Alessandro Palwer’s Quest for Beauty

Observe, sketch, draw and make. The jewelry designer opens up about the beauty and precision of his work.

​by Annalisa Rosso

Precision is in his blood and one of the most important qualities a jewelry designer should have. Venetian Alessandro De Angelis – Palwer likes to be more than precise when it comes to details, words, and how he selects his references. Artemest meets its artisans.

Palwer's characteristic shop - Credits Gil Gilbert
Alessandro Palwer - Credits Gil Gilbert

​ARTEMEST: What is your work process?
ALESSANDRO PALWER: Three steps, I observe, draw, make.

A: Is there a material, a technique, a shape you find represents you the most?
AP: I like soft wax and I also use clay. I like to be able to shape things without limitations of weight, proportions, wearability. I also like raw metals. I see things that match my style, but I haven’t found the exact thing yet, still searching.

Alessandro Palwer's creative process - Credits Gil Gilbert

​A: You sketch your jewels and have artisans make them using traditional techniques. Could you tell us more about how you collaborate?
​AP: I draw quick yet very precise sketches, then I use wax and clay to study the volumes and effects. I have profound respect for the work of artisans, I consider them my second family and I follow each step of the production. I like to control proportions, details and finishings. I still work with the same people I was working with at the beginning of my career in jewelry (before I was mostly making them myself for friends and fashion shows).

Signature pieces - Credits Gil Gilbert
Signature pieces - Credits Gil Gilbert

​A: Your Venetian boutique attracts clients from all over the world. What do they look for in your jewels?
​AP: Originality, the new, the quality, wearability and price.

A: What was the last luxurious you did? What does the word it mean to you?
​AP: Nothing comes up to mind. My idea of luxury is very physical and hedonistic; I like to lead a nice life filled with pleasures. The word in itself doesn’t mean much to me.

Dance rose gold ring - Credits Gil Gilbert
Signature ring - Credits Gil Gilbert

​A: What has been the toughest lesson you’ve learned?
AP: My experience working with Emanuel Ungaro in Paris was both essential and tough. A real school: I learned discipline, rules. Now is also an interesting moment: I am on my own, have to push myself and be disciplined. My future depends on it and I work hard while keeping a light spirit.

Inspired by the canals - Credits Gil Gilbert
Venice by night - Credits Gil Gilbert

​A: In what contemporary jewelry is different from the past? Or is there a trait d’union that will persist even in the future?
​AP: In the past, jewelry meant status. Now it means fashion, and fashion also wants to portray a social status. The trait d’union is probably that jewelry should embellish rather than dazzle.

A: If you could do another job, what would it be?
​AP: Nothing. I am doing this because, before anything else, this is what I was absolutely interested in.

The daily beauty of Venice - Credits Gil Gilbert

About the author Annalisa Rosso writes about design and architecture for Casa Vogue Brasil, Elle Decor Italia, Elle Decoration NL among other collaborations with international magazines. Follow Rosso on twit​ter.

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