Jewellery Atlas: Tracing Paths Through Munich Schmuck Fair 2025
Published: 31.03.2025
- Author:
- Cécile Maes
- Edited by:
- Klimt02
- Edited at:
- Barcelona
- Edited on:
- 2025
Bracelet by Warwick Freeman at Hook Hand Heart Star. Pinakothek der Moderne Munich.
© By the author. Read Klimt02.net Copyright.

This year, our Content Editor, Cécile Maes, made her annual visit to the renowned contemporary jewellery festival in Munich, helped by the Klimt02 Guide: Munich Schmuck Fair 25. From March 12 to 16, 2025, she explored the latest in jewellery artistry and now brings us an in-depth report on her insights.
Round 3. Back from Munich. Time to write up my travel journal. No time to waste. Quick, quick! These are the perfect words to sum up these three days.
I don’t know about you, but I felt like I was on an orienteering race, trying to catch as many events as possible. In vain. Out of the 85 listed in the program, I barely reached twenty. Safe to say I’m feeling a tad frustrated that I don’t have the gift of ubiquity. Next time, let’s team up! Come along, and let’s hire a guide, think tour operator, but Munich Schmuck Fair style. That way, we won’t end up lost or doubling back because one exhibition is only open on weekdays, while the other is open on weekends.
Let's begin. My first stop was Parallel Voice, where artists Miki Asai, Nicole Beck, Christine Graf, and Takayoshi Terajima presented their pieces in an intimate setting, displayed on boxes within the jeweler’s own workshop. I discovered Miki Asai’s Still Life series, which received a special mention for the LOEWE FOUNDATION Craft Prize 2024. To my surprise, her creations, reminiscent of miniature tableware, were small and light, like wearable tableaux-objets.
I then made my way to Out of the Box, an exhibition where sewing boxes unfolded across tables, transforming into display cases for each artist. The image of the artist setting up their portable booth for a few days at the Messe—the beating heart of contemporary jewellery, they say, where everything happens, where collectors emerge—stayed in my mind throughout this Munich escapade. This way of presenting work, laid out on a table, often trapped in a frame and too confined to be fully read and understood, ends up being disconnected from the surrounding space and neighboring pieces.
In fact, I saw so much (maybe even too much, if I'm being honest), and I don’t want to list everything I did, as that could get pretty boring. So, rather than drowning you in a list of visits, I’ve chosen to highlight a few key themes that emerged throughout this Schmuck Fair Week. Projects and exhibitions that caught my attention, along with thoughts and impressions gathered over these three days and beyond.

The Omnipresence of the New Zealand Art Scene
As we know, the New Zealand art scene is not limited by its borders. Exhibitions such as WUNDERRÜMA (2014), IWA: New Zealand makers at Frame (2018), and the ongoing HANDSHAKE project (since 2011) have already showcased its creative vibrancy. But this year, New Zealand truly made its mark.
Current Obsession's Munich Jewellery Paper invited Zoe Black and Victoria McAdam to join the editorial team for the 2025 edition, along with guest contributors who highlighted New Zealand’s diverse creativity through interviews and articles tied to events throughout the week.
On the institutional side, Kim Paton, Director of ObjectSpace Gallery, was involved in the retrospective of Warwick Freeman. The National Gallery also supported its artists, featured in Goodness, a Jewellery and Fashion Collaboration and A Hologram of a Diamond by Moniek Schrijer at Munich's Mineralogy Museum.
Galerie Handwerk presented Familiar in the Foreign – Jewellery from the Southern Hemisphere, in collaboration with the Australian Design Centre and the Dowse Art Museum, celebrating the richness of the Southern Hemisphere. New Zealand’s Ambassador, H.E. Craig John Hawke, was even present.
To top it all off, the KOHĀ Ceremony, hosted by the Museum Fünf Kontinente and supported by Creative New Zealand, Objectspace, and Current Obsession, was activated by artists Neke Moa, Sofia Tekela-Smith, and Stevei Houkāmau. It added a performative dimension to the festival by exploring the concept of koha: the exchange and connection between the ornament, its creator, and its wearer.
With support from public institutions and the press, New Zealand didn’t just participate in Munich, it scattered its talent and energy, further solidifying its legitimacy on the international stage.
