Annarita Vitali Jewelry Stylist Vintage Costume Bijoux

Annarita Vitali Born in Bologna on 17/02/51. After the classical high school he enrolled at the DAMS where he graduated in History of Art in 1974 doing a thesis in urban planning with Prof. Cervellati, perhaps the only architect in the world who brilliantly put the conservation of the urban heritage and its redevelopment first. disharmonious expansion or worse if possible the demolition of the urban landscape.
"The conservation and evocation of the past, the history of what has been, especially in the small traces of human life, always exert a profound attraction on her". After a collaboration with the gallery of Modern Art on the occasion of its opening where he collaborated on biographies of painters such as Pizzirani, Fiori, and on the Saetti exhibition and a previous collaboration with the Artistic Manifestations Authority, he began a fortuitous activity in the field of bijoux that it soon became a real small company with internal and external employees.

🌿Annarita Vitali jewelry
(a sustainable style♻️)

The ecological choice of making jewels and accessories with the sole use of
recycled material safeguarding the environment.
With collections that trace the history of bijoux, they position it at the top of the ranking of brands with low environmental impact.
All its artifacts are made with original period materials, recovered from the ancient
warehouse "Furlanetto". Which Annarita Vitali bought in 1998 saving, from
certain destruction, the enormous quantity of material crammed into the warehouses
of the company. Thus becoming the custodian of a real mine of
vintage material, which today revives in creations of rare and delicate beauty.

Handmade

To create ornaments, it is necessary to assemble components that are sometimes different from each other in terms of age and materials. It is therefore necessary, for a conscious and harmonious result, to know their specific history in order to then be able to make appropriate use of them.
There are in fact aesthetic and intellectual connections which, if ignored, will give rise to a random object, the result of a fickle consumption, soon overcome and abandoned with the passing of the current trend.
However, it should be noted that very often, if not always, the current components for non-precious ornaments follow past stylistic features. Either because the molds have a high cost, and therefore are preserved until wear. Or because fashion pursues itself and it is proposed in an eternal return, albeit with updates linked to the moment.
As regards shapes and materials in continuous evolution (which does not mean improvement).

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