica/art direction di prodotti che vengono soprattutto stampati: dall’immagine coordinata a gadgets, packaging, magliette e copertine di dischi. Versace, Pinbowl Skatepark, K7 Records, Paula Cademartori, Maggioni Type, Punk Rock Raduno e diversi gruppi della scena underground italiana e non sono i clienti principali dello studio.

Da sempre appassionato di serigrafia, base della produzione/cultura d.i.y. (do it yourself), ha partecipato a diversi corsi legati a questa disciplina presso la Saint Martins School of Art e East London Printmakers di Londra. Dal 2005 presso lo I.E.D. di Milano è responsabile dei corsi di Brand Design e Printmaking Techniques. Inoltre tiene presso la Domus Academy (Naba) due workshop all’anno sulla serigrafia per il master inglese. Probabilmente a causa di questa passione per la matericità e la stampa fino ad ora spiega - non ha mai creduto molto nei social network. Quanta attenzione merita il packaging di un prodotto? Il packaging è a volte più importante del prodotto stesso, proprio perché è la prima cosa che di un prodotto si incontra e si percepisce. Sono molto appassionato di musica e a volte io stesso compro packaging di dischi, anche di gruppi che non amo per niente, solo per il feticismo di avere un oggetto che trovo ben fatto, interessante e con tecniche di stampa particolari. Quindi è come se comprassi solo il packaging, visto che il suo contenuto non lo userò mai.

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Oggi, quali caratteristiche “deve” avere un packaging? Vorrei dire come prima cosa l’impatto ambientale, ma sono cosciente che, mentre per alcuni prodotti di largo consumo questo aspetto è davvero un must, per altri non lo è. Poi sicuramente deve avere un’identità forte grazie alla grafica e ai materiali utilizzati, una cura dei dettagli molto alta, ma deve anche “funzionare”, nel senso che tecnicamente deve proteggere, durare nel tempo, e deve anche poter essere prodotto facilmente, senza mettere “in croce” il fornitore. Gli stampatori sono miei alleati, non posso metterli troppo in difficoltà! Quale tipo di studio è alla base di un packaging di successo? La ricerca è fondamentale, e deve essere fatta non solo nel settore dell’oggetto richiesto dal cliente, bisogna anche avventurarsi in ambiti diversi, per avere delle contaminazioni. Lo studio è anche capire quali sono i trend… per evitarli! Non potrei mai dire a un cliente: «Ecco il pack, l’ho fatto così perché il trend è usare la carta verde acido». Il trend passa. Ma un grafico fa progettazione, non cloni. Il packaging, come tutti i progetti grafici, deve


PEOPLE & BRANDS

essere qualcosa di unico per quello specifico cliente, non può assolutamente seguire una tendenza, perché così come potrei seguire io quel trend lo potrebbero seguire tantissimi altri grafici. E quindi? Avremmo tutti prodotti uguali identici con la carta verde acido! Un packaging di successo è fatto, oltre che della parte di immagine, che comunica i valori indicati dal cliente, di una parte funzionale. Intendo sia strutturale che di costo. Si è dei bravi progettisti quando si riesce a rientrare nel costo e nei tempi richiesti dal cliente. In pratica, come procede? Prima di tutto ho bisogno di sapere cosa vuole comunicare il cliente e se ci sono dei “paletti” indispensabili: colori, formato o altro. Poi devo per forza sapere quanti pezzi ne vuole produrre, entro che tempi ne ha bisogno e quanto può spendere. Sulla base di questo mix, il progetto si avvia, sicuramente partendo dalla ricerca, guardando prima di tutto cosa fanno i vari competitor, per poi spostarsi in altri ambiti. Come si può coordinare il packaging al brand o al negozio? I brand hanno dei propri codici, colori, valori eccetera, quindi si parte da lì: con questo però non voglio dire che se il negozio è nero allora il sacchetto o la scatola deve essere nera. A volte si decide di cambiare proprio per avere un contrasto, a volte no, dipende sempre da come si vuol comunicare il prodotto. Come e quando va rinnovato il packaging aziendale? Esistono dei criteri? Il quando può dipendere da un problema tecnico, o da una necessità di immagine nuova, ma non esistono regole. Basta pensare a McDonalds: per quanto tempo è rimasto uguale a se stesso, immobile! Il mondo, soprattutto ora, cambia, le persone cambiano, bisogna essere bravi progettisti e capire se il brand per cui si lavora ha bisogno di un cambiamento oppure, al contrario, di una conferma. A volte i cambiamenti spaventano il cliente storico, routinario, a volte invece il cambiamento serve per avere una nuova vita grazie a una nuova identità, un po’ come quando si cambia la montatura degli occhiali o si tagliano i capelli. Ci sono attualmente tendenze particolari, in fatto di materiali, colori, forme? Sicuramente l’esigenza di “salvare il pianeta” sta diventando finalmente una tendenza comune, introducendo in diversi lavori carte e plastica riciclate, inchiostri ecologici e così via. A livello estetico noto questo trend di richiamare elementi vintage/retro e trasformarli in elementi moderni. Cosa pensa del packaging in gioielleria? Faccio una premessa, non ho mai fatto un pack di gioielli in senso stretto, ma considero

dei “gioielli” anche i dischi, le sedie, i fazzoletti, le olive e gli inviti per la sfilata: dico questo perché il loro involucro è il primo passo per far scaturire un’attrazione verso l’oggetto. Devo dire che il packaging del gioiello mi sembra sempre molto neutro, classico, minimale, serioso. Sarà che deve far risaltare l’oggetto prezioso che contiene. Però mi metto nei panni di una donna che ha 50 scatolette di pelle nera o bordeaux con logo oro… Non si annoia? Come fa a riconoscere solo dalla scatola cosa c’è dentro? oltre al piccolo e un po’ già visto logo oro sopra l’involucro in simil pelle che magari avvolge una scatola con l’interno scamosciato? Se io fossi un anello tenterei l’evasione dopo un giorno! Scherzi a parte, il contenitore del gioiello dovrebbe diventare esso stesso un gioiello, la scatola dovrebbe diventare un oggetto da tenere fuori dai cassetti per la sua bellezza. Con questo non voglio dire che un gioiello che ha come tema la giungla debba avere la scatola con una... giungla stampata! Bisogna invece tentare di fare un salto ancora più in alto, proporre un contenitore che faccia innamorare proprio perché oltre ai valori del brand ci sono elementi di sorpresa, misteriosi e culturali. Dove consiglia di prendere ispirazione per il packaging? Sicuramente come prima cosa consiglio di guardare cosa fanno i competitor. Ma la ricerca più interessante, come dicevo, è esplorare ambiti diversi, lontani, soprattutto ricercare nell’underground, nei marchi di moda microscopici che producono magari 10 scatole di scarpe fatte a mano, nei packaging dei dischi di gruppi musicali che probabilmente non passeranno mai in radio o in tv. In queste realtà underground, fatte di vera passione, pochi soldi e meravigliosa incoscienza, spesso nascono le idee migliori, proprio perché qui non c’è un meccanismo codificato di studio del marketing del trend, calcolo del budget, case study, focus su un target per avere un mark up top wow… Born in Milan in 1977, when he was 12, Paolo Proserpio sees Back to the Future, part II and, as he tells himself, he is struck by the protagonist, Marty McFly, that, to go to school, uses such an original means of transport as the skateboard: this is how, he remembers, his passion for art, music and board begins, encouraged by a creative and open family. After three years of Architecture Academy in Mendrisio, in 2002 he graduates in Graphic Design at the Istituto Europeo di Design (European Institute of Design) in Milan. During the three-year course at IED he lives his first important experience in the world of fashion, three months at Gucci graphics department in London, whose creative director at the time was Tom Ford. Once graduated, he starts working for Versace and, since then, he hasn’t stopped collaborating with the maison. For

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about 8 years he has been the owner of a graphic design studio focusing on the design of graphics/art direction of products that are mainly printed: from the image matching to gadgets to packaging, t-shirts and CD covers. Among the clients of the studio are to be mentioned Versace, Pinbowl Skatepark, K7 Records, Paula Cademartori, Maggioni Type, Punk Rock Raduno and various groups of the Italian and international underground scene. Paolo Proserpio has always been fond of serigraphy, at the basis of the diy (do it yourself) production/culture, and he attended various courses connected to such discipline at the Saint Martins School of Art and the East London Printmakers in London. He has been in charge of Brand Design and Printmaking Techniques courses at IED in Milan since 2005. He also holds two workshops a year on serigraphy for the English master at Domus Academy (Naba). Probably because of this passion for materic element and print, he explains, he has never believed much in social networks so far. How much attention is the packaging of a product worth? The packaging is sometimes more important than the product itself, just because it is the first thing of a product that we meet and perceive. I am very fond of music and I sometimes buy CD packagings, even of bands I don’t like at all, only for the fetishism of having an object that I consider well made, interesting and characterised by peculiar printing techniques. Then, it is as if I bought only the packaging, as I will never use its content. What are you impressed by in a packaging? I would say the graphics, the materials, the structural innovation, the diversity and also the attention paid to environment, without turning it into an obsession.


L’ORAFO

ITALIANO

eco-friendly inks and so on. On an aesthetic level I can clearly see a trend to evoke some vintage elements which are then turned into modern ones.

Today, which features should a packaging have? I would first mention the environmental impact, but I am aware that, while for some fast moving consumer goods this aspect is a must, others do not share this idea. Then, it must certainly show a strong identity thanks to the used graphics and materials, a very high attention paid to details, but also “work”, in the sense that it must technically protect, last over time, and, also, be easily manufactured, without putting pressure on the supplier. Printers are my allies, I cannot cause them too many difficulties! What kind of study is behind a successful packaging? Research is critical and must be performed not only in the sector of the object required by the client, we must also venture in different domains, to be contaminated. Studying means also being able to understand trends... in order to avoid them! I could never tell a client: “Here is the pack, I made it like that as the trend implies the use of acid green”. The trend passes. But a graphics designer does not create clones, but designs. The packaging, as in all graphics projects, must be something unique for that specific client and, in no case, can follow a trend, because just as I follow it, the same could be done by many other graphic designers. And then? We would have identical products with an acid green paper! A successful packaging includes, beside the part connected with the image communicating the value specified by the client, a functional element. I am talking about both structure and cost. You are a good designer when you manage to not exceed costs and to meet the deadlines set by the client. How do you practically work? First of all, I need to know what the customer

wants to communicate and if there are unavoidable “limits”: colour, shape or other. Then, I must know how many items they want to produce along with the deadline and the maximum cost. Based on such a mix, the project starts, certainly beginning from research, looking first of all at our competitors’ strategy to move, then, to other domains. How can you match the packaging with the brand or the store? Brands have their own codes, colours, values, etc., then you start from there: this does not mean that if a store is black then the paper bag or the box must be of the same colour. Sometimes we decide to change just to find a contrast, sometimes not, it always depends on how you want to communicate your product. How and when should the company packaging be renovated? Are there any criteria to comply with? The moment can depend on a technical problem or on the need to convey a new image, but no rules exist. Just think to McDonalds, to the time it has remained the same, still! The world, especially today, changes, people change, you must be a good designer and understand if the brand you are working for needs a change or, on the contrary, a confirmation. Sometimes changes scare the historical, routine customer, sometimes the change is needed to have a new life thanks to a new identity, a bit like when you change your glass frame or you have your hair cut. Can you evidence some current particular trends as for materials, colours and shapes? Certainly the need to save the planet is finally becoming a common trend, introducing, in various works, recycled papers and plastics,

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What do you think about packaging in jewellery? Let me start by making a premise, I have never made a jewel pack in the true sense of the word, but I consider “jewels” CDs, chairs, handkerchiefs, olives and invitations to a fashion show: I am telling you this because their packaging is the first step to arise attraction for the object. I must say that the packaging of jewels seems to me always very neutral, classic, minimal, grave, Maybe, it is because it must exalt the precious item it contains. But I put myself in the shoes of a woman with 50 black or burgundy leather boxes with a golden logo... doesn’t she get bored? How can she recognise only from the box what is inside? Beside the small and not original golden logo on the synthetic leather, maybe wrapping a box with suede inside? If I were a ring I would try to escape after a day! Joking aside, the container of a jewel should also become a jewel, the box should become an object to be kept out of the drawer for its beauty. I don’t mean that a jewel with a jungle theme must be put in a box with a... printed jungle! We should try, instead, to make a further leap, proposing a box to be fallen in love with just because, in addition to the values of the brand, it is characterised by surprising, mysterious and cultural elements. Where do you suggest taking the inspiration for the packaging? I certainly suggest that you should first look at your competitors’ move. However, the most interesting research, as I said, is to explore different and far domains, looking, in particular, for the underground, the very small fashion brands producing maybe 10 boxes of handmade shoes, in the packaging of CDs sold by bands that, probably, we will never hear on the radio or see on tv. In these underground realities, made of real passion, little money and a wonderful recklessness, the best ideas are often developed, just because here there is no codified mechanism of marketing study of trend, budget calculation, case study, focus on a target to have a top wow mark up...

Nella pagina precedente e in questa pagina: gli auguri di Versace per il Natale 2018. «L’holiday catalogue Versace 2018 che avevo realizzato - commenta Paolo Proserpio - giocava su linee geometriche, colori rosso/blu e il barocco. Per gli auguri di Natale ho pensato a un cubo scomponibile e ricomponibile che desse una continuità».


L A B G R O W N D IA M O N D S - I TA L IA N D E S I G N

www.xdiamond.com


INSIDE JEWELRY

FOREVER UNIQUE

OCTAHEDRON / di Ludovica Mereghetti

il QR Code contenente la storia e le origini della pietra e una riproduzione in resina della originale forma grezza del suo diamante: sarà come poter viaggiare nel tempo, tornare al momento della nascita della gemma e seguirne il percorso fino al presente.

L

Alberto Osimo, fondatore e CEO di Forever Unique. www.foreverunique.it

a storia di un diamante naturale è un viaggio che dura milioni di anni. Dalle viscere della terra, ogni diamante passa dalla miniera alla mano dell’artigiano fino a diventare il sogno di ogni donna. Lo sa bene il fondatore e CEO di Forever Unique, Alberto Osimo, che da sempre punta su un team di esperti per offrire al proprio cliente un servizio accurato ed efficiente. In Forever Unique il diamante è il protagonista indiscusso, certificato dai più accreditati istituti gemmologici internazionali, proposto sia in una veste classica e tradizionale sia con un look più contemporaneo, come nelle collezioni Lisa O. by Forever Unique che presentano lo spirito più giovane del brand. Per Forever Unique, tematiche quali tracciabilità e sostenibilità risultano imprescindibilmente legate al suo core business. L’impegno e l’interesse sempre vivi del brand riguardo a questi importanti argomenti, si riconfermano anche nel 2020 con l’adesione al Responsible Jewellery Council, impegnato nel rispetto dell’etica, dei diritti umani e dell’ambiente nella filiera dei preziosi e, soprattutto, con il nuovo progetto Octahedron. Quest’ultima iniziativa, per la prima volta in Italia, prevede una totale trasparenza nei confronti del cliente, che può accedere, mediante QR Code, alla storia del diamante che sta acquistando. Il progetto è stato reso possibile dalla collaborazione con Sarine, azienda con esperienza pluriennale nel mondo del diamante che, grazie all’avanzata tecnologia, permette di tracciare il viaggio di Octahedron. Al momento dell’acquisto, quindi, il cliente riceverà un certificato con

The story of a natural diamond is a trip lasting millions of years. From the depths of the earth, each diamond moves from the mine to the hand of a craftsman, becoming the dream of every woman. This is something the founder and CEO of Forever Unique, Alberto Osimo, who has always counted on a team of experts to provide customers with accurate and efficient service. In Forever Unique, the diamond is the undisputed key-player, certified by the most accredited international gemological institutions, proposed both in a classical and traditional look, and a more contemporary one, as in the Lisa O. collections by Forever Unique, which present the more youthful spirit of the brand. For Forever Unique, themes like traceability and sustainability are inseparable from its core business. The commitment and lively interest of the brand in these important topics has been confirmed again in 2020, when the business joined the Responsible Jewellery Council, committed to respect for ethics, human

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rights and the environment in the production chain of jewels, and especially with the new Octahedron project. The latter, for the first time in Italy, calls for total transparency towards the customer, who - using a QR Code - can see the whole history of the diamond she is purchasing. The project has been made possible thanks to collaboration with Sarine, a company with many years’ experience in the diamond business and which, thanks to advanced technology, makes it possible to trace the voyage of Octahedron. So, when the diamond is purchased, the customer receives a certificate with the QR Code containing the history and origins of the stone and a reproduction in resin of the original rough form of her diamond: it will be like time travel, going back to the moment the gem was born and following its path to the present.

Usa il QR Code e scopri come nasce una storia unica che dura per sempre.



L’ORAFO

ITALIANO

UNA VOCE

PER LA COMMUNITY

/ di Antonella Garello

Q

uesta volta per rendere conto di quello che è stato e ha rappresentato Voice - in assoluto la prima fiera orafa fisica post lockdown - bisogna andare oltre i numeri (comunque rispettabili: 370 espositori, 600 incontri di business matching di cui circa 200 realizzati online nelle Virtual Buyers Room grazie a tecnologie di ultima generazione, un calendario scandito da seminari e talk show con interventi di alto profilo, oltre 3 milioni e mezzo di visualizzazioni sui canali digital). Voice è stato prima di tutto un grande esperimento con gli occhi dell’intero mondo orafo puntati addosso e gli organizzatori di IEG - Italian Exhibition Group hanno dovuto trovare un inedito equilibrio tra dimensione fisica e digitale, tra sicurezza sanitaria e friendliness, tra la necessità di ripartire e le difficoltà economiche delle aziende. L’esperimento è largamente riuscito: gli standard di sicurezza sono stati rispettati senza il temuto “effetto ospedale”, il layout, semplice ma funzionale e nell’insieme gradevolissimo, è stato apprezzato così come è stata apprezzata la “democratizzazione” degli stand uguali

per tutti, che, per la soddisfazione di tanti espositori, ha posto sotto i riflettori il prodotto e non il brand. Sono mancati, inevitabilmente, i compratori più interessanti, dagli USA, dal Far East, dalla Russia e dai Paesi Arabi: ma le aziende che hanno partecipato a Voice lo hanno fatto senza grandi aspettative di business, piuttosto per la volontà di “esserci”, di mostrare che l’Italia era pronta a ripartire e, senza retorica, per l’orgoglio di appartenere a una comunità che da offrire al mondo ha un patrimonio immenso in termini di storia, cultura, imprenditorialità e know-how. «Proprio questo spirito di community è stata la nostra più grande soddisfazione - spiega Marco Carniello, Group Brand Director Jewellery & Fashion IEG - Ci siamo resi tutti conto che in momenti tanto drammatici affrontare insieme le difficoltà è cruciale. Siamo riusciti a coinvolgere aziende, buyer, enti e associazioni di categoria, facendo leva non solo su obiettivi commerciali, ma anche su valori più alti, ogni particolarismo è stato superato. Si è sentito il bisogno di far vedere al mondo intero che l’Italia era un Paese aperto, che stava ripartendo e producendo». Non deve essere stato facile convincere gli espositori, in una situazione tanto incerta. «Inizialmente abbiamo incontrato davvero

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In questa pagina: Marco Carniello, Group Brand Director Jewellery & Fashion IEG. Qui sopra: Admiral Legend 42 di Corum, con movimento automatico CO395, riserva di carica 42 ore. Cassa in acciaio trattamento PVD nero, cinturino in gomma vulcanizzata. Edizione limitata.


PEOPLE & BRANDS

In questa pagina, a sinistra: bracciale da donna di Unoaerre a grandi maglie in bronzo con bagno in oro giallo e finitura nera satinata con spruzzate di colore. A destra: anelli Polvere di Sogni Jolie di Pesavento in argento 925 nella colorazione oro rosa, con elemento centrale rivestito della Polvere di Sogni - micro-particelle ottenute, con la nanotecnologia, dalla lavorazione di materiali naturali minerali.

tanto scetticismo: molti dubitavano fosse un’idea saggia realizzare una fiera a settembre, in presenza anche se solo parzialmente, con quella montagna di interrogativi sulle misure di sicurezza, sulla presenza di buyer e dettaglianti, sugli stand tutti uguali, sulla funzionalità e l’efficacia degli incontri virtuali… Ma alla fine in tanti hanno compreso l’opportunità e hanno dato il proprio fondamentale contributo. E poi siamo riusciti a comunicare lo sforzo immenso che stavamo facendo e quanto stava rischiando IEG assumendosi la leadership mondiale in questo frangente: gli imprenditori hanno capito che IEG stava ragionando proprio come “uno di loro”, rischiando in proprio». Concretamente, tutti hanno apprezzato anche i costi di partecipazione contenuti e la durata ridotta della fiera… In questo senso come vede il prossimo futuro? Gold Italy è alle porte e alla fiera di Gennaio manca pochissimo. In tanti si chiedono se ripeterete la formula di Voice. «Gold Italy è un evento da ripensare. È vicino al Natale, legato storicamente ai compratori USA ma sempre più attento all’Asia e all’Est Europa - e questi operatori non potranno purtroppo essere fisicamente presenti. Quindi un’edizione tradizionale non sarebbe proponibile. Però Gold Italy rappresenta una finestra su tutto il distretto di Arezzo, il più grande d’Europa: non operare una riprogettazione sarebbe gravissimo per le aziende della zona. Anche in questo caso, bisogna “riaccendere le luci”, mostrare al mondo che Arezzo è tornata al lavoro. Stiamo pensando, d’accordo col Comune e le associazioni di categoria, a un evento fashion, a una vetrina B2B che coinvolga le aziende, con una presenza non convenzionale e d’impatto».

