Milano Fashion&Jewels
14* - 17 September 2024
(*Saturday by invitation only)
fieramilano, Rho
Milano Fashion&Jewels
Lost in Jewellery Magazine is a new editorial format, born in May 2020 from the creativity of Laura Helena Aureli and it is already an important magazine on various social networks and beyond. Laura told HOMI Fashion&Jewels how this project came to be and how it is developing.
How was Lost in jewellery (Art Jewellery Incubator) born?
Lost In Jewellery Magazine was born on 1 May 2020 from a dream of mine: to create an online digital magazine about contemporary jewellery and more. Hence the idea of an Art Jewellery Incubator.
Personally, I hold a bachelor’s degree in Art History and a Master’s in Fashion Design. Thus, for years, I felt a personal need to express myself artistically, and let's just say that the pandemic gave me the opportunity to explore and learn the techniques to create a website out of nothing... and so I did. The professional skills developed personally over the years led to what is now a magazine available on various social networks and not just on the web, with the creation of this new editorial format of 'Lost in Jewellery Magazine'.
Your motto is "We are Creative and this is the CHALLENGE": what does Creativity mean to you? Where does the inspiration come from?
Being creative today is more of a challenge than ever, because it is all very complicated for an artist. The only thing that is undoubtedly easy and uncomplicated for an artist is to be creative. For me, being creative is an innate condition: it is up to us, or those around us, to help us make it explode. There is no limit to creativity. You can be creative by writing, thinking, cooking, dancing, painting, photographing... in short, there are a thousand ways to be creative. Every gesture we make in life can be creative in its own way. One can also learn to be creative, in the sense that if you refine yours skills as time goes by, but in my opinion every human being can be creative. Lost in Jewellery Magazine wants to discover and look through the eyes of an artist, my eyes, at the work of other designers, to spread the beauty that lies behind the work of art created with such passion and love. The format is simple, direct, colourful and easy to read, so as to give space to the work itself, to the visual emotions, to the so-called visual message, which is so dear to me. Above all, the pandemic has deprived us of contact and physical proximity to the works of art, leaving the eyes with the challenge and the duty to metabolise and internalise the beauty we see. So I started day after day to build my own pages, my imaginary 'Rooms with a View', with the specific task of helping others to see what I see and make them dream and enjoy reading.
Turning more specifically to contemporary and research jewellery, what are the most commonly used materials and why? What value is placed on the research of the material in the creations? When choosing the material, how much attention is given to the recycling aspect?
Contemporary jewellery is always looking for new materials. I could say that it is eager to experiment with all kinds of materials, from metal to food or elements found in nature. Everything in the hands of an artist is transformed, and not just contemporary jewellery. Recycling materials of all kinds is a research today, both in contemporary jewellery and in modern art in general. There are artists who incorporate it into jewellery, others who work on it, transforming and shaping it into compositions of great artistic value, which sometimes goes beyond the price.
How important is the analysis of “Shapes” and “Lines”?
The artist "Perceives” Shapes and Lines, and sometimes has to study for years to “Understand” them and own them.
There are those who do not have the concept of Shapes and Lines well defined, in the trues sense of the term, and who, therefore, devote time to study them to try to make them their own. This also happens very often in all Art in general in my opinion, not only in contemporary jewellery. In jewellery in particular, either Lines and Shapes guide the artist in the execution of the work, or they are what distorts it.
Which are your favourite artists or which are the most popular artists/designers internationally?
I can't answer this question because I find it extremely subjective. In Contemporary Jewellery there are some names that have made the history of jewellery itself, but to name a few would be to do others an injustice. The countries that I personally prefer at the moment and that I find extremely interesting are Estonia, Finland, South America, Israel, and Korea... but there are many others.
The search for materials, transforming and shaping the material, going beyond the boundaries of the item itself, are fascinating and recurring themes in the artists of these countries. There is great research and a great desire to experiment.
Let's say that the world of contemporary jewellery is fascinating wherever you go nowadays, specifically because technology has given us the means in this sense and also because it keeps us informed and connected with each other, giving us the opportunity to see what others are doing, as well as giving us the chance to experiment with new technologies and new types of jewellery through 3D technologies, for example.
When you think you have seen everything in jewellery today, you then discover young artists capable of an extraordinary sensitivity that moves you deeply and makes you dream.
Who do you think is the buyer of a 'research' product?
Our task as Gallery Owners and Curators in the art world, or as in my case as Editor of a Magazine on contemporary jewellery is to 'Educate' the buyer, in the sense that anyone can be or become a connoisseur of contemporary jewellery.
You have to educate the eyes and thus it is essential that everyone works in that direction together, the rest then happens quite naturally.
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