6
A. Cappellieri et al.
About the social impact of jewellery brand, it can be mentioned Eden Diodati,
a prêt-á-porter jewellery that works with an extraordinary cooperative of women
who survived the genocide in Rwanda. Employing centuries old artisanal heritage
and craftsmanship, their skill, courage, fortitude and faith inspires Eden Diodati’s
creative direction, while challenging preconceptions of ‘Made in Africa’. The aim
of the brand id shifting paradigms in luxury fashion with a collection of high-end
jewellery celebrating the craftsmanship excellence of our partner cooperative.
This makes us understand that the interests of fashion, jewellery and luxury goods,
in general, are to succeed in being sustainable—overcoming the so-called paradox
of sustainable luxury based on the fact that the production of goods considered
‘superfluous’ is unethical.
Yet luxury products, including jewellery, are sustainable for three main reasons:
they represent a crucial sector for the global economy, as we have just seen from the
data of the Fashion Pact; luxury helps to put into practice one of the principles of the
ethical consumer, i.e. to buy goods by focusing not on quantity but on quality, thus
buying in a more responsible manner. “Buy less, choose well and make it last” is
a quota by iconic British designer Vivienne Westwood; true luxury is sustainable
and respects people and the environment, taking also in consideration that a brand’s
reputation increasingly passes through sustainability.
In addition to the striking case of the Fashion Pact, there are other signs that make
us understand how the individual jewellery houses have already acquired sustainable
logic by proposing models that favour a timeless design, a concept already very close
to the dynamics of jewellery.
The concepts of ‘timeless design’ and ‘durability’ are, for example, at the heart of
Patek Philippe’s motto: ‘You never actually own a Patek Philippe. You merely look
after it for the next generation’.
Many more examples are explored in the following chapters. In detail, the first
significant grafts for a sustainable supply chain are taken into consideration, respecting tradition and the genius loci,
3 the environment and people. Subsequently, the
opportunities and risks of progress and technological and digital innovation for the
competitiveness of companies in both production processes and communication tools
are also explored.
Going back to the dual etymology of luxury, it seems, hopefully, that the one
related to the concept of light is more consistent with the contemporary and that the
meaning of luxury is more and more close to beauty, ethics and intelligence than to
vulgarity and degeneration professed by the ostentation.
Fortunately, because, as Dostoevskij said in Demons ‘Man can live
without science, he can live without bread, but without beauty he
could no longer live, because there would no longer be anything to do to the
world. The whole secret is here, the whole of history is here’.
3 Latin term meaning ‘the genius of the place’, referring to the presiding deity or spirit. Every place
has its own unique qualities, not only in terms of its physical makeup, but of how it is perceived, so
it ought to be (but far too often is not) the responsibilities of the architect or landscape designer to
be sensitive to those unique qualities, to enhance them rather than to destroy them.
A. Cappellieri et al.
About the social impact of jewellery brand, it can be mentioned Eden Diodati,
a prêt-á-porter jewellery that works with an extraordinary cooperative of women
who survived the genocide in Rwanda. Employing centuries old artisanal heritage
and craftsmanship, their skill, courage, fortitude and faith inspires Eden Diodati’s
creative direction, while challenging preconceptions of ‘Made in Africa’. The aim
of the brand id shifting paradigms in luxury fashion with a collection of high-end
jewellery celebrating the craftsmanship excellence of our partner cooperative.
This makes us understand that the interests of fashion, jewellery and luxury goods,
in general, are to succeed in being sustainable—overcoming the so-called paradox
of sustainable luxury based on the fact that the production of goods considered
‘superfluous’ is unethical.
Yet luxury products, including jewellery, are sustainable for three main reasons:
they represent a crucial sector for the global economy, as we have just seen from the
data of the Fashion Pact; luxury helps to put into practice one of the principles of the
ethical consumer, i.e. to buy goods by focusing not on quantity but on quality, thus
buying in a more responsible manner. “Buy less, choose well and make it last” is
a quota by iconic British designer Vivienne Westwood; true luxury is sustainable
and respects people and the environment, taking also in consideration that a brand’s
reputation increasingly passes through sustainability.
In addition to the striking case of the Fashion Pact, there are other signs that make
us understand how the individual jewellery houses have already acquired sustainable
logic by proposing models that favour a timeless design, a concept already very close
to the dynamics of jewellery.
The concepts of ‘timeless design’ and ‘durability’ are, for example, at the heart of
Patek Philippe’s motto: ‘You never actually own a Patek Philippe. You merely look
after it for the next generation’.
Many more examples are explored in the following chapters. In detail, the first
significant grafts for a sustainable supply chain are taken into consideration, respecting tradition and the genius loci,
3 the environment and people. Subsequently, the
opportunities and risks of progress and technological and digital innovation for the
competitiveness of companies in both production processes and communication tools
are also explored.
Going back to the dual etymology of luxury, it seems, hopefully, that the one
related to the concept of light is more consistent with the contemporary and that the
meaning of luxury is more and more close to beauty, ethics and intelligence than to
vulgarity and degeneration professed by the ostentation.
Fortunately, because, as Dostoevskij said in Demons ‘Man can live
without science, he can live without bread, but without beauty he
could no longer live, because there would no longer be anything to do to the
world. The whole secret is here, the whole of history is here’.
3 Latin term meaning ‘the genius of the place’, referring to the presiding deity or spirit. Every place
has its own unique qualities, not only in terms of its physical makeup, but of how it is perceived, so
it ought to be (but far too often is not) the responsibilities of the architect or landscape designer to
be sensitive to those unique qualities, to enhance them rather than to destroy them.