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VICENZAORO JANUARY 2025 confirms its success as leading international business and networking platform

The show saw 1,300 brands, increase in international attendance and buyers from 145 countries

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Vicenzaoro January 2025, the event of reference for the global jewellery industry and the starting point of the sector’s global calendar. The edition not only confirmed last year’s exceptional numbers, it also touched the international dimension record: in fact, foreign visitation – greater than that of Italians – reached the extraordinary participation number of 145 countries from all over the world , with Turkey, the United States, Germany, Spain and Greece in the lead and interesting increases in countries such as North Korea and Australia.



“We have won the internationality challenge,” commented Corrado Peraboni, CEO of Italian ExhibitionGroup, in regard to Vicenzaoro January 2025. “Several years ago, we decided to develop our leading products abroad. A successful strategy that has decisively increased foreign visitation at our most important events in Italy.”



Matteo Farsura, head of IEG’s gold and jewellery division, underlined: “With 1,300 brands and the involvement of the entire jewellery supply chain, from technologies to haute joaillerie, Vicenzaoro confirms its position as a global platform of reference, favouring dialogue among the different segments to meet the needs of the various markets.

US retailers were out in force at the Italian Exhibition Group (IEG) event staged in the Vicenza show. In attendance were buyers from leading companies, such as Macy’s, Neiman Marcus, Saks Off 5th, Ben Bridge Jeweler, Diane Glynn Jewelry, and Manfredi Jewels.

“Vicenzaoro was a fruitful experience where I filled some orders and discovered unique, well-crafted jewelry,” Lisa Vinicur of Pennsylvania-based Diane Glynn Jewelry told Rapaport News. “I specifically sought important pieces like bangles, earrings, necklaces, and rings that are only available in Vicenza, and I’m pleased to say I found them.”

“Although the venue had construction happening, [the organizers] increased the signage to make the show easy to navigate,” said Nina Bruno of Macy’s, based in New York. “We are always shopping for new inspiration in chains. We were pleased to see fresh manipulations in chains and innovative diamond cutting.” 

Laura Barringer, Seattle-based senior buyer at Ben Bridge Jeweler, said the brand refilled all of its core selections and resourced and created a new collection it hoped to launch this spring. Managing partner of New York-based Manfredi Jewels Bianca Chiappelloni explained that part of the show’s draw is the ability to access Italian companies in one place. “It’s been beneficial for us to visit with so many of our Italian brands, in most cases seeing a much more complete and fuller showcase of their offerings than we see at some of the shows in the US,” she said

Vicenzaoro was held in conjunction with T.Gold, which showcased the excellence of the sector’s technologies (a T.Gold that, thanks to the Expo Centre’s expansion, will be staged inside the Vicenzaoro areas as of the second half of 2026), and VO Vintage, the fine vintage watch show, and the collaboration with Vicenza Municipality at VIOFF, the experiential off-show event that involved guests from all over the world.



A “rhythm” of business and innovation that never stopsbut continues for twelve months a year in a unicum of Italian Exhibition Group appointments and jewellery & fashion projects all over the world. IEG’s agenda will see OROAREZZO in May, SIJE in Singapore in July, Vicenzaoro September at the end of the summer (and the return of VO’Clock Privé) preceded by the new Vicenza Symposium, the Valenza Jem Forum in October, JGTD Dubai in November, and the Italian Jewellery Summit in Arezzo in December.

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Puneet Gupta Explores A New Luxury Landscape Where Jewellery and Accessories Transcend Adornment To Become Collectible Objects Of Craftsmanship, Individuality and Storytelling

PUNEET GUPTA | PUNEET GUPTA CRAFTED FINE GOODS

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THE NEW LANGUAGE OF LUXURY

Luxury is moving beyond the idea of an accessory being simply beautiful, precious or recognisable. We are increasingly entering a space where jewellery and accessories are being viewed as art objects in their own right—pieces that have a strong point of view, a sense of craftsmanship and, most importantly, a story to tell.

At Puneet Gupta Crafted Fine Goods, this is a space that interests me deeply. With our demi-fine jewellery, we approach a ring, cuff, pendant or pair of earrings almost as a miniature sculpture. The intention is not merely to adorn the wearer, but to create an object with enough character to become part of their personal collection.

“The intention is not merely to adorn the wearer, but to create an object with enough character to become part of their personal collection.”

Our fascination with archaeology, natural forms, Indian craft traditions and aged textures allows us to create pieces that feel as though they have been discovered rather than simply manufactured.

FROM CONSUMER TO COLLECTOR

I think this is particularly relevant to the new generation of luxury consumers. They are becoming less interested in buying something simply because it is expensive and more interested in why it exists—what inspired it, who made it, what material it uses and what makes it different. There is a growing appetite for pieces with individuality rather than obvious uniformity.

This movement extends beautifully into accessories beyond conventional jewellery. Sculptural metal bags, statement brooches and embellished wearable objects are increasingly occupying the space between fashion and art.

A metal bag, for instance, can function as an accessory but also as a small piece of industrial sculpture. A brooch can become a personal emblem rather than merely an embellishment pinned to a garment.

These objects invite a different kind of relationship with the wearer—they can be collected, styled, displayed and eventually passed on.

INDIAN CRAFTSMANSHIP, REIMAGINED

I also believe that Indian craftsmanship has an important role to play in this evolution. Our artisans possess centuries of knowledge around metalwork, embroidery, carving, surface treatment and ornamentation.

The opportunity today is not to reproduce traditional objects, but to take that knowledge and reinterpret it through a contemporary design language.

“The opportunity today is not to reproduce traditional objects, but to take that knowledge and reinterpret it through a contemporary design language.”

WHEN VALUE BECOMES EMOTIONAL

Perhaps the most interesting shift is that value is becoming more emotional and intellectual. A piece does not have to be made entirely of precious materials to feel luxurious. It can derive its value from the originality of its design, the hand that made it, the story behind it and the fact that it feels unlike anything else.

The future of luxury, therefore, may belong to the conscious collector—someone who buys fewer accessories but chooses pieces that have a life beyond a single season.

Jewellery, bags and brooches become more than things we wear. They become objects we discover, live with and eventually leave behind.

The next chapter of luxury may not be about owning more—it may be about owning pieces that mean more.

As consumers seek authenticity, craftsmanship and individuality, the line between jewellery, fashion and art is becoming increasingly fluid. The emerging luxury collector is not simply buying an accessory; they are acquiring an object with a story, a point of view and the potential to outlive a trend.

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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.

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