L’altra grande incognita è la fiera di Gennaio: non rischia di essere minata dall’assenza dei buyer stranieri? Voice ha puntato largamente sullo spirito di appartenenza, potrebbe non bastare per un’altra edizione. «Siamo in una fase di ascolto e condivisione con la community, è chiaro che l’evoluzione della fiera deve seguire le esigenze delle aziende. Per Voice la sperimentazione è stata inevitabile, siamo stati i primi e abbiamo dovuto muoverci guidati quasi esclusivamente dal sapere fare bene il nostro mestiere. Siamo riusciti a mettere a punto un modello che ha funzionato e che sicuramente sarà una buona base per il futuro. Quindi anche a Gennaio puntiamo ad avere il primo evento del 2021 dove presenza e digitale saranno ancora meglio armonizzati: quanto a format e durata della fiera, dipenderanno in larga misura dai visitatori italiani ed esteri. A questo proposito, va sottolineato che il governo, opportunamente sollecitato dalle associazioni nazionali di categoria, sta studiando a fondo tutte le possibilità di creare corridoi specifici atti a facilitare l’incoming dal resto del mondo, in tutta sicurezza. Un altro elemento di conforto è che i buyer stranieri presenti a Voice, principalmente da Austria, Germania e Ucraina, hanno apprezzato l’evento e hanno già dichiarato l’intenzione di tornare». C’erano molte perplessità sull’efficacia di tutto l’apparato digitale. Che feedback avete da parte delle aziende? «Gli spazi “virtuali” in generale hanno funzionato bene, penso in particolare alle Virtual Buyers Room, naturalmente con tutti i margini di miglioramento di qualsiasi esordio che, a sua volta, coinvolge attori che si cimentano su terreni innovativi. Organizzare Voice ci ha costretti da una parte a trovare

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soluzioni a problemi giganteschi, mai affrontati in passato, dall’altra ad accelerare tendenze e processi già in atto, tra cui sicuramente tutta la parte online. Quello che accadrà nel 2021 sarà frutto di questo bagaglio di esperienze e del dialogo aperto e costante con tutti i player del settore: inutile sottolineare che lo teniamo vivissimo». This time, to report what Voice was and what it represented (the very first post-lockdown physical jewellery show) we need to look beyond the numbers, which were however respectable: 370 exhibitors, 600 business matching meetings, of which about 200 were held online in Virtual Buyers Rooms using the latest technologies, plenty of seminars and talk shows with high-profile guests, over 3.5 million views on digital channels. Voice was first of all a big experiment, with the eyes of the entire jewellery industry on it; the organisers from IEG - Italian Exhibition Group had to find an unprecedented balance between physical and digital, health safety and friendliness, the need to restart and the economic strains of businesses. The experiment was largely successful: safety standards were met without creating a “hospital-like” setting; the layout, simple but functional and very pleasant overall, was widely appreciated, as was the democratic choice of providing the same booths for all, placing the products and not the brands in the spotlight, to the satisfaction of many exhibitors. Inevitably, the most interesting buyers from the USA, the Far East, Russia and Arab countries were not there; still, the


L’ORAFO

ITALIANO

A sinistra: pendente spilla in oro rosa, diamanti, zaffiri rosa e morganite della collezione Margherita di Damiani. Qui sopra: bracciale di Better Silver in argento 925 con pietre colorate.

a limited number of people; there were so many questions about safety measures, the presence of buyers and retailers, the use of identical booths for all, the functionality and effectiveness of virtual meetings… But, in the end, many understood the importance of this opportunity and made a vital contribution. We were also able to communicate the huge effort that we were making and how much IEG was risking by taking a global lead at this juncture; entrepreneurs realised that IEG was thinking just like “one of them”, and taking risking firsthand».

companies that joined Voice did so without great expectations, but rather out of a strong desire to “be there” and show that Italy was ready to restart, and out of their pride of belonging to a community with a huge wealth of history, culture, entrepreneurship and expertise to offer. «This community spirit was our greatest satisfaction – says Marco Carniello, Group Brand Director Jewellery & Fashion at IEG – We have all realised that, in dramatic moments, standing together is key. We were able to engage companies, buyers, organisations and trade associations, leveraging not only commercial objectives, but also higher values; all partiality has been overcome. The need was felt to show the whole world that Italy was an open country, that it was restarting and producing». It must not have been easy to get exhibitors to participate in such an uncertain situation. «We initially met with much skepticism: many doubted it was a good idea to have a physical trade show in September, albeit with

Practically speaking, everyone appreciated the lower participation costs and the shorter duration of the event. How do you see the near future in this sense? Gold Italy is approaching and the January show is very close too. Many wonder whether you will repeat the Voice model. «Gold Italy is an event that we should rethink. It is close to Christmas, historically linked to US buyers but increasingly attentive to Asia and Eastern Europe, and unfortunately these buyers will not be able to be physically there. Therefore, a traditional edition would not be feasible. However, Gold Italy is a window on the entire district of Arezzo, the largest in Europe: not redesigning the event would weigh heavily on local companies. Again, we need to “turn the spotlights back on” and show the world that Arezzo is back to work. We are working with the Municipality and with trade associations to develop a fashion event, a B2B showcase that involves companies with an unconventional and impactful presence». Another big unknown is the January show: isn’t it risking to be undermined by the absence of foreign buyers? Voice has been largely centred on a sense of belonging and it may not be enough for another event.

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«We are now listening and sharing ideas with the community; the evolution of the trade fair should clearly follow the needs of companies. For Voice, experimentation was inevitable; we were the first to do this and our attempts were almost exclusively guided by our ability to do our job well. We developed a model that worked and that will certainly serve as a good starting point for the future. We also aim to launch the first event of 2021 in January, harmonising physical and digital presence even better than we already did; the format and duration will largely depend on Italian and foreign visitors. In this regard, I would like to stress that the Italian government, urged by national trade associations, is making every effort to help create specific corridors and facilitate travel from the rest of the world, in complete safety. Another comforting element is that the foreign buyers who attended Voice – mainly from Austria, Germany and Ukraine – widely appreciated the event and have already expressed their intention to return». There were many doubts about the effectiveness of the entire digital system. What feedback did you receive from companies? «Digital spaces, like the Virtual Buyers Rooms, worked well, albeit with room for improvement as in everything that is tested for the first time. Organising Voice forced us on the one hand to find solutions to huge problems that we had never faced before; on the other, it has pushed us to accelerate trends and processes that were already underway, including digital technologies. What happens in 2021 will be the result of this wealth of experience and of a constant, open dialogue with industry players; it goes without saying that we are working to keep it more than alive».


Quando

vuoi essere prezioso come il Platino.

Platino: il metallo prezioso più raro, eterno e puro.

UNA NUOVISSIMA STORIA D’AMORE

Polello presenta la nuova linea in Platino, Oro Rosa e Diamanti. www.polello.com





INSIDE JEWELRY

ALTAGAMMA

I NUO VI SCENA RI / di Antonella Garello

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L’ORAFO

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CONSUMERS SEEK INSPIRATION FROM MULTIPLE SOURCES: ONLINE AND OFFLINE CHANNELS BOTH PLAY AN IMPORTANT ROLE Where did you first find inspiration for this purchase? CONSUMERS SEEK INSPIRATION FROM MULTIPLE SOURCES: ONLINE AND OFFLINE CHANNELS BOTH PLAY AN IMPORTANT ROLE 6% Other 5% 6% 6% 6% 6% 6% Where Offlinedid 49% Offline 49% Online 51% Online

Store windows Magazines & newspapers Word of mouth you first find inspiration Multi-brand store Other High-end department Store windows store Magazines & newspapers Word of mouth Multi-brand store Mono-brand High-end department store

7%

7%

8%

7%

for8% this purchase? 9% 19% 6% 7% 23% 8% 8%

21% 6% 7% 22% 7% 9%

19% 29%

28% 21%

23%

22% 10% 2% 28% 11% 10%

Other Mono-brand store TV commercial Generalist marketplace Digital comms incl. app

11% 6% 29% 10% 10%

Mono-brand website Other TV commercial Multi-brand website Generalist marketplace Digital comms incl. app Social media & influencers Mono-brand website

18% 11% 6% 18% 10% 10% 26% 18%

18% 10% 2% 17% 11%

5%

7%

9%

6%

7%

6% 18%

7%

7% 5% 26% 9% 6% 18% 30%

6% 6% 24% 7% 7%

26%

24%

8%

7% 30% 9% 10% 16% 8% 7% 19% 9% 10% 31% 16%

20%

20% 29%

10%

7% 29% 10% 10% 17% 10% 7% 20% 10%

9%

10%

7%

17% 5% 9% 23% 7% 10%

8% 8% 12%

29% 17%

19% 6% 8% 18% 8% 12% 29% 19%

23%

18%

13% 7% 29% 10% 11%

26% 29% 6% 11% 9% 26% 25% 6% 13% 11% 9% 12%

4% 6%

7%

19% 6% 4% 30% 7% 6% 19% 27% 30% 11%

6% 27% 10% 10% 18% 11% 6% 19% 10% 10% 26% 18%

20% 13% 7% 17% 10% 10% 10% 11% 31% 26% 18% 22% 17% 51% 20% 19% 17%Z All Gen. Younger Older Gen. X Baby Boomers 25% 20% 19% 18% 50% of True-Luxury Multi-brand consumers say will website 17% Millennial Millennial + Silver spend more time gathering information 13% 31% 31% online than before Covid-19 26% 26% 26% 22% Social media & influencers 12% Note: Other offline: physical mail, events presenting the product (e.g. fashion shows) and personal shopper or stylist. Other online: online mag, newspapers and blogs

8% 5% 10% 13%

10% 8%

8%

20% 8% 5% 18% 10% 13% 28% 20%

21% 6% 10% 19% 8% 8% 28% 21%

18% 11% 5% 28% 11% 10%

19% 11% 5% 28% 11% 10%

16% 11% 5% 19% 11% 10% 28% 16%

16% 11% 5% 19% 11% 10% 28% 16%

19%

19%

28%

28%

Source: Proprietary BCG-Altagamma True-Luxury Global Consumer All Insight Survey & Analysis inYounger two field moments: Pre-CovidGen. (Dec-Jan respondents in 10 Gen. Z Older X 2020; Baby12K+ Boomers 50% of True-Luxury consumers say will Source: BCG countries) & Post-Covid Knowledge (June & Analysis 2020; ~2000 in 10 countries)

66

Note: Other offline: physical mail, events presenting the product (e.g. fashion shows) and personal shopper or stylist. Other online: online mag, newspapers and blogs Source: Proprietary BCG-Altagamma True-Luxury Global Consumer Insight Survey & Analysis in two field moments: Pre-Covid (Dec-Jan 2020; 12K+ respondents in 10 Source: BCG Knowledge(June & Analysis countries) & Post-Covid 2020; ~2000 in 10 countries)

66

spend more time gathering information online than before Covid-19

uest’anno la settima edizione della TrueLuxury Global Consumer Insight, attesissima ricerca sul consumatore del lusso alto di gamma condotta da Boston Consulting Group in collaborazione con Altagamma, ha richiesto uno sviluppo in due momenti: pre-Covid (Gennaio 2020) e Post-Covid (Giugno 2020). L’Insight è il più completo studio sui consumatori True-Luxury: per quanto riguarda questa particolare edizione, sono state analizzate tutte le categorie del lusso personale (abbigliamento, accessori, gioielli, orologi, profumi e cosmetici…) ed esperienziale (alberghi, ristoranti, vino e liquori…), sulla base di un campione di oltre 12mila intervistati con una spesa media per beni di lusso di circa 39mila euro all’anno provenienti dai 10 principali Paesi per spesa di lusso: USA, Regno Unito, Italia, Francia, Germania, Brasile, Cina, Giappone, Corea del Sud e Russia, ai quali da quest’anno sono

Millennial

Millennial

stati aggiunti Emirati Arabi Uniti e Arabia Saudita. Pubblichiamo una sintesi dell’insight, che è stato presentato a fine Giugno 2020. Prima dell’emergenza Covid il mercato globale del lusso stava viaggiando su un trend positivo: il lusso personale prevedeva una crescita del +3,2% nel periodo 20202022, mentre per quanto riguarda il mercato del lusso esperienziale le previsioni erano ancora più positive (+5,8%). A Giugno, anche le previsioni più ottimistiche mostravano un calo dal -35% al -45% nel 2020 per il mercato del lusso globale. In particolare, per le vendite di beni personali di lusso si attende un calo tra il -25% e il -45% nel 2020, mentre le stime del lusso esperienziale sono ancora più negative, con un calo tra -40% e -60%. Il recupero - col ritorno all’acquisto dei beni di lusso da parte dei consumatori - dipenderà ovviamente dall’andamento della pandemia, dalla

50

+ Silver

gravità delle sue conseguenze sulla società e sull’economia e dalla disponibilità o meno di un vaccino. Di sicuro la crisi COVID-19 ha avuto un forte impatto sul mercato dell’alto di gamma: il 57% dei consumatori True-Luxury intervistati afferma che nel breve periodo non effettuerà acquisti e investimenti significativi, anche pianificati in precedenza, a causa dell’incertezza economica. L’approccio emotivo verso la ripresa è anch’esso cauto, con il 43% dei consumatori che pensa che, dopo la crisi, la ripartenza non sarà rapida. Unica eccezione i Cinesi: il 77% ritiene, al contrario, che la ripartenza sarà rapida. In questo scenario, alcune categorie soffriranno più di altre, anche a lungo termine. Per quanto riguarda il lusso esperienziale, il 40% dei consumatori di tutte le aree geografiche conferma, come nel periodo pre-pandemia, di spendere di più in


INSIDE JEWELRY

ONLINECHANNELS CHANNELS IS IS NOT NOT THE RETAIL, BUTBUT AN AN THE THE RISERISE OF OF ONLINE THEDEATH DEATHOFOF RETAIL, OPPORTUNITY FOR STORESTO TO EVOLVE EVOLVE OPPORTUNITY FOR STORES

Focus on experience

Focus onservice experience and and service

Consumers hope stores can provide brand experiences and Consumers hope stores cane.g. offer additional services experience flagship store,and provide brand experiences showrooms services and community offer additional e.g. events to build strong relationships with experience flagship store, the brand showrooms and community events

to build strong relationships ~60% of retail executiveswith believe the brand that the main mission of stores is to

"Hyper-localized"

Upgraded digital Upgraded digital experience

"Hyper-localized" assortment assortment

experience

As consumers increasingly shop close to home and expect As consumersand increasingly shop personalized local experiences, a hyper-localized close to home and expect assortment hasand become personalized local key for retailers experiences, a hyper-localized

assortment has stores become Hyper-localized offerkey for retailers consumers a personalized product assortment and increased

Hyper-localized stores offer convenience consumers a personalized product that the main mission of stores is to assortment and increased Source: BCG Knowledge Extract from BCG&Virtual Analysis Press Conference Industry in China after Covid-19 (June 11 2020) offer themed experiences and – Insights on Fashion & Luxury convenience fulfillment offer themed experiences and ~60% fulfillment of retail executives believe

th

Increase in digital touch points increases consumer expectations for Increase in digital retailers to provide bettertouch E2E points customer journeys, including in-store increases consumer expectations for innovations retailers to provide better E2E

customer journeys, including in-store

Use digital tools to innovate in-store innovations consumer journeys, eg. store displays, unlimited shelves, new Use digital tools to innovate shopping assistance services and in-store consumer journeys, eg. store CRM etc

displays, unlimited shelves, new shopping assistance services and 69 CRM etc

Source: Extract BCG Knowledge from BCG&Virtual Analysis Press Conference – Insights on Fashion & Luxury Industry in China after Covid-19 (June 11th 2020)

esperienze di lusso e meno nell’acquisto di beni. Tuttavia oggi sono più restii nei confronti di hotel, crociere e resort e sembrano intenzionati a orientare le proprie spese su categorie esperienziali più individuali e intime (trascorrere più tempo in casa o in incontri privati esclusivi come super yacht o ville o in esperienze di alta cucina). Per quanto riguarda il turismo di fascia alta, poi, l’Italia resta in cima alle mete preferite dai consumatori True-Luxury quando si tratta di destinazioni internazionali, tranne che presso il fondamentale target dei viaggiatori cinesi, che oggi le preferiscono Francia e Giappone. A causa dell’esplosione della pandemia da Covid-19 e delle limitazioni sui viaggi internazionali, ci si attende che i consumatori cinesi compiano in patria le loro spese di lusso. Il 73% dei consumatori cinesi conferma che nei prossimi 12 mesi farà in Cina almeno la metà della sua spesa annua per il lusso

che di solito faceva all’estero, mentre aspetteranno circa 8 mesi prima di recarsi all’estero per acquistare prodotti di lusso. I marchi dovrebbero quindi trasferire in Cina gli sforzi di marketing, PR e comunicazione per essere più vicini a dove si trovano i clienti. Per lo stesso motivo, dovrebbero rivedere in modo strategico i loro canali di distribuzione e pensare di penetrare il mercato cinese con un partner locale, soprattutto nell’ecommerce. Infine, ripensare i prezzi e l’offerta su misura per il mercato locale è un modo per incrementare le vendite locali. Tra i più duramente colpiti dalla crisi, Millennials e Generazione Z (il 50% dei giovani intervistati ha dichiarato che il proprio reddito si è ridotto a causa del coronavirus rispetto al 35% dei Baby Boomer e al 25% dei Silver), che al tempo stesso sono anche i più speranzosi sul futuro: Il 53% pensa che la ripresa sarà rapida rispetto a circa il 20% in

51

media per le generazioni più anziane. Con o senza crisi, queste fasce generazionali sono di particolare interesse, dato che il loro potere di acquisto crescerà nei prossimi anni e crescerà anche la loro capacità di influenzare le generazioni più anziane: saranno, insomma, il motore del consumo di lusso in futuro. Sono precursori delle tendenze esistenti, alcune delle quali potenziate da Covid-19 - come la preferenza per il clienteling personalizzato, l’acquisto online (soprattutto negli store muti-brand) e il formarsi di un’opinione attraverso social media e influencer. In assenza di contatti fisici e di prossimità, molti marchi si sono impegnati a mantenere una relazione con queste generazioni in modo creativo durante Covid-19 su social media emergenti come Bilibili (per i giovani cinesi) e TikTok. La ricerca ha evidenziato anche una decisa

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SUSTAINABILITY IS INFLUENCING CONSUMERS NOW MORE THAN EVER… Before Covid-19

Before Covid-19 After Covid-19

than half Does sustainability impact MORE THAN More I try to get informed SUSTAINABILITY IS INFLUENCING CONSUMERS NOW EVER… Say that sustainability is more Completely disagree Disagree

Indifferent

Completely disagree

whether the brand I buy is socially responsible

your purchasing behavior?

Before Covid-19

Before Covid-19

7%

6% 10%

15%

I try to get informed whether the brand I buy is socially responsible 28%

No

Does sustainability impact 39% 41% your purchasing behavior?

33% 6%

7%

Disagree

15%

Agree

33%

Indifferent

33%

Completely agree

12%

2013

10% 35% 45%

28%

56%

No

41%

39%

Yes

59%

61%

2018

2019

21%

2019 35%

likely to have an impact on their purchasing behavior than before

"I willAfter be Covid-19 much more attentive to the services offered by luxury brands. I will Say that sustainability is more also be attentive to the likely to have an impact on their aspects related purchasing behavior than to before packaging (less packaging in general, recyclable "I will be much more packaging, etc.)" attentive to the services offered by luxury brands. I will also be attentive to the the "I will check where aspects related to items/products are coming packaging packaging from, giving (less priority to locally in sourced general, products" recyclable packaging, etc.)"

More than half

61% (Dec-Jan 2020; 12K+ respondents in"I10will check where the Source: Proprietary BCG-Altagamma True-Luxury Global Consumer Insight Survey 59%in two field moments: Pre-Covid Yes & Analysis 33% Agree 45% Source: BCG Knowledge(June & Analysis countries) & Post-Covid 2020; ~2000 in 10 countries) 56% items/products are coming 44

Completely agree

12%

2013

from, giving priority to locally sourced products"

21%

2019

2018

2019

Source: Proprietary BCG-Altagamma True-Luxury Global Consumer Insight Survey & Analysis in two field moments: Pre-Covid (Dec-Jan 2020; 12K+ respondents in 10 Source: BCG Knowledge(June & Analysis countries) & Post-Covid 2020; ~2000 in 10 countries)

polarizzazione dei valori del lusso: per i consumatori cinesi aumenterà circa del 14% la preferenza per prodotti con forte riconoscibilità del brand, confermando una tendenza pre-COVID-19 che mostrava una preferenza per elementi di stravaganza e divertimento in opposizione ai valori più tradizionali (artigianalità, qualità ed estetica senza tempo), mentre gli occidentali la vedranno diminuire del ~9%, mostrando un maggiore apprezzamento per un lusso più discreto, per lo slow fashion e la qualità intrinseca al prodotto. Il consumo dei cinesi (che vale il 35% del mercato Luxury e che è tradizionalmente svolto in gran parte all’estero) si rivolgerà ora soprattutto al mercato interno. Questo dualismo tra “Sobrietà” in Occidente e “Appariscenza” in Cina rappresenta un dilemma per i marchi: quale via seguire?

Qualunque sia la direzione che prenderanno i marchi, è di fondamentale importanza che essi rimangano fedeli alla loro identità e alla loro tradizione. Sostenibilità: la sostenibilità sta influenzando i consumatori ora più che mai: il 50% degli intervistati True-Luxury afferma che sarà più probabile possa avere un impatto sul loro comportamento d’acquisto rispetto a prima della crisi. Durante l’emergenza Covid-19, i consumatori hanno prestato molta attenzione a come i marchi del lusso hanno contribuito alla società, apprezzando quelli che hanno donato denaro alla ricerca e/o alla comunità, hanno fatto i primi passi per proteggere i loro lavoratori e hanno riorientato le loro strutture per produrre materiale medico, e circa il 60% degli intervistati concorda sul fatto che queste azioni hanno avuto un impatto positivo sulla

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44

loro percezione di tali marchi. Circa il 20% afferma che in futuro potrebbe acquistare di più da loro. Inoltre i consumatori continuano a sentirsi coinvolti nelle cause legate all’ambiente come il cambiamento climatico e vedono con favore quei marchi che agiscono concretamente e in modo significativo nei confronti della società e dell’ambiente, ad esempio con pratiche di lavoro eque, rispetto dell’ambiente, strategie di sostenibilità che vadano oltre le iniziative più ovvie e dando un’accelerazione verso la trasparenza. La sostenibilità deve diventare parte della strategia aziendale complessiva e delle operazioni quotidiane all’interno e nella catena di fornitura, oltre che della digitalizzazione. Clienteling 2.0: significa garantire che la relazione sia alimentata senza soluzione


INSIDE JEWELRY

8 CONSUMER TRENDS SHAPING THE NEW LUXURY REALITY, WITH 5 ACCELER ATED BY THE COVID-19 CRISIS THAT ARE HERE TO STAY 8 CONSUMER TRENDS SHAPING THE NEW LUXURY REALITY, WITH 5 ACCELER ATED BY THE COVID-19 CRISIS THAT ARE HERE TO STAY Temporary trends, here today Accelerating trends, here to stay Experiential luxury & tourism: more secluded and short-hauled

Luxury values polarizing between West andhere China Accelerating trends, to stay

Experiential luxury & tourism: more secluded and short-hauled

Luxury Purposevalues at thepolarizing heart of between West360° and China Sustainability

Temporary trends, here today

Chinese: from global spenders to local consumers

Purpose at the heart of Next generation relationship Sustainability 360° driven by Clienteling 2.0

Chinese: from global spenders to local consumers

Next generation A new shopping relationship equation: driven by Clienteling&2.0 online acceleration in-store brand experience

Millennials take a hit, but are most hopeful for the future

A new shopping equation: New business models reshaping ownership: nd online acceleration in-store brand experience rise of 2 hand and & rental

Millennials take a hit, but are most hopeful for the future

12

New business models reshaping ownership: rise of 2nd hand and rental 12

di continuità sia in negozio che online, combinando le capacità umane e dei dati utilizzando strumenti avanzati (ad esempio, l’apprendimento automatico – machine learning). Il 46% degli intervistati afferma che in futuro apprezzerà di più un clienteling digitale personalizzato, soprattutto i consumatori cinesi (76%) e italiani (57%). I consumatori avranno un’alta aspettativa sul livello di servizio che riceveranno, aspettandosi il medesimo trattamento tra i canali digitali e quelli offline. Alcuni marchi, durante il lockdown, hanno già iniziato a sperimentare nuovi e personalizzati modi di interazione con i consumatori, per esempio introducendo servizi esclusivi di video shopping in diretta con personal shopper. Il passaggio ai canali online è stato accelerato dai recenti avvenimenti. Il 36%

dei consumatori True-Luxury dichiara che acquisterà più online che offline rispetto a prima, ma il 23% acquisterà comunque più su canali offline che online, portando a una polarizzazione dei risultati. Nel primo gruppo ci sono per lo più le giovani generazioni, così come i consumatori asiatici. Nel secondo, ci sono per lo più le generazioni più anziane - in particolare per le categorie dell’hard luxury come orologi e gioielli. L’ascesa dei canali online non segna quindi la morte del retail, che al contrario dovrà evolversi. Lo Store 2.0 avrà da oggi un aspetto molto diverso: si concentrerà sull’esperienza e sul servizio, avrà un assortimento “iperlocalizzato” e migliorerà la sua offerta digitale. Lo store monomarca giocherà un nuovo ruolo nell’attrarre i consumatori: ce ne saranno probabilmente di meno e saranno più coinvolgenti e più esperienziali, divenendo

53

un luogo di connessione e socialità. La crisi porterà cambiamenti strutturali nel comportamento e nelle preferenze dei consumatori del lusso. Nella nuova realtà, i consumatori acquisteranno meno, più localmente e in modo più selettivo, mentre la distribuzione si riorienterà verso il digitale e gli aspetti economici di ciascun canale di vendita. I cambiamenti strutturali includono una nuova forma di P&L per i marchi, la polarizzazione e il consolidamento dell’industria del lusso e l’accelerazione della digitalizzazione del business, sia verso il cliente che verso l’interno dell’azienda, con la nascita di una “organizzazione bionica”. English translation: see page 123