Warwick Freeman's Retrospective: Hook Hand Heart Star at the Pinakothek der Moderne
The exhibition drew the portrait of a rich territory, a cultural landscape shaped by colonialism, revealed through jewellery that, like collected objects, formed rebuses. The depth of the symbols and their talismanic power were presented with clarity. It was up to the viewer to do their own contextual research, before or after, if curiosity sparked. The exhibition was primarily about showcasing a lifetime’s work, where everything is interconnected, supported by the interaction of materials, shapes, traditions, and their meanings.
And then, this phrase from Warwick that resonates: What else does history do but show us that things are connected?

Warwick Freeman's Retrospective: Hook Hand Heart Star at the Pinakothek der Moderne.
Inside the Handwerk & Design Exhibition
This year, Schmuck highlighted the work of many artists who hadn’t been present in previous editions, offering an expansion of possibilities. What struck me was that this selection didn’t follow an obvious guiding theme or a strong statement that could have provided a more assertive reading of the entire exhibition. However, the choice of Jurgita Ludavičiené had its interest: it offered an overview of contemporary jewellery, balancing emerging artists with established figures, creating a broad panorama, a sea of objects, as the curator points out.
One might see this as a lack of straightforward narrative, an absence of certainty about what contemporary jewellery is today. However, after two editions marked by the oriented selections of Norman Weber and Caroline Broadhead, this openness felt necessary, even anthropological.
This was also reflected in the awarding of the Herbert Hoffmann Prizes, presented to Nikita Kavryzhkin, Jounghye Park, and Eija Mustonen. Three artists exploring varied scales, each with their own preferred materials and contrasting approaches.
More than last year, the galleries made the journey to be present at Frame, orbiting around Schmuck and Talente. Among the regulars were Galerie Marzee (Netherlands), Galerie Rosemarie Jäger (Germany), Galerie Noel Guyomarc'h (Canada), Platina (Sweden), Tinsel Gallery (South Africa), and Gallery O (South Korea). Some participated for the first time (to the best of my knowledge), like Objects Beautiful (UK), which showcases hair jewellery, and Heidi Lowe Gallery (USA), which has a large selection of earrings. Galerie CEBRA (Germany) was present with a choice of its designers, and the Gallery of Art in Legnica (Poland) also showcased a broad and relevant collection. The Closer (China) exhibited a selection of artists and simultaneously organised Lin Lang. The Chinese Story of Jewelry Art, an academic collaboration initiated by the Central Academy of Fine Arts (CAFA) and supported by the China National Art Fund at the Shanghai Gallery. Finally, Aria Gallery (Iran) returned for a second participation with a clearer selection.
Among the memorable stands, JAC Jewellery Art Concept, an association of eleven artists, once again demonstrated its consistency. As every year, Astonish, the collective of former students from Idar-Oberstein, shone once again with the involvement of its members, despite the theft of 14 of its pieces overnight. The Polska Traveller also fell victim to theft... Not cool. Please return the pieces and the money!
There was also the stand of the Danner Foundation, easily recognisable by its imperial yellow, which highlighted its role in supporting the craftsmanship of art in Bavaria and presented the winners of the Danner Prize. In the heart of Hall B1, the cross-disciplinary exhibition The Body Project provided a welcome/needed visual pause, exploring contemporary jewellery through the lens of the body.
Finally, the presence of Arnoldsche Art Publishers, with its space dedicated to books and exhibition catalogues, reinforced the importance of publication in the field of contemporary jewellery. Alongside them, AJF (Art Jewelry Forum) hosted talks under the title Jewelry that Makes You Think, addressing various themes, including artistic innovation, cultural representation, and the roles of collectors and creators.
Overall, the Messe event exuded undeniable professionalism, with a diverse offering of artists and galleries. The programme was so packed that one could easily have spent three days there, and the international panel further strengthened the legitimacy of the contemporary jewellery market. However, it remains to be seen whether the clientele showed up. The fair and its exhibitors fully embraced their role: to exhibit, sell, and connect, thus facilitating transactions and professional encounters.
Oh, I almost forgot to give a comment on what I saw. This year, colour was very much in play, with vibrant hues: red, yellow, orange, pink, sometimes pale, sometimes flashy. I noticed the significant return of cut gemstones, reminding me of those plastic jewels. The stones were set using ingenious systems or, more punk-style, suspended on threads, pierced, and hung on chains. Pop symbols were also present, and impactful phrases appeared like political slogans on pieces of all typologies.
