For the identity, you also work with image makers like Juergen Teller, Glen Luchford and Zoe Ghertner to develop imagery for your collections, pushing the ideas of traditional jewellery portrayal, what does this add to your world?
For me image is very important. It is a way to express the DNA of the brand, especially when you work with simple objects. When we started the Berbere collection, we had those ear cuffs, and everyone thought “wow, Repossi is so punk”, but not at all. We made a very elegant, very modern, very classic campaign where she didn’t look punk at all. For me, it was an excuse for making a refined object from that inspiration. It is not literal. Photography allows me to give an exact identity to that, sometimes it is playful, sometimes I like something statuary. It establishes a really clear message. I like her to be a bit severe. And then we are more playful obviously for Instagram and the other digital, it is a new world that has so much to express. Now, for instance, on Instagram, we are using a lot of young and unknown artists. We are giving them carte blanche. Because that’s now, we want their own interpretation. But beyond that, photography is an art medium. We have a few coming collaborations that are to that level and I am very excited about that.
I know we can’t travel so much right now, but it seems like travelling is very important to you?
It is. Even if we are a small brand, we are very connected world-wide, because we have a young audience. Of course, we are Italian, we have the French touch, but we are definitely very connected, and it is key nowadays for a modern brand to resonate in different countries and in global ways. I definitely miss traveling, not necessarily for inspiration, but I have a lot of connections everywhere, so I am very busy on these kind of tools [zoom, red.] to stay connected as much as possible.
You use this particular colour of rose gold, and there’s not that many brands that use rose gold this way. What is its meaning to you?
When I first started using rose gold, my father’s shades were already very low, so I tried to bring in even less, so we don’t really have yellow gold references anymore. It has this classic dimension almost of a yellow gold, but, because I don’t like the copper pink gold, the idea is to get closer to a place where it is almost pink or almost yellow, it should be a bit uncertain, and that’s our signature.
Do you have a favourite piece from your collection?
I worked on the 8-row Antifer for a very long time, which is a very long one, and it’s very strong, and I have a sample that actually moves. That’s one of my favourites. It’s very big, it’s very tall. We just developed a line that’s called Berbere Chrome with lacquer, there’s a navy black one and a light nude, it’s almost off-white, and very beautiful. But there’s a navy black one with a little line of diamonds on black gold, and that one is my current favourite. It is very beautiful. And thinking about repetition, that line is also called Berbere Modular. Architects use modules, and a lot of our variations are modular. I like the anti-commercial things, which makes the company a bit overwhelmed sometimes, but I like that the Antifer that I wear all the time is paved everywhere, on the back, in the corners, in the cracks, which is the most anti-commercial thing you could be doing, and it’s very tall, so when you bend your hand, it’s borderline uncomfortable, but I’ve been wearing it for many years. Pave like this is just very rare; it’s an old jeweller’s thing. You wouldn’t find it in the market right now.
In your opinion, what’s the role of jewellery today?
We are facing a time, I think it was already so, Covid or not, where we are starting to prefer quality over quantity. At least that’s my wishes. In that line, I think its role today is to bring maximum quality over quantity and possibly with objects that are so desirable, that maybe you just need one.