Lost In Jewels

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.

Scrolling through the Christie’s London sale, my eyes kept stopping at lot 185.Codognato snake bangles with tourmalines....
05/27/2026

Scrolling through the Christie’s London sale, my eyes kept stopping at lot 185.
Codognato snake bangles with tourmalines.

Not the flashiest piece in the auction by any means, but somehow the most alive. I’m drawn to that dark Venetian soul, the layered symbolism, poetry and the way it feels like it has a story to tell.
Rare and made only for those who understand.

In a sale full of impressive jewels, I kept coming back to them.
What do you think?

It’s Monday again… which means it’s time to chase the Monday Blues. But not the depressing kind…the deep, royal, slightl...
05/25/2026

It’s Monday again… which means it’s time to chase the Monday Blues. But not the depressing kind…
the deep, royal, slightly dangerous kind.

This week I went down a rabbit hole about Napoleon and Josephine’s sapphires, and honestly, it’s one of my favorite stories.

It’s not the usual sugary “he was so romantic” nonsense. The guy was using the color blue
that sacred bleu de France
as a political weapon.
He took the old monarchy’s color and basically said “this belongs to me now.” And he put it all over Josephine like a walking billboard for his new empire.

I find it fascinating and a bit twisted at the same time. Because yes, he was madly in love with her (the letters prove it), but he was also building a brand. And those sapphires were part of the branding.

From the tiny too et moi ring to massive parures… The stones are still making history. Remember, a daring daylight heist at the Louvre in 2025.

If you want the full story with all the messy, romantic, and political layers, it’s waiting for our Premium Members. Link in bio.

So tell me… do you see blue as a calm, romantic color or as something more powerful? I’m genuinely curious what you think.

Do we still want jewelry to look “expensive”?
Or has the idea of expensive itself evolvedfrom visible status into someth...
05/20/2026

Do we still want jewelry to look “expensive”?
Or has the idea of expensive itself evolved
from visible status into something more intimate, personal, design-led?
Into pieces that feel more harmonious with our inner self, intelligent aesthetics, emotionally connected?

Swipe through my thoughts and tell me what you think. I’m really curious about your opinion.

In my   series, I want to share a moment that stayed with me from a drawing exhibition I visited almost a year ago.A mom...
05/18/2026

In my series, I want to share a moment that stayed with me from a drawing exhibition I visited almost a year ago.
A moment of form coming into existence.
The process of studying:
curves, structure, movement.
From practical anatomy to the breath of the line and almost the poetry of form.

These studies by Eugène Grasset for the “Swans and Water Lilies” comb reveal how an object was created during the Art Nouveau period.
The swan’s skeleton.
Its vertebrae.
Proportions.
The movement of the neck.
The position of the beak.
An understanding of form before capturing that one precise movement.

Grasset described this process in three stages:
to know, to interpret, to realize.
First came the anatomical studies.
Then the preparatory drawing for the comb itself…now considered lost.
But a photographic print of Grasset’s original drawing survived in the Vever archives.
Later, the comb itself was created by Vever Frères for the 1900 Exposition Universelle.
And then another drawing appeared — this time after the jewel had already been created. It was made by Georges Callot, likely to preserve the memory of the object itself.

It creates an almost fascinating cycle:
observation → drawing → jewel → photograph → drawing again
And I think this is exactly what makes these historical creative processes feel so alive.
You are not looking at a final result, but at the designer’s thinking in motion.
Especially today, when so much attention goes to the final object, and so little to the process of seeing itself.

In my   series, I want to share a moment that stayed with me from a drawing exhibition I visited almost a year ago.A mom...
05/18/2026

In my series, I want to share a moment that stayed with me from a drawing exhibition I visited almost a year ago.
A moment of form coming into existence.
The process of studying:
curves, structure, movement.
From practical anatomy to the breath of the line and almost the poetry of form.

These studies by Eugène Grasset for the “Swans and Water Lilies” comb reveal how an object was created during the Art Nouveau period.
The swan’s skeleton.
Its vertebrae.
Proportions.
The movement of the neck.
The position of the beak.
An understanding of form before capturing that one precise movement.

Grasset described this process in three stages:
to know, to interpret, to realize.
First came the anatomical studies.
Then the preparatory drawing for the comb itself…now considered lost.
But a photographic print of Grasset’s original drawing survived in the Vever archives.
Later, the comb itself was created by Vever Frères for the 1900 Exposition Universelle.
And then another drawing appeared — this time after the jewel had already been created. It was made by Georges Callot, likely to preserve the memory of the object itself.

It creates an almost fascinating cycle:
observation → drawing → jewel → photograph → drawing again
And I think this is exactly what makes these historical creative processes feel so alive.
You are not looking at a final result, but at the designer’s thinking in motion.
Especially today, when so much attention goes to the final object, and so little to the process of seeing itself.

