A decade after debuting at Bergdorf Goodman, Sergio Silvestris, Pomellato’s long‐time creative director, sat down with architect Raffaella Bortoluzzi to plan a new, stand‐alone store in New York.
“If jewelry is a viscerally compelling form of art, Bortoluzzi’s Labo Design Studio was a fortuitous choice.”
On Pomellato’s first foray into America in 1997, The New York Times journalist Herbert Muschamp quoted Victorian essayist Walter Pater: “Art comes to you professing frankly to give nothing but the highest quality to your moments as they pass.” He added, “Fashion, in this sense, is occasionally a kind of art, and jewellery a viscerally compelling form of it.”
Muschamp had first encountered the maison’s tiny boutique on Capri and marvelled at how the translucent, rippled cut of the gems captured the quality of the light‐dappled water in the island’s rocky bays.
A decade after the opening of that first counter in New York, at Bergdorf Goodman, Sergio Silvestris, Pomellato’s long‐time creative director, sat down with architect Raffaella Bortoluzzi to plan a new, stand‐alone store in New York.
If jewellery is a viscerally compelling form of art, Bortoluzzi’s Labo Design Studio was a fortuitous choice. Schooled at the Istituto Universitario di Architettura in Venice and at the Columbia University graduate school of architecture, she worked with Richard Gluckman, whose Gluckman Mayner did the expansion of the original Whitney Museum in New York. She then teamed up with Rafael Viñoly, notably on the Nasher Museum of Art at Duke University.
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“In an Italian Light” by Kering Luxury Group originally appeared on kering.com.