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The creative basin from which I draw originates from that side where shadows inhabit our thoughts, where our essence is tinted with a twilight hue, monolithic, devoid of light. Made of chaos.


This deeper and seemingly menacing dimension is present within all of us. It's called by many names and takes various forms and expressions depending on human domains (from art to literature).


When I began to unleash my passion, I immediately understood that my creations wouldn't be "flat" jewels, merely based on aesthetic appearance.


I would give life and three-dimensionality to emotions, to stories, true or not, imprisoning them in something that was much more than an accessory: a small wearable expression of art.

Every one of my clients knows that what they are purchasing is not just a simple object, empty, soulless, but a story crystallized in an image.

A tale that they can keep to themselves or share with those around them, also revealing, in part, something about themselves.

gioielli DECEM






I know it might sound strange, but probably the longest and most complex phase of the birth of one of my creations is precisely the creative, conceptualization phase. In fact, my sources of inspiration are often linked to music, art, literature, mythology... to the entire world of my passions.


For this reason, I never try to force this creative process, but rather let it happen naturally, which means I don't have a constant stream of new collections. Sometimes it takes months, sometimes much less; it's often an unconscious process.


Each piece takes shape first in my mind; I visualize it exactly as it should be once finished. However, then comes the "harsh clash with reality."

Indeed, what is perfect in my mind may not be practical or wearable as a piece of jewelry, or it might struggle to take on a three-dimensional form, as the expectations in my mind are always very high.

I never have the anxiety to release a new collection or a new product just to try to sell more.

My goal is to create something that represents me, something I would wear myself, and that is consistent with my brand and my identity. This means I don't rush myself from this perspective: time for me is priceless, as it is truly a key element in the production of my jewelry, starting from the initial ideation phase.

gioielli ni argento uomo altamente lavorati






This unique fusion arises from my need to have a model of the object while simultaneously being able to design all the tiniest details, even those that almost escape the human eye. The ancient lost-wax casting method meets the requirement to create an object rich in minuscule details, which can be complex to achieve with the naked eye.

So, I decided to leverage technology and zoom through digital sculpting: this way, I can provide objects that are extremely realistic and finely detailed in even the smallest particulars.

This technique is of great assistance for internal processing as well, and for me, it's another tool at the service of my craftsmanship, allowing me to deliver an extremely detailed result that leaves one speechless. Only this way is it possible to materialize the idea and precise design into a very small object.


From the design, we thus transition to three-dimensionality, to the wax model.

The model is refined and perfected until it meets the requirements of the desired design.

Once I am satisfied with the model, I move on to the next phase.


I coat the wax model with a refractory material (plaster) to create a container, a cylinder, that can withstand the heat during the metal melting phase.

_Lost-wax casting

The plaster cylinder is placed in an oven where the wax is poured and the resulting mold is then filled with molten metal, which is allowed to solidify and cool. The metal fills the cavity of the wax model and fits its shapes perfectly.

Lost-wax casting: an ancient goldsmithing technique ideal for sculptures.

The lost-wax goldsmithing technique dates back over 3,000 years and is based on the creation of a wax model as the foundation for producing pieces in precious metals. Especially for new designs, this is the moment of truth, when I realize whether, aesthetically and technically, the piece of jewelry is feasible or not.


There can be a disproportion, often noticed only by me, that compromises the aesthetics and sometimes even the functionality of the object. This is more important than it might seem, as a piece of jewelry must not only be beautiful but also wearable.

_Creation and finishing

Once the object is approved, the finishing phase begins, which is also quite labor-intensive. The reason lies in the difference in processing compared to industrial procedures.


In fact, within those processes, the final phase involves polishing, done by machines, the burrs, of the entire piece of jewelry. This creates polished, uniform objects, smoothed on every side, in every angle, and detail.

Instead, my jewelry pieces are individually smoothed and polished, entirely by hand, to provide different tactile and visual sensations to various parts of the jewelry, playing with light and shadow, with what's in shade and what's in sunlight.

The finishing phase is lengthy and becomes a true moment when the sculptor faces their work and must make it so detailed that it's almost lifelike.

anello con testa di medusa
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