Venetian Heritage: Journey to the Temple of Jewellery in the Lagoon
Tapered hands in gold and silver, sculpted chalices, memento mori: the second life of a Baroque temple that has been a landmark in Venice for over a century.
5' min read
5' min read
Attilio Codognato passed away last November, at the age of 86. He was a man who had always lived in the heart of things: of the world of art, of jewellery, and of that special universe of his own that is Venice. A fourth-generation craftsman, creator of unique and sought-after jewellery, he presided over the family business for decades, founded way back in 1866, and was also a famous art collector - a friend of Leo Castelli, Ileana Sonnabend, Warhol and Rauschenberg - as well as a sort of aesthetic vector, capable of bringing people, influences and ideas together with the sheer force of his charisma. These are the words with which Francesca Amfitheatrof - artistic director watches and jewellery at Louis Vuitton - remembers the late heir to the House of Codognato, whom she first met when she was in her early twenties as a jewellery designer. Today she sits in the velvet-clad atrium of the new showroom on Calle Vallaresso, just a few steps from St. Mark's Square. Attilio's son, Mario, curator and director of Berggruen Arts & Culture (a centre dedicated to contemporary art, in Palazzo Diedo), is talking to a group of artisans, blacksmiths, enamellers and stone carvers who have worked with the maison for generations, and who have contributed to the creation of its unmistakable pieces. Attilio favoured old-cut stones and cabochons, delicate enamels, overworked 18th century gold and pure silver, memento mori and Catholic iconography. "He was the jeweller's jeweller, deeply respected by his colleagues," Mario says of his father. "Every time I came to Venice, I would drop by the shop to say hello to him," says Amfitheatrof. "We always touched on interesting themes: he was a free man, with a surreal imagination. He had lived in New York and frequented the Factory, he knew all the artists. He was not 'just' Italian'.
She herself, an Italian mother and Russian-American father, had a nomadic childhood: 'The mix of different cultures brought us together. Amfitheatrof and Mario also shared many experiences. "We studied together in London," she says, recalling their long friendship. "Then I started creating my own pieces, he started working for the collector and philanthropist Anthony d'Offay, alongside Sadie Coles and with Damien Hirst as an assistant in the warehouse: can you imagine?" Amfitheatrof then went on to study at the Royal College of Art with goldsmith Giovanni Corvaja; after graduating, she began designing for Alessi, then collaborating with maisons such as Balenciaga, Chanel, Wedgwood and Garrard. In 2014, she was chosen by Tiffany & Co., where she remained for four years, the first woman to hold the position of design director, before moving on to Louis Vuitton. But she never abandoned the art world, and was arts curator of the Gucci Garden in Florence from 2010 to 2013. Amfitheatrof's involvement in Casa Codognato has gradually grown. Recently, when Attilio had already slowed down the production of new pieces, Francesca and Mario started talking about the future. In the beginning, the idea was that Amfitheatrof should offer external support. More recently, at Mario's request, its position has become central. "The year before Attilio left us, we spent a lot of time together," he recalls. "We often saw him in his palace, where we also met some of the maison's historical craftsmen. I think, observing me interacting with them, he thought serenely: 'He can do it, he knows what he's talking about'".
Today Francesca Amfitheatrof is head of creative at Casa Codognato, a fashion house that could not be further removed from the immense Lvmh group, within which she maintains her role at Louis Vuitton. The close-knit 'board of five' - as they call themselves - at Casa Codognato includes Mario, his sister Cristina (a psychotherapist living in London), Mario's partner Henrietta Labouchere (who collaborated with Eric Allart on the interiors of the new shop), and Natalie Lewis, a long-time strategic collaborator with Amfitheatrof on all projects outside of Vuitton. Mario continues his work for Berggruen Arts & Culture, Cristina his business in London. But all together they discuss, consult, collaborate on brand identity. Mario's CV includes roles as founding director and chief curator of Madre, the museum of contemporary art in Naples, and chief curator of 21er Haus in Vienna; the direction of Blain Southern in London and the Anish Kapoor Foundation in Venice. "I did not think I would be so involved in the company, but now I am happy to contribute to its continuity, keeping its history in the family. Francesca and I have the same tastes, professionally we understand each other on the fly. And she is someone I spend my time with willingly'.
"By nature and character, I have an excellent ability to adapt to the deep essence of a maison," explains Amfitheatrof. At Codognato, five different craft workshops are involved in the realisation of each piece: in each, a maximum of two specialists work. "It's an extraordinary opportunity to be able to count on all the resources I have at Vuitton - I have close relations with the artisans there too, because the haute joaillerie is all handmade - but working at Codognato gives me a different thrill." Amfitheatrof has always been fascinated by the distinctive baroque elements that characterise the maison's style, in which alchemy and mysticism, cameos, snakes and skulls coexist. Among the pieces created by Attilio, a snake-shaped bracelet has scales engraved in gold composed of tiny emeralds. A majestic crucifix embellished with a pendant inlaid with two skulls and drops of blue sapphires has a tiny screw hidden in the base, which is used to open it: inside, there is a small quartz cross.
For the time being, Amfitheatrof intends to intervene with the utmost delicacy. "I started by being inspired by the hands painted and sculpted by the masters - from Caravaggio's Bacchus holding a wine glass, to Canova's long fingers". Ultima Mano is his first collection, presented at the Biennale. Among the pieces are the Vino Veritas earrings: two hands holding two goblets, one full and one empty, carved in quartz, with clusters of grapes of precious stones. Amfitheatrof shows me drawings of a pendant for a necklace, depicting a hand holding a large black pearl. "It is the sun, a masculine alchemical symbol, with an ancient ruby cabochon in the centre; on the back is engraved a silver moon, symbolising woman". The pendant hangs from a double chain, closed by another pair of hands, in gold and oxidised silver, with a pearly shimmer. The hands are adorned with rubies and champagne diamonds, diamond rings and bracelets, the wrists wrapped in gold vine leaves. The ensemble is very Codognato, but lighter, simpler and more feminine. It is called Psyche & Cupid. "It is very special. If the speed with which it was sold matters, it certainly does: at the end of February, after weeks of processing, the piece arrived in the shop. By mid-afternoon it had already been bought by A$AP Rocky, who was passing through Venice. Different worlds meeting and converging: Attilio would approve.
