Following collaborations with Alexander Wang and Joseph Altuzarra, Repossi has partnered with French brand Zadig & Voltaire on a line of jewellery entitled Metamorphosis.
Following collaborations with Alexander Wang and Joseph Altuzarra, Repossi has partnered with French brand Zadig & Voltaire on a line of jewellery entitled Metamorphosis. Since becoming artistic director of the family-owned jewellery house, Gaia Repossi has created exquisite designs sold in stores such as Dover Street Market and Colette and attracted a firm following. AnOther spoke to the designer to discover more about the new collection, featuring pieces that were developed from a fabric structure, discuss tribal influences and how to keep the craft alive.
How would describe the Metamorphosis collection?
It’s young and related to fashion, but we are still working with really good craftsmen. The world of luxury jewellery is one I have always found to be quite boring. When I was younger, I didn't want to do this job, but I have always been into the arts, practised painting and studied archaeology. At some point I realised that jewellery is a very important part of our culture and civilisation. Since the 1960s everything has been evolving around diamonds and the monetary value of the stones; all the arts and crafts are dead now. I wanted something with an identity again, with a strong impact of a personal vision – a statement for women, but with my own ideas.
Does jewellery need to be expensive?
Nowadays yes, but originally the craft was the most important thing – how you made it, the work on the carving, its beauty, its shape, how it looks on the body. You see tribes and Nomad jewellery, and you realise that it is part of an identity to wear giant silver cuffs in the desert of India, or huge necklaces in China. It’s an aesthetic for them, it is really important.
Is tribal a big influence?
Yes, I love tribal jewellery a lot; also antique and ancient forms. I like how it is connected and different civilisations wore the pieces, their influences, and I think about how to put this into our fashion world. Our current system shouldn’t be that much different. Those are accessories and part of an outfit with a certain meaning, too.
Are you worried about the future of the craft in jewellery design?
There are very few skilled carvers nowadays, they are really disappearing. In France the best of them are becoming maître d’art and they have to teach their skills to at least six people to keep the savoir-faire alive. But it’s like Haute Couture, it’s a whole culture that is slowly dying out. I really want to help keep it alive by making younger, easier, and more affordable pieces, but you have to keep a branch that works in the traditional ways. That’s why I am also launching my first collection of high jewellery in July.
Text by George Ghon