ITALIANO

DODO

L’ORAFO

LA GRANDE IMPRESA

/ di Antonella Garello

DEL COLIBRÌ

N

on solo Amazzonia e grandi foreste: ben il 50% dell’ossigeno che respiriamo è prodotto dagli oceani e la protezione di questi ambienti, delle barriere coralline e dei loro ecosistemi non è più procrastinabile. Da queste premesse è nata la partnership di DoDo - brand che fin dalla sua fondazione si è distinto per il supporto a una serie di progetti di sostenibilità ambientale e tra i primi in Italia a usare oro fairmined - e Tēnaka, ONG francese fondata dalla giovanissima AnneSophie Roux che sta ripristinando un ampio tratto di barriera corallina in Malesia. Terminati gli studi alla prestigiosa Sciences Po di Parigi, Anne-Sophie in pochi anni ha messo a punto una tecnica innovativa per il ripristino delle barriere coralline nel mondo, minacciate dai cambiamenti climatici, dal surriscaldamento delle acque e dal turismo di massa. DoDo ne ha abbracciato la causa e ha suggellato la partnership con un bracciale Granelli in edizione limitata, in plastica riciclata e rigenerata, argento e

targhetta in acciaio con un simbolico ramo di corallo smaltato: il gioiello - ora disponibile su dodo.it, nelle boutique DoDo e presso rivenditori selezionati - è andato esaurito in poche ore dal momento del suo lancio online, a dimostrazione di quanto il tema della salvaguardia dell’ambiente sia ormai prioritario e in quale misura sia sensibile a questa tematica l’intera community di DoDo. Il progetto di Tēnaka è poi particolarmente interessante perché unisce sinergicamente il mondo della scienza e della biologia, aziende partner sensibili alle questioni ambientali, comunità locali e realtà specializzate come la Revet di Pisa, che ha riciclato e rigenerato la plastica utilizzata per i granelli del bracciale. Del resto Tēnaka in lingua maori significa appunto “collaborare, lavorare insieme”. «Non possiamo rimanere indifferenti - ha sottolineato Sabina Belli, CEO di Pomellato e DoDo - davanti allo spettacolo del nostro pianeta in pericolo. Narra una fiaba che fu il piccolo colibrì a salvare la foresta in fiamme, perché senza perdersi d’animo non si diede alla fuga come gli altri animali ma cominciò a lasciar cadere gocce d’acqua sulle fiamme: spinti dal suo esempio anche gli altri abitanti del bosco, ben più grandi di lui, cominciarono a spruzzare acqua, riuscendo, tutti insieme, a domare l’incendio. Ecco, DoDo è veramente entusiasta di fare la propria parte e di collaborare a questo progetto». L’eco bracciale DoDo for Tēnaka si può mixare anche agli altri bracciali mini Granelli in argento, oro giallo, oro rosa, ceramica blu ed è integrabile anche con i ciondoli della collezione Sea Emotions, che vede protagonisti la Medusa, il Pesce e la

54

Tartaruga, nella versione in oro 18 carati e smalto o in oro 18 carati con pavé di diamanti e altre pietre naturali: tre preziosi animaletti marini realizzati artigianalmente con cui DoDo richiama l’attenzione sullo stato preoccupante dei mari e degli oceani, esortandoci a partecipare attivamente al cambiamento. Not only Amazonia and the big forests: as much as 50% of the oxygen we breathe is produced by oceans and the protection of such environments, of coral reefs and their ecosystems can be no longer deferred. These premises led to the partnership between DoDo - a brand that since its establishment has stood out for the support to a series of projects connected to environmental sustainability and is among the first in Italy to use fairmined gold - and Tēnaka, a French NGO founded by young Anne-Sophie Roux that is restoring a wide stretch of the coral reef in Malaysia. After concluding her studies at the prestigious Sciences Po in Paris, in a few years AnneSophie has implemented an innovative technique to restore the coral reefs in the world, threatened by climate changes, the overheating of water and mass tourism. DoDo embraced its cause and finalised the partnership with a Granelli bracelet in a limited edition, made of recycled and regenerated plastics, silver and a steel plate with a symbolic enamelled coral branch: the jewel, now available on dodo.it, in the DoDo boutiques and at selected retailers - was sold out in a few hours since its launch on line, showing how the topic of environmental


PEOPLE & BRANDS

protection is now a priority and evidencing the extent of the attention the whole DoDo community pays to such an issue. The Tēnaka project is then particularly interesting as it synergistically combines the worlds of science and biology, partner companies that are sensitive to environmental issues, local communities and such specialised realities as Revet from Pisa that recycled and regenerated the plastics used for the bracelet grains. After all, in the Maori language, the term Tēnaka means precisely “collaborate, work together”. «We cannot remain indifferent - Sabina Belli, Pomellato and DoDo CEO, underlined seeing our own planet in danger. A fairy tale tells that the small hummingbird saved the forest on fire because, without losing heart, it did not run away like all the other animals, but started to let some drops of water fall on the flames: inspired by its example, also the other inhabitants of the wood, far bigger than it, began to spray water and, together, they managed to put the fire out. Well, DoDo is truly enthusiast about doing its own share and collaborating to such a project». The eco-friendly bracelet DoDo for Tēnaka can be mixed with all other mini Granelli bracelets in silver, yellow, rose gold, blue ceramic and can be also integrated with the charms of the Sea Emotions collections whose protagonists are the Jellyfish, the Fish and the Turtle, in their 18 ct gold and enamel version or in 18 ct gold with a diamond pavé and other natural stones: three precious small sea animals, artisanally made, through which DoDo draws the attention on the worrying conditions of seas and oceans, urging us to actively take part to the change.

Pagina a fianco: collaboratori di Tēnaka lavorano alla creazione delle

“coral nursery” per ripristinare il tratto di barriera corallina malese su cui è al momento concentrata la ONG fondata dalla giovanissima Anne-Sophie Roux.

In questa pagina, dall’alto: la Tartaruga, la Medusa e il Pesce sono i protagonisti della collezione Sea Emotions di DoDo: oltre a questa versione in oro 18 carati

e smalto perlescente è disponibile anche quella in oro 18 carati con pavé di diamanti e altre pietre naturali. Sotto: il bracciale granelli Dodo

for Tēnaka, in plastica riciclata e rigenerata, argento e targhetta

in acciaio e smalto. In basso: Anne-Sophie Roux e, accanto, una fotografia delle acque malesi popolate da meravigliose creature marine.

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EMO LO G

1975

TE

LG

N A L I S T IT U IC

R NA T I ONA TE

The IGI seal is trusted and preferred by leading luxury brands and retailers across the world

IN

Introducing

The Online Verification Platform

The Complete Sales Experience • Customizable Content

• Downloadable Reports

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www.igi.org

• Educational Material


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ADV 2019: IL TRIONFO

D EI SENTIMENTI / di Vittorio Montieri

Amen

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L’ORAFO

ITALIANO

FIG.1

GRADIMENTO SPOT TV GIOIELLERIA - ANNO 2019 L I K E A B I L I T Y O F J E W E L L E RY T V C O M M E R C I A L S - Y E A R 2 0 1 9

VALUTAZIONE MEDIA AV E R AG E EVA LUAT I O N PANDORA AMEN BREIL STROILI NOMINATION MORELLATO SWAROVSKI BROSWAY MILUNA KIDULT G. RASPINI 1

1,5

PER NIENTE DISLIKE IT

2

2,5 POCO

DON’T LIKE IT MUCH

3

3,5

COSÌ COSÌ NOT BAD

L’

Giovanni Raspini

60

4 MOLTO LIKE IT

4,5

5

MOLTISSIMO LOVE IT

amore trionfa. Certo non sorprende per un prodotto come il gioiello, che esiste in quanto segno e pegno di affetto ancor prima che per le sue proprietà estetiche (il fattore status è invece decisamente in ribasso). Meraviglia un po’ però che la scelta degli inserzionisti orafi, e soprattutto la preferenza del pubblico nel nostro annuale sondaggio, sia caduta sulle sue manifestazioni più intense e stabili, non la cotta adolescenziale o il flirt disimpegnato e passeggero. Si parla di qualcosa di grande come l’amore paterno, abbastanza insolito come insight di categoria, e dell’amore di una vita, non quello immaginato sulle ali dell’entusiasmo di una relazione nascente ma quello retrospettivo, di cui si può ripercorrere la storia, che ancora continua, attraverso tanti flashback di coppia: sempre più una rarità, come una pietra preziosa. Il sentimento di un padre verso la figlia è alla base del racconto di Pandora. Un babbo incanutito e un po’ attempato s’imbosca tra i passeggeri di un aereo dove il giorno di Natale la figliola sta


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FIG.2

GRADIMENTO SPOT TV GIOIELLERIA - ANNO 2019 L I K E A B I L I T Y O F J E W E L L E RY T V C O M M E R C I A L S - Y E A R 2 0 1 9

DISTRIBUZIONE DEI GIUDIZI D I S T R I BU T I O N O F EVA LUAT I O N S PANDORA AMEN NOMINATION BREIL G. RASPINI STROILI SWAROVSKI BROSWAY MORELLATO MILUNA KIDULT 0%

10%

MOLTISSIMO LOVE IT

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MOLTO LIKE IT

prestando servizio come assistente di volo, così, quando lei passa tra i sedili… sorpresa! C’è quel mattacchione di papà che le allunga un pacchettino con un regalo in tema, un cuore di brillantini con due ali con inciso “spread your wings and fly”. Occhi lucidi. Pandora ha colpito il tallone d’Achille degli Italiani, il senso della famiglia, e ha fatto centro: è questo lo spot più apprezzato della stagione pre-Covid (Figg. 1 e 2). Non bastasse lo strapotere del marchio danese per la quantità di pubblicità trasmessa, vedi il numero dell’Orafo di Maggio-Giugno sugli investimenti pubblicitari del settore, adesso si mette pure a raccogliere consensi per la qualità dei contenuti e delle esecuzioni. Perché è vero che il soggetto conta, ma non basta. Anche Miluna nel 2019 è andata on air con un commercial sulla stessa falsariga – un padre che si arrovella perché non sa cosa regalare alla figlia che si laurea – ma non ha riscosso lo stesso gradimento. Di Amen è invece la love story di un bambino e una bambina che si conoscono a una recita, che

40%

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COSÌ COSÌ NOT BAD

60% POCO

DON’T LIKE IT MUCH

da ragazzi si fidanzano e vanno in vacanza col Billy, e che oggi che le rughe cominciano a segnare i loro volti si ritrovano ancora mano nella mano sotto l’albero di Natale. Pure qui mano ai fazzoletti dei telespettatori e piazza d’onore nella nostra graduatoria. Perfino quando la passione si declina nelle sue forme più sensuali, come nel caso del terzo classificato Breil, la sceneggiatura è volata alta alla ricerca di riferimenti eccelsi. Il brand milanese scomoda nientemeno che il libro della Genesi e il frutto proibito del Paradiso Terrestre, ossia quell’ambientazione primigenia della seduzione che nel tempo ha affascinato artisti come Dürer, Michelangelo, Raffaello, Tiziano, Rubens e la cui prima rivisitazione pubblicitaria risale al 1895, con un manifesto di Pal, uno dei maestri dell’affiche della Belle Époque, per l’azienda cosmetica Icilma. Dopo centoventicinque anni e decine di remake a sfondo commerciale, Breil ce ne restituisce la versione più glam possibile, spostando la location in un sontuoso interno metropolitano sulle note della hit Sex and

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70%

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PER NIENTE DISLIKE IT

Candy del gruppo rock alternativo Mercy Playground, reminiscente dei Nirvana. Nei panni di Eva, subito lasciati cadere sul pavimento, c’è una delle modelle più hot del momento, la caraibica Alicia Herbeth, mentre Adamo ha i lineamenti molto seventies di Justin Gossman, a sua volta frontman della band The Toy Guns. Il richiamo biblico in ogni caso non è gratuito, c’è il prodotto a fare da mediatore: il serpente dell’appartamento dell’Eden, “il più astuto di tutti gli animali della terra fatti dal Signore” che si avviluppa intorno all’avambraccio della donna, si trasfigura infatti a contatto con la pelle nel nuovo bracciale Snake Steel. Anche in termini di riconoscimento delle campagne sottoposte a blind test (cioè oscurando il nome e i segni distintivi del marchio), Pandora detta legge (Fig. 3), e non poteva essere altrimenti considerato il volume della pianificazione televisiva. Se si considerano però questi risultati in rapporto ai soldi spesi (Fig. 4), la musica cambia e ad aver capitalizzato in maniera


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FIG.3

RICONOSCIMENTO SPOT TV GIOIELLERIA - ANNO 2019 R E C O G N I T I O N O F J E W E L L E RY T V C O M M E R C I A L S - Y E A R 2 0 1 9

PANDORA BROSWAY BREIL NOMINATION SWAROVSKI MORELLATO AMEN STROILI G. RASPINI KIDULT MILUNA 0%

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RICONOSCIMENTO ESATTO

RICONOSCIMENTO ERRATO

VISTA NON RICONOSCIUTA

MAI VISTA

CORRECT ATTRIBUTION

90%

100%

WRONG ATTRIBUTION

SEEN NOT RECOGNIZED

più efficiente in termini di visibilità e ricordo l’investimento erogato sono piuttosto, oltre alle produzioni di Amen e Breil commentate precedentemente, il balletto “uno a te uno a me” di Nomination per il rilancio della collezione Composable, l’endorsement in un setting discotecaro della stella del pop Elodie per Brosway, e la tenebrosa amazzone di Giovanni Raspini sul destriero nero, pronipote mediatico di Tornado, il cavallo di Zorro, e di Furia cavallo del West. Nonostante quella per il debutto televisivo dell’argentiere aretino sia stata sicuramente la campagna più divisiva nelle opinioni del pubblico – scarsa nel punteggio medio ma al tempo stesso con una ragguardevole quota di top box, cioè di valutazioni al più alto livello della scala – a conti fatti è risultata comunque di buon impatto. Se poi però si guarda alle sole attribuzioni corrette degli spot mascherati, allora il filmato dall’identità più definita e inequivocabile risulta senza ombra di dubbio

80%

NEVER SEEN

“Naughty or Nice” di Swarovski, frainteso in un solo caso su trenta assegnazioni all’inserzionista esatto; sul fronte opposto il più alto indice di qui pro quo appartiene invece al papà della laureanda di Miluna, che per ogni risposta azzeccata è stato apparentato una quindicina di volte ad altre marche. Ad avvantaggiarsi di questi malintesi, anche se ciò può creare qualche confusione nell’immagine del brand, sono stati soprattutto Pandora, Stroili e Morellato, ma in numero inferiore anche Kidult e lo stesso Swarovski, oltre a firme che nel 2019 hanno trasmesso una più modica quantità di pubblicità televisiva come S’Agapõ o non ne hanno fatta del tutto come Pomellato oppure 2Jewels, e che hanno compensato l’assenza dal nostro test con qualche menzione fuori luogo. Nel gradimento delle pubblicità sui periodici il format espositivo ha invece prevalso su quello narrativo, com’è naturale aspettarsi

62

dall’istantaneità dell’immagine fissa rispetto a quella in movimento. Dopo una sfida all’ultimo voto risolta al fotofinish, Tiffany & Co. ha bissato il successo del 2018 precedendo di soli quattro centesimi di punto Morellato, che a sua volta ha chiuso avanti a Cartier di due (Fig. 5). Cambia la modella, stavolta la quarantaseienne statunitense Carolyn Murphy che nasconde un occhio dietro a una piccola Tiffany Blue Box®, contenitore che ormai vale quanto il contenuto, ma a primeggiare, per la quinta volta in nove anni, è sempre la maison newyorkese. Come il calcio, secondo il celebre aforisma del centravanti Gary Lineker, è un gioco in cui “ventidue uomini rincorrono un pallone e alla fine la Germania vince”, così il nostro test sulla pubblicità stampa è ormai diventato un gioco in cui ventidue marche, esattamente il numero dei brand del nostro ultimo sondaggio, rincorrono i gusti del lettore e alla fine Tiffany & Co. vince. A insidiarne il


INSIDE JEWELRY

FIG.4

INVESTIMENTO PUBBLICITARIO TV ANNO 2019 (€. 000) / RICORDO TV AD SPENDING YEAR 2019 (€. 000) / AD RECALL

14000 Pandora

12000 10000 8000 6000 Morellato

4000 Kidult

2000

Brosway Swarovski

Raspini

Nomination

Miluna

Stroili

0 0%

10%

20%

30%

Breil

Amen

40%

50%

60%

70%

RICORDO = RICONOSCIMENTO ESATTO + RICONOSCIMENTO ERRATO + VISTA NON RICONOSCIUTA RECALL = CORRECT ATTRIBUTION + WRONG ATTRIBUTION + SEEN NOT RECOGNIZED

predominio fino al filo di lana ci ha pensato la modella-instagrammer-youtuber andalusa Carmen Santacruz, più apprezzata nel generoso décolleté con cui si è presentata sui magazine, dove si è persino presa la rivincita su Tiffany & Co. per numero di “love it”, che nei quindici secondi del video, vestita solo di un asciugamano stretto al petto e lasciato cadere alla vista del gioiello Morellato donatole dal ganzo. Al terzo posto troviamo Cartier, con una pagina illusionistica che duplica i piani della rappresentazione in una sorta di trompe l’oeuil in cui il gioiello sembra aggettare dalla superficie grafica ed entrare tridimensionalmente nella realtà, confondendo il vero e il finto, l’originale e la riproduzione fotografica. Al terzo posto considerando solo le valutazioni più alte (Fig. 6) c’è invece Van Cleef & Arpels, già trionfatore in questa speciale graduatoria nella precedente rilevazione, con una graziosissima e perspicace analogia,

estetica e concettuale, tra l’organico e l’inorganico: tra il frutto, un ribes attaccato al ramo, e la pietra, un rubino incastonato in un anello, gemellati da una sorprendente corrispondenza cromatica e di forma. Di Tiffany & Co. è anche la migliore performance nel riconoscimento blind (Fig. 7), con un margine di errore infinitesimale, e nel rapporto tra il ricordo complessivo e l’investimento sul mezzo nel corso dell’anno (Fig. 8): all’ottima accoglienza del messaggio si somma quindi la sua efficacia mnemonica e l’ottimizzazione delle risorse economiche, un vero en-plein. Da questo punto di vista i nuovi gestori del marchio avranno tutto da perdere. Al contrario, tra le pubblicità più spesso scambiate per quelle di un concorrente spiccano Unoaerre – la cui storia merita onore e rispetto ma la cui prolungata latitanza pubblicitaria ne ha eroso l’heritage al punto che la sua bellissima ambassador kazaka col cappello a larghe falde ha finito

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col portare acqua al mulino dei vari Breil, Morellato e Brosway molto più che a quello della casa aretina – e Humilis, gioielli religiosi made in Assisi, ovviamente confusi con il campionario di Amen, che del trend sacro è stato il capostipite ma che nel frattempo si è alquanto secolarizzato e laicizzato. Il caso più clamoroso però è quello di Recarlo, la cui pubblicità è stata incredibilmente e inesorabilmente accreditata a Swarovski, in media una quindicina di volte più che alla stessa griffe valenzana. Le nostre nonne dicevano di non confondere l’oro con l’ottone, o con il ferro. Potremmo aggiornare il detto con il diamante e il cristallo. Nota: gli annunci selezionati appartengono alle marche che, secondo i dati Nielsen, nell’arco del 2019 hanno investito in spazi televisivi e sulla stampa periodica una quota rispettivamente superiore al 2% e all’1,5% del totale della categoria Gioielleria-Bigiotteria.


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ITALIANO

FIG.5

GRADIMENTO ANNUNCI STAMPA GIOIELLERIA - ANNO 2019 L I K E A B I L I T Y O F J E W E L L E RY P R I N T A D S - Y E A R 2 0 1 9

VALUTAZIONE MEDIA AV E R AG E EVA LUAT I O N TIFFANY & CO. MORELLATO CARTIER PANDORA BULGARI BOCCADAMO SWAROVSKI VAN CLEEF & ARPELS RUE DES MILLE UNOAERRE BIJOU BRIGITTE SODINI BROSWAY RECARLO CRIVELLI G. RASPINI AMEN BRONZALLURE POLELLO DAVITE & DELUCCHI GIANNOTTI HUMILIS 1

1,5

PER NIENTE DISLIKE IT

Intervistati:303 Sedi: Milano, Mantova, Padova e online Data: giugno 2020 Femmine: 74%; maschi: 26% 18-34 anni: 66%; oltre 34: 34%

Love triumphs. It is not surprising for a product like jewellery, which exists as a sign and a symbol of affection even before its aesthetic properties (while the status factor is definitely on the decline). It is a bit surprising, however, that the choices of jewellery advertisers, and above all the preference of the public in our annual survey, fell on its most intense and stable manifestations, not a teenage crush or a feeble, passing flirtation. The theme is as big as paternal love, quite unusual as a

2

2,5 POCO

DON’T LIKE IT MUCH

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3,5

COSÌ COSÌ NOT BAD

category insight, and of the love of a lifetime; not the kind of love you would imagine while riding the wave of enthusiasm for a newborn relationship, but retrospective love, of a long love story that still continues and can be retraced through many flashbacks. Increasingly rare, like a precious gemstone. Pandora’s story is based on the love of a father for his daughter. A grey-haired, elderly father sneaks into an airplane where his daughter is working as a flight attendant on Christmas day, and surprises her as she walks around the seats. Daddy hands her a small box with a themed gift: a diamond pavé heart with two wings engraved with “spread your wings and fly”. Tears in everyone’s eyes. Pandora tug at the heartstrings of Italians, their sense of family, and it hit the spot: this was the most appreciated ad in the pre-Covid season (see

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4 MOLTO LIKE IT

4,5

5

MOLTISSIMO LOVE IT

Figs. 1 and 2). If the overwhelming power of the Danish brand in the amount of advertising were not enough (see the May-June issue of L’Orafo Italiano about jewellery advertising investments), the company is now starting to gain momentum even for the quality of its content and campaigns. Because it is true that the subject matters, but it is not enough. Even Miluna went on air with a similar commercial in 2019 - a father who is worried because he does not know what to give to his daughter as a graduation gift - but it was not as successful. Amen broadcast the love story of a boy and a girl who meet at a school recital; as they grow up, they get engaged and they go on holiday on a Bulli van; even now that wrinkles begin to mark their faces, they still hold each other’s hands under their Christmas tree. Here too, the viewers reach


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FIG.6

GRADIMENTO ANNUNCI STAMPA GIOIELLERIA - ANNO 2019 L I K E A B I L I T Y O F J E W E L L E RY P R I N T A D S - Y E A R 2 0 1 9

DISTRIBUZIONE DEI GIUDIZI D I S T R I BU T I O N O F EVA LUAT I O N S MORELLATO TIFFANY & CO. VAN CLEEF & ARPELS BIJOU BRIGITTE CARTIER BULGARI PANDORA SWAROVSKI RUE DES MILLE SODINI G. RASPINI RECARLO BOCCADAMO CRIVELLI POLELLO UNOAERRE BRONZALLURE BROSWAY DAVITE & DELUCCHI AMEN GIANNOTTI HUMILIS 0%

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MOLTISSIMO LOVE IT

for their handkerchiefs and the ad gets a place of honour in our ranking. Even when passion is expressed in its more sensual forms - as did Breil, third place in the ranking - the script has been elevated in search of sublime references. The Milanese brand has inconvenienced nothing less than the book of Genesis and the forbidden fruit of the Earthly Paradise, a quintessential example of seductive environment that fascinated artists such as Dürer, Michelangelo, Raffaello, Tiziano, Rubens; it was used for an ad for the first back in 1895 with a poster by Pal, one of the masters of Belle Époque advertising, for skincare brand Icilma. After one hundred twenty-five years and dozens of commercial remakes, Breil has created the most glamorous version possible, moving the location to a sumptuous metropolitan

30% MOLTO LIKE IT

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COSÌ COSÌ NOT BAD

interior and using the hit song Sex and Candy by alternative rock group Mercy Playground, reminiscent of Nirvana, as background music. The role of Eve - wearing a dress that she instantly drops to the floor - is played by one of the hottest models of the moment, the Caribbean Alicia Herbeth, while Adam has the grungy 70s-style features of Justin Gossman, also the lead vocalist in a band called The Toy Guns. In any case, the biblical reference is not casual, as the product acts as a mediator: the snake in the Eden flat, “the most cunning animal that the Lord had made”, which wraps around the woman’s forearm, transforms into the new Snake Steel bracelet in contact with her skin. Also when it comes to brand recognisability of blind-tested campaigns (i.e. covering the underlying brand name and distinctive

