JB Insights
VICENZAORO JANUARY 2024
IEG’s trade show is the global jewellery industry’s choice
Attendance +3% more than 2023 on the 70th anniversary, 141 countries of origin. The United States, Turkey and Spain on the podium. Enhanced hosted buyer programme thanks to ITA – Italian trade Agency
More than 1,300 exhibiting brands
Technologies: T.Gold, showcase of top products for the supply chain. In 2025, the first edition of “The Vicenza Symposium”, a global scientific event
Watchmaking segment consolidated with TIME for B2B. Visitors to VO Vintage up 13%
More than 490 students at the 20 events in the city’s VIOFF programme
Work to start on the new 22,000-square-metre hall: an investment of about Euro 60mn
Vicenzaoro January 2024 exceeds all the most optimistic prior expectations of the Vicenza – Italy gold and jewellery exhibition’s 70-year anniversary. Italian Exhibition Group’s «boutique show» closed today with a 3% increase in attendance at the Vicenza Expo Centre, surpassing last January’s record edition. Moreover, at this edition, six out of ten visitors came from abroad: the global jewellery industry has chosen, Vicenza will be a market hub for the next 70 years. IEG responds with the start of work on the new 22,000-square-meter hall.
THE VICENZAORO JANUARY 2024 NUMBERS
Foreign attendance has been confirmed at 60% of the total, arriving from 141 countries around the world, up from 136 in 2023: with Europe counting 53%, the Middle East 9.3%, Asia 10.5%, Turkey 8%, North America 7.2%, Latin America 5.1% and Africa 4.9%.
Among the most represented individual countries overall: the United States and Turkey; from Europe Spain, Germany, France, Greece and the UK; from the Middle East the United Arab Emirates, while standing out from Asia are India, China, Japan, Thailand and Hong Kong. The largest increases are for China (+188%), Japan (+44%), Colombia (+38%), Brazil (+36%) and France (+25%). Among the new entries at Vicenzaoro: Tanzania, El Salvador and Honduras. Veneto, Lombardy, Tuscany and Piedmont confirm an extremely positive trend for Italian attendance, which saw an overall increase of 3.2% compared to 2023.
T.GOLD ON THE RISE
At this edition, T.Gold, the leading international innovation showcase featuring the most advanced machinery for goldsmithing and the latest processes applied to gold and jewellery, organized in partnership with A.F.E.M.O., saw a 4.7% increase in attendance.
TIMEPIECES.
In the timepiece segment, VO Vintage consolidated its success with exhibitors up 22% for vintage watches and jewellery open to the B2C public, with collectors, experts and watch lovers from Italy and around the world also up +13%.
INDUSTRY AND TRAINING, PASSION MAKES A COMEBACK
Gold and jewellery see restored generational turnover in the labour market. Industry and education meet at Vicenzaoro: 23 schools at the Show, mostly from Italy and from France, Germany and the UK for a total of about 750 students and escorts, all involved in the many initiatives. In the VIOFF programme of city events, Vicenzaoro’s off-show, more than 490 students took part in the 20 events on the calendar.
THE EXPO CENTRE CHANGES FACE, 2024 IS THE YEAR OF WORK ON THE NEW HALL
The close of Vicenzaoro January 2024 will mark the opening of the building site that will return a new layout to the Vicenza Expo Centre for the September 2026 edition. The new 22,000-square-meter hall will replace Hall 2, the historic “snail” built in 1971, and Hall 5, to provide more space for exhibitors and better “navigability” for visitors inside the building. The investment of about 60 million euros is fully financed by IEG.
“THE VICENZA SYMPOSIUM”, THE NEW EVENT ON IEG’S JEWELLERY AGENDA
Italian Exhibition Group’s Jewellery Agenda will be further enriched as of 2025 with a new international event, “The Vicenza Symposium” scheduled to take place from 2 – 4 September. Vicenza will therefore inherit the scientific legacy of the “Santa Fe Symposium” which closed in 2022. A biennial event with a problem-solving approach for companies, the Symposium is the result of IEG’s collaboration with two leading companies in the T.Gold world: Legor and Xolutions.
GLOBAL STAKEHOLDERS AND INSTITUTIONAL PARTNERS
Vicenzaoro January confirmed its role as an international reference point due to the presence of the entire institutional and association world. From Confindustria Federorafi, Confartigianato Orafi, Confcommercio Federpreziosi, CNA Orafi, Confimi Industria Categoria Orafa ed Argentiera to Assogemme, Assocoral and A.F.E.M.O. – Association of Jewellery Machinery Manufacturers and Exporters, CIBJO – World Jewellery Confederation, Ministry of Foreign Affairs and International Cooperation, ITA – Italian Trade Agency.
The community’s next appointment with Vicenzaoro will be from 6th to 10th September 2024.
