Read the interview of Alba Cappellieri by Cristina Morozzi for Design Italy. A professional jewellery enthusiast known all over the world.
Alba Cappellieri, graduated in architecture and currently a professor of jewellery design at the Milan Polytechnic.
A new professional role was born from chance and passion as Alba has become a reference figure in jewellery and costume jewellery, making a decisive contribution to its cultural enhancement.
To date, she is the curator of various exhibitions dedicated to jewellery and bijoux. It is worth mentioning "Fashion jewellery" at the Royal Palace in Milan in 2016, which highlighted the masterpieces of the Lombard school of costume jewellery.
The Milan Triennale also hosted various exhibitions dedicated to jewels created by many Italian designers, the first in 2004 "Il design delle gioie", which was followed in 2013 by "Il design italiano incontra il gioiello", Alba also curated the exhibition "Diva! Il glamour italiano nel gioiello della moda" at the Italian Cultural Institute in Abu Dhabi and its volume/catalog.
Tell me about the origin of your professional commitment in the field of jewellery.
The jewel chose me. I graduated in architecture but having landed in Milan. I started with some collaboration with Domus magazine. Alberto Seassaro, professor at the Milan Politecnico, invited me to take some courses, but it was Andrea Branzi who suggested that I take care of the jewel, and it was the right choice at the right time. As often happens, it was the case because I tried to create a bridge between the classic culture of design and goldsmith manufacturing, and I immersed myself in this world, finding many treasures.
Your path is dotted with important exhibitions and prestigious achievements, such as the direction of the Vicenza Jewellery Museum. Let's retrace some steps.
I got passionate, I did research, and I realised that it was a vast world, full of surprises, which lent itself as the subject of training courses that combined invention with executive mastery.
I believe you have introduced a new approach to the discipline. Is it correct?
I steer jewellery from the field of manufacturing of excellence to the project, and I realised that various technical innovations are recurring in both jewellery and costume jewellery.
I looked for contacts with companies and creatives; for example, I stimulated Swarovski to change its cut to its crystals to make its production more varied and broad.
In summary, I approached the sector with the mentality of the designer and not of the goldsmith.