I have always been interested by vintage jewels since the first work I created by them. Assembling this waste material no longer in fashion, I want to transform the work to get in contact with the world, becoming something always different from itself. And I patiently waited jewels to ask me to be selected and composed. I transform jewels to get in contact with the world, in a metamorphosis of matter, as a phenomenology of light, sign and gesture.
My partners are jewelry manufacturers, as well as amateurs, collectors, admirers of these perfect wonders. I am pleased to work with this of extraordinary and marvelous partners all over the world.
There are more than one hundred thousand of pieces of bijoux that I selects every year in the world to then assemble them and make my pieces of art. Bijou is the medium that i choose some years ago. Beautiful. A bit like our lives.
The Bijou was born as an authentic fake, imitation, not necessarily a copy, of the precious jewel. its ornamental function is connected to its social diffusion and to the evolution of taste and fashion. Although the Bijoux was born in the United States in the mid-1800s, in Providence (Rhode Island) as a substitute for precious ornaments for use by a nascent new bourgeoisie, the imitation jewel also arrives in Europe hand in hand with the historical and cultural evolution that goes by the name of Modernism (Mariastella Margozzi, director of Boncompagni Museum for decorative arts and fashion of the National Gallery of Modern Art in Rome).
Costume jewelry therefore explodes as a phenomenon of imitation of real jewels because it contributes to recalling, as the journalist, writer and great collector of bijoux Nicoletta Pietravalle said, “women’s fashion in vogue between the end of the nineteenth century and the first half of the twentieth century, a period that stripped the woman of numerous and bulky superfetations, he delivered her to a simplified dress, appropriate to the active professional life”.
A fashion full of ideas especially in the new field of costume jewelery, the so-called fantasy jewels, launched in Europe by Coco Chanel in 1928, worked using non-noble metals and fake stones, but unrelated to the small ‘trinkets’. Costume jewelery, bijouterie or cheap jewerly, was very successful in Europe and in the United States because it lightened the costs in comparison with those of authentic jewels, and freed artists, traders, buyers from the economic risk deriving from the eccentricity of the object, in the moment of the rapid mut ament of taste “.
Therefore, excluding gold and platinum, hoarded by the manufacturers of ammunition, silver, pewter, brass, chromed steel and princisbecco remained for the costume jewelery, a funny term coined on the surname of Christopher Pinchbeck, a London watchmaker who in the second half of the seventeenth century had invented an alloy in zinc and copper similar to gold. Some earrings and pins copy the original Cartier jewels; Boucheron is recalled with two broche; Bulgari is mentioned with the ‘gas tube’ process. The bouquet pins recall the real ones of Mellerio dit Meller. To René Lalique who at the end of the nineteenth century had given birth to some pieces in unusual materials, refer to two liberty clasps in silver and glass, applied to the sides of a pearl necklace.