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60% POCO

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features), Pandora ranks first (Fig. 3), and it could not be otherwise, given the volume of its television coverage. The scenario changes if we consider these results in relation to the money spent by each brand (Fig. 4): in addition to the previously mentioned productions by Amen and Breil, the ads that have made it possible to capitalise on brands’ investment more efficiently in terms of visibility and recall include the “one to you one to me” dance by Nomination to relaunch its Composable collection, Italian pop-star Elodie endorsing Brosway in a club setting, and Giovanni Raspini’s dark rider on a black steed, the digital heir of Zorro’s Tornado and wild horse Fury. Although the television debut campaign of the Arezzo-based silverware company was certainly the one that has split public opinion the most – poor in the

100%


L’ORAFO

ITALIANO

FIG.7

RICONOSCIMENTO ANNUNCI STAMPA GIOIELLERIA - ANNO 2019 R E C O G N I T I O N O F J E W E L L E RY P R I N T A D S - Y E A R 2 0 1 9

TIFFANY & CO. PANDORA BROSWAY BULGARI CARTIER SWAROVSKI MORELLATO VAN CLEEF & ARPELS RUE DES MILLE AMEN HUMILIS G. RASPINI BIJOU BRIGITTE POLELLO DAVITE & DELUCCHI RECARLO BOCCADAMO CRIVELLI GIANNOTTI SODINI UNOAERRE BRONZALLURE 0%

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average score, but with remarkable top box data, that is, evaluations at the highest level of the scale - it proved to have a good overall impact. But if you look only at the correct attributions of blind spots, the video ad with the most defined, unmistakable identity is undoubtedly “Naughty or Nice” by Swarovski, which was misunderstood only one time out of thirty right assignments to its advertiser. On the other hand, the highest number of misunderstanding goes to Miluna’s “father and graduating student”; for every successful answer, it was attributed to other brands about fifteen times. Although it may create some confusion in brand image, Pandora, Stroili and Morellato benefited from these misunderstandings, but even Kidult

80%

NEVER SEEN

and Swarovski to a lesser extent, in addition to brands that broadcast a more modest amount of TV advertising in 2019, such as S’Agapõ, or brands that did not invest in TV ads at all, like Pomellato or 2Jewels, which made up for their absence from our tests by being incorrectly mentioned a few times. As for the liking of magazine advertisements, the exhibition format prevailed over the narrative one, as is natural to expect from the instant impact of fixed images compared to moving ones. After fighting until the last vote was cast and winning the race at the photo finish line, Tiffany & Co. repeated the success achieved in 2018, preceding Morellato by only four hundredths of a point; in turn, the latter closed ahead of Cartier by two points

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(Fig. 5). The model changes - this time the 46-year-old American Carolyn Murphy who hides her eye behind a small Tiffany Blue Box®, a container that is now worth as much as its content - but the New York jewellery brand excels again for the fifth time in nine years. According to a famous aphorism by centre-forward Gary Lineker, football is a simple game: “twenty-two men chase a ball for 90 minutes and at the end, the Germans always win”. Similarly, our test on print advertising has now become a simple game: twenty-two brands, the number of brands in our latest survey, chase the tastes of readers and at the end Tiffany & Co. wins. However, Andalusian model-instagrameryoutuber Carmen Santacruz undermined


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I N V E S T I M E N T O P U B B L I C I TA R I O S TA M PA P E R I O D I C A ANNO 2019 (€. 000) / RICORDO M AG A Z I N E S A D S P E N D I N G Y E A R 2 0 1 9 ( € . 0 0 0 ) / A D R E C A L L 1000

G. Raspini

900

Boccadamo

800

Amen

700

Bulgari Crivelli

600

Swarovski

500

Van Cleef & Arpels D&D Bronzallure Morellato Sodini

400 300

Giannotti Bijou Brigitte

200

Rue des Mille

Humilis Polello

Recarlo

Cartier

Tiffany & Co.

Pandora Unoaerre Brosway

100 0 0%

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RICORDO = RICONOSCIMENTO ESATTO + RICONOSCIMENTO ERRATO + VISTA NON RICONOSCIUTA RECALL = CORRECT ATTRIBUTION + WRONG ATTRIBUTION + SEEN NOT RECOGNIZED

its dominance down to the last lap; more appreciated for the generous décolletage she flaunted on magazines, she even beat Tiffany & Co. for the number of “love it” received for her fifteen-second video; she appeared dressed in a towel held tight to her chest, which she dropped to the floor at the sight of the Morellato jewel that her beau gave to her. Cartier’s ad ranked third, with an optical illusion that duplicates visual plans: the jewellery seems to project from the page into a three-dimensional reality, blending real and artificial, the original and its photographic reproduction. If we consider the highest ratings only (Fig. 6), the third place goes to Van Cleef & Arpels, already a winner in this special ranking in the previous survey, with a very graceful, insightful aesthetic and conceptual analogy between the organic and the inorganic: between the fruit, a red currant attached to its branch, and the gemstone, a ruby set in a ring, united by a surprising resemblance in colour and shape.

Tiffany & Co. also came first in our blind brand recognition test (Fig. 7) with a minimum margin of error, as well as in the ratio between overall recall and medium investment during the year (Fig. 8): not only a powerful message, but also easy to remember and for a lower cost, to make a real full win. From this point of view, the new brand managers can only do less than that. On the other hand, Unoaerre’s productions were some of those most often mistaken for a competitor’s. The brand’s history deserves honour and respect, but its prolonged absence from the media eroded its heritage, to the point that their beautiful Kazakh ambassador with a wide-brimmed hat ended up bringing grist to the mill of Breil, Morellato and Brosway, rather than to the Arezzo company. The same goes for Humilis, an Assisi religious jewellery brand, clearly mistaken for Amen, which pioneered the sacred trend but has now been increasingly secularised. The most sensational case, however, is Recarlo, whose advertising has

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been incredibly and inexorably credited to Swarovski, on average fifteen times more than to the Valenza-based brand. Our grandmothers said we should not mistake brass, or iron, for gold. We could update the saying with diamond and crystal. Note: the selected ads are by brands that according to Nielsen data invested more than 2% and 1.5% of the total in the JewelleryCostume Jewellery category respectively in 2019 . Respondents: 303 Locations: Milan, Mantova, Padua and online Date: June 2020 Women: 74%; men: 26% 18-34 years: 66%; over 34: 34%


ITALIANO

J&G DIGITAL WORLD

L’ORAFO

R

DI GI T ALE E “ I NT ELLIG ENTE”

/ di Federica Guccini

LA GRANDE FIERA DI HONG KONG iconosciuta l’impossibilità, a causa delle restrizioni di viaggio, di allestire in presenza la fiera di Settembre, una fiera di enorme rilevanza per il comparto orafo, Jewellery & Gem World 2020 si presenta dal 27 al 29 ottobre prossimi in una versione interamente digitale, ribattezzata Jewellery & Gem Digital World - J&G Digital World. L’evento nasce dalla partnership d’eccezione tra Informa Markets Jewellery - organizzatore appunto della tradizionale fiera di gioielleria di settembre a Hong Kong, la più grande manifestazione al mondo B2B del settore orafo - e Atelier Technology, network londinese leader di mercato con uffici in tutto il mondo, specializzata nel design, sourcing e trading della filiera orafa, che vanta tra i propri utilizzatori giganti internazionali del settore

come Swarovski e Cho Tai Fook Jewellery. Nei tre giorni previsti, J&G Digital World sarà live 24/24, consentendo appuntamenti tra le aziende partecipanti e buyer da ogni angolo del mondo. Per questa edizione pilota la piattaforma sarà disponibile in inglese, ma i prossimi quattro appuntamenti digitali, già programmati per il 2021, potranno contare su un’interfaccia cinese e su una serie di ulteriori funzionalità e avanzamenti. Quello che fa la differenza rispetto ad altri eventi digitali sottolineano gli organizzatori - sono proprio le caratteristiche esclusive di interattività e gli efficaci servizi di matchmaking offerti da J&G Digital World attraverso wish list “intelligenti” e le diverse possibilità di “visitare” lo show. In pratica i buyer possono creare wish list con immagini di prodotto e specifici

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attributi di ricerca: la piattaforma andrà a identificare i produttori che avranno caricato nei loro show-room gioielli con quelle precise caratteristiche o con caratteristiche molto simili. Per ora questo sistema, basato sul machine learning, del tutto innovativo per il settore orafo, è limitato ai prodotti finiti. A loro volta le aziende produttrici potranno presentare un numero sostanzialmente illimitato di articoli nel proprio showroom virtuale e avranno inoltre a disposizione particolari “trend wall”, bacheche digitali dove mettere in risalto nuovi stili e tendenze in linea con la propria produzione e attirare i buyer. Un’innovativa modalità di presentazione sulla piattaforma di Atelier consente alle aziende di presentare elegantemente ai clienti i propri


INSIDE JEWELRY

modelli: una navigazione user-friendly e la flessibilità d’utilizzo consentiranno a tutti gli espositori sedute di business matching fluide e proficue. Inoltre gli espositori potranno facilmente monitorare e tracciare le attività del proprio booth, inclusa la profilazione di quanti hanno visualizzato la loro produzione. Completa il programma dell’evento un ricco calendario di webinar e talk tenuti da esperti del settore su temi di grande attualità per l’intero comparto, come l’innovazione, i trend e la formazione. Informa Markets conta di tornare a un’edizione fisica di Jewellery & Gem World l’anno prossimo e ha già fissato le date della manifestazione, in programma dal 17 al 21 Settembre 2021 all’AsiaWorld-Expo (AWE) e dal 19 al 23 Settembre 2021 all’Hong Kong Convention & Exhibition Centre (HKCEC). Since it will not be possible to hold the influential September fair physically due to travel restrictions, Jewellery & Gem WORLD Hong Kong 2020 will go virtual, with Jewellery & Gem Digital World (J&G Digital World), an entirely digital event, scheduled for October 27 to 29. The event is the brainchild of an exceptional partnership between Informa Markets Jewellery - organisers

among others of the largest B2B event in the jewellery industry in the world, held annually in September in Hong Kong - and Atelier Technology, a leading market network for design, sourcing and trading in the jewellery supply chain. Headquartered in London with offices around the globe, Atelier has among its users international giants such as Swarovski and Chow Tai Fook Jewellery. On the three scheduled days, J&G Digital World will be live 24/24, allowing companies and buyers from all over the world to meet together. For this pilot edition, the platform will be available in English, but in the following four digital events already scheduled for 2021, attendees can expect an additional Chinese interface as well as further enhancement in features and functionality. What makes a difference compared to other digital events - the organisers emphasise – is the effective matchmaking services J&G Digital World offers through its intelligent wishlists and walk-the-show features. Practically speaking, buyers can create wish lists with product images and specific attributes, and the platform will identify suppliers who have exact or most similar styles loaded to their showrooms. For the moment, this image-driven matching

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system based on machine learning, a first in the jewellery industry, is limited to finished products categories. In addition, suppliers will be able to present unlimited amount of product items in their virtual showrooms, and take advantage of the “trend wall” feature to highlight jewellery trends they have identified and created samples for, and drive buyers to their booth. A new presentation mode on the Atelier platform enables exhibitors to present sample lines elegantly in front of clients, with easy navigation and the flexibility to hold smooth and effective product meetings. Exhibitors can also easily monitor and track activities in their booth, including profile of buyers who have viewed their products. J&G Digital World will offer a rich programme of webinars and trade talks, with an impressive speaker lineup of industry experts speaking on a wide range of topics covering innovation, trends and education. The physical edition of Jewellery & Gem WORLD Hong Kong will resume next year, scheduled for September 17-21, 2021 at AsiaWorld-Expo (AWE) and from September 19-23, 2021 at Hong Kong Convention & Exhibition Centre (HKCEC).


ITALIANO

GEMMOLOGIA

L’ORAFO

FLUORESCENZA

DA BRUTTO ANATROCCOLO A BELLISSIMO CIGNO

N

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

on ci posso credere. Altro che l’evangelica trasformazione dell’acqua in vino o l’alchemica trasmutazione del piombo in oro! Il vostro pensiero corre alle mascherine che, indossate in tempi pre-virus non carnevaleschi, vi potevano costare una denuncia e ora al contrario, in tempi post-virus, magari una denuncia per non indossarla? Oppure al tele-lavoro o alla tele-didattica, prima così strenuamente osteggiate da segmenti del mondo produttivo e sindacale, ora osannate come il radioso sol dell’avvenir, ma sotto le mentite spoglie di “smart working” e “didattica da remoto”? Avete deragliato, amici. Qui abbiamo a che fare con il sempiterno dilemma riguardante la fluorescenza del diamante. Sentite qua. Riporto uno scritto del gennaio 2000 (duemila!) apparso su un semestrale gemmologico e lo raffronto a quanto asserito in un reportage del giugno 2020 su una rivista americana del settore. Notare, per cortesia, che negli intercorsi 20 anni, e sino a questo solstizio d’estate, nulla di nuovo è accaduto, sul “fronte fluorescenza”. Ben poche foglie si son mosse. Evidentemente, invalse il sempreverde motto “quieta non movere et mota quietare”, ovvero “non agitare ciò che è calmo, ma calma piuttosto ciò che è agitato”. Ecco, dunque - per rinfrescarvi la memoria sulla portata del problema sinora perdurante - lo scritto del 2000, riferito alla più comune reazione nel colore azzurro, per maggiore incisività riportato in formato didascalico di Domanda e Risposta: D. La fluorescenza ha un incontestabile effetto sull’aspetto d’un diamante ? R. No, eccetto che nelle rare pietre “overblues” (GIA, Gems&Gemology, Winter 1997). Tra parentesi: ma anche questo è da alcuni fieramente contestato. D. Analisti del diamante e gemmologi professionisti concordano nel giudicare gli effetti della fluorescenza? R. Alcuni ritengono che possa migliorare il colore “a tavola in su”, altri lo negano. D. C’è un criterio razionale, una motivazione economica, che sottenda l’affermazione, riportata anche dai listini prezzi e lettere finanziarie,

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del tipo “una fluorescenza media diminuisce il valore dal 2% al 10%; fluorescenze forti o molto forti diminuiscono il valore dal 10 al 25%, incidendo di più sui colori migliori”? R. Nessun criterio, nessuna motivazione. Nessuno sa perché, ma tutti accettano il fatto compiuto. D. È vero che per anni le pietre con forte fluorescenza azzurra, note fino al 1938 come pietre “blue-white”, venivano gratificate d’una somma aggiuntiva (premium)? R. Sì. D. E da quand’è che la fluorescenza è diventata la cattiva di turno? R. Durante l’ondata speculativa che s’abbatté sul diamante negli anni ’70. D. E perché ? R. Perché in quel periodo prese piede la vendita “su carta”. Si fecero strada negli operatori il dubbio e la preoccupazione che le pietre descritte come “fortemente azzurre” (con forte fluorescenza azzurra) fossero in realtà delle “overblues” (pietre paglierine con forte fluorescenza azzurra che conferisce loro un aspetto “oleoso”, “aniciato”, “lattiginoso”) e ciò portò a pratiche di sconto nei confronti di pietre d’elevato colore con forte fluorescenza azzurra. D. Altre cause a cui imputare…? R. Crisi di fiducia. Sempre in quel periodo, e sempre supponendo che la fluorescenza migliorasse il colore della pietra, gli operatori furono indotti a non prestar più fiducia al colore dichiarato, per quelle pietre. D. Altre ancora ? R. Sì. La Corea. La Corea era diventata, negli anni ’80, uno fra i primi mercati di consumo per i diamanti fluorescenti. Nel 1993 andò in onda, su una TV coreana, un servizio scandalistico che propalò l’idea che le pietre fluorescenti valessero notevolmente meno delle altre. E quella fu la fine dei diamanti fluorescenti, non solo in Corea ma in tutta l’Asia. La palla rimbalzò poi ineluttabilmente sulle piazze fornitrici europee e americane, con effetto domino. Eccoci qua.


INSIDE JEWELRY

D. La forte fluorescenza azzurra conferisce tout-court, al diamante, “oleosità”, “lattiginosità”? R. No. Unica eccezione: le pietre “overblues”, quelle con fluorescenza azzurra Molto Forte. E non tutte le pietre con fluorescenza Molto Forte sono delle “overblues”. E queste son molto rare. D. Le pietre fluorescenti son più pure delle altre? R. No, nel modo più assoluto. D. È vero che i diamanti non fluorescenti son più difficili da trovarsi dei fluorescenti ? R. Esattamente l’opposto. Ben il 60% delle pietre esibisce fluorescenza (qualcuno dice il 35%). Se le si riscontra più facilmente in commercio delle altre, è perché i commercianti non le vogliono. E se nessuno le vuole, allora le si trova più facilmente. E proprio perché le si trova più facilmente, allora nessuno le vuole. È come la storia del bambino e dei barattoli di marmellata, all’inverso. Anzi, visto che è così, è tutta una marmellata, alla faccia del raziocinio. E ora la versione anno 2020, post(?)virus. Tenetevi forte, perché con queste affermazioni/proposte si ribalta un mondo rimasto congelato da quasi mezzo secolo: • La vendita dei diamanti fluorescenti va incentivata e incoraggiata, poiché la fluorescenza è una caratteristica peculiare d’un mero 25-35% (solo? ndr) dei diamanti naturali (e quindi motivo di pregio, si suppone? ndr); • Nel passato, a tale caratteristica è stata erroneamente assegnata una connotazione talmente negativa da giustificare - prendendo a pretesto l’estremamente rara fluorescenza cosiddetta “lattiginosa” - penalizzanti ribassi di prezzo; • La fluorescenza, in realtà, oltre a rappresentare una valida caratteristica identificativa, può rivelarsi, per il diamante, un addendum in fatto di bellezza, influenzandone positivamente il colore sia in condizioni d’illuminazione artificiale che naturale. Dopotutto la causa

del fenomeno è da ricercarsi in alcune peculiarità (centri di colore) in ambito strutturale-cristallografico, com’è il caso, ad esempio, dei diamanti di colore fantasia; • La fluorescenza cela in sé grandi opportunità, nella vendita, e ne rappresenta il futuro. Che dire, raffrontando quest’ultima con la narrazione precedente? Mero opportunismo commerciale contingente, ovvero un auspicabile ritorno alla razionalità? Il brutto anatroccolo che si sta trasformando in bellissimo cigno, oppure il ributtante rospo che riprende le sembianze del principe azzurro caduto vittima d’un maleficio? A voi - al netto d’una certa terminologia finita in disuso e del fatto che nei colori da D ad I una fluorescenza forte/media dà l’impressione (l’impressione!) alla luce naturale d’un colore più elevato di quel che non sia nella realtà (sic), e di qui la penalizzazione praticata - esprimere un giudizio e far pendere la bilancia da una parte o dall’altra. English translation: see page 123

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www.orchideapreziosi.it

FINDINGS

Italian Manufacturer of Gold and Silver Findings


LOCKS

BEADS

EARRINGS

CNC and LASER

Orchidea Preziosi s.r.l. - via del Gavardello, 59 - 52100 Arezzo - Italy Tel. +39 0575 382566 - www.orchideapreziosi.it


Le nuove Beads 74

Jewelry design reimagined. Adesso disponibili con foro passante e mezzo foro, in moltissimi colori Cubic Zirconia, Nanogem e Avventurina. Apriamo un mondo di nuove possibilitĂ . info@aessepietre.it / info@eurogemme.it


IVI


VISION

Editor’s Letter

Chic & Stylish Con l’entusiasmo e il coraggio che le sono propri, la fashion jewellery si prepara alla prossima stagione tornando a stili e tendenze dei decenni passati, rivisitandoli con curiosità per interpretare le incertezze e le riflessioni dei nostri giorni. Non si potrà viaggiare fisicamente ma gioielli dal gusto etnico e capi coloratissimi rubati alle più diverse tradizioni continueranno a farci sognare le atmosfere e gli scenari di Paesi all’altro capo del mondo. Anche il punk vive una stagione entusiasmante, all’insegna di una nuovissima, aristocratica eleganza che attualizza accenti dark e volumi ostentati mixando senza porsi limiti stili e tendenze. Ampio spazio, infine, alla personalizzazione: bijoux con elementi intercambiabili, orecchini e piercing da accumulare ai lobi, accessori versatili ci aiuteranno a esprimere emozioni e stati d’animo, accompagnandoci nella “nuova normalità”. With its typical enthusiasm and courage, fashion jewellery is getting ready for the next season by reviving styles and trends from past decades, interestingly redesigned to reflect today’s uncertainties and thoughts. You may not be able to travel in person, but ethnic jewellery and colorful garments inspired by diverse traditions will continue to evoke the atmospheres and scenarios of distant countries around the world. Punk style is also experiencing an exciting new season under the banner of a brand-new aristocratic elegance, bringing back dark accents and showy volumes with a modern twist by mixing styles and trends without setting limits. Finally, there is also plenty of room for customisation: fashion jewellery pieces with interchangeable elements, earrings and piercings to stack on the lobes, versatile accessories will help us to express emotions and moods and will lead us into the “new normal”.

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S I LV E R J E W E L L E RY unoaerre.it


VISION

M A Met ASophie N di Antonella Garello

In dieci anni Maman et Sophie è passata da una produzione “casalinga” fatta di pochi articoli al giorno alla consolidata presenza in 250 gioiellerie, con un fatturato in crescita costante, grandi soddisfazioni, tra cui una collezione realizzata l’anno scorso per Tod’s, e una schiera di clienti fedeli e appassionate che seguono sui social ogni lancio e iniziativa dell’azienda, la quale da parte sua ha saputo tener vivo questo dialogo anche durante gli ultimi, difficili mesi. All’origine di questo successo è l’imprenditrice fiorentina Elisabetta Carletti, che appunto dieci anni fa ha abbandonato le certezze della carriera di avvocato per fare il proprio ingresso nel mondo orafo - di cui a priori non sapeva nulla - e che spiega di aver preso questa decisione semplicemente perché non riusciva a trovare i gioielli che aveva in mente lei. «È andata proprio così. Mi sono laureata a pieni voti in giurisprudenza, ho superato l’esame di stato e ho cominciato a lavorare in un grande studio legale. Insomma, un percorso lineare alle spalle e anche in prospettiva. Poi è nata la mia bambina, attesissima, e ho deciso di concedermi un anno sabbatico per occuparmi della piccola e godermi tutta la gioia della sua nascita. È stato allora che mi è venuto un gran desiderio di indossare piccoli gioielli, di portare sempre con me e condividere i simboli di quell’amore e di quella felicità che mi sentivo dentro. Avevo le idee molto chiare, avevo in mente una collana di stelle in cui non doveva vedersi la catenina, un cielo addosso, piccole luci! Il mercato non offriva questo tipo di gioielli, così li ho realizzati io. Ho trovato in internet il modello di stelle che stavo cercando e ho contattato l’azienda produttrice: pensi che è stato il titolare, Italo, a insegnarmi a usare le pinze. Mi disse: “Hai una buona mano. Ne ho visti tanti cominciare così... Qualcuno è diventato famoso”. Mi ha portato fortuna». Ma davvero non aveva nessuna confidenza con la gioielleria? «Davvero! Ho sempre preferito gli orologi, gli unici gioielli che mi piacevano erano i charm vittoriani amati da mia mamma. Però devo dire che sono sempre stata una persona molto creativa. Al tempo stesso, per me la creatività significa anche precisione e rigore. I miei collaboratori dicono che ho “l’occhiometro” incorporato, che riesco a vedere disarmonie invisibili agli altri e a correggerle per istinto. In questo sono maniacale: correggo e sistemo anche particolari millimetrici finché un pezzo non raggiunge l’armonia. Ho capito ora perchè ho sempre avuto il pallino della geometria!» Gli inizi non saranno stati facili. «All’inizio creavo gioielli solo per me, combinando elementi nuovi con i charm e i gioielli che possedevo. Una catenina con le stelle, una col nome della mia bambina, Elena Sofia… Erano gioielli piccoli, leggeri, che parlavano di un sentimento intimo, personale, non gridato: più che un nome, da lontano quelle letterine erano e volevano essere solo luce. Sono piaciuti subito a un giro sempre più largo di amiche e conoscenti, poi la svolta con una richiesta di pezzi da parte di Flow Store, un bellissimo negozio di abbigliamento di Firenze e a seguire altri negozi di ricerca e di tendenza. Quando le richieste sono giunte dalle gioiellerie, ho capito che era arrivato il momento di concentrarmi su questo canale di vendita e di dedicarmi a tempo pieno all’avventura di Maman et Sophie. Il primo a credere in me è stato mio marito: mi ha sempre riconosciuto la dote di

In questa pagina: girocollo della collezione Wehearth in filo di nylon con elementi in argento e argento placcato oro rosa e dettagli smaltati e glitterati. In basso: un ritratto dell’imprenditrice fiorentina Elisabetta Carletti, fondatrice e titolare di Maman et Sophie.

