In the heart of Tuscany, where traditional craftsmanship is a living heritage, Lorenzo Foglia carries on the goldsmith’s art inherited from generations with passion and vision. A master silversmith, fine artist and philosopher of matter, Foglia embodies a rare marriage of technique and thought, craftsmanship and introspection. From creating jewelry for European Royal Houses to trophies for the San Marino Grand Prix, to collaborating with Franco Zeffirelli’s cinema and authoring covers for K-OVER, his journey is a journey into the authentic value of “bespoke luxury,” out of time and beyond fashion. In this interview he tells us how he transformed the family legacy into a unique language of symbols, narratives and beauty that lasts forever.
Growing up in a family of silversmiths, how did it influence your approach to goldsmithing, and what values have you inherited?
I grew up in a family where Art was always present—especially Goldsmithing. The vibrancy of embossing and chiseling lived in my grandfather Carlo and was passed on to me by my father Giuliano. The main value I inherited is Love—dedicating one’s life to self-expression in harmony with the unique identity that a piece of jewelry, whether wearable or decorative, represents.
How has your degree in Literature and Philosophy enriched your understanding and practice of the goldsmith’s art?
Philosophical study and research are essential for any artist, alongside technical mastery. They allowed me to understand how to live and create through a Minor Art like goldsmithing—how this can shape one’s identity and offer a different perspective on life. As the Little Prince says, “What is essential is invisible to the eye.”
Could you share your experience creating jewelry and decorative pieces for European Royal Houses?
Fulfilling prestigious commissions is every artist’s dream. It’s an intimate process: the artist listens to the client’s story and translates it into symbols, materials, and forms. Historically, artists lived at court—today this bond continues. Yet, every creation can either elevate or damage the artist’s reputation.
What was it like to create the trophies for the San Marino Formula 1 Grand Prix, and what were the main challenges?
We eagerly submitted designs, which were selected. The silver trophies were entirely handcrafted in my workshop. Their success led to further requests for two more Grands Prix. Unfortunately, the San Marino circuit was later removed from the Formula One World Championship, and the trophy design was standardized.
How did you adapt your artisan skills to the needs of cinema, such as creating crowns for Franco Zeffirelli’s films?
It was a highly technical task. The pieces had to fit into a rich narrative and aesthetic vision curated by the late Maestro Zeffirelli. I fully relied on my craftsmanship to sculpt works that were both historically and visually faithful to the story.
What is your specific role in creating K-OVER bottle covers, and which design aspects inspire you most?
I always respect the concept behind the cover, adapting my techniques—embossing, chiseling, engraving, flattening, etc.—based on the subject agreed upon. My goal is to craft unique, emotionally rich works.
How do you keep traditional craftsmanship alive while integrating it into the modern luxury market?
Jewelry has little to do with modernity, except perhaps in its look. Technology ages fast; jewelry is timeless heritage—it appreciates in value and is passed down. True luxury isn’t in shop windows, but in commissioned pieces and museum collections.