JB Insights
Top 10 India’s Jewellery Traditions: Where Craft Becomes Identity
-By JewelBuzz
From Centuries-Old Techniques To Regional Artistry, These 10 Jewellery Traditions Reflect India’s Cultural Legacy, Craftsmanship, and Enduring Human Touch
India’s jewellery is far more than ornamentation—it is a reflection of identity, heritage, and regional storytelling. Across the country, every piece carries the imprint of its origin, shaped by local traditions, cultural influences, and generations of skilled artisans. From intricate silverwork to vibrant enamel detailing, these designs are deeply tied to the communities that create them.
What sets Indian jewellery apart is its deep-rooted connection to time and tradition. These crafts were not born in factories but evolved within homes and workshops, passed down through families and perfected over centuries. Each technique reflects patience, precision, and human touch, making every creation unique and meaningful.
In today’s fast-paced world of mass production and uniform design, these traditional jewellery forms stand as a reminder of authentic craftsmanship and enduring legacy. They are not just objects of beauty but living traditions, preserving stories of culture, survival, and artistic excellence that continue to define India’s diverse identity.
Top 10 Regional Jewellery Traditions
Silver Filigree, Cuttack (Odisha)
Delicate like lace, yet crafted entirely from silver, this art—known as Tarakasi—dates back to the 13th century. Artisans twist ultra-fine silver wires into intricate patterns.
The process requires immense precision, often taking days to complete a single piece. It is widely used in creating decorative items, bridal jewellery, and heritage collectibles.
Gulabi Meenakari, Varanasi (Uttar Pradesh)
Jewellery that appears hand-painted, known for its signature pink enamel work. The craft involves fusing metal oxides onto gold and silver at high temperatures. Its distinctive pastel hues set it apart from other meenakari styles in India. The craft flourished under royal patronage and remains closely associated with Varanasi’s artistic legacy.
Thewa, Pratapgarh (Rajasthan)
A unique technique where intricately carved gold sheets are fused onto coloured glass, often depicting royal hunts, folklore, and nature.
Each piece is handcrafted using age-old skills preserved within artisan families. The vibrant glass backgrounds—typically red, green, or blue—enhance its regal appeal.
Hupari Silver Jewellery, Kolhapur (Maharashtra)
In Hupari, jewellery-making is a family tradition. Known for durability and fine detailing, each piece reflects generational skill. The town is one of India’s largest hubs for handcrafted silver jewellery. Its artisans are known for blending traditional motifs with contemporary designs.
Karimnagar Silver Filigree (Telangana)
Distinct from Cuttack’s style, this form features bolder motifs like peacocks, swans, and geometric patterns, giving it a unique identity.
The craft often produces statement pieces and decorative artefacts. It has been recognised for its craftsmanship and continues to support local artisan communities.
Hyderabad Lac Bangles (Telangana)
Crafted using heated lac, these bangles are hand-moulded and studded with stones, making them vibrant and deeply tied to bridal traditions.
They are especially popular during weddings and festive occasions. The process involves multiple stages of heating, shaping, and embellishment by skilled craftsmen.
Axomiya Gohona (Assam)
Traditional Assamese jewellery made primarily in gold, featuring motifs like junbiri (crescent moon), dholbiri, and lokaparo, is inspired by nature and Ahom-era royalty.
These pieces are often worn during festivals like Bihu and weddings. The bold designs reflect Assam’s rich cultural symbolism and heritage.
Temple Jewellery of Nagercoil (Tamil Nadu)
Originally designed for temple idols, now worn by Bharatanatyam dancers and brides, often depicting gods, goddesses, and temple architecture.
Crafted mainly in gold, these pieces are known for their antique finish and intricate carvings. They remain an essential part of South Indian bridal trousseaus.
Agates of Cambay (Gujarat)
Crafted in Khambhat, artisans heat, dye, and polish agate stones into beads and jewellery. This is a 4,000-year-old craft with global appeal.
Khambhat has been a historic trading centre for agates since ancient times. The finished stones are exported worldwide for use in jewellery and decorative items.
Odisha Brass & Bell Metal Tribal Jewellery
Created using age-old casting techniques, molten metal is hand-poured into moulds to form bold, earthy ornaments that reflect tribal identity and rituals.
These pieces are deeply symbolic, often representing social status and community traditions. The raw, rustic aesthetic makes them distinct from mainstream jewellery styles.
These jewellery traditions are more than decorative forms—they are living expressions of India’s cultural identity and craftsmanship. Each piece carries the legacy of its region, shaped by generations of artisans, local narratives, and time-honoured techniques.
As the industry evolves, the value of these traditions lies in their authenticity, individuality, and human touch—qualities that cannot be replicated by mass production. Preserving them is not just about sustaining craft, but about protecting heritage and supporting artisan communities.
In celebrating these traditions, we don’t just admire their beauty—we honour the stories, skills, and identities that continue to define India’s jewellery landscape.
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JewelBuzz is Asia’s First Digital Jewellery Media & India’s No.1 B2B Jewellery Magazine, published by AM Media House. Since 2016, we’ve been the trusted source for jewellery news, market trends, trade insights, exhibitions, podcasts, and brand stories, connecting jewellers, retailers, and industry professionals worldwide.