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I N T E RV I EW

essere costantemente un passo avanti, di saper anticipare le tendenze e nel 2012 ha lasciato l’azienda di famiglia per dare il suo contributo a Maman et Sophie. Purtroppo è mancato quest’inverno, lasciando in chi lo conosceva un vuoto immenso». Come nascono le collezioni Maman et Sophie? «Io sono sempre stata innamorata della vita, della bellezza, che è dappertutto ed è una fonte inesauribile di ispirazione. Ogni collezione è una storia a sé. La linea Animali, per esempio, viene dal mio amore per la natura e dal mio profondo rispetto per l’ambiente ed è frutto poi di una lunghissima ricerca iconografica. Damiano dei Maneskin mi ha invece ispirato per il cerotto: l’ho visto portarne due sul petto, formavano una X: mi ha folgorato l’idea di protezione implicita nel cerotto unita al simbolo potente della croce, che col suo sviluppo orizzontale e verticale esplicita il collegamento tra la terra e il cielo, mondo terreno e spirituale. Le Conchiglie vogliono essere anch’esse un inno alla vita, col loro guscio duro che può racchiudere una perla. Sembra una magia ma è proprio così: dietro ogni ostacolo si nasconde un’opportunità, dietro al buio, la luce. Dietro a ogni nostra collezione c’è una storia, un pensiero». State lavorando a nuovi progetti? «Se mi guardo indietro mi rendo conto quanto sia lungo il cammino percorso… L’anno scorso abbiamo anche realizzato la nostra prima linea in oro 18 carati. Adesso stiamo lavorando a una bellissima novità per l’inverno, è un progetto in cui credo molto, che vuole coniugare leggerezza, fil rouge della nostra storia, e riflessione, consapevolezza. Perché la vita va vissuta con leggerezza ma... consapevoli che le cose senza un’anima sono destinate a perire. Io mi faccio guidare dalla ricerca della verità e cosi cerco di contribuire alla bellezza e all’armonia di quanto ci sta attorno». La soddisfazione più grande? «Il pensiero di regalare agli altri un po’ di bellezza ma anche condividere un’esperienza di vita che mi porta lontano. Amore per il prossimo, amore per la vita e le cose belle. Tutto questo raggiunge i nostri meravigliosi clienti. Loro sentono! E poi il sostegno dei nostri rivenditori e l’affetto delle nostre clienti, che ci sono sempre stati vicini, anche nei momenti più difficili, e che ci riconoscono l’unicità, la voglia di non uniformarci mai: nonostante tutte le imitazioni che si vedono in giro!» English translation: see page 123

Qui sopra: Campagna SS 2020. A lato: orecchini a stella in argento 925 placcato oro rosa e smalti. A destra: l’iconico bracciale con cerotto in argento placcato oro rosa con smalto. Collezione Fluo.

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New Colors for Cubic Zirconia

Il taglio tondo ha raggiunto la sua perfezione. Solo per veri intenditori.


VISUAL

Multiple choice / di Domenico Festa

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VISION

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In apertura: orecchini e earcuff a fascia di Rue des Mille in argento placcato oro con dettagli in smalto maculato e zirconi. Pagina a fianco: orecchini di Barbara Biffoli in oro rosa 9 carati con rubini. In questa pagina: orecchini di Ania Haie in argento placcato oro con zirconi.

VISUAL

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Orecchini e piercing di Risefield in acciaio placcato oro.

VISION

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Photo by Paola Ledderucci

GIOIELLO COVID

www.barbaraabaterusso.com


TREND

ARISTO

di Simona Infantolino

PUNK

MARQUES ‘ ALMEIDA

AMEN

SACAI

CHANEL

86


I canoni stilistici del punk vengono reinterpretati sotto una nuova luce. L’eleganza aristocratica incontra catene, metalli bruniti, pelle e stampe animalier per un risultato da vera regina chic del dark

CHANEL

ANIYE

A L E X A N D E R WA N G

BY

BARBAR A BIFFOLI

GIANVITO ROSSI

BULGARI

BREIL

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VISION

INDIA19

ETHNIC

ETRO

MOOD

A L B E RTA F E R R E T T I

HOUSE OF TUHINA

88

di Simona Infantolino


TREND

L’estate sarà pur finita ma il richiamo alle terre lontane in cui il colore dell’oro predomina nel paesaggio non ha limiti di stagione. Il freddo si combatte con collant colorati sotto fluttuanti caftani, con poncho navajo e gioielli dal sapore etnico

AN

NA

SUI

ASHIS

H

ANTONIO MARRAS

SAT E L L I T E

VERSACE

SAINT LAURENT

DIOR

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orafoitaliano.it/vision

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Milano Jewelry Preview

MILANO JEWELRY

PREVIEW / ITALY milanojewelryweek.com @milanojewelryweek

Quarantine 2 by Asimi

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. Even in this hard period, Prodes Italia’s team didn’t stop promoting and spreading beauty and craftsmanship’s culture. They have chosen a new format, able to reach everyone. As the name itself suggests, in this special insert, you’ll see only a preview of what it will be exhibited in June 2021 but not only: a special selection of the excellence of jewelry, pieces created by artists and designers from all over the world. Established and emerging brands, young talents and well-known artists will show you a

small selection of what you’ll witness coming to Milan from 3 to 6 June 2021, during the Milano Jewelry Week. Milano Jewelry Week is indeed one of the top project of Prodes Italia, whose goal is to further strengthen the bond with the city of Milan through the involvement of various commercial activities throughout the city that will exhibit the creations of artists and galleries from all over the world within different thematic paths such as contemporary and artist jewelry, precious pieces and bijoux.

The entire event involves high jewelry ateliers, goldsmith workshops, academies, art galleries, contemporary jewelry artists, fashion boutiques and design showrooms, with plenty of events scattered all over the city of Milan. The 2021 edition will exceed the previous edition’s results that welcomed 40,000 visitors from all over the world who were able to admire the creations of 350 artists exhibited in over 60 locations. 116 events animated a calendar that was not limited


Milano Jewelry Preview

Photo from Milano Jewelry Week 2019 Next date: Milano 3-6 June 2021

Riccio di mare by Autofocus gioielli

to involving operators as it usually happens with the most traditional events in the field, but has allowed beauty and craftsmanship’s lovers to approach the fascinating world of jewelry. Collective and personal exhibitions, talent shows with academies from all over the world, international galleries, workshops, performances, temporary shops and awarding nights have shown multi-faceted interpretations of the history and techniques

of the goldsmith’s art, showing its timelessness and, therefore, its contemporaneity. While waiting for June 2021, you can flip through the following pages, where you’ll witness modern and traditional techniques, creativity and inspiration, fluidity and rigidity. All the pieces shown in this insert are very different from each other: precious metals such as gold and silver against leather, precious stones against ashes, lost wax against laser cut.

Floating Pearls 2.0 Collection by Df ARTelier

This Preview shows conceptual creations such as the 99 pieces made from the burning of an artist’s own diary, converted into beautiful flower, but also fairytales with the three rings representing three different characters with their own personality, an example of how an accessory can relate with the wearer, creating a special and unique bond between them. The artists’ creativity is unlimited and body creams can accompany silver pieces, made by the same jewelry artist. Wearing a jewel is a sacred ritual and as such skin must be nourished and prepared. Not only conceptual pieces but also sculptural and architectural artworks, where Domes and Cathedrals become wearable because jewelry can also tell different cultures’ stories, enhancing the universal value of understanding and equality. These creations teach us also, that not only gold and diamonds are precious but also natural inserts, waste materials and unusual shapes can make the piece unique, irreproducible and priceless. Engagement Ring by Atelier ALVES


Milano Jewelry Preview

CHARLOTTE

MONDE

/ ITALY charlotte.com @charlotte_monde

Séline choker

Charlotte necklaces and earrings are accompanied by royal jelly and silk protein face cream, which softens the skin and prevents the formation of wrinkles. The Séline choker recalls a treble clef and gives poetry and preciousness to the body that wears it.

Marta Siccardi is the jewelry designer and founder of the innovative jewelry brand Charlotte Monde. Graduated from the art school and from the IED in Turin, finalist in the Vicenzaoro 2016 competition “Functional Jewels”, she worked as a jewelry designer and graphic designer for Turin companies. In 2019 she launched her first line of silver jewelry designed by herself, accompanied by body creams. The original combination comes from the desire of enhancing the moment of preparation by nourishing and perfuming the skin to best accommodate the delicacy of silver. She chooses made in Italy, natural and eco-sustainable products and develops personal projects on commission.

Séline ring

The Séline collection is inspired by the refinement of the rose, interpreting it with soft and enveloping shapes. The adjustable ring in silver and antique pink glass stone is produced by expert Italian goldsmiths, it is handcrafted and is accompanied by nourishing and fragrant hand cream.

S èline earrings

Distinguished by their graceful and elegant features, the Séline earrings are decorated with glass crystals worked in antique pink and ice blue. The optical effect of the cabochon stones is called “chatoyancy” and gives three-dimensionality to the jewels.

Sèline hand cream

The hand cream, rich in Allantoin and Shea Butter, prepares the skin to accommodate rings and bracelets. It regulates the skin permeability barrier damaged by the daily

use of soaps and creates an atmosphere of comfort and tranquility thanks to its characteristic Indian Silk fragrance.


FORMEDARTE

VENETUCCI / ITALY formedartemilano.wordpress.com

Rosamaria Venetucci “formedarte” ranges between the different creative expressions and approaches the goldsmith field, where she has been a teacher for 17 years in two important Milan’s schools. Theater actress and visual merchandiser awarded several times nationally, she defines herself as a creative, artisan of metal, fascinated by geometric shapes, which she uses in her collections. The jewel blends into an elusive personality, it is lost in the play of shapes, the simple movement of the precious alternation of different materials. It is for her jewels, so important, born from her soul even before that in her mind, that Rosamaria writes poetry: her secret passion. Jewels with a name and a story to tell.

K eemin, Saar, Vladi

rings

A fairytale ring is the story of three brothers, three princes who for Love are transformed into a pinky ring, as an expression of desire. Love wins over everything; the artist wrote an illustrated fairy tale for them. The momentum of three important triangles in

925 silver support a stone, illuminated by white sapphires for the audacious Keemin with a 750 gold sphere. Transparent oxidane like water for the clumsy Saar. Fire red is the synthetic stone for Vladi, the young and judicious prince destined for the throne.

GIOIELLI

DONATI / ITALY gioiellidonati.it @gioielli_donati

The goldsmith workshop was founded in 1974 in Montebelluna (TV) in the heart of Veneto. The brand passionately guided by Donatella Pozzobon and her husband Livio Busato, is synonymous with

research and quality, combined with a skilful craftsmanship, the result of years of experimentation and training in the field, which has allowed both of them to refine their eyes and taste for beauty.

With their jewels, they participated in the “L’Oro di Venezia” Exhibitions at Libreria Marciana e il Museo Correr, and were ranked first in the competitions organized by G.I.E. Perles de Tahiti.

L - This ring is inspired by a glass candelabrum designed by Carlo Scarpa. With a click, the core and armour are closed by a handshaped slab embellished with gems. The jewel consists of three pieces and the upper part of the jewel can also be used as a pendant or bracelet with the addition of a pearl button.

Gondola 2 ring - pendant - bracelet

R - This piece is a homage to the fairy tales world but also to the first experiments of the 70s. Previously made of silver, Cenerentola 2.0 is a five-leaf clovermade of raw and hammered gold. The dome is embellished with diamonds to recall the magic of childhood.

Cenerentola ring


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ECH

JEWELRY / SPAIN elenachernyavskaya.com @echjewelry

Hoop screw disk earrings 90 mm with one removable fly, 18K yellow gold

ECH Jewelry is a new jewelry brand based in Barcelona, Spain. ECH Jewelry draws inspiration from the intersection of contemporary art and jewelry engineering, resulting in unique modular jewel craftworks. The ECH Jewelry Collection introduces a modular system, consisting of simple basic jewels that can be complemented with additional connecting pieces and decorative elements. Every piece can be worn as an independent jewel, or it can become the basis for a more complex and sophisticated configuration. The brand engages its clients in cocreation: inspiring them to invent new configurations, making clients become codesigners of their own jewelry pieces.

Three finger ring No. 1 with one removable cockroach and one fly, 18K

ECH Jewelry aims to create crafted pieces that, while changing, do not lose their relevance over time and can be adapted to every fashion style or special occasion.

ECH Jewelry is experimenting with the concepts of “beauty” and “ugliness”, going beyond the generally accepted norms. In the Collection No.1 the brand proposes an ironic aesthetic approach with bug-shaped gold pieces.

Two finger ring No.3 with two removable dead cockroaches, 18K black gold

Bracelet No. 615 with thirteen removable single flies and three double flies, 18K pink gold

ECH Jewelry, with its inherent rebelliousness, urges to go beyond stereotypes, to expand the boundaries of perception and to see the beauty of everyday life in simple and inconspicuous details.

The unique Jewelry screwing system allows the client to connect removable decorative pieces to the basic jewel, to modify and

change it according to the mood and style of the owner or adapt them to a specific outfit or occasion.


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DF

ARTELIER / SWITZERLAND dfartelier.com @dfartelier

Golden Ratio Collection ring

Interior & Jewelry Designer, Daniela Fischli leads Df ARTelier and the FIP Studio Fischli office. She graduated in interior architecture, but her passion for jewelry has never left her, pushing her to attend the Scuola Orafa Ambrosiana in Milan. Jewelry is like a miniature architectural project: as in architecture, where one project is never the same, no customer will ever wear the same jewel, but their own version of her design. She creates unique pieces with simple lines with an eye-catching part, a detail that attracts attention. She enhances the uniqueness and beauty of small imperfections, as in stones and pearls.

The fil rouge of the collection is represented by the symbol of the star, which has always been a divine guide for man. Symbol of light and positive energy, by associating it with a second symbol, the lion, it becomes a powerful lucky charm. The hammered bracelet is made of gold plated 925 silver.

The lines of the collection follow the criteria of the golden section, a proportional ratio used in architecture since ancient times. The big ring is made of gold-plated 925 silver, with Kyanite cabochons. The base of the ring, with a satin finish, is adjustable.

The circular lines and the hammered finish resemble the image of the “Gong”, suspended and played in the East since ancient times to ward off negative energies. The bold necklace

Believe Collection bangle

Gong Collection necklace

Floating Pearls 2.0 Collection earrings

is made of gold-plated 925 silver, with Kyanite cabochons. The chain emphasizes the slender shape of the wearer.

The collection plays on the contrast between clean and geometric lines, and soft and irregular lines. The particularity of the pearls lies in their naturalness, there is no one identical to the other. The earrings are made of gold-plated 925 silver, with a salmon pink “suspended” pearl.


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FADI

RASLAN

/ ITALY ellius.com @elliusjewelry

Amore e Psiche Charm neckalace

The Amore e Psiche charm necklace that portrays this famous sculpture is made by goldsmith artisans in hypoallergenic 925 silver. A story that has inspired painters, sculptors, poets and writers and one of the few in the classical Greek tradition to be crowned with a happy ending, according to Apuleius

Fadi Raslan is a cosmopolitan designer and entrepreneur, passionate about history in all its forms and a lover of quality artisan jewelry; he is the creator of the Ellius Jewelry brand. His goal is to tell the story of humanity, between past and future: the jewel linked to different cultures can enhance the universal value of understanding and equality. Ellius draws inspiration from historical periods and from the architecture of our cities that have made the world as we know it, reproduced in his many collections. Ellius jewels are handcrafted by skilled craftsmen, rich in details, unique and fascinating: Wear History, “History is a Love Story”.

Cupola Santa Maria della Sanità | Napoli necklace

Inspired by the beautiful dome of the basilica of Santa Maria della Sanità in Naples, covered with yellow and green eighteenth-century majolica, this handcrafted necklace is unique and original. The perfect jewel for those who love history, art and culture: wear an Ellius jewel.

Cupola Santa Maria del Fiore | Firenze ring

A unique symbol, a meticulous reproduction of Santa Maria del Fiore, Florence Cathedral, recreated in an exclusive jewel. One of the Italian architectural wonders, the third largest church in Europe. Wear the majesty, elegance and originality of this Ellius ring.

Rosone Grande Santa Croce | Lecce necklace

The large Romanesque-inspired rose window of the beautiful Santa Croce basilica in Lecce inspires this necklace by Ellius. The pendant,

rich in details, reproduces the elegant game of bay leaves and berries of the original.


ERIKA

REJKA

/ HUNGARY behance.net/rejka @rejkaerika

Erika is a porcelain designer. Ceramic art has traditional boundaries because of the material’s role in everyday life. When people think about ceramic/ porcelain, they usually think about well-known representative forms and common tactile impression. As an artist, she plays with the gap between the traditions and innovations. She usually works with, and sometimes against, these concepts, like: tradition, innovation, fragility, flexibility, timeless, temporary, worthless, valuable, quality, quantity, glazed and unglazed porcelain, high quality, mass quality, etc. Her aim is to make people rethink these preconception, and meet with the porcelain material in a new way.

FLUX I brooch

FLUX II ring

With the new experiences with jewelry, as a porcelain artist, she had to examine her own knowledge, and her preconceptions too. She had to learn again about quality, value and beauty. Her piece shows the relationship between previous and new experiences and how they could complete each other.

Combining different materials in an unusual way could show new sides of the materials themselves. During the casting process, aluminium was poured straight onto the porcelain. You can see on the details how they fought with each other, but at the end they connected, and completed each other into an exact form again.

VIRGINIA

SEQUEIRO / SPAIN @virginiasequeiro

Born in the southeast of Spain, she attended University in Galicia. She started studying Engineering in Industrial Design. However, soon after she realized the serial and mechanical creation made no sense to her anymore,

she dropped out before finishing. She attended different studies such as Graphic Design, Web Design and others. However, her world changed when she discovered Jewelry Design, which brought her so much joy that she felt she had finally found a space to create freely. Eventually, she obtained

a Certificate of Higher Education in Artistic Jewelry. Virginia is passionate about designing. She enjoys the stage of creation, finding beauty in different shapes and using various materials that support her in expressing herself.

L - Dimension 70×20mm. A unique hoop earring is used as a fastening element for the brooch. It comes in a glossy finish to make it stand out. The brooch was created using a deepdrawn triaxial braid, the sole holding bracket of which is a welded silver band, resulting in a sturdy self-supporting bowl.

Mutsume brooch - hair pin

R - Dimensions 70×20mm. The bracelet comprises two silver bands and several threads that depend on the interweaving arrangement of the brooch. Both pieces are in satin silver to create a uniform look. The diameter of the ring is a point of attachment looking for a visual connection.

Mutsume bracelet


LAURA

VISENTIN / ITALY lauravisentin.it @lauravisentin_jewels

Laura Visentin is a contemporary jewelry designer born in Bassano del Grappa (Vicenza) who followed in her family tradition. After graduating in Literature, she accompanied her father, an eclectic painter-sculptor, in artistic experimentation with the most varied materials and in attending the artistic world made up of international goldsmith exhibitions and fairs. Participation in contemporary jewelry courses at the Alchimia school in Florence and the encounter with the spring industry, a family business activity, played a decisive role in her training. The infinite possibility of steel wire to become a jewel shines through in her collections.

Andromeda necklace

Libellula ring

This choker necklace is made of steel and bronze springs. The central element in 925 silver, movable, can be arranged in different ways. The spring gives the jewel extreme lightness and versatility, conveying the entire piece a technical and romantic look at the same time.

Refined ring in 925 silver and steel / bronze springs. According to an ancient oriental tradition, the dragonfly is the symbol of transformation, but also of introspection and the will to go beyond appearances. This piece proposes the representation of the insect according to this symbolism.

LAURA BOSISIO

LE KADEAU / ITALY lekadeau.com @lekadeau_jewels

Le Kadeau was born from the dream of a young designer, trained between the Burgo Fashion Institute and the Scuola Orafa Ambrosiana, to create a brand for today’s women: elegant, brave, free and ironic. Le Kadeau poses the challenge of modernity through

radical and conscious stylistic choices, to create an innovative, international and independent vision. With such dedication and passion Laura distills the complexity of nature - shapes and movements - and transforms it into simple structures - unique and

indispensable details. Her commitment, together with the master goldsmiths with whom she collaborates, is constantly oriented toward the research of creative solutions.

L - Dandelion collection, in 18kt rose and 18kt white gold, is inspired by the dandelion flower, the pinwheel and dance movements: it comprises lobe earrings, bracelet, ring and necklace. Pause rose gold Ring, like the other jewels, is surrounded by a rotating flower made up of swinging sequins.

Pause ring

R - Glow Necklace in white gold 18kt is composed by a rolò chain and a dandelion flower pendant made up of swinging sequins with diamonds, which catches the light at every movement. This collection is the designer gift for women who love to be surprised and never underestimate the importance of details.

Glow necklace


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LAURA

MICHELI / SWITZERLAND lauramicheli.com @lauramichelijewelry

Drop earrings

These earrings, made of 18 carat gold plated silver and set with two citrines and rubies, represent a trickle of water, which flows downwards, collecting precious elements in its path. Realized by melting a silver wire, they are finished with a stronger polish to highlight the detail of the drops.

Laura Micheli is a 29 years old Italian architect and jewelry designer currently based in Zurich, Switzerland. In parallel to her studies at the “Academy of Architecture of Mendrisio”, Laura started her practice in art jewelry in a small goldsmith laboratory in her hometown and continued ever since, attending courses in various schools among which the Contemporary Jewellery School “Alchimia”, in Florence. Her pieces are intimate and emotional and her approach is very process driven. She uses archaic and organic forms, often inspired by nature, and her training as architect leads her eyes and hands in the sense of proportion and composition, in the role of light, in the functional research.

The ring Flecto is made of 925silver, partially covered with a thin layer of red, transparent enamel. Its shape, made by the only gesture of folding, is as simple and natural as the movement of a wave in the sea. The playfulness of color adds a layer which speaks to our unconscious and to our memories.

Latemar ring

Nettuno brooch

This 18 karat gold brooch, named Nettuno was part of a treasure buried underwater for thousands of years, which has been softly shaped by waves, water and textured

Flecto ring

by sand. It’s a tribute to opposites and to the unexpected beauty which comes from forgetfulness, oblivion and time.

The ring is inspired by the homonymous mountain in the Italian Dolomites. The model used for the casting was made combining pieces of real rocks with wax; the texture is rough but shiny. This ring is meant to be moved between the fingers while we recall unconscious memories and emotions.


COSMONIQUE

GIOIELLI / ITALY cosmoniquejewels.com @cosmoniquegioielli

CosMonique Gioielli is the fusion of design and jewelry, made possible thanks to the creative understanding between Costanza MacrĂŹ and Monica Candido. CosMonique jewels are born from research and continuous experimentation of shapes and combinations of materials, which make each jewel fascinating and original; they are all unique pieces, entirely handmade in precious metals. A basic feature which is the common denominator of the CosMonique collections, is the ability to bring elements belonging to other contexts into the jewel, in particular from nature but also from techniques and materials that belong to other manual arts and that can be incorporated into the jewelry.

Preziosi di natura, elemento fuoco ring

Preziosi di natura, elemento aria ring

Water, Air, Earth and Fire, symbolized by natural elements, become part of the jewel and become the real treasure. The result is a sculptural piece with sometimes primordial characteristics, with an equal basic module that changes differently for each element.