Maybe you’ve been following for a while, or maybe you just arrived. Sometimes inspiration hits and I start seeing connec...
05/16/2026

Maybe you’ve been following for a while, or maybe you just arrived. Sometimes inspiration hits and I start seeing connections everywhere. I call these moments . For me, lostinjewels has always been about wandering through forms, colors, and different eras until distant things suddenly feel connected. This series is called “Cocoon Systems”.

It started with Ana Khouri’s cuff earring design. The Delphine piece especially caught me. The way the gold wraps the earlobe like a delicate structure, embracing it while diamond briolettes hang inside, almost protected. It feels more like a small, personal architecture for the body.

The same logic appears in iconic Balenciaga’s cocoon coat. The body disappears into a soft, continuous volume. No sharp waist, no rigid lines — just a rounded shelter that holds and suspends everything inside its own quiet atmosphere.

Louise Bourgeois takes this further in The Couple. Two figures bound together, enclosed in a shared shell. Here the cocoon becomes emotional… intimacy as both protection and tension, refuge and captivity at once.

Then Ernesto Neto’s crochet installations turn space itself into something soft and breathing. Fabric sags, responds, creates an envelope that holds the body without fixing it. You step inside and suddenly space itself becomes a cocoon.

And in architecture, Endless House removes all divisions. No beginning or end between floor, wall and ceiling — just one continuous surface for living, like inhabiting a single, endless embrace.

From ear to body, from sculpture to entire environment — the same desire repeats: to be held, contained, protected. Jewelry, art, and architecture quietly repeating the same human gesture. What do you see in these convergences? I’d love to know.

A name you’ve probably never heard.  A talent you won’t be able to unsee.Meet Alfredo Ravasco the hidden master who turn...
05/07/2026

A name you’ve probably never heard.
A talent you won’t be able to unsee.

Meet Alfredo Ravasco
the hidden master who turned hardstone and coral into pure poetry, bridging Renaissance mastery with Art Deco fire.

I’ve been quietly obsessed for years.
Today I finally tell his story.

Full article available only for Premium members ✨

Link in bio to read the whole piece.

Met Gala 2026. Theme: “Fashion Is Art.” Sounds powerful… but it turned out to be one of the safest and dullest Galas in ...
05/05/2026

Met Gala 2026. Theme: “Fashion Is Art.” Sounds powerful… but it turned out to be one of the safest and dullest Galas in recent years.

Still, a few looks actually made us think:
Sarah Paulson with her eyes completely covered in dollar bills.
Katy Perry in a mirror mask that forces you to see only yourself.
Ciara paying homage to Nefertiti with a golden crown hairstyle.
And then… Eileen Gu in Iris van Herpen.
15,000 hand-formed glass bubbles acting as living jewelry, dynamic, kinetic. No heavy gems, just thousands of tiny glass “jewels” that moved with her body while real bubbles floated around her. The perfect fusion of art, technology, and adornment.
This is exactly where I see the future of jewelry.

Link in bio with full article with my honest critique

What do you think: Can Met Gala still surprise us, or has it become a beautiful commercial circus?

I used to have a small ritual  
A way to reset and step into the week with focus.Today, I’m coming back to it.And there’...
05/04/2026

I used to have a small ritual

A way to reset and step into the week with focus.
Today, I’m coming back to it.

And there’s hardly a better reference than Raymond Templier,
a jeweler known for his radical rejection of ornament
in favor of modernism, geometry, and function.

I realize this resonates with how I approach words as well.
I’m not drawn to verbal decoration.
I tend to prefer clarity and structure,
a way of thinking that is precise, almost geometric,
where every word has a role.

Which brings me to a question:
When you read about jewelry,
what are you actually looking for?
Clarity?
Emotion?
Context?
Or something else entirely?

Today I’m chasing the Monday blues with this ancient Egyptian bracelet.Back then, objects were rarely “just jewelry.”
Ev...
04/27/2026

Today I’m chasing the Monday blues with this ancient Egyptian bracelet.

Back then, objects were rarely “just jewelry.”
Every color, material, symbol had meaning.

This bracelet is a perfect example of how art, belief, and magic all merged into one object.
Blue here is not about aesthetics at all.
It’s about eternity.

Photo courtesy Egyptian Museum, Cairo.

04/26/2026

Sunny days here in Milan, and today I found myself drawn to this vintage flower brooch by Marcus & Co.

The color combination… almost instinctive
garnets, topaz, tourmalines, like a mosaic, each stone holds its own intensity.

There’s something about this kind of jewelry: confident, expressive. This juicy, fiery mix of gems hold presence.
It’s somewhere between collectible jewelry and wearable art… but also something more personal, something you just feel.

My kind of

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