De Liguoro jewelry is on display alongside the best brands and most important designers, representing and recounting the history of fashion jewelry in yet another great success for another stage of the DIVA “Italian Glamour in Fashion Jewelry” exhibition, which was created as a natural companion to the publication of the same name, DIVA.
The exhibition, under the expert artistic direction of curator Alba Cappellieri, began in Abu Dhabi in 2021 and had already visited Qatar, Bahrain, Jordan, Kuwait, Uzbekistan, South Africa, and Angola before arriving—thanks to the Embassy of Italy in Morocco, the Italian Cultural Institute in Rabat, and the National Museums Foundation—at this further prestigious stop in Morocco, hosted at the Oudayas, the National Jewelry Museum in Rabat (Musée National de la Parure).
The exhibition, which consists of 200 Italian fashion jewels, including De Liguoro creations, showcases true masterpieces of “Italian fashion jewelry,” one of the finest and most refined expressions of that Italian craftsmanship known and appreciated globally. It is precisely the recognizability of Made in Italy artisan manufacturing, with its regional peculiarities and immense historical heritage, that is the appreciated protagonist of this exhibition, even in a land like Morocco, which is rich in ancient artisan and manufacturing wisdom in the field of jewelry.
Professor Cappellieri defines this strong identity of Italian production as “the aesthetic mirror of fashion accessories in general,” of that accessory which—although it has only become a subject of news in the last few decades, and only due to the importance it has gained within the balance sheets of top brands—has in reality always been an integral and essential part of clothing, even since ancient times. And fashion jewelry, more than any other fashion accessory, has been—and still is—an integral part of the creative and artistic movement of fashion, thanks to the great freedom it leaves for experimentation and therefore for the innovation that, over time, has allowed great costume jewelers and designers to give full vent to their creativity, pushing artisan manufacturing toward the development of new production techniques and the use of new materials that—though “democratic,” to quote Alba Cappellieri’s elegant definition—have, in many cases, also been adopted by high jewelry.
A magnificent exhibition that has told the story of the “intangible” value of Italian creativity with immediacy and, at the same time, has well represented and appreciated the “very tangible” value of the practical knowledge and manual skills of our artisans, elevating the bijoux from a mere decorative tool to a true cultural and artistic object.
Thank you, Alba!
