Jewellery asks to be admired, but it also deserves to be questioned
Before it becomes something we wear or collect, each piece begins a far less visible journey: extracted from the earth and transformed by human hands. Between raw material and finished object lies a chain of technical, ethical, and cultural choices that define its true value, far beyond appearance.
For centuries, jewellery has been crafted in workshops where skills are learned through doing, observing, and refining. The goldsmith’s bench remains a space of creation and exchange, where materials, tools, and gestures come together, reflecting not only technical skill, but also the social and cultural contexts in which each piece is made. In a time of mass production and opaque supply chains, these spaces invite us to look more closely and choose more consciously.
ⒸSaliko – Painting: Petrus Christus, A Goldsmith in His Workshop, 1449 — The Met, Fifth Avenue, Gallery 953.
But what does it mean to wear a piece of jewellery today?
Shouldn’t we know where it comes from, who made it, and how it was shaped?
We invite you to step behind the object and to discover some techniques that give form to unique pieces, the artisans who keep them alive, and the growing importance of traceability and responsible sourcing. From traditional methods to contemporary practices across Europe, jewellery emerges not only as adornment, but as a reflection of values.
Every piece tells a story of technique. From chasing and filigree to repoussé and cloisonné enamel, these processes combine skill, precision, and a deep knowledge of materials. Among the most traditional and well-known are:
Chasing
It is a traditional metalworking technique in which the artisan uses small chisels and a hammer to work directly on the surface of metal. By carefully shaping the front side, it allows the creation of reliefs, textures, and intricate decorative details.
Gem Setting
This technique is the craft of securely fixing a gemstone into a piece of jewellery using techniques that ensure both stability and aesthetic presentation.
Filigree
Filigree is a delicate metalworking technique in which fine threads of gold or silver are twisted, curled, and soldered together to create intricate, lace-like patterns. The artisan shapes these thin wires into decorative motifs, forming lightweight yet highly detailed structures often used in jewellery and ornamental objects.
Repoussé
Repoussé is a metalworking technique in which the artisan shapes and raises the surface of metal by hammering it from the reverse side. This process creates volume and relief, allowing forms and patterns to emerge from the front. Often combined with chasing, repoussé is used to build structure and give depth to decorative and sculptural elements.
Cloisonné enamel
This is a decorative technique in which thin metal wires are applied to a surface to create small compartments (cloisons). These spaces are then filled with colored enamel paste and fired in a kiln, fusing the glass to the metal. The result is a smooth, luminous surface with vibrant colors and finely outlined patterns.
While craftsmanship has long defined jewellery, attention is now extending beyond technique to the origin of materials. Sustainability, traceability, and ethical responsibility are becoming central to how jewellery is conceived and valued. In this context, the work of Brussels-based goldsmith and silversmith Saskia Shutt offers a compelling perspective.
As an ethical jeweller, Saskia uses gold sourced from Fairmined-certified mines where strict standards support workers’ rights and responsible environmental practices, while contributing to the restoration of ecosystems and the support of local communities. As World Environment Day approaches on 5 June, her work underscores the importance of transparency in how materials are sourced and transformed.
Read more on Fairmined-certified mines in our article:
Extending this focus on responsible and contemporary jewellery practices, Brussels offers a particularly dynamic local scene where craftsmanship, design, and material awareness intersect. Several jewellers based in the city, including participants of JEMA 2026, reflect a shared interest in material exploration and sustainable approaches.
Alongside individual craftspersons, spaces such as Hectare Galerie and NOJ play an important role in supporting and showcasing contemporary jewellery. These galleries bring together a diversity of practices, creating a platform for dialogue between makers and audiences. At Hectare Galerie, the collective exhibition Carat, Color, Cut, Clarity (23 April – 13 June) further highlights this dynamic scene, presenting a selection of works that explore material, form, and value in jewellery.
Alongside independent makers, Brussels is also home to institutions that contribute to the transmission and renewal of craft skills. École Jeanne Toussaint stands out as a leading centre for applied arts and jewellery-making, offering hands-on training that bridges traditional savoir-faire with contemporary practices. Its programme Jewellery and Fine Jewellery Craft Professions covers techniques such as fine jewellery, enamelling, casting and stone setting, while developing strong technical skills alongside creative expression.
Find out more about the school and its training!
On the Mad’in Europe platform, a wider selection of jewellery artisans from across Europe reveals the richness and diversity of contemporary practices across Europe. Each brings a distinct perspective on materials, techniques, and making, ranging from deeply rooted traditions to experimental and innovative approaches.
Cristóbal Angulo – Spain
A fourth-generation metal artisan with over thirty years of experience, Angulo specializes in silversmithing techniques such as chasing and repoussé. Based in Málaga, his work reflects a strong connection to Andalusian tradition, alongside a commitment to teaching and transmitting the craft.
XTRAS-pichi – Manuel Faustino Fernández – Spain
Manuel Faustino Fernández combines digital design with traditional craftsmanship, using tools such as 3D modelling alongside materials like high-resolution resins. His work reflects a balance between technological precision and artisanal techniques, while also extending to teaching and sharing his approach with new generations.
Massimiliano Arriga – Italy
Massimiliano Arriga is a Roman goldsmith and designer creating one-of-a-kind jewellery, objects, and accessories. Raised in his father’s workshop and trained in gem setting and engraving, he now works from his atelier near the Pantheon in Rome, combining traditional techniques with diverse materials. His work is defined by craftsmanship, creativity, and a strong focus on individuality.
Georgian Heritage Crafts Association
The Georgian Heritage Crafts Association brings together artisans working across traditional and contemporary crafts in Georgia, including jewellery practices that preserve and reinterpret local techniques.
TM Enamel Art
Specialized in enamel cloisonné, Mariam Tushishvili preserves a traditional Georgian technique, working with glass fused onto metal to create vibrant, detailed surfaces.
Together, these artisans show how contemporary jewellery is shaped by a wide range of approaches, from traditional heritage techniques that have been transmitted for centuries to more experimental and new processes. Across different countries and contexts, they engage with materials in distinct ways, whether through tradition, innovation, or conceptual exploration. What connects them is a shared commitment to the craft and to the meanings objects can carry beyond their function or value.
In this sense, contemporary jewellery is not only about form, but about the act of making itself, how materials are chosen, shaped, and brought into being.
News from Mad'in Europe
Mad’in Europe is a partner in the European project CRAFTWISE, funded by Erasmus+, which aims to strengthen skills in the craft sector and encourage collaboration between craftspeople and young designers and design students.
Reskiling crafts: Follow the progress of the Reskilling Crafts project here
