Lost In Jewels

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Lost In Jewels

Online magazine and independent insight into jewelry art.

History and designers, exhibitions and books, modern jewelers and celebrities who left an imprint and influenced the trends.

10/08/2026

Is jewellery’s value in the gold, the brand, the story?

I started with an idea borrowed from interior design
— “found luxury” —
and asked whether it could help explain what is happening in jewellery now.

The 2026 data offer an intriguing starting point: jewellery demand is falling by weight, while its value is rising.
Gold prices explain part of the gap. But not necessarily all of it.

So I looked at the other things we pay for: diamonds, rarity, brand, provenance — and the forms of value that are harder to isolate, including history and personal meaning.

What can the market actually measure? And what does it leave out?

Five slides from the analysis. The full article, with all sources, is in the link in bio for our premium members.

10/07/2026

This year, Lostinjewels is covering Milano Jewelry Week again.
So… not the usual “we’re thrilled to announce” post.

What I keep finding interesting about MJW is how unpredictable it is. Vintage sits a few steps from fine jewelry houses, which sit a few steps from something entirely experimental: unconventional materials, structured design brands, capsule collections, and artists with their own signature techniques, each making one-of-a-kind pieces. So jewelry here is actually something that could genuinely interest all of you.

And the city opens up with it — you get to visit different corners and places usually closed to the public. It’s a huge, almost utopian project that’s kept growing year after year. And I love watching it get better every time.

Swipe through for a few photos and videos from past editions.

If you’d like to know how this event actually came to life, starting with Fuorisalone, Lambrate, there’s an interview with Enzo on Lostinjewels.

And if you haven’t registered for this year’s edition yet, I’d do it. I’d be surprised if you didn’t find something you weren’t expecting to look for. All links in bio.

See you in Milan.

09/26/2026

I have always loved en tremblant jewellery, but this time I became interested in something slightly different: the movement itself.

It is so small that you can almost miss it. Yet it changes the way the jewel catches light and with it…
the way we perceive the whole piece.

I started noticing the same kind of effect elsewhere: in nature, music, painting, even in a film. So why not another .

The Invisible Effect is now on Lostinjewels. Link in bio.

09/23/2026

I like when museums step out of their archives and actually come alive.
This new collaboration between Sabyasachi and The Met caught my attention.

It is named with three words:
Bengal. Byzantine. Broadway.
Three words with huge cultural baggage behind them.

I kept going back to the museum objects behind the collection. Ivory, marble, Byzantine ornaments… things we usually see as historical objects, often in very restrained materials and colours.
Here they become something completely different: massive gold, coloured stones, enamel, shine and weight.
From restrained to bohemian, almost theatrical.

And this is what I find interesting about jewellery collaborations with museums. The object gets translated into another visual language. Something comes from the past, but suddenly it also belongs to the present.
The ornament is still there. But the perception changes
and so does the emotion.
I like looking at that moment of translation.

Images courtesy of The Metropolitan Museum of Art and Sabyasachi Jewellery

09/21/2026

For my I would like to share here a quite famous drawing and why I personally find it really fascinating…
It’s a map of stones, almost an inventory sheet. The stones are numbered. Some are marked as stock stones, loose stones, Jam Saheb’s necklace, Jam’s own stones, green dia supplied, rough diamonds from stock, Trefoil stock ring, pink diamonds from stock. There are measurements, arrows, corrections and little ticks next to the stones.
And then, at the top: Project No. 3, Final project accepted.

I love this side of jewellery. The living part that usually disappears completely once the finished piece is photographed.
It is a work in progress, a continuous birth of an object, a collection of decisions, measurements, stones and handwriting on a piece of paper.
That’s the human part that becomes an object. It’s something really precious when time was a co-author. And now it’s even more precious in the AI era, when all these middle stages start to disappear.

09/17/2026

It’s been a while since I last wrote here… further from the keyboard than from the thinking. Between projects and ideas, there was always something worth writing down, and never the right time to do it. Maybe because the right time is something we tend to invent for ourselves.

So I wanted to open this return with something new: a series called Lost In... Places, objects, moments that aren’t strictly about jewelry but somehow bring us back to it. They shape a thought, shift a perspective, or simply point the eye somewhere new.

The first stop is a place I’d wanted to visit for 18 years, since I moved to Italy. It left me with a small thought…
I wanted to share.

Full piece link in bio

08/09/2026

I couldn’t resist sharing this
Here you go: an intaglio by Edward Burch, one of the English gem engravers of the late 18th century. Glass paste and gold, dating to around 1771 or earlier. It shows a procession of maenads and putti solemnly carrying a phallus under a canopy towards an arch framed by curtains of rather transparent purpose.

And now imagine: this is a watch fob, something a gentleman would wear on a chain hanging from the pocket of his waistcoat, on display for everyone to see, but small enough that only someone leaning in a little closer could really appreciate the details.

And this is where it gets interesting: under the cover of “serious” Neoclassical taste,
collecting ancient gems, which was considered a sign of education and sophistication after the Grand Tour,
you could commission yourself a private little joke like this. You are, after all, simply collecting Antiquity.

I like to think of it as a kind of male club joke: something to show around over a glass of port after the ladies had retired, while keeping the most perfectly serious face and saying something like, “Did you notice the quality of the engraving?”

08/06/2026

August is the kind of time when Thursday feels like Sunday. It is when I allow myself to stop time and post here less. I realize that I don’t look closely at jewelry anymore; I just scroll and I’m not afraid to miss something interesting… because the real things are not fleeting, they will always come back.

I have a feeling that all this digital noise is getting a bit tiring. I’ve just stopped processing it. Marketers in the 2000s used to talk about ‘banner blindness,’ but now we are experiencing ‘content blindness.’ We just stop noticing things.

So, while my kids are doing their summer reading, I am thinking about dandelions… the most simple, ordinary flowers growing under our feet. Just like Bradbury’s characters “bottling summer”, jewelers seem to hint that true happiness is made of simple daily moments:
the smell of cut grass, the warmth of the sun on your skin, the laughter of a friend catching sunbeams, or the sound of summer silence far away from the city.

W**e made from weeds becomes a treasure because it holds real emotions, lived moment, an irreplaceable life beyond the screen.

And so, I have gathered a bouquet of these wild meadow flowers for you. Let’s put it in a vase (ooppss clothes), stop the rush and enjoy this August moment together.

turns in Thursday one 😉

07/19/2026

A clock made almost entirely of things that aren’t clocks. Cartier and clockmaker Maurice Couët made this in 1927 around a piece of white jade carved in 18th-century China: dragon in enamel, coral, mother-of-pearl, diamonds holding it all together like a frame around someone else’s much older object.

I don’t fully know why this is my and got me this week, in the middle of summer. Maybe because it’s not really about telling time at all. It’s a «screen clock» meant to be looked at more than checked. John Lennon once said time you enjoy wasting isn’t wasted and there’s something of that here: an object that spends 1727 and 1927 at once, and doesn’t seem in a hurry to pick one.

07/16/2026

Five things I couldn’t stop connecting this week.
A brooch. A shell. A lake in Utah. A museum. A dance made of silk and light.

Different centuries, different mediums, same shape underneath — the spiral. Once I saw it in Suzanne Belperron’s brooch (the one from her own personal collection, sold at Sotheby’s for almost four times the estimate), I couldn’t unsee it everywhere else. Robert Smithson built one out of rocks and salt. Frank Lloyd Wright built one out of concrete and gravity. Loie Fuller built one out of her own body.

This is what is for me following one form until it starts showing up in places you didn’t expect. New essay is up, link in bio. Would love to know what you’d add to this list

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