Legnica Jewellery Festival Silver Exhibition and Unnecessary jewellery exhibition at FRAME.
Galerie Noel Guyomarc'h at FRAME.
Objects Beautiful at FRAME.
Astonish Stand at the Internationale Handwerksmesse München.
Danner Foundation at the Internationale Handwerksmesse München.
Munich Schmuck Fair: A Journey Through the City
Gone are the exhibition halls, now it’s time to share what caught my attention as I explored Munich. With such a high number of exhibitions, collective formats proved to be a smart approach, allowing visitors to discover multiple artists in one place. Some of them were grouped under contemporary themes that resonated with the current political climate. Among them are Piece of Peace, Shining Despair, Chaos & Control and the virtual exhibition Lost in Migration.
Of course, gathering so many pieces in one place can sometimes lead to a more chaotic setup, where the variety of narratives makes it harder to grasp the exhibition as a whole. But then again, isn’t that what a festival is all about, capturing the creative landscape of the year in all its diversity?
A few exhibitions stood out during my visit.
Pin Pin an an at Kobeia, featuring Taiwanese artists An Chi Wang, I Ting Wang, Yu Chun Chen, and Amal Yung Huei Chao, explored the symbolism of amulets, their evolution, and their place in Taiwanese society. What set it apart was its clear curatorial approach: first, a wall displayed traditional and contemporary amulets alongside their meanings, then, turning around, you discovered the artists’ interpretations throughout the rest of the space. A great thing, and not to be overlooked, books were available to read. These covered the history of these objects and Taiwanese culture, offering a deeper dive into the topic and encouraging visitors to take their time exploring.
The Plot Thickens by Benedikt Fischer and Rudy de Gruyl at The Tiger Room. The works, somewhere between nature and culture, used evocative materials and imagery that created an instant connection with the viewer. The exhibition design flowed seamlessly between objects, photographs, jewelry, and a wall of "experiments," offering both a visual and conceptual reading. This approach positioned ornamentation as a form of creative engagement that was both accessible and compelling. A great way to reach an audience beyond the usual contemporary jewellery community.
Nothing rhymes with Orange at the Englischer Garten by Despo Sophocleous, Mari Iwamoto, Naama Bergman, and Alexander Blank, presented pieces that almost felt like archaeological artefacts. The objects were displayed inside, on top of, or next to glass cubes, as if freshly unearthed, creating a sense of distance, as though viewing contemporary society through a historical lens.
Lastly, I was pleasantly surprised by the exhibition We paused before a house that seemed a swelling of the ground. To be honest, I’m often sceptical about lab-based exhibitions, which are quite trendy at the moment. They tend to lead to disappointing results, where the final pieces feel almost incidental. But the flyer had promised an interplay between theory and experimentation, so I was curious to see how it would unfold. And this one was definitely worth the visit. It provided insight into the genesis of each piece and its creative journey, with a clear dialogue between the works. Jewellery was placed in a broader context, exploring its relationship with materials, their extraction (sand, brick), and architecture, raising questions about standardisation and the value of materials. Some of the research was still ongoing, but everything carried the kind of clarity I was seeking after two days of jewellery overload, which, at times, had been somewhat disturbing. This exhibition was a great example of a project's evolution, from concept to materialisation, with a constant back-and-forth between intention and result, a balanced dialogue between theory and practice.
Behind this show were Irma Földényi, Elise Hoebeke, Saskia Van der Gucht, and Saskia van Es, all of whom are part of the teaching staff at the Sint Lucas School of Arts in Antwerp.
Pin Pin an an at Kobeia by An Chi Wang, I Ting Wang, Yu Chun Chen, and Amal Yung Huei Chao.
The Plot Thickens by Benedikt Fischer and Rudy de Gruyl at The Tiger Room.
Nothing rhymes with Orange by Despo Sophocleous, Mari Iwamoto, Naama Bergman, and Alexander Blank.
We paused before a house that seemed a swelling of the ground by Irma Földényi, Elise Hoebeke, Saskia Van der Gucht, and Saskia van Es.
