With Alan Crocetti jewellery becomes the stage for experiments and social disobedience.

Alan Crocetti, Brazilian naturalized British, is the emblem of an emerging category of designers who use art, the power of the image and fashion to bring to light themes of social disobedience and peaceful forms of protest within the fashion system. Alan has chosen to convey his messages through jewelry, after a long academic career focused on womenswear.

In his own bio the Brazilian designer animatedly describes how for him jewels are forced into a too reductive category, simple accessories with a pre-established “function”, at times embedded in an offensive classification. Driven by the need to externalize this vision, he has transported his passion from womenswear to the world of jewelry, using it as a tool to tell his own story through objects, a narrative made up of strong messages and equally recognizable symbols.

After this explosive premise, finding adjectives to describe the brand and deepen the understanding of its type of work is not easy. I would say that his jewelry is truly genderless, not a woman’s earring neutral enough to be worn by a man, but a real hymn to inclusiveness. On the other hand, contemporary jewelry, with its avant-garde facets, is a channel in the fashion sector not yet necessarily labeled, nor consequently associated with gender limitations, it goes without saying that the linear progression of this thought sees contemporary jewelry as an expression without prejudice and willing to accept and admit experimentation as a real school of thought.

To give an image to what is described, through the interpretations of Alan Crocetti, we can mention some of his jewels. The viper, a fake forked piercing designed to simulate a split in the lower lip, like the tongue of snakes. The nose plaster, a realistic metal reproduction of a plaster, to be worn on the nose, to disguise “luxury” wounds. The metal masks, made of strings and chains, a clear political-sadomasochistic reference to the compulsion to silence.

Alan translates into his creative language so provocative, sensual, at times dreamlike, the desire to demonstrate, through an artistic form, that the oppression dictated by the social limits of gender and identity can also be fought through made of images, symbols and objects. Thus representing a new current of young designers who shout in their creations values that go far beyond the mere stylistic choice, who rather try to claim rights and ideologies through every detail chosen.

From communication specially designed not to leave indifferent, to the destabilizing imagery animated through the details. It is no coincidence that Alan Crocetti’s collections have names such as: anarchy, erotica, climax, disobedience, etc.

In other words, social activism and a spirit of revolt disguised as a simple aesthetic project.

What makes the vision carried out by Alan a real project (not only aesthetic), then, is the community built starting from the brand, the chain to which he adds a link with each collaboration with artists, photographers, characters. The chosen language is as specific in the message as it is open to the possibilities of expression, making the brand much more than just collections.

By exploiting the entire creative talent of the community, a current is being created that carries the voice of minorities into the fashion system without fiction or filters, but with the raw interpretation of those who need to be heard and found in art and fashion the means to do so.

“We try to be free and to value experiences, so that every shared moment can be an opportunity for feelings of community and belonging.” Alan says in an interview released for the Officiel in June 2020.