Antique jewelry makes a comeback
Antique jewels, true masterpieces of the 19th century, are re-emerging on the jewelry scene, with designers such as Alessandro Michele and Giovanna Battaglia Engelbert. More than a simple accessory, they embody a timeless artistic and cultural heritage.
A journey into the past
In the 19th century, Italy was the nerve center of the jewelry world. Young European heirs would visit Rome, Naples or Florence on their Grand Tour, taking with them jewels bearing witness to local know-how. These pieces, adorned with micromosaics or cameos, embodied the cultural wealth of the time.
Today, these ancient jewels are enjoying a resurgence of interest. Bracelets adorned with inscriptions such as “ROMA”, necklaces evoking Roman views in miniature mosaics, and cameos sculpted from volcanic stones are being showcased by influential fashion figures such as Alessandro Michele and Giovanna Battaglia Engelbert. These creations, true works of art, perpetuate the history and know-how of the craftsmen of the time.
A renaissance driven by contemporary designers
Antique jewelry lends itself perfectly to contemporary reinterpretation. Roger Vivier creative director Gherardo Felloni uses cameos to adorn shirt collars, fusing the aesthetics of the past with modern designs. These pieces tell a story, capturing the spirit of bygone eras while fitting in with current trends.
Ancestral techniques continue to fascinate: Roman micromosaics, cameo sculptures and coral work at Torre del Greco are all reminders of the virtuosity of Italian craftsmen. Institutions such as the Pennisi selection, on show in Milan, and Eleuteri in Rome, preserve this heritage by presenting exceptional pieces.
A precious, timeless heritage
Jewelry design expert Alba Cappellieri points out in her book 1750-1950, Collection Pennisi that these creations are not just nostalgic mementos, but a celebration of beauty and craftsmanship. Antique jewelry reminds us that the future of jewelry lies in preserving the techniques and stories of yesteryear.
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