An International Showcase for Schools and Students
As in every year, the contemporary jewellery festival welcomed exhibitions from students of international schools and universities. This platform not only highlights the diversity of projects developed at each institution but also offers visibility to emerging artists/designers. It also helps to professionalise students by providing them with a concrete glimpse of what awaits them after school, while teaching them how to organise a curatorial project.
This time, the Department of Metalwork and Jewelry, College of Design of Kookmin University in Seoul presented its students during the opening of Warwick Freeman’s exhibition, at the entrance of the Design Museum at the Pinakothek der Moderne. The artists accompanied the sculptural pieces, opening the discussion about their projects.
Additionally, graduates from the Department of Crafts at Seoul National University, with their Treasure Peninsula 2025, offered a captivating insight into their talent, creativity, and remarkable professionalism.
Among the member schools present at the Handwerk & Design fair and around the city, the Stand der Dinge exhibition from students of the Department of The New Craft Object Design at the Peter Behrens School of Arts / Düsseldorf University of Applied Sciences showcased a variety of projects from alumnis and students across jewellery and product design disciplines. A catalogue accompanied the exhibition, promoting the programme and its students.
The Munich Academy, with It’s the Economy, Stupid!, addressed students’ concerns regarding the precarious working conditions of artists. The scenography was designed to emphasise the urgency of advocating for fair pay to improve artists' position in society, as many of them, dependent solely on the monetisation of their work, often live with an income just above the poverty line
Mindful Mining by the Department of Metalwork and Jewelry, College of Design of Kookmin University in Seoul at the Pinakothek der Moderne.
It’s the Economy, Stupid! by Munich Academy students.
So, what do I take away from this edition? Honestly, I’m a bit perplexed. There were so many good intentions, which is the very essence of a festival. But then again, why do I feel like complaining? With such a packed programme, attending even a third of what was on offer was almost impossible. I focused on the exhibitions, but I regret missing the talks and conferences. These moments are important for everyone to understand the history of contemporary jewellery, explore new ideas, analyse the current market, and listen to curators and theorists. Call to action: I do hope these discussions were recorded and will soon be available online. It would be a shame if they weren’t.
There was a real effort from the people in the industry this year, but I’m not sure the audience could keep up. The dispersion of the events might have dampened the excitement. And, through social media (yes, I know, social media isn't real life but but butttt), I had the impression that the key figures in the field were always at the same places. Whether by affinity, habit, or interest, this seemed to benefit the well-known names, which might have worked against the emerging artists.
Perhaps the festival could be a bit longer, allowing the influx of visitors to be better managed and events to be better coordinated, avoiding the overlap that was so obvious this year. Finally, I think it’s important to recognise the duality in Munich every year and understand that it helps avoid disappointment. On one side, there’s the business aspect, the selling of pieces at the stands, which is crucial for participants and ensures their return the following year. On the other side, there’s the audience craving fresh, audacious, and disruptive proposals that rethink the codes of contemporary jewellery. We need to find a balance between these two aspects, though I have no idea how to achieve it.
If you’re still here, thanks for taking the time to read this, and I’ll see you next year… maybe! Kiss
Let's begin. My first stop was Parallel Voice, where artists Miki Asai, Nicole Beck, Christine Graf, and Takayoshi Terajima presented their pieces in an intimate setting, displayed on boxes within the jeweler’s own workshop. I discovered Miki Asai’s Still Life series, which received a special mention for the LOEWE FOUNDATION Craft Prize 2024. To my surprise, her creations, reminiscent of miniature tableware, were small and light, like wearable tableaux-objets.
I then made my way to Out of the Box, an exhibition where sewing boxes unfolded across tables, transforming into display cases for each artist. The image of the artist setting up their portable booth for a few days at the Messe—the beating heart of contemporary jewellery, they say, where everything happens, where collectors emerge—stayed in my mind throughout this Munich escapade. This way of presenting work, laid out on a table, often trapped in a frame and too confined to be fully read and understood, ends up being disconnected from the surrounding space and neighboring pieces.
In fact, I saw so much (maybe even too much, if I'm being honest), and I don’t want to list everything I did, as that could get pretty boring. So, rather than drowning you in a list of visits, I’ve chosen to highlight a few key themes that emerged throughout this Schmuck Fair Week. Projects and exhibitions that caught my attention, along with thoughts and impressions gathered over these three days and beyond.

