Inspiration, Culture, Business

In a year that is registering important numbers for the entire sector, Vicenzaoro has also become a moment for absolute firsts. These include the official certification for sustainability workers, the digital version of blockchain-protected designer jewel


Vicenzaoro as a debut moment for sector innovations. This has always been the case for exhibiting brands' new collections but, in recent editions, there has been no lack of exploits that have little or nothing to do with product. This September edition will certainly be remembered for some topical moments. First and foremost, the absolute new entry of official certification for those responsible for sustainability in the jewelry industry. CIBJO has been pursuing this objective for three years, an achievement that President Gaetano Cavalieri has defined as a little big revolution at the service of the entire sector, one which can be considered an easy and affordable opportunity both for companies - to update themselves on a focal theme such as ethicality and best practices - and for those in the industry who wish to approach a new professional path on what, from this perspective, is still virgin ground.

This was followed, again on the Expo Centre’s Main Stage, by the Trendvision Jewellery & Forecasting talk moderated by Paola De Luca – Co-founder and Creative Director of Italian Exhibition Group's Independent Observatory - who, in addition to proposing the new edition of the Trendbook 2024, focused the discussion on one of the mainstream topics of the moment: “Chromaverse, how the Metaverse and NFTs reflect consumer demand”. To be more precise, Joris Jeelof, Chief Marketing Director of NFJ Labs, explained the complex mechanism that defines the so-called WEB3, a puzzle made of cryptocurrencies, blockchains and Non-Fungible Tokens. Languages and ways of approaching the subject of jewelry that deviate from the traditional to bring the public closer to a new world but, above all, to a parallel market, a virtual showcase, one where real pieces can also be purchased. The exceptional testimonial of this reality, which is now almost upon us, is one of the independent designers who is a regular face in the Vicenzaoro Design Room: Alessio Boschi, deus ex machina of NFJ Labs, together with Joris Jeelof and Naman Sidharth, co-founder of NFJ Labs. Having always been accustomed to astonishing with his amazing creations, a veritable concentration of goldsmith's art and cultural inspirations that draws on the entire Mediterranean basin, the Roman designer now aims to do the same thing virtually. This was what he said at the end of yesterday's presentation about what already promises to be an important professional chapter: «I think that the “metaverse” can be a useful marketing tool for brands.

The blockchain technology behind it is perfectly suited to recognize and certify the ownership and authorship of an idea or design, guaranteeing absolute protection for the authorship of ideas. Furthermore, for any transaction, the designer will receive a percentage of each sale, regardless of when, where or how that sale came about. One of hyour first thoughts was how to solve the problem of security and I can assure you that artists and jewelry designers will be treated with due respect.» So, while jewelry is looking ahead and beyond the “limits” of reality, the world of haute horlogerie is, instead, turning its gaze onto the past. For the past three editions, this is exactly what Vicenzaoro has done with the VO Vintage format, which this time, is offering an interesting new entry organized by Andrea Foffi. Indeed, the Roman entrepreneur is attending the fair in two different ways: with Hipster, a showcase full of brands including a few noteworthy independents, and with “Magister Speedmaster Exhibition. Birth and evolution of an Icon”, a unique exhibition featuring 15 Omega Speedmasters from his private collection. The book entitled “Magister - A Unique Andrea Foffi Speedmaster Selection”, dedicated to the exhibition and an object for true connoisseurs of the genre, is also on display. 2021 copies were printed, a number that recalls its year of publication.


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