Our paths crossed by lucky chance, five years ago. As goldsmith designers and art historians both, we understood from the outset that we shared ideas and ideals, passions and aspirations, and happily discovered our visions of the nature and philosophy of our work were in tune, too: a partnership was born. Our creations began to take shape, and with each passing season new collections emerged, as have new themes of inspiration, nurtured by our passionate and insatiable desire to experiment. Our shared journey has made us accomplices in art and friends in heart: as we invent and create all our jewels together, we have found in each other the complement to a spark of intuition, the seeds of new ideas, the variant inflection of a shared idiom.

the Lumina project

Lumina isn’t just a brand, it’s a project. It’s the name for our shared dream, to create a different space and process for jewelry-making, an open and multifunctional collaborative space that could become a valid alternative to the traditional goldsmith’s workshop. We have always held that the power of handcrafted jewelry lies in the intimate dialogue between study, idea and execution, and that there’s a great impediment in the persistence of old corporative models that isolate and distance our ancient and wondrous craft from contemporary reality. This is why we are tearing down the barrier between art and craft, in a space where jewellery production, a goldsmithing school and cultural exchange coexist.

A challenge to the status quo, to enrich our craft through knowledge-sharing and the nurture of a lively, close-knit community of artists, master artisans and aspiring creators. A place in which the interchange of ideas and experiences allows for collaborative creations, and for results beyond any one individual’s.

breaking the barrier between art and craft

our jewelry

We are Lumina – light is the metaphor for all that we do: by teaching we radiate light, our inventions are light received, and as we smith a jewel, we forge light into form and shape.

From among the myriad concepts of jewelery, we choose to aim for pieces that are personal, relatable. Born from a spark in our imagination and via the crafting of our fingers, our jewels are corporeal both in origin and in destiny.

Guided equally by intuition and method, our hands shape jewels that exude both sense and sensitivity.
Our creations channel the pulse of culture that surrounds us, the fertile intersects of other realms, the perpetual motion, the tension inherent in the opposite attracting forces and in the seductive, harmonious instability that distinguish our era.

We love synthesizing forms, distilling them to their graphic, almost abstract essence, to metaphors or icons of a more articulated thought. For us, beauty is hidden in the liquid purity of a reflection, in the dynamic trace of a line, in the precarious, unexpected balance of shapes. Sometimes all it takes is an intuition, other times prolonged, patient research. But identifying the essential form is always a small victory, of having created a jewel whose expressiveness far exceeds its dimension. As in a haiku, just a few select syntactic elements are enough to transmit an unending variety of moods. The simple, sinuous lines of ocean waves appear spontaneous and immediate; the perpetual orbit of the stars hold promise of solid certainties; jutting, rebellious volumes are tensed by vital energy; hues of colour may whisper – or shout – all the echoes, sounds and moods of the world.

We are partial to lost wax work which allows us to sculpt our objects, and to fine-tune the tactile finish at will. In wax we can create smooth, enveloping shapes that follow the bodyform, the wearer’s intimate accomplices. 

We delight in challenging the hard-set, heavy nature of metal, teasing out jewels that are its paradoxical opposite: softly shaped, light-bodied, kinetic.