The Omnipresence of the New Zealand Art Scene
As we know, the New Zealand art scene is not limited by its borders. Exhibitions such as WUNDERRÜMA (2014), IWA: New Zealand makers at Frame (2018), and the ongoing HANDSHAKE project (since 2011) have already showcased its creative vibrancy. But this year, New Zealand truly made its mark.
Current Obsession's Munich Jewellery Paper invited Zoe Black and Victoria McAdam to join the editorial team for the 2025 edition, along with guest contributors who highlighted New Zealand’s diverse creativity through interviews and articles tied to events throughout the week.
On the institutional side, Kim Paton, Director of ObjectSpace Gallery, was involved in the retrospective of Warwick Freeman. The National Gallery also supported its artists, featured in Goodness, a Jewellery and Fashion Collaboration and A Hologram of a Diamond by Moniek Schrijer at Munich's Mineralogy Museum.
Galerie Handwerk presented Familiar in the Foreign – Jewellery from the Southern Hemisphere, in collaboration with the Australian Design Centre and the Dowse Art Museum, celebrating the richness of the Southern Hemisphere. New Zealand’s Ambassador, H.E. Craig John Hawke, was even present.
To top it all off, the KOHĀ Ceremony, hosted by the Museum Fünf Kontinente and supported by Creative New Zealand, Objectspace, and Current Obsession, was activated by artists Neke Moa, Sofia Tekela-Smith, and Stevei Houkāmau. It added a performative dimension to the festival by exploring the concept of koha: the exchange and connection between the ornament, its creator, and its wearer.
With support from public institutions and the press, New Zealand didn’t just participate in Munich, it scattered its talent and energy, further solidifying its legitimacy on the international stage.
Warwick Freeman's Retrospective: Hook Hand Heart Star at the Pinakothek der Moderne
The exhibition drew the portrait of a rich territory, a cultural landscape shaped by colonialism, revealed through jewellery that, like collected objects, formed rebuses. The depth of the symbols and their talismanic power were presented with clarity. It was up to the viewer to do their own contextual research, before or after, if curiosity sparked. The exhibition was primarily about showcasing a lifetime’s work, where everything is interconnected, supported by the interaction of materials, shapes, traditions, and their meanings.
And then, this phrase from Warwick that resonates: What else does history do but show us that things are connected?

Inside the Handwerk & Design Exhibition
This year, Schmuck highlighted the work of many artists who hadn’t been present in previous editions, offering an expansion of possibilities. What struck me was that this selection didn’t follow an obvious guiding theme or a strong statement that could have provided a more assertive reading of the entire exhibition. However, the choice of Jurgita Ludavičiené had its interest: it offered an overview of contemporary jewellery, balancing emerging artists with established figures, creating a broad panorama, a sea of objects, as the curator points out.
One might see this as a lack of straightforward narrative, an absence of certainty about what contemporary jewellery is today. However, after two editions marked by the oriented selections of Norman Weber and Caroline Broadhead, this openness felt necessary, even anthropological.
This was also reflected in the awarding of the Herbert Hoffmann Prizes, presented to Nikita Kavryzhkin, Jounghye Park, and Eija Mustonen. Three artists exploring varied scales, each with their own preferred materials and contrasting approaches.
More than last year, the galleries made the journey to be present at Frame, orbiting around Schmuck and Talente. Among the regulars were Galerie Marzee (Netherlands), Galerie Rosemarie Jäger (Germany), Galerie Noel Guyomarc'h (Canada), Platina (Sweden), Tinsel Gallery (South Africa), and Gallery O (South Korea). Some participated for the first time (to the best of my knowledge), like Objects Beautiful (UK), which showcases hair jewellery, and Heidi Lowe Gallery (USA), which has a large selection of earrings. Galerie CEBRA (Germany) was present with a choice of its designers, and the Gallery of Art in Legnica (Poland) also showcased a broad and relevant collection. The Closer (China) exhibited a selection of artists and simultaneously organised Lin Lang. The Chinese Story of Jewelry Art, an academic collaboration initiated by the Central Academy of Fine Arts (CAFA) and supported by the China National Art Fund at the Shanghai Gallery. Finally, Aria Gallery (Iran) returned for a second participation with a clearer selection.
