When Stefano Cortecci joined Pomellato as the director of its stone purchasing department two decades ago, he brought along some uncommon expertise.
Most gem buyers specialize in cut and polished gems. But Mr. Cortecci, the son of two geology professors, had earned a bachelor’s degree in geological sciences from the University of Pisa as well as a master’s degree in gemology, with a focus on diamonds, colored stones and pearls, from the Istituto Gemmologico Italiano in Milan. He also had worked for jewelry suppliers and in gemological laboratories — experience that has helped him to identify potential gems where others might see ordinary rocks.
“Stefano’s work is a fundamental element of Pomellato’s creativity,” Alba Cappellieri, the head of the jewelry and fashion accessories program at the Politecnico di Milano, wrote in a text message. “The colors and cuts of the gems enhance the beauty and innovation of the jewelry.” Ms. Cappellieri has curated exhibitions for the brand.
In a recent phone interview, Mr. Cortecci, 53, discussed how his background influences his work, the role that color plays in establishing a brand identity and why deliberate mistakes can spark creativity. The conversation has been edited and condensed for clarity.
You are both a gemologist and a geologist. How has that dual expertise shaped your work?
I like to say I’m a scientist on loan to the luxury world. My background in geology gives me the technical knowledge essential for understanding gemstone treatments and evaluating the quality of every gem we handle. And I’ve worked in gem labs, which has further honed my experience in assessing stones in both their rough and cut forms.
What does your current role as gem master and director of the gemstone purchasing department at Pomellato involve?
I have four key responsibilities. First, I work closely with the creative team to develop new ideas and jewelry collections. Second, I oversee the sourcing and purchasing of all the gemstones used by Pomellato and DoDo, Pomellato’s other line. Third, I ensure the ethical and sustainable sourcing of our materials. And lastly, I serve as a spokesperson for the brand at trunk shows with clients and events.
What’s a usual day at the office?
My day typically starts in the car with calls to suppliers in Asia and India. I enjoy talking to them even when there’s nothing urgent — it strengthens our relationships and often sparks new ideas.
Once I arrive at the office, my day revolves around my four key responsibilities. And I spend time with Vincenzo Castaldo, Pomellato’s creative director, to discuss the collection.
And when you’re hunting for gemstones?
Gem hunting takes me to major fairs like Hong Kong, Bangkok and Tucson, Ariz. But I also travel directly to mines in Africa — Mozambique, Madagascar, Malawi, Zambia, Tanzania and Kenya — to source rough stones.
I don’t have a typical day, but I like to leave room for the unexpected. Once in Hong Kong, I accidentally pressed the wrong elevator button and got off on the 12th floor instead of the 21st. There, I saw a chaotic scene involving large volumes of rough gemstones being moved.
A Mozambican woman noticed my interest, introduced herself and showed me her collection. That chance encounter led to a long-term partnership, as her tourmalines and rose quartz are now part of Pomellato’s collections. It was a lucky mistake.
Many brands’ gemologists just buy cut gems, but you also purchase rough stones for Pomellato. Why?
Buying rough stones gives us more control over production, color consistency and supply. I was hired at Pomellato in 2005 precisely because of my expertise in buying rough stones, which was essential to support the development of Nudo, a collection featuring pastel-hued gems that had launched in 2001 and was proving very successful. However, to scale the production, the company needed more rough stones than suppliers could provide.
Buying rough stones also gives us more freedom to experiment with new cuts. Sometimes, we deliberately make wrong cuts simply to see where they lead us.
What are the qualities that make a gem right for Pomellato?
Color is paramount. Pomellato has established its identity thanks to unique color palettes with distinctive shades that are softer and rounder. Among pink quartz, we choose paler tones; among Paraíba tourmalines, we prefer less saturated hues. We also enjoy playing with colors, juxtaposing contrasting shades in a way that still reflects our brand identity. The cut is equally important. We like cabochons and unusual cuts, like the Nudo, which is a proprietary cut.
What are some of the most unusual stones you have brought to the brand?
Years ago, we began working with spinels before they became trendy. Moonstones have also been important to us, used in both fine and high jewelry. We’ve experimented with rare transparent or smoky variants.
Tourmalines are a Pomellato favorite. They come in countless colors and have become, in my view, just as precious as rubies or sapphires because of their unique soul.
And stones for high jewelry?
We’ve used chocolate and gray moonstones, as well as tourmalines with trace elements that produce surprising shifts from red to green to orange or violet. These stones offer a range of hues that challenge traditional gemstone hierarchies.
Such unusual gems have shaped Pomellato’s reputation in high jewelry. But its most recent high jewelry collection, Collezione 1967, featured more conventional stones of significant carat weight for the first time. What inspired this choice?
It felt like a natural evolution. Pomellato had reached a level of creative maturity that allowed us to reinterpret classic stones with our unique style. And clients recognized the Pomellato DNA in these new interpretations.
The specific shades of sapphires and rubies we chose are also in line with our distinctive color palette. For example, our sapphire is less saturated, a softer tone of blue.
The decision to include these gems wasn’t purely aesthetic, it was also strategic. Clients increasingly view jewelry as an investment, and the use of traditional high-value stones responded to that mind-set while staying true to our design ethos.
Including sapphires, rubies, emeralds and diamonds has also helped us reach new clients.
What will be the next big thing in gems?
I believe color itself will be the dominant trend. I can see in clients’ eyes that they have an emotional response to color.
They may not be able to articulate why and may not even be aware of it, but I notice how people respond to certain shades in a gem, as well as to unexpected combinations, like orange with pink pavé, or soft blues with diamonds.
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