The Bite Magazine - Spring/Summer 2025 - Issue 37

bitejewellery patience, and precision by apprenticing with them in their studio, which we af- fectionally called ‘The Place’. I studied art at the High School of Music & Art, took classes at the School of Visual Arts and attended other composition and art history programmes.” Taking a detour into law, Elisa spent three decades as an attorney. “While that path was quite different from jew- ellery design, it sharpened my focus, attention to detail, and respect for tra- dition, qualities that blend seamlessly into the meticulous and artistic nature of jewellery making,” she said. “Mean- while, my upbringing in a lineage of gem and metal workers helped me gain the foundational skills to design piec- es that balance art, craftsmanship, and practicality.” The designer recalls watching her fa- ther and grandfather transform raw metal and stones into beautiful objects. “From the hum of the jeweller’s motor to the glow of molten metal, the sights and sounds of the workshop felt utter- ly natural. Even when I pursued law, I never lost my early love for creating something timeless and meaningful. When my father passed away, I real- ised how important it was to honour and continue this family craft. That was when I knew I needed to pick up the baton and fully embrace the call to design.” Today, Elisa replicates her descend- ants’ craft from her father’s jeweller’s bench and designs with the philosophy that beauty connects humanity across cultures, generations, and time. “Each piece is a wearable art that should say something personal about the wearer. Whether it nods to history, nature, ar- chitecture, or personal milestones, the story behind a piece matters deeply to me. It must speak to you, and it must be beautiful.” Creative freedom is her biggest perk in being a designer. “There is no limit on what I can try or how to tell a sto- ry through precious metals and gem- stones. Having my label allows me to decide what to design, how to source ethically, and how to present new ide- as. It is exhilarating to watch a concept take shape exactly as I envision it.” Elisa’s work merges history, mytholo- gy, and nature, combining sculptural forms and organic elements. “Frogs, flowers, starfish, crowns and other na- ture-inspired motifs often appear in my collections, transformed into luxu- rious, wearable art.” At fourteen, the would-be jewellery designer carved her first piece, an im- practical bracelet in microcrystalline wax depicting a man in a tricorn hat and feather. “It was my first foray into jewellery making, and it was messy, complex, and thrilling. That experience taught me that imagination is limitless, even if the material has boundaries.” Today, she believes quality comes from balancing artistry and craftsmanship with sound techniques. “It is about us- ing ethically sourced materials, secure settings for stones, solid solder joints, and finishes that protect and highlight the design. A piece should be timeless and capture the ability to enjoy a trend but be passed down through gener- ations to tell your people something personal about you.” The time it takes to construct a piece varies. “Some pieces come together in weeks, from the initial sketch to the fi- nal polish. Others evolve over months, undergoing multiple iterations. Some- times, an idea begins as purely decora- tive sculpture (like my Prince Charm- ing frog) and gradually morphs into a fully realised jewel.” Elisa considers each completed piece an accomplish- ment. “Watching a rough idea trans- form into something tangible is always rewarding. On a more personal level, I feel most accomplished when I solve a tricky technical challenge, such as setting an unusually shaped stone or refining the proportions of a link. Mo- ments when I realised my father once faced a similar challenge are especially meaningful.” While Elisa appreciates heritage jew- ellers and classic art, she also draws inspiration from iconic designers who balance innovation with tradition. “My