Among the memorable stands, JAC Jewellery Art Concept, an association of eleven artists, once again demonstrated its consistency. As every year, Astonish, the collective of former students from Idar-Oberstein, shone once again with the involvement of its members, despite the theft of 14 of its pieces overnight. The Polska Traveller also fell victim to theft... Not cool. Please return the pieces and the money!
There was also the stand of the Danner Foundation, easily recognisable by its imperial yellow, which highlighted its role in supporting the craftsmanship of art in Bavaria and presented the winners of the Danner Prize. In the heart of Hall B1, the cross-disciplinary exhibition The Body Project provided a welcome/needed visual pause, exploring contemporary jewellery through the lens of the body.
Finally, the presence of Arnoldsche Art Publishers, with its space dedicated to books and exhibition catalogues, reinforced the importance of publication in the field of contemporary jewellery. Alongside them, AJF (Art Jewelry Forum) hosted talks under the title Jewelry that Makes You Think, addressing various themes, including artistic innovation, cultural representation, and the roles of collectors and creators.
Overall, the Messe event exuded undeniable professionalism, with a diverse offering of artists and galleries. The programme was so packed that one could easily have spent three days there, and the international panel further strengthened the legitimacy of the contemporary jewellery market. However, it remains to be seen whether the clientele showed up. The fair and its exhibitors fully embraced their role: to exhibit, sell, and connect, thus facilitating transactions and professional encounters.
Oh, I almost forgot to give a comment on what I saw. This year, colour was very much in play, with vibrant hues: red, yellow, orange, pink, sometimes pale, sometimes flashy. I noticed the significant return of cut gemstones, reminding me of those plastic jewels. The stones were set using ingenious systems or, more punk-style, suspended on threads, pierced, and hung on chains. Pop symbols were also present, and impactful phrases appeared like political slogans on pieces of all typologies.



Munich Schmuck Fair: A Journey Through the City
Gone are the exhibition halls, now it’s time to share what caught my attention as I explored Munich. With such a high number of exhibitions, collective formats proved to be a smart approach, allowing visitors to discover multiple artists in one place. Some of them were grouped under contemporary themes that resonated with the current political climate. Among them are Piece of Peace, Shining Despair, Chaos & Control and the virtual exhibition Lost in Migration.
Of course, gathering so many pieces in one place can sometimes lead to a more chaotic setup, where the variety of narratives makes it harder to grasp the exhibition as a whole. But then again, isn’t that what a festival is all about, capturing the creative landscape of the year in all its diversity?
A few exhibitions stood out during my visit.
Pin Pin an an at Kobeia, featuring Taiwanese artists An Chi Wang, I Ting Wang, Yu Chun Chen, and Amal Yung Huei Chao, explored the symbolism of amulets, their evolution, and their place in Taiwanese society. What set it apart was its clear curatorial approach: first, a wall displayed traditional and contemporary amulets alongside their meanings, then, turning around, you discovered the artists’ interpretations throughout the rest of the space. A great thing, and not to be overlooked, books were available to read. These covered the history of these objects and Taiwanese culture, offering a deeper dive into the topic and encouraging visitors to take their time exploring.
The Plot Thickens by Benedikt Fischer and Rudy de Gruyl at The Tiger Room. The works, somewhere between nature and culture, used evocative materials and imagery that created an instant connection with the viewer. The exhibition design flowed seamlessly between objects, photographs, jewelry, and a wall of "experiments," offering both a visual and conceptual reading. This approach positioned ornamentation as a form of creative engagement that was both accessible and compelling. A great way to reach an audience beyond the usual contemporary jewellery community.
Nothing rhymes with Orange at the Englischer Garten by Despo Sophocleous, Mari Iwamoto, Naama Bergman, and Alexander Blank, presented pieces that almost felt like archaeological artefacts. The objects were displayed inside, on top of, or next to glass cubes, as if freshly unearthed, creating a sense of distance, as though viewing contemporary society through a historical lens.
