I kept looking for jewelry that felt like an object, and kept not finding it.
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So much of what I saw blurred together. Beautifully made, often, but interchangeable. The kind of thing you could swap between a dozen names and never notice.
What I wanted was harder to find. Something with a real point of view, the sense that someone had decided exactly what it should be and held that line. I started Atelier CPII to make the object I couldn't find.
I learned how to look at form from cars, not from jewelry.
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In automotive design, every surface has a reason. A line that crosses a panel has to earn its place, structurally and visually. Nothing is there by accident. That discipline is what I wanted in a piece you could wear.
Once I saw a gold-foiled car, the wrap itself highly unusual, and what stayed with me was not the colour but the decision behind it. Surface treated as a choice, not an afterthought. Jewelry rarely works that way. At CPII, the surface is where I start.
The things worth keeping are made in small numbers, by people who care how they are made.
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A sports car, a hand-built watch, a yacht. What makes them worth passing on is not how many exist. It is the care that went into each one, and the fact that there were never going to be many.
The AMVI Cuff is made the same way. Three hundred, each one numbered and marked on the object itself. I would rather make something a small number of people keep for a long time than something a lot of people forget. That is the whole idea.
This is not jewelry that explains itself through heritage. It explains itself through form.