With the project “Preziosi di Natura�, the classic bezel code used in goldsmiths, which houses a precious stone, is deliberately undermined. Here, the inserted material is precious for what it represents and not for its economic value.

ASIMI

JEWELLERY / GREECE asimi.org.uk @asimijewellery

Originally trained in Athens Greece, she then attended London Guildhall University in London and gained work experience under other master jewellers. She also developed more diverse skills working with jewellers in Dakar Senegal. 15 years ago, she moved

to rural Greece where her inspiration began to diversify to combine organic materials with precious metals. The juxtaposition of fragility with endurance reflect this environment; similarly the pieces themselves are durable, yet the decoration on them is relatively

fragile, subject to change and even disintegration with time. Each piece is unique. She has exhibited in various galleries all over Europe and works mainly on commission.

L - This was made during the early stage of the Covid-19 lockdown, when she could still appreciate the uninterrupted time and silence to be unorthodox and playful. Electro formed copper Jerusalem sage pod on heavily textured gnarly silver band.

Quarantine 1 ring

R - These began to extend out into the void as we were denied contact and isolation was more acute. Dark, otherworldly, organic and sharp, these distorted dimensions of what we expect to wear demand more attention as they send out tendrils into the social distancing space. Silver, seed pods and fungus.

Quarantine 2 rings


RAZ

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JEWELRY / IRAN @razhandmadejewelry

Farhang Baghaei, born in 1979 is a designer, painter, sculptor, accessories’ artisan. Ghazaleh Emami, born in 1989 is an accessories’ designer and artisan. They established Raz brand based on online business in2014. In 2015, they opened @razhandmadejewelry Instagram page for exhibiting and online selling of their handmade creations. They mix different materials such as wood, stones, pearls, shells and metals. Each piece of jewelry has a story to tell and they are for a modern human being. At the beginning it whispers its story and makes their hand moving. After the jewel is born it will choose its name by itself and when you wear it, it will reveal a part of their memory.

Wooden boat earrings

Dotar bracelet

Making wooden boat comes from a memory, this is the common memory of a whole generation. Each of us made a boat during childhood dreams, and nowadays we leave our homeland. We’re crossing over the fire like silver sparks, riding a piece of wood in the middle of the sea wishing for a light to direct our boats.

Dotar is an Iranian musical plectrum instrument. In the designers’ language, the strings of instruments are called TAR: this instrument has two strings, so Dotar means two strings. Dotar bracelet is an abstract perception of the seeming shape of this instrument which is made of walnut wood, pearl and silver.

FRIDA

HULTEN / ITALY fridahulten.com @fridahultenjewellery

It is jewellery, but not as we know it… Born in Sweden, Frida spent two decades on an adventure, a journey spanning many cultures, countries and continents. After an interior design course and a short

stint in apparel design, she knew by instinct that her heart lay in the world of intricate items. Frida’s love of mystery, of the ancient world and for the life force itself is shown in each piece of her handmade jewellery. Curious and open-minded, she learns from each new environment she explores, allowing rare insights into a myriad of cultures

and bringing an infusion of diverse influences to her work. Her creations will be on display during Milano Jewelry Week 2021.

L - A unique design with a goose and a long tassel at the front, and beads along the back. Plated leather, antiques goose belt buckle, turquoise, garnet, smokey quartz, hematite, shell, freshwater pearl, Ethiopian prayer beads, Swarovsk crystals,, brass beads and an antique trinket.

Osiris necklace

R - Plated leather around the neck. Down the chest hangs Frida’s signature “collar” design with green/blue French handmade faceted glass, Swarovski crystals and oxidised copper chain.

Acionna necklace


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GIUSEPPE MANDILE

GIOIELLI / ITALY mandilegioielli.it @giuseppemandile_gioielli

Garden bracelet

Rigid bangle in 925 silver and bronze. The two bands, one in silver and one in bronze, skilfully engraved, overlap, giving life to an accessory with a modern and unconventional design. With its bold size, it gives character and personality to the contemporary woman’s outfit.

The Mandile brand combines tradition and contemporary design and consistently carries on the values and details that have made it unique: exclusive workmanship, original shapes, for timeless jewels. Giuseppe Mandile is a designer and craftsman heart creator, an eclectic, all Neapolitan personality. He first feels a project, perceives its shapes, colors and materials, giving life to a new creature, a new jewel. He does not conform to anything and the same happens with his creations, the result of experimentation, of absolute freedom. He loves nature, geometry, gears, architecture. He loves to discover new horizons and creates jewels out of pure passion.

Nastri ring

The band ring in 925 silver and bronze is composed of a series of ribbons that overlap and intersect each other. A game of empty and full, gives life to a jewel dedicated to the woman who loves to wear accessories with a contemporary and sophisticated design.

Edera ring

On the silver stem there is a graceful intertwining of small ivy leaves, also in 925 silver. Two small movable bronze leaves complete the whole giving a contrast of color and movement. An accessory dedicated to the romantic and dreaming woman.

GalaxĂŹas choker

GalaxĂŹas necklace is made in silver and bronze. The silver and bronze links give life to an object of great scenic impact. When worn, the necklace will make magically regal even

the simplest outfit. This is a masterpiece of great craftsmanship, both for manufacturing and for design.


MARIA LOUISE

HIGH

/ USA marialouisehigh.com @marialouisehigh

She creates textural, organic jewelry incorporating natural elements. Much of her inspiration comes from both travel and her own little backyard, seeing value in small found objects and using them to commemorate the intersection of time and place. Electroforming is her favorite technique, growing a shell of warm copper over various elements to create little time capsules. To her, the copper represents the working class and her pieces try to hold simple stories of people everywhere. Her work is inclusive. Copper is also the perfect material for allowing the more dramatic pieces to be suitable for everyday wear, because every day can be special.

Luminous Series cuff

Luminous Series hoop earrings

Add a little touch of dress up to your casual. Pearls are for every day. Slimline cuff is set with a pair of luminous white pearls in authentic beach sand and encapsulated inside a shell of copper band is 14k gold-filled cuffs are sized to fit, not one-size-fits-all.

Beach sand is set with a flake shaped pearls and encapsulated in copper in hoops meant for everyday wear. 14k GF ear wires. 1 1/2” drop. She designs her ear hoops with perfect detailing on both front and back to ensure a great finished look no matter what angle your ears or piercings hold.

SLATE

JEWELRY / CANADA slatejewelry.com @slatejewelry

Raised on Canada’s west coast, self-taught jewelry maker Christine Rio launched Slate Jewelry in 2016, having discovered a passion for metalsmithing that gave a voice to her

Ode pendant

organic “modern relic” design style. Influenced by movement and texture, history and surrealism, her work blends modern lines with a sense of found objects. She works with simple tools and time-honored traditions to bring life to the metal, paying homage to the ancient artisans who inspire her work. L - Inspired by an image on a fragment of Greek pottery, this jewel pays homage to ancient craftsmen, Greek mythology and even Keat’s ‘Ode on a Grecian Urn’: “beauty is truth, truth beauty.’ The inspiration to create something beautiful is enough in its own right; whether it be in words, in art, in music. R - Part of the Mythos collection that was inspired by Ancient Greece, this is an impactful brass bracelet with hand etching with words from Keats’ Ode on a Grecian Urn. Wound with many metres of sterling silver and set with large nuggets of Herkimer diamonds.

Each piece is full of contrasts, delicate yet empowering, bold yet comfortable. Christine’s timeless designs speak to her clientele, inviting them to show the world who they are, without saying a word.

Poetry Slam bracelet


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LABORATORIO

LUNAMANTE / ITALY lunamante.com @laboratorio.lunamante

MaternitĂ pendant

Silver pendant made upon customer request. The sinuous and soft shapes of the subjects that are playing effectively communicate maternal affection and devotion. Simple lines clearly influenced by the works of H. Moore to celebrate life with a timeless jewel. Single piece.

Melograno ring

The first element to make up the Melograno collection, this ring in 18kt rose gold with natural brilliant-cut garnets, combines the elegance of gems with the use of gold drops with powerful effectiveness. A jewel with a strong identity that contains a great symbolism.

The Laboratorio Lunamante was born from the desire to rediscover and protect goldsmith craftsmanship. Brand of artistic jewelry born from a goldsmith tradition of over 70 years, it combines ancient techniques with contemporary aesthetics giving life to jewels that vibrate with a strong identity dictated by the balance between opposites. Mainly dedicated to the commissioned production of certified unique pieces, designed and manufactured to meet specific customer needs, the Laboratorio Lunamante also offers small collections of artisan artistic jewelry produced in limited editions. Suspended in an unreal atmosphere between dream and reality, it protects and promotes the passion for jewelry.

Indipendenza pendant

The independence pendant represents a small birdhouse hanging from the branches of a tree. A sculptural interpretation of the conquest of individuality, it is part of the series of 8 pendants that make up the collection The Wood Life Poetry, finalist of the 2nd Tiangong Jewelry Design Award.

Paperwork bracelet

This Silver bracelet is made with marbled paper inserts. The piece comes from a study on the metamorphic abilities of metal, which is worked under the stresses to which paper

is usually subjected. The surface pattern, the cuts, the folds and tears evolve into a hybrid jewel between forge and origami.


XIMENA

FERRÉ

/ NEW ZELAND ximenaferre.com @ximena.ferre

Ximena Ferré is a contemporary jewellery designer based in New Zealand. A two-year adventure around the world with her family inspired her to expand further her passion for Communications and Design, and follow the path of expression through jewellery. Her designs are unapologetic and raw, yet they carry an understated sense of classical beauty. Her approach to process and finish is intuitive and unconventional which allows for spontaneous and unforeseen aesthetic outcomes. ‘Everything I do feels like an experiment at play. One has to be willing to try new things, especially in an industry with such a traditional background. Invariably, when one does that, amazing things happen.’

Glam Cascade earrings

Pink Little Pigs in their House of Straw ring

Denoting a raw and understated classical beauty, these one of a kind silver earrings are the perfect statement piece. Assembled with hollow forms entirely constructed by hand, its marks and irregularities give this piece a unique force that cannot be duplicated.

Entirely handmade, this one-off sterling silver ring plays with the moral of the children’s story “The Three Little Pigs” reminding us that ‘through hard work, great things will be achieved’. Blackened, matte silver finish. Ethically sourced Afghan Tourmalines.

ANNA NAVA

HANDCRAFTED / USA annanavahandcrafted.com @annanavahandcrafted

Anna Nava-Liess is an artist who creates her own handcrafted jewelry, giving much attention to the details in each design and creation. Anna has lived an ambitious lifestyle, driven to fuel her creative interests in artistic

textiles, mosaic designs, striking fashion, and thrilling travel. She appreciates unexpected joys in simple moments. Anna has acquired her metalsmithing skills at the Art League in Northern Virginia. She discovered her jewelry making talent in a high school metalsmithing class where she created

her first ring. She has maintained over 10 years of experience within the jewelry industry and will soon stand as a fourtime Artistar Exhibiting Artist.

L - Inspired by a love for fashion and brocade fabric, this sterling silver and 18K gold bow tie features her own original etched print, Coexist. None of the flowers is the same as another yet together, they are beautiful. Wear it as a choker or a princess necklace. (The two curly happy faces are Anna’s.)

Coexist necklace

R - This bracelet, the second piece in her current series, was inspired by “10 Timeless Fashion Pieces Every Woman Should Own” (Mary Johnson, author). 100% Sterling silver handmade bangle bracelets that feature classic serge fabric texture and her own original etched print button details.

Black Blazer bracelet


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SASKIA SHUTT

DESIGNS

/ BELGIUM saskiashutt.com @saskiashuttdesigns

Peridot & Other Gemstones ring

Remodelled ring from the customer’s old gold jewellery. She already had the little diamond, and she chose the blue topaz and peridot, as all three gemstones are her’s and her family member’s birthstones. The ring itself is made from white gold, with yellow gold detail. High polished finish.

Saskia Shutt is a jewellery designer, dedicated to the responsible sourcing of her raw materials and supporting small-scale artisan mining projects. She fuses traditional and contemporary, to create beautiful and timeless bespoke jewellery. Most pieces are designed around colourful responsibly sourced gemstones and set into bold sculptural creations. The strength in Saskia’s work is in the elegance and simplicity of the forms. Saskia specialises in personalised commissions, including unique engagement and wedding rings, as well as remodelling of old gold jewellery. She works closely with clients to realise their dream pieces and sources her precious metals from Fairmined Eco gold.

Pink & Indigo ring

This showstopper of a ring has been remodelled from the customer’s own old gold jewellery and transformed into this bespoke gold cocktail ring and set with the customer’s own large pink tourmaline and two princesscut tanzanite. High polished finish.

Bold in Pink ring

This is a bespoke ring remodelled from the customer’s own old gold jewellery. She choose a large oval cabochon deep pink tourmaline for her ring. The ring was carved out of wax and cast using the customer’s own old gold. High polished finish.

Aquamarine & Spirals ring

Bespoke cocktail ring made in solid yellow gold double spiral. At the large end of the ring is a 6.90ct pale blue drop-shaped aquamarine.

The spiral tapers down from the aquamarine with tail end. High polished finish.


LUCIA

SCAVO

/ ITALY scavolucia@yahoo.it @anello.componibile.lS

Born in the 60s, she already experienced the creative attitude as a child, intensifying it around the age of thirty in response to an evil of living that gave no respite. A hunger for life that pushed her to stay awake at night, composing the most varied stones and materials into jewels that went beyond the rigor of the papers she handled every day as a bureaucrat. And in 2006, the “connecting link” for a new life came from the hands, the intuition that became the modular ring that through the iSole logo, the Atelier of the same name and its closure led her to celebrate a rebirth. Something beautiful and precious is certainly destined for those who believe in their dreams.

Arcipelago Collection rings

iSole - Modular ring system, it’s made of Argentiumsilver (R) precision casting and is composed by three elements, of which a loadbearing base with hooks with two paired rings and two single elements, interchangeable and open on the bottom, to be inserted in

the center of the base. “NODO” suitable for the easy addition of pendants; “ATOLLO” alternatively and interlocking T to form a band, even with diamonds. Glossy finish. Pink gold / gunmetal / chocolate galvanic that allows further customization of the jewel.

IRENE

CARRERA

/ SPAIN irenecarrera.com @irenecarrerajoies

Trained in Interior Design and Artistic Jewellery at the EADT, she studied decorative enamel jewellery in Turin and Naples. In 1994 she won the possibility of assisting at the Seminar

Eclipse ring

“Diamonds Today”. In 1996, she is 1st Prize in the “1st Contest FASHION DESIGN”, San Sebastian, and in the twelfth edition EuroBijoux&ACCESORIES European Union, Menorca. In 2009, she successfully opens her jewels store “Irene Carrera”. She wins the award of Roca Village: Designers Collective accessories and jewellery a few years L - The ring handcrafted in silver is recovered with black rhodium, which conveys a charactheristic dark color. The main part of the jewell is a Natural Citrine which is accompained by twelve yellow brilliant-cut diamonds, arranged laterally in groups of three, giving to the ring chromatic richness. It has been designed with an inner ring. R - The ring, entirely artesanal, is made of mat silver and it’s charactherized by its geometric shapes, adopting an architectural aesthetic. Besides the figure of the piece the amethyst carved in a case form stands out.

later. She has participated in several events, like Agatha’s Ruiz de la Prada one, the fair Filo Rosso Curated by I. Bembo; the exposure of the Gallery Doux Seoul (Korea) and the one in Rome of Myday-byday.

Espill d’Amatista ring


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AUTOFOCUS

JEWELRY / ITALY autofocusgioielli.com @autofocusgioielli

Io necklace

Extracting details from everyday objects and returning them in the form of creations, this is the design space in which Autofocus Gioielli moves. Born in 2017 from an idea of Monica Ercolani, it expresses her aesthetic vision through the search for shapes and volumes that come from different fields. Architectural, industrial, naturalistic, they are all sources of inspiration whose details if left in their original environment would remain anonymous, but decontextualized and translated into an authentic aesthetic dimension are reborn into a new language in which the sign is no longer a mere function but becomes pure ornament.

The asymmetry of the detail directs the gaze to an overall vision, making each component of the necklace itself a decorative element. The linearity of the frame and the complexity of the module come together in a balance of full and empty spaces, defining the entire space. Brass. Lost wax.

Riccio di mare ring

The sting, a single element by its pungent nature, is diluted by replicating itself in concentric circles. The rhythmic repetition of the needle-shaped module returns a round, sinuous, feminine work that finds its final synthesis in the burnishing’s color. Burnished bronze. Lost wax.

Hikari earring

The strictly geometric single earring is a game of transparencies, whose lightness recalls the texture of a fabric. The light between the metal meshes emphasizes the interweaving of the embroidery designed by the thin threads. Yellow bronze. Lost wax.

Sintesi 1 brooch

Part of the small “Sintesi” series, this is the sculpture brooch whose consequential modular elements combined together form a scan that enhances the three-dimensional

effect of the surface. The cuts on the pattern undermine the rigidity of the grid, lightening the structure. Bronze. Lost wax.


GIOIELLI

DALLA TERRA / ITALY gioiellidallaterra.it @gioielli_dalla_terra

Elisabetta Donadio, Gioielli dalla Terra’s owner, comes from an artistic family: her father, Piero, a Piedmontese painter and poet, left her a great artistic legacy that in Elisabetta is expressed through jewelry design. For her creations Elisabetta is often inspired by prehistoric art and primordial art forms, her grand passions. The Gioielli dalla Terra creations, a new form of art applied to jewelry, stand out for their unique pieces and sculpture jewels, all handmade, in 24-karat gold-plated silver. The unique style of great aesthetic impact are well known and admired even abroad where they often take part in international events in the most important and prestigious art galleries.

Sculpture with spheres ring

Sculpture with Labradorite ring

Scultura ring, 925 silver, is internally created by hand, gold-plated and, subsequently, antiqued in some parts. Its round shapes recall what is unconsciously related to the universal language that is inside each of us.

Scultura ring white Labradorite, 925 silver, 24 carat gold plating and in platinum. Of great aesthetic scenographic impact, the ring reveals a perfect proportion between the delicacy of the semiprecious stone and the strength with which the latter seems to be held.

FRANCESCA PETRONI

EXATI JEWELS / ITALY exati-jewels.com @francesca.exati

Francesca was born and currently lives in Rome. She graduated in History of Modern Art, through the humanities studies, she developed her love for art and archeology, and specialized in cataloging and conservation of cultural heritage. With an innate manual

dexterity and creative ability, in 2003, during one of her most beloved trips to Brittany, she develops the project to create a fusion between Art, Nature and Fashion, thus the EXATI brand was born and through the ancient technique of lost wax casting, inspired by ancient

and modern artists, she creates micro sculptures in bronze and silver to wear. The encounter with nature deeply moved her, she chose wax and wanted it to become metal.

L - Prometeo, bronze and silver ring with quartz was made with the lost wax casting method. Prometheus is a titan friend of humanity and progress who steals fire from the gods to give it to men, for this reason he suffers the punishment of Zeus who chains him to a cliff. It is a single piece.

Prometeo ring

R - Silver bracelet made with the lost wax casting technique. Intertwining of silver bands partly polished and partly burnished with acid. The Regina Viarum is inspired by the ancient Appian Way which in Roman times represented the main road between Rome and Brindisi. It is a single piece.

Regina Viarum ring


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LITTLE

WONDER

/ CROATIA krugstore.com @littlewonderjewelry

Romana earrings

Romana earrings are handcrafted from 24k gold-plated brass, raw aquamarine and rose quartz carefully set in prong setting. The shape of the earrings is inspired by antique roman chains. This piece of jewelry has a typical Little Wonder twist which gives them a very particular note.

Little Wonder is a brand of handcrafted jewelry made of precious and semiprecious stones and precious metals and gold-plated brass. The keywords of the brand are powerful impression and quality. The designer, Selma Štrkljević Mravak, was born in 1984 in Split, Croatia. From early childhood, she was surrounded by art, fashion design and constant desire of her family to create. After graduating in art history and Italian language and literature, Selma founded the brand in 2010. Since then, the label has been featured on the covers of many magazines and presented in numerous exhibitions like Dan D in Croatia, Complete Parts in New York and Brands and Signs exhibition in Ljubljana.

Pool earrings

Tic Tac Toe bangle

Pool earrings are crafted from 24k gold plated brass. The upper part of the earring sits gently in your ear, which makes this piece of jewelry special. These earrings can also be worn in two different ways and they are real statement pieces, looking almost like little sculptures on your ears.

Tic Tac Toe bangle transports us back to our childhood. Handcrafted from 24k gold plated brass, it embodies minimalist aesthetic with a sophisticated edge. While designing this

Degenia earrings

Degenia earrings are handcrafted from 24k gold plated brass with gold-plated sterling silver back post. They are inspired by degenia flowers, which are the rarest plant in Croatia and the symbol of the country. Selma has embodied this delicate flower in brass and made it eternal.

piece, the designer returned to her childhood and invoked the forms and visual incentives which surrounded her at that time.


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ELS

GADEYNE / BELGIUM elsgadeyne.be @els.gadeyne

Blooming Circle ring

Els Gadeyne graduated as a goldsmith in Syntra-West Kortrijk and continued her studies in jewelry design, lost wax casting, and bezel setting. She likes to work authentically, with precious metals and beautiful materials, where each piece is handmade. She creates unique pieces with round shapes and some movement or depth. This gives the jewel a more 3D effect, giving you a different view of the jewel at every sight! The round shapes also have a calming effect on the pieces. For the current collection, she found her inspiration in the hydrangea flower. This is why the collection is called Blooming.

Blooming Gold & Sapphire brooch

This ring is part of the Blooming collection inspired by the Hydrangea flower. The flower symbolizes harmony, love, gratitude, peace and beauty. The ring comprises oxidized silver and golden circles which is the symbol of eternal love. The ring contains a lovely movement and depth!

This brooch is made of gold-plated silver and synthetic blue sapphire. By working with round shapes, the use of precious and beautiful materials, the jewel has a soft and peaceful look to it. Peace is one of the symbols the hydrangea stands for.

Blooming Black & White necklace

Blooming Black & gold brooch

This necklace consists of oxidized sterling silver and fine silver. This jewel gives you movement and depth so you always have a

This brooch is made of oxidized silver and gold. The use of gold accents on a soft black background gives this jewel a luxurious look. The use of gold which stands for purity, perfection and beauty is also part of one of the symbols of the Hydrangea flower.

different view with every sight. The black and white colors symbolize harmony, which are also symbols the Hydrangea flower stands for.


YIZHI

ZHANG / CHINA

Yizhi Zhang is a young art designer, independent writer and curator, who lives in Beijing. She got her bachelor’s degree at the Central Academy of Fine Arts (CAFA) in 2014. Between 2015 and 2016, Yizhi, as an exchange student, had the privilege to further her study at the Institute for Cultural Studies in the Arts at Zurich University of the Arts (ZHdK) in Switzerland. She has been working in CAFA ART INFO ever since she graduated from CAFA with a master’s degree in 2017. Yizhi has devoted herself to the exploration of comprehensive design theory and design practice, such as contemporary jewelry, installation art, independent magazine manual books, etc.

Flower Rings of Embers - Conceptual Jewelry Design rings

99 “Flower Rings of Embers” conceptual jewels are made from ashes from Yizhi ‘s own diary. 99 pages of her diary have been converted to 99 petal-shaped delicate flower “jasmine” jewelry accessories. “Jasmine” ashes are supported by a silver ring structure of leaves and branches. Ashes become a visual form

expressing the emotions embedded in the textual diary, and meanwhile it has become a commemoration for the renewal and rebirth. Although the memories in diary are no longer fresh or new, the condensed time has remained fragrant and silent for good and all in the future.

ELEANOR

JEWELLERS / UNITED KINGDOM eleanorjewellers.com @eleanor.jewellers

Katie began her creative career at Leeds College of Art where she fell in love with metalwork. She later moved to the Manchester School of Art and graduated with a degree in Three-

Dimensional Design. Based in the heart of Shropshire (UK), she launched her own business, Eleanor Jewellers, creating bespoke handmade jewellery. The Black Lagoon Collection takes inspiration from the movement of water. This unique body of work is a selection of one of a kind wearables, bringing together sophistication and

organic forms from the world around us. Using nature as inspiration allows her to create beautiful objects that cannot be planned, or machine manufactured, and are therefore completely unique.