Lastly, I was pleasantly surprised by the exhibition We paused before a house that seemed a swelling of the ground. To be honest, I’m often sceptical about lab-based exhibitions, which are quite trendy at the moment. They tend to lead to disappointing results, where the final pieces feel almost incidental. But the flyer had promised an interplay between theory and experimentation, so I was curious to see how it would unfold. And this one was definitely worth the visit. It provided insight into the genesis of each piece and its creative journey, with a clear dialogue between the works. Jewellery was placed in a broader context, exploring its relationship with materials, their extraction (sand, brick), and architecture, raising questions about standardisation and the value of materials. Some of the research was still ongoing, but everything carried the kind of clarity I was seeking after two days of jewellery overload, which, at times, had been somewhat disturbing. This exhibition was a great example of a project's evolution, from concept to materialisation, with a constant back-and-forth between intention and result, a balanced dialogue between theory and practice.
Behind this show were Irma Földényi, Elise Hoebeke, Saskia Van der Gucht, and Saskia van Es, all of whom are part of the teaching staff at the Sint Lucas School of Arts in Antwerp.



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An International Showcase for Schools and Students
As in every year, the contemporary jewellery festival welcomed exhibitions from students of international schools and universities. This platform not only highlights the diversity of projects developed at each institution but also offers visibility to emerging artists/designers. It also helps to professionalise students by providing them with a concrete glimpse of what awaits them after school, while teaching them how to organise a curatorial project.
This time, the Department of Metalwork and Jewelry, College of Design of Kookmin University in Seoul presented its students during the opening of Warwick Freeman’s exhibition, at the entrance of the Design Museum at the Pinakothek der Moderne. The artists accompanied the sculptural pieces, opening the discussion about their projects.
Additionally, graduates from the Department of Crafts at Seoul National University, with their Treasure Peninsula 2025, offered a captivating insight into their talent, creativity, and remarkable professionalism.
Among the member schools present at the Handwerk & Design fair and around the city, the Stand der Dinge exhibition from students of the Department of The New Craft Object Design at the Peter Behrens School of Arts / Düsseldorf University of Applied Sciences showcased a variety of projects from alumnis and students across jewellery and product design disciplines. A catalogue accompanied the exhibition, promoting the programme and its students.
The Munich Academy, with It’s the Economy, Stupid!, addressed students’ concerns regarding the precarious working conditions of artists. The scenography was designed to emphasise the urgency of advocating for fair pay to improve artists' position in society, as many of them, dependent solely on the monetisation of their work, often live with an income just above the poverty line

So, what do I take away from this edition? Honestly, I’m a bit perplexed. There were so many good intentions, which is the very essence of a festival. But then again, why do I feel like complaining? With such a packed programme, attending even a third of what was on offer was almost impossible. I focused on the exhibitions, but I regret missing the talks and conferences. These moments are important for everyone to understand the history of contemporary jewellery, explore new ideas, analyse the current market, and listen to curators and theorists. Call to action: I do hope these discussions were recorded and will soon be available online. It would be a shame if they weren’t.
There was a real effort from the people in the industry this year, but I’m not sure the audience could keep up. The dispersion of the events might have dampened the excitement. And, through social media (yes, I know, social media isn't real life but but butttt), I had the impression that the key figures in the field were always at the same places. Whether by affinity, habit, or interest, this seemed to benefit the well-known names, which might have worked against the emerging artists.
Perhaps the festival could be a bit longer, allowing the influx of visitors to be better managed and events to be better coordinated, avoiding the overlap that was so obvious this year. Finally, I think it’s important to recognise the duality in Munich every year and understand that it helps avoid disappointment. On one side, there’s the business aspect, the selling of pieces at the stands, which is crucial for participants and ensures their return the following year. On the other side, there’s the audience craving fresh, audacious, and disruptive proposals that rethink the codes of contemporary jewellery. We need to find a balance between these two aspects, though I have no idea how to achieve it.
If you’re still here, thanks for taking the time to read this, and I’ll see you next year… maybe! Kiss
About the author

Cécile Maes graduated from ENSA Limoges in design specialising in Contemporary Jewellery. Her interest in jewellery grows from the human relationships games it involves. Social object, jewellery creates narratives and becomes a sign. Investigating classical typologies, her work is a re-interpretation where historical references and everyday exploration connect ideas to speak about jewellery, the reasons why we wear it and the meanings we give to it.
Instagram Cécile Maes: https://www.instagram.com/cilce_maes
- Author:
- Cécile Maes
- Edited by:
- Klimt02
- Edited at:
- Barcelona
- Edited on:
- 2025
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