Alina Alamorean grew up in Transylvania in a family where art was part of everyday life, and where beauty was discussed alongside proportion and colour. Her mother and aunt made couture, her mother crocheted silk bags for an art gallery, her father drew in charcoal and pastel, and her grandmother and great-grandmother had studied at Les Beaux Arts. 

At home, Alina spent hours with her father’s art books, looking at Botticelli, Kees van Dongen, Toulouse-Lautrec, Miró and Jérôme Bosch. She eventually studied jewellery at the HEJ jewellery school in Paris, after first being pushed towards medical school by her parents. She received two awards in the International HRD Diamonds Awards in 2005, was a winner of the HRD Diamonds Awards and won a special prize at Tahitian Pearl Trophy in 2007, and began developing wearable pieces that departed from conventional jewellery proportions.

Suzanne Syz, a woman of singular charisma and artistic allure, has always been driven by an insatiable desire to create. In the electric ambiance of 1980s New York City, she found herself amidst luminaries like Andy Warhol and Jean-Michel Basquiat, a coterie of avant-garde minds, and the very essence of contemporary art itself. It was here that she imbibed the energy, the raw input, the boundless creativity, and the profound love for the avant-garde that would come to define her journey.

There is a moment when two elements recognise one another, shapes drawn together by instinct, stones suspended in a moment of romance: one polished and perfect, the other raw and untamed.

Chapter One of the new De Beers high jewelry collection, Echo, builds its identity around movement and contrast. The designs take their cues from water in motion: surfaces that shift and fracture light, shaping the sweep of each curve and the placement of every stone, so the pieces change character as the wearer moves.

Suzanne Syz, a woman of singular charisma and artistic allure, is driven by an insatiable desire to create. In the electric ambiance of 1980s New York City, she found herself amidst luminaries such as Andy Warhol and Jean-Michel Basquiat, a coterie of avant-garde minds, and the very essence of contemporary art. It was here that she imbibed the energy, raw input, boundless creativity and profound love for the avant-garde that would come to define her journey.

In an age of instant gratification, in an industry built on the illusion of permanence,  Boucheron, under the creative direction of Claire Choisne, is staging a quiet and powerful revolution. While the world races toward automation, Boucheron dares to do the opposite: stop, think, dream, and make by hand. 

From the Maison’s Place Vendôme atelier, time is the medium itself. Every piece in Boucheron’s high jewelry collections carries a message: in a world that accelerates, the true luxury is taking your time.

The legend began in 2011 when Claire Choisne arrived at Boucheron as its Creative Director. The house had long been known for its innovative spirit, but under Claire's unique leadership, it became something else entirely. Jewelers accustomed to gold and diamonds were soon handling rock crystal, holographic elements, and rattan, with Claire banishing the boundaries between high jewelry and material possibility.

Under her direction, Boucheron has incorporated aerogel, carbon nanotubes, rock crystal, ceramic, and even sand into high jewelry. 

Laura Volpi's journey from the scenographic stages of Milan's Accademia di Brera to the intimate scale of art jewelry is a story of beauty and transformation.

Born in Milan in 1969, Laura's early career in set design laid a foundation for her exploration of space and form, but it was under the tutelage of Arnaldo Pomodoro and Davide De Paoli at the Tam Center (Centro TAM: Trattamento Artistico dei Metalli) where her fascination with the sculptural potential of metal began to take wearable shape.

We invite you to read the full interview with Laura Volpi, a philosophical artist, immensely skilled and creative artisan (as Laura speaks about herself) and an amazingly interesting person.

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For the artist, creativity comes in waves: when he is happy or unhappy, going through climax or drama, navigating his ups or downs. But whatever he does, whatever he creates, it must be needed by someone, sold, used and worn. If people do not purchase it, if it is not needed by anyone, this kind of creation is unacceptable and pointless, he says.

In his vision of life and the world, Gregory is a total punk. Very lively, enjoying life, energetic and talkative, after relocating to Berlin, he talks about trying out DJing, apart from his staple jewelry and sculpture. Formerly a metalhead, he now prefers music with a peculiar, kind of distorted, "broken" rhythm, allowing it to accompany him wherever he is creating, going through the whirlpool of emotions - to finally overcome, process, reflect and produce something extremely conceptual.

There is a perfect charm in holding a Buccellati piece, an irresistible urge not just to admire it, but to wear it, to melt it into your very essence. 

This is the magic Andrea Buccellati continues to weave as the Creative Director at Buccellati, an Italian jewelry house renowned for its timeless masterpieces.

In 1936, Mario Buccellati, the founder of Buccellati, was nicknamed “The Prince of Goldsmiths” by Gabriele d'Annunzio, one of Italy’s most influential writers.