Damiani Icons: I.N and Mariacarla Boscono Front the Maison’s New Campaign

Key Highlights

• Damiani’s new campaign, Icons, is directed by Christopher Simmonds and photographed by Larissa Hofmann within a historic Italian residence.
• Global ambassador I.N of K-pop group Stray Kids and Italian supermodel Mariacarla Boscono share the campaign’s visual narrative.
• The campaign features the Belle Époque, Belle Époque Reel, Mimosa and Margherita collections, and introduces a new addition: Margherita Bloom.
• Margherita Bloom is conceived as a contemporary expression of colour, femininity and grace, inspired by nature at its most radiant.
• The imagery draws from the aesthetic of twentieth-century Golden Age portraiture, set against aristocratic interiors softened by floral compositions.
• Damiani, founded in Valenza in 1924, remains the only Italian jewellery house managed by the founder’s family and the sole jeweller to have won 18 Diamonds International Awards.

The Finer Points

Damiani Icons is not a campaign that attempts to speak all languages at once. It has a fixed point of view: Italian elegance as something lived rather than performed. The choice of a historic residence as the setting, the same architectural grammar used in the Maison’s previous campaign, signals a deliberate continuity of visual thought. Larissa Hofmann’s photography pursues the quality of light and interior quietude found in twentieth-century Golden Age portraiture, where stillness carries more weight than spectacle. Floral compositions introduce colour and depth without disturbing the atmosphere, a considered counterpoint to the cool grandeur of the rooms. The result is a campaign where the jewellery is never in competition with its surroundings but is instead a natural extension of them.

Two Faces, One Language

The casting of I.N and Mariacarla Boscono is the campaign’s most deliberate editorial gesture. I.N, as a member of Stray Kids and a global ambassador for Damiani, brings to the frame a generation of luxury consumers across Asia and the GCC who engage with high jewellery on their own terms. Mariacarla Boscono, one of the most consistently respected figures in European fashion imagery, grounds the campaign in the Italian cultural register that Damiani has cultivated for a century. Between them, they create no contradiction. Both interpret the Maison’s collections through their own personal style rather than a standardised luxury persona, which is precisely what artistic director Christopher Simmonds appears to have built the concept around. The aristocratic atmosphere of the interiors provides a backdrop that neither dominates nor competes, allowing each sitter’s relationship with the jewellery to read as genuinely personal.

The Collections at the Centre

The pieces presented across the campaign represent some of Damiani’s most enduring design signatures. The Belle Époque and Belle Époque Reel collections draw their formal vocabulary from the ornamental richness of their namesake period, translated into contemporary proportions. The Mimosa and Margherita collections reflect the Maison’s recurring affinity with natural forms, specifically the floral structures that have appeared throughout Damiani’s design history since its founding in Valenza in 1924. For the GCC market, where high jewellery is worn with frequency rather than reserved for exceptional occasions, these collections offer the kind of versatility that sits well across formal and social contexts alike. Damiani’s Dubai boutique, alongside its presence in Milan, Rome, Paris, Seoul and Tokyo, positions the Maison as a genuine global player operating at the same tier of jewellery houses as Van Cleef & Arpels and Bulgari, both recognised references for the region’s collectors.

Margherita Bloom and the Shape of What Follows

The inclusion of Margherita Bloom as a campaign debut is significant beyond its immediate aesthetic contribution. Positioned as a contemporary expression of colour, femininity and grace, and conceived around nature at its most radiant, the collection extends the Margherita lineage while introducing a brighter, more saturated sensibility. It signals where Damiani is directing its creative energy in 2026: not towards reinvention, but towards a confident expansion of what already defines it. The Chaumets and high jewellery houses that pursue a similar path of floral naturalism understand that staying close to a founding aesthetic, while finding new formal expressions within it, is a stronger long-term position than chasing trends. Damiani’s three-generation family stewardship, from Enrico Damiani through to current custodians Guido, Silvia and Giorgio, provides the institutional confidence to operate from precisely that position. The Maison’s 18 Diamonds International Awards, the most of any jeweller globally, are the credential that underpins the claim.

Damiani Icons, taken as a whole, is the work of a house that knows its own identity clearly enough to present it without overstatement. The campaign’s restrained luxury, its grounding in Italian artistic tradition, and the ease with which its two protagonists carry the jewellery across a shared visual world all point to a Maison operating with considerable assurance. For collectors in the GCC, it offers something increasingly rare in contemporary luxury campaigns: a coherent point of view, held consistently from the first frame to the last.

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