L - The Māhina necklace is created using water cast sterling silver, set with peacock grey fresh-water pearls. Combining contemporary style with the water casting techniques and traditional materials, one can create the illusion of owing water.

Māhina necklace

R - The sterling silver Paparā earrings capture the moment of their creation, as the molten metal returns to a solid form in an explosive instant. Each one is unique, but with similarities, growing organically to truly emulate nature, where no two forms are ever the same.

Paparā earrings


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SARA

ZAGHETTO / ITALY sorrenti.co @sara.zaghetto

Routless ring

The Routless ring is a “single piece” in rhodium silver, the goldsmith worked with the wax created by the artist. The drawing expresses one dream that inhabit Sara’s secret garden: if on the other side of the world, under our feet, there were another sky, our roots would tend towards the sun.

Sara Zaghetto, designer of Sorrenti Art Jewelry, was born in Vicenza on November 17, 1994. She graduated in Visual Arts and Painting at the Brera Academy of Fine Arts in Milan, where she also earned a three-year degree. During the university course she spent the period of “Erasmus” studies at the Universidad de la Laguna in Tenerife. In 2017 she was selected for an artistic residency at the “Fucina des Artistas” in Cuba. In the same year, Homi Design Competition 2018 selected one of her jewelry lines. She has exhibited in various museums and galleries in Italy, Europe and South America: Palazzo Bovara and Palazzo Reale in Milan, Museo Nacional de Artes Decorativas in Madrid; Forge Des Artistar in Cuba. She lives and works in Vicenza.

You ring

Silver ring, always a “unique piece” from wax created by the artist. The form is the unexpected outcome of the creative search for a loved one: “... I’m about to give up when I

The King in Yellow ring

It’s part of a board of spring-inspired sketches. “Shining, joy breaks out of the darkness of pain, gets mixed up does not disappear and pops up from all sides, bold wounded and winning”. Another “unique piece” on the artist’s wax: yellow is eighteen carat gold, gray is the precious rhodium.

Innocence ring

hear the whispered memories, something for you becomes something of you. In the end, it’s just you between my fingers”.

“Unique piece” also from the artist’s wax. More than from a research it seems to arise from a stubborn reaction: not to surrender to the armor of incommunicability. “I don’t know you, what do you want from me? I would like to dissolve this armor but I can only look at it. Don’t touch me. I’ll wait for you.”


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ISABELLA

NURIGIANI / ITALY isabellanurigiani.com

Sfumature bracelet

After having attended the academy of fine arts in Rome, obtaining a diploma in sculpture, the artistic life of Isabella Nurigiani turns into a resolute research on pure form: a hard and constant plastic exercise thus allows her to enter into the essence of form, understood as a subliminal manifestation. The material used, be it wood, marble, metal, takes on a lightness that first underlies and then is reborn thanks to an alchemy that transforms the action into a sentimental revolution. Isabella boasts many participations in solo and group exhibitions at an international level. She lives and works in Rome and Pietrasanta.

The importance of the accessory, component of all times, establishes the expression of oneself or the externalization of certain interior aspects otherwise not immediately visible. This bracelet, made of iron with silver and gold leaves, is the finalization of this sensation.

Libertà ring

Over time, the jewel has become the spokesperson of numerous cultural changes, questioning the traditional concept of “precious”. This ring, made of bronze with the lost wax technique, was born from the need to create a free jewel, not having to prove anything.

Mutazioni ring

Talismano bracelet

The jewel, superfluous indispensable, can satisfy everyone’s aspirations. This bronze ring responds to a balance between provocation and conservation, where nothing is stasis, everything is movement. A fusion of real and imaginary journeys whose vehicle par excellence is the body.

A particular moment in life distinguishes this bracelet, in lost wax. Made of bronze and intended to compensate for the designer’s insecurities, linked to these openings and

closings, this bracelet when worn, performs apotropaic functions, capable of removing or deleting negative influences.


PIN

DEVICE / ITALY @pin_device

The designer Lucia Petracca and the microbiologist and inventor of the US7510687 patent Alessandra Mazzeo created the PIN-DEVICE brand, in which the shape created by Alessandra is reinterpreted through the design of Lucia, characterized by laser-cut metal plates that fit together to give threedimensionality. By combining the design features they have in common (simplification and decomposition brought down to the essence, which separates form and function), they have created customizable jewels, which enhance the centrality of the individual thanks to the peculiar combination of simplicity, ease of decomposition and assembly. Special Mention of Artistar Jewels 2019 Fall Edition.

#Verticalring Postmodern ring

#Verticalring Triangle ring

The three-dimensionality is obtained by the interlocking of the geometric accessories perpendicular to the iron base. Vertical development, the combination of materials (iron, steel, copper and gold), laser cutting and seamless assembly are characteristics of this collection.

Stylistic purity is played on contrasts: the innovative development in an exclusively vertical sense and the combination of precious and non-precious materials as gold and iron find the harmony of simplicity in the laser cutting and seamless assembly.

JOANA

DE SI G N STU D IO / PORTUGAL joanadesignstudio.com @joana_designstudio

JOANA Design Studio is a Portuguese contemporary jewellery brand created by designer Joana de Sousa Henriques. After a degree in Industrial Design

and training in High Jewellery. Art, architecture, design and geometric shapes are her biggest inspirations. She likes to add a little humor in some details of the pieces. All work is done in the atelier. Sometimes she starts with 3D drawings and then produces them in the atelier. She likes to mix different materials with silver and gold. She

aims to create jewellery pieces with a different, simple language that can be used in a different and funny way. Be happy, be you!!

L - She always sees an image as a set of points, with more or less definition. With this work she wanted to explore this aspect to the maximum and pixelize an image of everyone’s knowledge, “Self portrait Frida Kahlo”. All the pieces are drawn to detail and handmade. In sterling silver-plated gold with zircon stones.

Frida Kahlo Pixel pendant

R - To celebrate the centenary of Amália Rodrigues birth, she drew this piece for the pixel collection. With this work she wanted to explore the maximum and pixelize the great Portuguese singer of Fado that everyone’s knows, Amália Rodrigues. The piece is made in sterling silver and gold plating with zircon.

Amalia Rodrigues Pixel pendant


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LEONORI

JEWELRY / ITALY leonorigioielli.com @leonorigioielli

Victoria necklace

The Victoria collection is inspired by the Italian “Dolce Vita” of the fifties reinterpreted in a contemporary perspective. The necklace, made in Italy by highly skilled craftsmen of the Maison Leonori, is made of 18k rose gold and white diamonds F-Vvs color.

Leonori, founded in Italy in 1962 creates exclusive jewels with colored precious gems of the highest quality. Leonori has embraced these characteristics from the start, when its founder Agostino Leonori transformed intense chromatic explosions and elegant tonal nuances into a house specialty. In 2015, Eleonora, the third generation, began her journey on a direct flight to Singapore. An important journey for Leonori, as it represented her first actual assignment and the first step towards the expansion of the Maison abroad. She does all this with audacity, transmitting the essential values of the Leonori family: savoirfaire, Italian style, and the goldsmith’s art of working.

Victoria earrings

The Victoria collection earrings are made in the three colors of gold: pink, white and yellow and with white diamonds. The design evokes the period of the “Dolce Vita” and recalls a precious diamond embroidery with a voluptuous shape that enhances its uniqueness.

Victoria ring

The Victoria collection ring is made in the three colors of gold: pink, white and yellow. Designed to enhance the personality of every woman who loves to combine colors according to her style, the Victoria ring is a true declaration of personal identity.

Victoria bracelet

The Victoria bracelet is the fourth element that completes the collection. It represents the result of Leonori’s dialogue with the

various artistic disciplines. Its classic but contemporary line gives life to the magic of Italian savoir-faire.


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ATELIER

ALVES

/ FRANCE atelier-alves.com @atelieralves

3Stones ring

Easily add a splash of vibrant color to any look with this flattering ring. This elegant ring is accented by 3 gemstones with beautiful shape creating a distinctive design and a must-have in your jewelry collection. 3Stones ring: 925 Silver Rose Gold with 1 round pink topaz and 2 pear morganites.

Atelier ALVES was founded in 2017 by Francis ALVES, born in 1981 in Campinas - São Paulo, Brasil. Enthusiast of welldesigned utility objects, passionate about modern architecture, new technologies and much more, his main idea is to bring amazing and unique jewelry designs to all classes with a unique style, high quality jewelry made of Ethical precious metals and stunning Brazilian gemstones, mostly. In his work he is guided mainly by intuition, inspired by travels, nature shapes and architecture. Francis ALVES experiments new technologies like metal 3D print, looking for new creative challenges. His creations are characterized by an original style, difficult to forge (and to forget).

Azul ring

A collection based on blue gemstones as the main inspiration, combining with silver and gold silver, creating an amazing contrast in a unique and elegant ring design. This model was made with 925 Silver Gold, Blue Swiss Topaz and Blue Topaz.

Excellence ring Engagement ring

Captivating design: engagement Ring to showcase your love. Engagement ring is more than just a simple jewelry purchase, it’s a sign of commitment and trust. There is a on

demand order for an amazing engagement ring. This model was made with 18K yellow gold, Moissanite as main gemstone and diamonds.

“We are what we repeatedly do. Excellence, then, is not an act, but a habit.” Aristotle The unusual style of this ring is unlike any other. It’s a luxury ring by excellence, created just to blow your mind. Excellence Ring is made of 18k white and yellow gold with 2 pear diamonds and 18 round emeralds.


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ELLENCE

JEWELRY

/ ITALY lapetiterobenoire.international @ellence_lapetiterobenoire

My Secret Garden necklace

Art and nature are never-ending sources of well-being and inspiration. The secret garden, be it physical or spiritual, is a private place, almost magical, where you can find peace and happiness. Enchanted microcosm, in which mother nature constantly renew life and let serenity blossom.

Ellence is the imagination realm of Elle, who lives in Milan, a cosmopolitan city from which she draws inspiration and determination since birth. After graduating from the university, for years she dedicated herself to personal luxury accessories and high-end cosmetics. In 2018, ready to start her second life, she launched her brand. Art and passion come together in all her creations, that always invite to go beyond appearance bringing out amazing imperfections. Every piece is a one-of-a-kind and comes to life from different inspirations. The artisanal production and the peculiar stones make every piece unique and precious, transforming it into a wearable art object.

Rebirth necklace

Over The Rainbow necklace

Every injury leaves a scar. Even if invisible it causes a change, it becomes part of us. So, from a string of pearls broken and inspired by the ancient Japanese art Kintsugi, the idea to bring out the new free disposition taken by pearls, fixing them in that position with golden wire.

Seven colors that join sky and earth in a half circle of colorful light. Symbol of peace and freedom since ever, the rainbow has recently dressed up balconies and windows all over

Caput Mundi necklace

‘Caput Mundi’ is her tribute to Rome - ‘Eternal City’ - and his majestic Colosseum. For ancient Romans, the used materials and their colors were full of allegory. So it becomes a kind of amulet, a ‘magic’ object symbol of renaissance and prosperity, full of hope for the future.

the world, adding on a new meaning related to unforgettable memories to those of a little girl, who used to sing a known song.


STKREO

JEWELRY / ITALY stkreo.com @stefy_stkreo

STKREO is a creative project by Stefania Tortella, architect, designer and founder of the brand. In 2017 she arrived in the world of contemporary jewelry and, after experimenting with different materials and processing techniques, she outlined her own design identity by choosing leather for her handmade jewels. Through a process of “upcycling”, she recovers fine made in Italy leather, produced through sustainable cycles, creating unique pieces with a contemporary design, “tailored architectures”, to which she often adds hand-painted textures and shades of color, with a personal technique that represents her distinctive feature. Her creations are inspired by organic architecture.

Aurea (Synergia collection) necklace

Dark Rainbow (Texture collection) bangle

Collar-gorget from the new “Synergia” collection, made of precious gold laminated recycled leather, cut and sewn entirely by hand. Composed of elements of organic shape sewn individually by hand. Back frog closure with handmade leather button. (Single piece)

Bangle-bracelet from the “Texture” collection, made of precious recycled leather. Soft black laminated “suede” that covers the bracelet also on the inside and hand-painted natural vegetable tanned leather with multicolored texture. Entirely handmade. (Single piece)

WORK OF SOUL

SIMONA MELE / ITALY workofsoul.com @workofsoul

Artist, Jewelry Designer and Art Director, born in Rome where she lives. Since she was a child, as a hobby and passion, she has made jewels with the use of

bead weaving techniques. Graduated in Technical Expert, she does not abandon her passion, studying the History of Fashion, History of Jewelry and History of Weaving Techniques for Jewelry. In 2007 she left her job and to realize her artistic dream as a Jewelry Maker. Until 2011 her artistic path is slow and

hard, after the death of her brother. This event made her even more determined to carry on her passion. LIFE SHOULD BE LIVED WITH PASSION.

L - History inspires most of her creations. ‘WAVES’ comes from her passion for Egyptian Art and for the vast expanses of deserts. The designs that the sand dunes form resemble waves that seem to sparkle when sunset falls. The Crystal / Copper Micro Crystals

Waves choker

R - reflect Rose Gold making it brighter and the shape of the Choker enhances the neck of the woman who wears it, giving it elegance and character. The rigid bracelet has been designed to be double wearable: on the wrist and arm as the Egyptians used to do in ancient times.

Waves bracelet


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PAVIT GUJRAL

DESIGNS / INDIA pavitgujral.com @pavitgujraldesigns

Langur earrings

The Langur Earrings have been set in 18K Gold with Pear Brilliant Morganite Beryls, Tahitian Pearls, Princess-cut Diamonds, round Brilliant Diamonds and orange Sapphires. Inspired from India’s leaping Langurs that can be holy, helpful or even pesky, these are one of Pavit’s most playful earrings!

Pavit Gujral, a Gemologist and Awardwinning Jewelry Designer from the renowned Gemological Institute of America, New York, has been working creating a new trend with her bold & contemporary designs. Being a perfectionist, all her pieces are curated with utmost attention to detail. Her aim is to create a sense of desire for jewelry simply for its design and uniqueness, and not just as an ‘investment’. The purpose of her brand is to educate the people about some of the most beautiful and rare gemstones that people aren’t even aware of! “I don’t follow the trend, as that will never allow me to have my own style. I want to make trendsetting jewelry!“ - Pavit Gujral

Octopus ring

The Octopus Ring has been set in 18K Gold with a beautiful oval Chocolate Opal, round brilliant Cognac Diamonds and round brilliant Diamonds. Octopus is a symbol of emotions, intelligence, logic, flexibility and creativity and the ring displays all the same qualities as the eight-legged creature!

Wolverine cufflinks

The Wolverine cufflinks have been set in 18K Gold with Trillion-cut diamonds ears and Emerald eyes and blue Adularescence moonstones. As fierce, fearless and courageous as the character Wolverine, the cufflinks are one of the most sought after pieces in her men’s jewelry line.

Crab earrings

The Crab Earrings have been set in 18K gold with 22.90cts heart brilliant Tanzanites, 10.49cts orange Sapphires, 2.50cts pink Sapphires, 0.68cts yellow Sapphires and

6.16cts Diamonds. As totems, Crabs are symbols of intuitive nature, perseverance, self-sufficient behaviour and sensitivity.


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LIGAI

JEWELRY / KAZAKHSTAN @ligaijewelry

Steppe stingray ring

Alexey Ligay is a jeweler and jewelry designer. He was born and grew up working in the heart of Central Asia. This land is famous for its ancient history, from the Silk Road to the Cultural Monuments that have survived to this day. The Great Steppe is rich in history, the basis of which is freedom. In his creations he tries to combine the past and the present, with the trend for the future. While creating jewelry he studies the culture of other nations, epics, legends and myths. In the process of creating, he tries to bring newness to the vision of jewelry of the past. Freedom of vision is the main priority in creativity.

The Endless Steppe is like the sea, stretching over great distances. As the warm wind creates the waves of the steppe carpet, the slope in its graceful dance creates currents from its movements. Its upper part is made of noble opal. The wings and body are decorated with an emerald inlaid pattern.

Aphrodite hairpin

In past centuries, women from many cultures adorned their hair with precious and simple accessories. Now these accessories are quite popular and have various configurations. This is one of the possible options. The whole resembles the ocean’s waves, in association with the beautiful Aphrodite.

Autumn ring Passion ring

Passion is like a flame of fire. Flames have different dynamics. Fires are sexy, exciting, shocking. A wish. The Passion ring has an

anatomical fit and three-finger fixation. Inlaid with pearls. A ring that breaks stereotypes and rules. Carrying freedom of expression.

Autumn is a period of transition of nature from an active phase of life to a passive one. A period of rethinking, not action. Everything seems gloomy yet there are many colors. The Autumn ring has dynamics in form. Vivid stones like feelings.


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ENGLISH

TEXT

HAUTE JOAILLERIE

L’ALTA GIOIELLERIA HA IMPARATO A

VOLARE / di Ilaria Danieli

Le presentazioni, reali o virtuali, della Couture Week a Parigi hanno mostrato una comune ricerca di estrema leggerezza, in grado di vincere la forza di gravità. Facendo ricorso a maestria tecnica e anche a materiali misteriosi creati per la Nasa

PARIS COUTURE WEEK: High Jewellery learnt to fly See page 15 Maybe to exorcise the heaviness of the lockdown, jewellery became lighter, though only apparently. Now more than ever, we have seen a great research for dematerialization, among real and virtual presentations, albeit without depriving jewels of their actual material value. It is true that a great number of maisons focused on daywear collections that are little demanding from an economical point of view, but those who decided to continue with high jewellery (which, in the month of July, usually presents its treasures) tried to defeat gravity and they metaphorically flew away. Boucheron, for example, wanted to literally “catch a little piece of sky”, adopting a technology developed by NASA to collect star dust. It is an aerogel used by the maison to create a basically priceless charm that took two years of work and research to be accomplished: the mysterious material consists in 98% of air and silica and its colour varies according to light, ranging from light blue, to white and violet. It was set in a rock crystal shell embellished with diamonds and hanging from a choker also modelled in rock crystal and diamonds. This one of a kind item is also available as a long necklace with a silk cord: even the cabochon bracelet matching the necklace includes as well a piece of sky of the XXI century. The Goutte de ciel choker is not the only surprise of the Contemplation collection, to which designer Claire Choisne dedicated her last months. Indeed, all her creative contemplation focused on the absence of weight capturing the passing of a cloud, the flight of a bird, the caress of a feather. Then, the asymmetrical earrings En passant, as a set with the scarf necklace, create the illusion of the passing of overlapped clouds, above and below the lobe. Inspired by the work “Open Sky” created by James Turell in Naoshima, the Fenêtre sur ciel set consists, instead, of a necklace made of small titanium chains making it soft like a fabric that, once

laid down, forms a perfect rectangle. Claire Choisne drew airbrushed stormy clouds on the mother of pearl surface with a combination of lacquer and slate. We should also mention Nuage en apesanteur, a necklace made of white gold, titanium, diamonds and glass beads that seems to float around the neck. In order to create it, Boucheron asked a programmer to create a special algorithm and it took two years of work to develop the materials to be used in it. In fact, it consists of 7,000 titanium stems at whose ends more than 5,000 diamonds and 2,000 small glass beads simulating droplets were set. This same line of thought is shared by Valérie Messika, a young designer that has always worked on the lightness of diamonds as well as on the movement effect, making them even “acrobatic”. The brochure illustrating her latest Voltige (Vaulting) collection is full of images of trapeze artists, tightrope walkers, dancers in statuesque poses, matched by pictures showing jewels where diamonds seem to play against gravity, just like the athletes do with their equipment. As the dancer rolls balanced within a circle, so big cut diamonds seem suspended in the void within the Hoops earrings (that is the name of the creation, but also an onomatopoeic sound to express the vaulting). The Two fingers ring represents another virtuosity. Its structure remains imperceptible to the benefit of the splendour of the gems to which the utmost importance is given. Halfway between the refined piercing and the couture earring, though asymmetrical and bohemian, here are the Single Earrings which can be worn, even in multiple items, anywhere in the auricle. Finally, the Trio ring is not inspired only by the movement but also by the architectural acrobatics. It consists in three diamonds (a white and two fancy) and shows the great expertise on diamonds by Messika, a brand that was born diamantaire with Valérie’s father André. The flight of Piaget focuses on the feathering of tropical birds, intertwining the work of the plumassière artist Nelly Saunier with the one carried out by the artisan setters of the maison. The result is a mosaic of colours and textures decorating, for example, the surfaces of the Majestic Plumage Set, that can be also divided into choker and earrings. The shades of colours along with the delicacy of the manual work are expressed at their best also in the Rainbow Light set boasting both a precious hand engraved Palace finishing and an original inlay made of leather, wood and mother or pearl accomplished by Rose Saneuil. Lastly, in terms of lightness, we should also mention the tulle by Buccellati, a fine openwork that has always been strictly hand made. This year the Haute Couture collection has been enriched by white gold bracelets, earrings and rings worked as laces, unique items showing a great mastery. The style tradition started with founder Mario, Gabriele D’Annunzio’s favourite jeweller, and is now continued by his grandson Andrea. As a conclusion to this display of acrobatic lightnesses, futuristic materials and artisan virtuosities, we mention a maison that, for four hundred years, has never tried to amaze as it is content to provide the most blazoned name of the world with its jewels. We are talking about Mellerio dits Meller, a French brand founded in 1613 and still owned by the same family with Italian origin. Although it remains true to its tradition of staying away from current trends, this year also Mellerio has made its Bridal collection lighter, playing with solids and voids in the arabesques of its engagement rings, inspired by the garden of Borromean Islands in a fully Italian way.

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ALTAGAMMA

I N U O V I S C EN A RI / di Antonella Garello

ALTAGAMMA: True-Luxury Global consumer See page 47 The seventh edition of True-Luxury Global Consumer Insight, the much awaited study on top range luxury consumers made by Boston Consulting Group together with Altagamma, required two separate stages: pre-Covid (January 2020) and Post-Covid (June 2020). The Insight, submitted in late June 2020, is the most complete study on True-Luxury consumers: for this particular edition, an analysis was made of all the categories of personal luxury (clothing, accessories, jewels, watches, perfume and cosmetics...) and experiential luxury (hotels, restaurants, wine and liquor...), on the basis of a sample of over 12,000 interviewees who spent on an average around 39,000 euros a year on luxury items, coming from the 10 main countries in terms of luxury expenditure: USA, United Kingdom, Italy, France, Germany, Brazil, China, Japan, South Korea and Russia, and starting this year, also the United Arab Emirates and Saudi Arabia. Before the Covid emergency, the global luxury market was enjoying a positive trend: personal luxury expected a +3.2% growth over 2020-2022, whereas the outlook for the experiential luxury market was even more positive (+5.8%). In June, even the most optimistic forecasts saw a -35% to -45% fall in 2020 for the global luxury market. Especially, in the field of personal luxury items, a fall between -25% and -45% is estimated for 2020, whereas estimates for experiential luxury are even more negative, with a fall between -40% and -60%. Recovery - with a return to the purchase of luxury goods by consumers - will of course depend on the trend of the pandemic, on how serious its consequences will be, on the economy and society, on whether a vaccine will be available or not. COVID-19 has certainly had a powerful impact on the top range market: 57% of True-Luxury consumers who were interviewed say that in the short term, they are not going to make any significant purchases or investments, even any which they had already planned before, because of the economic uncertainty. Emotional approach to economic recovery is cautious too, 43% of consumers think that after the crisis, return to normal will not be quick. The only exception are the Chinese: 77% of them believe recovery will be quick. In this scenario, some categories will suffer more than others, in the long term too. Concerning experience luxury, 40% of consumers from every geographical area confirm - as in the pre-pandemic period - that they spend more on luxury experiences and less on purchasing items. However, today, they are more reluctant to go to hotels, resorts or on cruises, and they seem to intend to focus their spending on more individual and intimate experience categories (more time at home or in exclusive private meetings, such as super yachts or villas, or haute cuisine experiences). Concerning high-end tourism, Italy is still the top choice for True-Luxury consumers when speaking of international destinations, except among the fundamental target of Chinese travellers, who today prefer France and Japan. Because of the explosion of the Covid-19 pandemic and restrictions on international travel, Chinese consumers are expected to make their luxury spending at home. 73% of Chinese consumers confirm that over the next 12 months, they will spend in China at least half the yearly amount they usually spent abroad on luxury, and they will wait about 8 months before going abroad to purchase luxury

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products. Brands should therefore move their marketing, PR and communications efforts to China, to be closer to where their customers are. For the same reason, they should strategically rethink their distribution channels, and see how to penetrate the Chinese market with a local partner, especially in e-commerce. Finally, rethinking prices and tailor-made offers for the local market is a way to increase local sales. Among those most severely affected by the crisis, Millennials and Generation Z (50% of young interviewees said their income had gone down due to coronavirus, versus 35% of Baby Boomers and 25% of Silver) have however the most optimistic outlook for the future: 53% believe recovery will be quick, compared to an average of about 20% for the older generations. With or without a crisis, these generation groups are especially interesting, since their purchasing power will grow in coming years, as will their capacity to influence the older generations: in other words, in the future, they will be the engine of luxury consumption. They are forerunners of existing trends - some of which have been reinforced by Covid-19 - such as customised clienteling, online purchases (especially in multi-brand stores) and forming opinion through social media and influencers. Without physical contact and proximity, many brands have committed themselves to creative ways to keep up relations with these generations during the Covid-19 pandemic, using emerging social media such as Bilibili (for young Chinese) and TikTok. Research has also shown a marked Value polarisation in luxury: among Chinese consumers, there will be an increase of approximately 14% in preference for products with strong brand recognisability, confirming a pre-Covid-19 trend for preferring extravagance and fun, against more traditional values (craftsmanship, quality and timeless aesthetics), whereas Westerners will see the same diminish by ~9%, showing greater appreciation for more discrete luxury, for slow fashion and for intrinsic product quality. Chinese consumption (which amounts to 35% of the Luxury market and is traditionally carried out largely abroad) will now go mainly to the domestic market. This dualism between “Sobriety” in the West and “Show-off” in China represents a dilemma for brands: which road should they take? Whatever direction brands may take, it is of fundamental importance for them to remain loyal to their identity and tradition. Sustainability: sustainability is now influencing consumers more than ever: 50% of True-Luxury interviewees say that it is more likely to have an impact on their purchasing behaviour than before the crisis.


