The taste for the hybrid, for the study of the life of the forms and their migration in the field of ornamentation gave the start, in 2014, to the research project of “Les Métissages”, that is a series of juxtapositions from the field of fashion combined with those of research jewelry -as an evidence- that it is possible to achieve the same aesthetic result through different means of expression, which are, in this case, fashion and jewelry.
This “associative game” that, at the beginning, was a different path aimed at probing the references, the citations and the sources used by contemporary jewelry, turned out to be much more than a simple “hunt” to the stylistic appeal, but a real its “system” of shapes, ideas, ornamental stylistic elements, patterns and motifs that, by recurring from a coutourier to a goldsmith artist and vice versa, have unveiled – and unveil – both the fixing and the variation of forms; they have unveiled – and unveil – the migration of ideas and have opened up a changing landscape that finds in the Métissages a dialogue between the sister arts.
“It is very difficult to give a definition of a “possible” method of work talking about the Métissages: primarily, they’re nothing but a result of my own memory’s archives. Assisted by constant online research on web platforms and stored in files and files clearly organized in my memory and in my personal computer.
How a Métissage comes to the world? There’s no rule about that: sometimes is looking to a precise piece of jewellery, sometimes is looking to a fashion creation: my memory starts working and searching and they just bloom in front my eyes.
But I haven’t invented anything new: the study of the migration of ornamental motifs, patterns and ideas started a long time ago and had their maximum specialists both in Henri Focillon and Jurgis Baltrušaitis(the latter was his pupil): they both focused their research on Romanesque and Gothic art, looking and studying carefully from where some ornamental elements came and how they proliferate and reproduced themselves during centuries . But if for the life of forms studied by Focillon and Baltrušaitis was a process of “continuity”, Les Métissages are a study process for “contiguity”, and this concept is fascinating and tricky: I’m concentrated in this now.
Moreover this projects has much to do with another key-concept: the one of “sister arts”  : these combinations provide a range of dialogue au pair between two forms of art, banning all the hierarchies that Western history of Art taught us about Fine Arts and Applied Art, for instance. Fashion and contemporary jewellery, both considered “subcategories”, are expressing themselves as two distinctive forms of art. Lastly, the most intriguing aspect of this project is that none of the artist jewellers and fashion creators knows each other: this is really surprising”.
Read the full interview on KLIMT02