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Pomellato profile
Daring to be different is encoded in Pomellato's DNA. The Italian jewellery house can afford to push the boundaries, according to CEO Andrea Morante, because "by traditional jewellery standards it's a young house, founded at a time of great innovation and change. Iconoclasm is in its spirit and archives, which help drive its designs today. Houses which have been going a century or more have their foundation in a different time and attitude and cannot take the same approach."
In its 46 years of existence, Pomellato has been at the forefront of change in jewellery design, both in the making and the marketing. In the early 1980s, it was the first house to run an advertising campaign that didn't focus on the product, hiring the provocative photographer Helmut Newton to shoot a series of mould breaking adverts including the one on this page that concentrates more on the charms of the well appointed model and her bulldog than the jewellery itself.
Newton was followed by a roll call of top photographers, including Paolo Roversi and Javier Vallhonrat, who set the pace for advertising in the jewellery field, using personalities from Boy George to Tilda Swinton, as well as models. Another radical idea was to photograph a new collection each year, an cartier love bracelet 4 diamonds price copy innovation for jewellers, who had traditionally produced new pieces as and when.
In the 1990s, Pomellato pioneered taking mixes of unusual coloured stones out of the realm of replica his and hers love bracelets high jewellery into more accessible pieces such as single stone rings that could be worn alone or stacked in different colour combinations.
It is also one of the few houses to blur the distinction between high jewellery and more affordable pieces, working equally with silver and gold and using materials such as jet or rock crystal alongside conventional stones.
Renowned for its bold styles and chunky chains, Pomellato has more recently adopted synthetic stones in order to produce large, striking pieces at relatively accessible prices. Last year's gold collection, Rouge Passion, for example, is something of a coup, using synthetic stones in several shades of rich red that could only be achieved otherwise with rubies at stratospheric cost . Now Pomellato has taken the same principle cartier bracelet gold and worked it into its big silver pieces, using opulent looking synthetic amethysts and marcasite instead of mined stones and diamonds. Retailers, witnessing the popularity of the collections with clients, are now clamouring to stock the jewellery.
Morante, who joined Pomellato in copy shop cartier love bracelet 2009, knows that the brand does not yet have the same global signature as some other luxury jewellers. "At the moment there are only three truly global jewellery brands: Cartier, Tiffany and Bulgari," he says. "When Pino Rabolini founded Pomellato in 1967, France and Italy were the height of elegance and the world's wealthy came there; if you succeeded in those markets, as he did, you had made it."
Nearly 50 years later, the jewellery industry inhabits a very different world. Countries that were virtually unheard of back then have burgeoning luxury markets now. "The industry is there to be taken advantage of," says Morante, pointing out that, unlike watches, a significant chunk of jewellery is unbranded. He estimates only five per cent of the 150billion global total bears a well known name. "Even a five per cent shift would make a huge difference," he says.
As a relatively "secret" brand, Pomellato is in an ideal position, believes Morante. Its wide ranging designs spring from its highly creative ethos but the unifying factor is craftsmanship, which is the same for the accessible range as it is for its handmade, one off pieces. Everything is made by a hundred artisan jewellers in Milan; the same people working with 18th century techniques to fashion a sumptuous Tango piece one week could be making a modern, hollow silver chain bracelet the next.
Nothing illustrates this better than Pomellato's signature Nudo stacking ring, with its almost invisible setting where the precious stone seems to float effortless in appearance but complex to make. Exactly the same techniques are employed for its Rouge Passion pieces and they are only half the price. A clever double strategy that's already made Pomellato the fifth biggest luxury jewellery brand in Europe.About some cartier bracelet rose gold nail replica up-to-date mode Administrivia introduce pass
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Daring to be different is encoded in Pomellato's DNA. The Italian jewellery house can afford to push the boundaries, according to CEO Andrea Morante, because "by traditional jewellery standards it's a young house, founded at a time of great innovation and change. Iconoclasm is in its spirit and archives, which help drive its designs today. Houses which have been going a century or more have their foundation in a different time and attitude and cannot take the same approach."
In its 46 years of existence, Pomellato has been at the forefront of change in jewellery design, both in the making and the marketing. In the early 1980s, it was the first house to run an advertising campaign that didn't focus on the product, hiring the provocative photographer Helmut Newton to shoot a series of mould breaking adverts including the one on this page that concentrates more on the charms of the well appointed model and her bulldog than the jewellery itself.
Newton was followed by a roll call of top photographers, including Paolo Roversi and Javier Vallhonrat, who set the pace for advertising in the jewellery field, using personalities from Boy George to Tilda Swinton, as well as models. Another radical idea was to photograph a new collection each year, an cartier love bracelet 4 diamonds price copy innovation for jewellers, who had traditionally produced new pieces as and when.
In the 1990s, Pomellato pioneered taking mixes of unusual coloured stones out of the realm of replica his and hers love bracelets high jewellery into more accessible pieces such as single stone rings that could be worn alone or stacked in different colour combinations.
It is also one of the few houses to blur the distinction between high jewellery and more affordable pieces, working equally with silver and gold and using materials such as jet or rock crystal alongside conventional stones.
Renowned for its bold styles and chunky chains, Pomellato has more recently adopted synthetic stones in order to produce large, striking pieces at relatively accessible prices. Last year's gold collection, Rouge Passion, for example, is something of a coup, using synthetic stones in several shades of rich red that could only be achieved otherwise with rubies at stratospheric cost . Now Pomellato has taken the same principle cartier bracelet gold and worked it into its big silver pieces, using opulent looking synthetic amethysts and marcasite instead of mined stones and diamonds. Retailers, witnessing the popularity of the collections with clients, are now clamouring to stock the jewellery.
Morante, who joined Pomellato in copy shop cartier love bracelet 2009, knows that the brand does not yet have the same global signature as some other luxury jewellers. "At the moment there are only three truly global jewellery brands: Cartier, Tiffany and Bulgari," he says. "When Pino Rabolini founded Pomellato in 1967, France and Italy were the height of elegance and the world's wealthy came there; if you succeeded in those markets, as he did, you had made it."
Nearly 50 years later, the jewellery industry inhabits a very different world. Countries that were virtually unheard of back then have burgeoning luxury markets now. "The industry is there to be taken advantage of," says Morante, pointing out that, unlike watches, a significant chunk of jewellery is unbranded. He estimates only five per cent of the 150billion global total bears a well known name. "Even a five per cent shift would make a huge difference," he says.
As a relatively "secret" brand, Pomellato is in an ideal position, believes Morante. Its wide ranging designs spring from its highly creative ethos but the unifying factor is craftsmanship, which is the same for the accessible range as it is for its handmade, one off pieces. Everything is made by a hundred artisan jewellers in Milan; the same people working with 18th century techniques to fashion a sumptuous Tango piece one week could be making a modern, hollow silver chain bracelet the next.
Nothing illustrates this better than Pomellato's signature Nudo stacking ring, with its almost invisible setting where the precious stone seems to float effortless in appearance but complex to make. Exactly the same techniques are employed for its Rouge Passion pieces and they are only half the price. A clever double strategy that's already made Pomellato the fifth biggest luxury jewellery brand in Europe.
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