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FLUORESCENCE IN DIAMONDS: ugly duckling or wonderful swan? See page 68 I can’t believe it. Forget the evangelical turning of water into wine or the alchemical transmutation of lead into gold! Are you thinking of

ITALIANO

GEMMOLOGIA

L’ORAFO

During the Covid-19 emergency, consumers paid great attention to how luxury brands were contributing to society, appreciating those which gave money to research and/or the community, took the first steps to protect their workers and reoriented their facilities to produce medical material, and about 60% of the interviewees agree that these actions had a positive effect on how they view such brands. About 20% say that in the future, they might buy more from them. Consumers continue to feel involved in environmental issues, such as climate change, and have a favourable view of the brands which act concretely and significantly for society and the environment, for example with fair labour practises, environmental friendliness, sustainability strategies which go beyond the more obvious initiatives, while accelerating on the pathtowards transparency. Sustainability must become part of the overall company strategy and of everyday operations, in-house and in the supply chain, as well as of digitalisation. Clienteling 2.0: means ensuring that the relationship is nourished without a break, both in the shop and online, combining human and data capacities (for example, machine learning). 46% of the interviewees say that in the future, they would appreciate more customised clienteling, especially among Chinese (76%) and Italian (57%) consumers. Consumers will have high expectations concerning the level of service they receive, expecting the same treatment on and offline. During the lockdown, some brands have already begun to experiment with new, customised ways of interacting with consumers, for example introducing new exclusive live videoshopping services with a personal shopper. The move over to online channels has been speeded up by recent events. 36% of True-Luxury consumers say they will purchase more online than offline compared to before, but 23% will in any case purchase more offline than online, thus polarising results. The first group consists mainly of younger generations, and of Asian consumers. The second consists mainly of the older generations, especially in hard luxury categories, such as watches and jewels. The rise of online channels, therefore, does not imply the death of retail, which, on the contrary, needs to evolve. From now on, the store 2.0 will have a very different look: it will concentrate on experience and service, it will have a “hyper-localised” range and will improve its digital offer. The single-brand store will play a new role in attracting consumers: there will probably be less of them, they will be more involving and experiential, becoming a place of connection and socialisation. The crisis will bring about structural changes in the behaviour and preferences of luxury consumers. In the new situation, consumers will purchase less, more locally and more selectively, while distribution will be redirected to the digital sector and to the economic aspects of each sales channel. Structure changes include a new kind of P&L for brands, polarisation and consolidation of the luxury industry and accelerated business digitalisation, both towards customers and in-house, with the birth of a “bionic organisation.”

FLUORESCENZA

DA BRUTTO ANATROCCOLO A BELLISSIMO CIGNO

N

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

on ci posso credere. Altro che l’evangelica trasformazione dell’acqua in vino o l’alchemica trasmutazione del piombo in oro! Il vostro pensiero corre alle mascherine che, indossate in tempi pre-virus non carnevaleschi, vi potevano costare una denuncia e ora al contrario, in tempi post-virus, magari una denuncia per non indossarla? Oppure al tele-lavoro o alla tele-didattica, prima così strenuamente osteggiate da segmenti del mondo produttivo e sindacale, ora osannate come il radioso sol dell’avvenir, ma sotto le mentite spoglie di “smart working” e “didattica da remoto”? Avete deragliato, amici. Qui abbiamo a che fare con il sempiterno dilemma riguardante la fluorescenza del diamante. Sentite qua. Riporto uno scritto del gennaio 2000 (duemila!) apparso su un semestrale gemmologico e lo raffronto a quanto asserito in un reportage del giugno 2020 su una rivista americana del settore. Notare, per cortesia, che negli intercorsi 20 anni, e sino a questo solstizio d’estate, nulla di nuovo è accaduto, sul “fronte fluorescenza”. Ben poche foglie si son mosse. Evidentemente, invalse il sempreverde motto “quieta non movere et mota quietare”, ovvero “non agitare ciò che è calmo, ma calma piuttosto ciò che è agitato”. Ecco, dunque - per rinfrescarvi la memoria sulla portata del problema sinora perdurante - lo scritto del 2000, riferito alla più comune reazione nel colore azzurro, per maggiore incisività riportato in formato didascalico di Domanda e Risposta: D. La fluorescenza ha un incontestabile effetto sull’aspetto d’un diamante ? R. No, eccetto che nelle rare pietre “overblues” (GIA, Gems&Gemology, Winter 1997). Tra parentesi: ma anche questo è da alcuni fieramente contestato. D. Analisti del diamante e gemmologi professionisti concordano nel giudicare gli effetti della fluorescenza? R. Alcuni ritengono che possa migliorare il colore “a tavola in su”, altri lo negano. D. C’è un criterio razionale, una motivazione economica, che sottenda l’affermazione, riportata anche dai listini prezzi e lettere finanziarie,

del tipo “una fluorescenza media diminuisce il valore dal 2% al 10%; fluorescenze forti o molto forti diminuiscono il valore dal 10 al 25%, incidendo di più sui colori migliori”? R. Nessun criterio, nessuna motivazione. Nessuno sa perché, ma tutti accettano il fatto compiuto. D. È vero che per anni le pietre con forte fluorescenza azzurra, note fino al 1938 come pietre “blue-white”, venivano gratificate d’una somma aggiuntiva (premium)? R. Sì. D. E da quand’è che la fluorescenza è diventata la cattiva di turno? R. Durante l’ondata speculativa che s’abbatté sul diamante negli anni ’70. D. E perché ? R. Perché in quel periodo prese piede la vendita “su carta”. Si fecero strada negli operatori il dubbio e la preoccupazione che le pietre descritte come “fortemente azzurre” (con forte fluorescenza azzurra) fossero in realtà delle “overblues” (pietre paglierine con forte fluorescenza azzurra che conferisce loro un aspetto “oleoso”, “aniciato”, “lattiginoso”) e ciò portò a pratiche di sconto nei confronti di pietre d’elevato colore con forte fluorescenza azzurra. D. Altre cause a cui imputare…? R. Crisi di fiducia. Sempre in quel periodo, e sempre supponendo che la fluorescenza migliorasse il colore della pietra, gli operatori furono indotti a non prestar più fiducia al colore dichiarato, per quelle pietre. D. Altre ancora ? R. Sì. La Corea. La Corea era diventata, negli anni ’80, uno fra i primi mercati di consumo per i diamanti fluorescenti. Nel 1993 andò in onda, su una TV coreana, un servizio scandalistico che propalò l’idea che le pietre fluorescenti valessero notevolmente meno delle altre. E quella fu la fine dei diamanti fluorescenti, non solo in Corea ma in tutta l’Asia. La palla rimbalzò poi ineluttabilmente sulle piazze fornitrici europee e americane, con effetto domino. Eccoci qua.

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face masks that, worn in non carnival pre-virus times, could cost you a charge and now, on the contrary, in post virus ones, maybe a charge for not wearing it? Or to teleworking or teledidactics, first so sternly opposed by sectors of the manufacturing and union world, now praised as the new radiant rising sun, though in disguise as “smart working” and “remote teaching”? You went off tracks, my friends. Here we are dealing with the everlasting dilemma concerning the fluorescence of diamonds. Listen up. I’m quoting a text dating back to January 2000 (two thousand!) published on a gemmological sixmonthly review comparing it with what stated in a report on a sector American magazine in June 2020. Please note that, over these last 20 years, and up to this summer solstice, nothing new has happened on the “fluorescence front”. Very few leaves have fallen. The eternal motto “quieta non movere et mota quietare”, that is “don’t move things that are at rest, though put at rest things that move” clearly became established. Here, then, to refresh your memory on the extent of the still persisting issue, the 2000 article that made reference to the most common reaction in light blue, didactically quoted as Question and Answer for a greater incisiveness: Does fluorescence have an indisputable effect on the appearance of diamonds? No, it hasn’t, except in those rare “overblue” stones (GIA, Gems&Gemology, Winter 1997). By the way: also this idea is, however, strongly opposed by some. Do diamond analysts and professional gemmologists agree when judging the effects of fluorescence? Some believe that it could improve the colour in an “upward table”, other deny it. Is there a rational criterion, an economical reason supporting the statement, referenced to also in price lists and financial letters, saying that “an average fluorescence decreases the value by 2-10%; strong or very strong fluorescences decrease the value by 10-25% impacting more on the best colours”? No criterion, no reason. No one knows why, but everyone accepts the fait accompli. Is it true that, for years, stones with a strong light blue fluorescence, known up to 1938 as “blue-white” stones, were awarded an added sum (premium)? Yes, it is. Since when has the fluorescence become the villain in the story? During the speculative wave that hit diamonds in the ‘70s. And why? As in that period the “paper” sale caught on. The doubt and

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preoccupation that the stones described as “highly light blue” (with a strong light blue fluorescence) were actually “overblues” (straw coloured stones with a strong light blue fluorescence bestowing them an “oily”, “aniseed”, “milky” appearance) started to insinuate in the operators’ mind and this led to discounting practices involving the stones characterised by a high colour and strong light blue fluorescence. Other reasons that can be considered as the cause of such phenomenon...? A crisis in trust. Always in the same period, and always presuming that fluorescence improved the colour of the stone, operators were led to no longer trust the stated colour for those stones. Others? Yes. Korea. In the eighties, Korea had become one of the first consumption market for fluorescent diamonds. In 1993, a sensationalist report was broadcast on a Korean TV, which spread the idea that fluorescent stones were far less worth than the others. And that marked the end of fluorescent diamonds, not only in Korea, but in the whole Asia. Then, the ball inevitably passed to the European and American supplying markets, with a domino effect. And here we are. Does the strong light blue fluorescence bestow, tout court, “oiliness”, “milkiness” to diamonds? No. With a single exception: the “overblue” stones, those with a Very Strong light blue fluorescence. And not all the stones with a Very Strong fluorescence are “overblue”. And these are extremely rare. Are fluorescent stones purer than the others? No, not at all. Is it true that non fluorescent diamonds are more difficult to find than the fluorescent ones? Just the opposite. As much as 60% of stones shows a fluorescence (some say 35%). If they are more easily found on the market when compared to others is because dealers don’t want them. And if no one wants them, they can be found more easily. And just because they can be found more easily, no one wants them. It’s like the story of the child and the jam jars, though reversed. On the contrary, as it is like that, it is all jam, so much for ratiocination. And now the 2020 post(?)virus version. Hold on fast, as with these statements/proposals a world left frozen for nearly half a century is reversed: - The sale of fluorescent diamonds must be stimulated and encouraged, as fluorescence is a peculiar feature of a mere 25-35% (only? editor’s note) of natural diamonds (and then a reason for prestige, we suppose? editor’s note); - In the past, such feature was wrongly given such a negative connotation to justify - using as an excuse the extremely rare fluorescence called “milky” - damaging decreases in price; - Actually, fluorescence, beside representing a worth identifying feature, can become, for diamonds, an addendum to beauty, positively influencing the colour under both artificial and natural lighting. After all, the cause of the phenomenon is to be found in some peculiarities (colour centres) in the structural-crystallographic domain as in the case, for example, of fancy diamonds; - Fluorescence hides great opportunities for sales and represents their future. What could we say when comparing this narration to the previous one? Mere contingent commercial opportunism, or a desirable return to rationality? Is the ugly duckling turning into a wonderful swan, or the revolting toad taking on the appearance of prince charming who fell victim of a spell? You are left to express a judgement - net of a terminology now fallen into disuse and of the fact that, in the colours from D to I, a strong/average fluorescence gives the impression (the impression!), under the natural light, of a higher colour than what it actually is (sic) and, hence, the applied penalty - and tip the scales from a side or another.

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Yes. Korea. In the eighties, Korea had become one of the first consumption market for fluorescent diamonds. In 1993, a sensationalist report was broadcast on a Korean TV, which spread the idea that fluorescent stones were far less worth than the others. And that marked the end of fluorescent diamonds, not only in Korea, but in the whole Asia. Then, the ball inevitably passed to the European and American supplying markets, with a domino effect. And here we are. Does the strong light blue fluorescence bestow, tout court, “oiliness”, “milkiness” to diamonds? No. With a single exception: the “overblue” stones, those with a Very Strong light blue fluorescence. And not all the stones with a Very Strong fluorescence are “overblue”. And these are extremely rare. Are fluorescent stones purer than the others? No, not at all. Is it true that non fluorescent diamonds are more difficult to find than the fluorescent ones? Just the opposite. As much as 60% of stones shows a fluorescence (some say 35%). If they are more easily found on the market when compared to others is because dealers don’t want them. And if no one wants them, they can be found more easily. And just because they can be found more easily, no one wants them. It’s like the story of the child and the jam jars, though reversed. On the contrary, as it is like that, it is all jam, so much for ratiocination. And now the 2020 post(?)virus version. Hold on fast, as with these statements/proposals a world left frozen for nearly half a century is reversed: - The sale of fluorescent diamonds must be stimulated and encouraged, as fluorescence is a peculiar feature of a mere 25-35% (only? editor’s note) of natural diamonds (and then a reason for prestige, we suppose? editor’s note); - In the past, such feature was wrongly given such a negative connotation to justify - using as an excuse the extremely rare fluorescence called “milky” - damaging decreases in price; - Actually, fluorescence, beside representing a worth identifying feature, can become, for diamonds, an addendum to beauty, positively influencing the colour under both artificial and natural lighting. After all, the cause of the phenomenon is to be found in some peculiarities (colour centres) in the structural-crystallographic domain as in the case, for example, of fancy diamonds; - Fluorescence hides great opportunities for sales and represents their future. What could we say when comparing this narration to the previous one? Mere contingent commercial opportunism, or a desirable return to rationality? Is the ugly duckling turning into a wonderful swan, or the revolting toad taking on the appearance of prince charming who fell victim of a spell? You are left to express a judgement - net of a terminology now fallen into disuse and of the fact that, in the colours from D to I, a strong/average fluorescence gives the impression (the impression!), under the natural light, of a higher colour than what it actually is (sic) and, hence, the applied penalty - and tip the scales from a side or another.


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VISION

M A Met ASophie N di Antonella Garello

MAMAN ET SOPHIE A passion for harmony See page 76 In ten years Maman et Sophie passed from a “home” production consisting of only a few items a day to the consolidated presence in 250 jewellery stores, with a continuously growing turnover, great satisfactions, among which a special collection created last year for Tod’s and a host of loyal and passionate customers following, on social media, every launch and initiative by the company that, in its turn, managed to keep this dialogue alive even during the latest difficult months. The origin of such a success is Elisabetta Carletti, the entrepreneur from Florence who, ten years ago, left the certainties of her lawyer career to enter the goldsmith world - of which she did not know anything - and that explains that she made this decision simply because she couldn’t find the jewels she had in mind. «This is exactly how it went. I graduated with full marks in law, I passed the state certification exam and I started working in a big law firm. Well, a linear path behind and also as a perspective. Then, my longawaited baby girl was born and I decided to allow myself a sabbatical year to look after my little one and enjoy the happiness of her birth. It was at that time that I got the desire to wear small jewels, to always take with me, and share the symbols of that love and happiness that I felt inside. I knew well what I wanted, I had in mind a star necklace where the chain wasn’t to be seen, a sky on the skin, small lights! The market didn’t offer this type of jewels, so I made them. I found on the Internet the model of stars I was looking for and I contacted the manufacturing company: can you imagine that the owner himself, Italo, taught me how to use the pliers? He told me: “You have a good touch, I saw many starting like this... Some of them have become famous”. He brought me luck». And you were not familiar with jewellery? «Absolutely! I have always preferred watches, the only jewels I liked were the Victorian charms my mother loved. However, I must say that I have always been a creative person. At the same time, to me creativity also means precision and rigour. My collaborators say that I have a built-in “eyemetre” that helps me see disharmonies invisible to others and correct them by instinct. In this I am obsessive: I correct and arrange also millimetre details until an item reaches harmony. Now I have understood the reason why I have always had the craze for geometry!» I suppose the beginning was not easy. «At first I created jewels only for me, combining new elements with the charms and jewels I already had. A small chain with stars, one with the name of my girl, Elena Sofia...They were small, light jewels talking of an intimate, personal, not showed off feeling more than a name, from a distance those small letters were and wanted to be only light. An increasingly wider circle of friends and acquaintances immediately appreciated them, then the turning point occurred when Flow Store, a wonderful clothes shop in Florence asked for some items, followed by other research and trendy stores. When the requests came from jewellery stores I understood that the time had come to focus on this sale channel and to devote myself entirely to the adventure of Maman et Sophie. My husband was the first one who believed in me: he always recognised my talent of being continuously a step

In dieci anni Maman et Sophie è passata da una produzione “casalinga” fatta di pochi articoli al giorno alla consolidata presenza in 250 gioiellerie, con un fatturato in crescita costante, grandi soddisfazioni, tra cui una collezione realizzata l’anno scorso per Tod’s, e una schiera di clienti fedeli e appassionate che seguono sui social ogni lancio e iniziativa dell’azienda, la quale da parte sua ha saputo tener vivo questo dialogo anche durante gli ultimi, difficili mesi. All’origine di questo successo è l’imprenditrice fiorentina Elisabetta Carletti, che appunto dieci anni fa ha abbandonato le certezze della carriera di avvocato per fare il proprio ingresso nel mondo orafo - di cui a priori non sapeva nulla - e che spiega di aver preso questa decisione semplicemente perché non riusciva a trovare i gioielli che aveva in mente lei.

In questa pagina: girocollo della collezione Wehearth in filo di nylon con elementi in argento e argento placcato oro rosa e dettagli smaltati e glitterati. In basso: un ritratto dell’imprenditrice fiorentina Elisabetta Carletti, fondatrice e titolare di Maman et Sophie.

«È andata proprio così. Mi sono laureata a pieni voti in giurisprudenza, ho superato l’esame di stato e ho cominciato a lavorare in un grande studio legale. Insomma, un percorso lineare alle spalle e anche in prospettiva. Poi è nata la mia bambina, attesissima, e ho deciso di concedermi un anno sabbatico per occuparmi della piccola e godermi tutta la gioia della sua nascita. È stato allora che mi è venuto un gran desiderio di indossare piccoli gioielli, di portare sempre con me e condividere i simboli di quell’amore e di quella felicità che mi sentivo dentro. Avevo le idee molto chiare, avevo in mente una collana di stelle in cui non doveva vedersi la catenina, un cielo addosso, piccole luci! Il mercato non offriva questo tipo di gioielli, così li ho realizzati io. Ho trovato in internet il modello di stelle che stavo cercando e ho contattato l’azienda produttrice: pensi che è stato il titolare, Italo, a insegnarmi a usare le pinze. Mi disse: “Hai una buona mano. Ne ho visti tanti cominciare così... Qualcuno è diventato famoso”. Mi ha portato fortuna». Ma davvero non aveva nessuna confidenza con la gioielleria? «Davvero! Ho sempre preferito gli orologi, gli unici gioielli che mi piacevano erano i charm vittoriani amati da mia mamma. Però devo dire che sono sempre stata una persona molto creativa. Al tempo stesso, per me la creatività significa anche precisione e rigore. I miei collaboratori dicono che ho “l’occhiometro” incorporato, che riesco a vedere disarmonie invisibili agli altri e a correggerle per istinto. In questo sono maniacale: correggo e sistemo anche particolari millimetrici finché un pezzo non raggiunge l’armonia. Ho capito ora perchè ho sempre avuto il pallino della geometria!» Gli inizi non saranno stati facili. «All’inizio creavo gioielli solo per me, combinando elementi nuovi con i charm e i gioielli che possedevo. Una catenina con le stelle, una col nome della mia bambina, Elena Sofia… Erano gioielli piccoli, leggeri, che parlavano di un sentimento intimo, personale, non gridato: più che un nome, da lontano quelle letterine erano e volevano essere solo luce. Sono piaciuti subito a un giro sempre più largo di amiche e conoscenti, poi la svolta con una richiesta di pezzi da parte di Flow Store, un bellissimo negozio di abbigliamento di Firenze e a seguire altri negozi di ricerca e di tendenza. Quando le richieste sono giunte dalle gioiellerie, ho capito che era arrivato il momento di concentrarmi su questo canale di vendita e di dedicarmi a tempo pieno all’avventura di Maman et Sophie. Il primo a credere in me è stato mio marito: mi ha sempre riconosciuto la dote di

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ahead, of being able to anticipate trends and, in 2012 he left his family company to give his contribution to Maman et Sophie. Unfortunately, he passed away this winter, leaving a tremendous void in those who knew him». How are Maman et Sophie collections developed? «I have always been in love with life, with the beauty that is everywhere and is an endless source of inspiration. Every collection has a story of its own. The Animals line, for example, comes from my love for nature as well as the deep respect for environment and is then the result of a very long iconographic research. I was inspired by Damiano of the Maneskin band for the plaster: I saw him wearing two on his chest forming an X shape: I was struck by the idea of protection which is implicit in the plaster combined with the powerful symbol of the cross that, with its horizontal and vertical development, represents the connection between heaven and earth, material and spiritual world. Conchs are also meant as a hymn to life, with their hard shell that can hide a pearl. It seems like magic, but it is exactly so: behind every obstacle an opportunity is hiding, behind darkness, light. Behind every collection there is a story, an idea». Are you working on new projects? «If I look back, I realise that I have come a long way... Last year we also created our first 18 ct gold line. We are now working on a wonderful novelty for winter, it is a project I truly believe in, meant to combine lightness, the unifying thread of our story, and reflection, awareness. Because life must be lived lightly, though... aware that things without a soul are meant to die. I am guided by the search for truth and so I try to contribute to the beauty and harmony of what surrounds us». Your greatest satisfaction? The thought of giving some beauty to others but also of sharing a life experience that leads me far. Love for my fellow people, love for life and beautiful things. All this passes to our wonderful customers. They can feel it! And then the support of our retailers and the affection of our customers that have always been close to us, even in the most difficult moments, and that find in our company the will to never standardise: despite all the imitations we see around!

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