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.

10/28/2026

What happens when an ancient technique finds its place in today’s jewellery design?
At Milan Jewelry Week, I was drawn to Keiko Nagasaka work with urushi, the traditional Japanese lacquer technique.

What caught my attention was how contemporary and effortless the jewellery looked, while still carrying the cultural depth of a centuries-old craft.

I’m interested in how a tradition can become part of a contemporary jewellery language, not simply as a reference to the past, but as a way of exploring materials and surface decoration.

Giving a centuries-old tradition a modern twist is quite a task.

永坂景子 at Milano Jewelry Week

10/23/2026

During MJW I visited BABS Art Gallery to discover the work of Sebastiano Balbo, a name that was new to me.

I was particularly drawn to a necklace from his more recent work, while most of the other jewellery on display dated back to the 1990s.

Balbo’s practice spans jewellery, sculpture and installation, revealing a multifaceted and conceptual approach. What I found most interesting was the connection between these disciplines in his way of thinking rather than in their visual language.

In art jewellery, the relationship with art often takes a recognisable form: a miniature quotation from an artwork, a small sculpture designed to be worn. Here, I found something different. Balbo’s jewellery has its own logic, grounded in experimentation with construction, movement and the transformation of objects.

He does not use soldering, assembling his pieces mechanically instead. A collar built around visible screws particularly caught my attention, as did the kinetic pieces that incorporate movement into their structure.

The ex*****on is meticulous. The construction feels considered down to the smallest detail.

Transformation and assemblage seem to run through his practice: found objects reworked, disassembled and given new possibilities.

I am still trying to understand how these ideas connect his jewellery with his artistic work. What I encountered most directly, however, was an experimental approach to jewellery-making, where mechanics, movement and the possibilities of small-scale objects take centre stage.

Seen at BABS Art Gallery during Milano Jewelry Week.

10/23/2026

What makes a piece of jewellery stay with us? And how do we talk about what makes it different from everything else?

In jewellery we keep reaching for the same words… unique, timeless, made with love ecc. They’re lovely, but they don’t really tell you why one piece feels different from another.

My path through philology and theatre, then training as a goldsmith, changed how I think about this. Storytelling gives us practical ways to build a clearer narrative: what we decide to show, what we leave unsaid, and the feeling we want someone to walk away with.

For The Setup Test I’ll be joined by Beatriz Biagi. With more than 30 years in jewellery design, she brings a different angle: how a narrative idea turns into a design brief, shapes the materials and forms we choose, and eventually defines how a piece is positioned.

We’ll move from storytelling to the jeweller’s bench and look at how narrative and design can work together to make jewellery more meaningful, recognisable and memorable.

Sotheby’s, Corso Venezia 16, Milan
Monday 26 October · 15:00–16:00

During Milano Jewelry Week

10/23/2026

What makes a piece of jewellery stick with us? And how do we talk about what makes it different from everything else?

In jewellery we keep reaching for the same words… unique, timeless, made with love ecc. They’re lovely, but they don’t really tell you why one piece feels different from another.

My path through philology and theatre, then training as a goldsmith, changed how I think about this. Storytelling gives us practical ways to build a clearer narrative: what we decide to show, what we leave unsaid, and the feeling we want someone to walk away with.

For The Setup Test I’ll be joined by Beatriz Biagi. With more than 30 years in jewellery design, she brings a different angle: how a narrative idea turns into a design brief, shapes the materials and forms we choose, and eventually defines how a piece is positioned.

We’ll move from storytelling to the jeweller’s bench and look at how narrative and design can work together to make jewellery more meaningful, recognisable and memorable.

Sotheby’s, Corso Venezia 16, Milan
Monday 26 October · 15:00–16:00

During Milano Jewelry Week

10/22/2026

I studied philology and theatre, then trained as a goldsmith. And I kept noticing the same thing: we talk about jewelry with the same few words. “Unique.” “Timeless.” “Created with love.” Beautiful words, but they could sit next to any piece in the world.

Stories solved this problem a long time ago. The Setup Test borrows three of their tools: what you choose to show, what you leave unsaid and the one feeling you want to leave behind. From the stage, the page and the screen, and back to the jeweler’s bench.

I’m so happy that Beatriz Biagi Beatriz Biagi Design is joining me. With over thirty years in jewelry design, she brings the practical side: how a concept becomes a product, from materials to market positioning. Less theory, more tools you can use the next morning.

📍 Sotheby’s, Corso Venezia 16, Milan 🗓 Monday 26 October, 15:00–16:00 
During Milano Jewelry Week

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.

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