Creative Process Must Be Protected Says Gemologist Head
Olivier Segura, a French gemologist with master’s degrees in biology, geology, marketing and communications, says the creative process behind jewellery must stay under human control as artificial intelligence spreads through the design world.
Human hands versus machines in high jewellery
Speaking at L’Ecole’s first nomadic programme in Seoul, he drew a line between mass‑produced jewellery and the exclusive sphere of high jewellery. “AI is a great tool, and technology can be useful in producing large quantities, and bringing and developing new ideas,” he told the Business Times. He added that the most prestigious pieces, where “the hand is at the centre, and the mind and creative process need to be protected,” should remain untouched by algorithms.
Related: Why Corporate Apartments are the Superior Choice for Extended Stays
His stance reflects a broader sentiment among artisans who fear that digital tools could dilute the personal touch that defines luxury pieces. Artificial intelligence can generate patterns and suggest material combinations, but critics argue it lacks the intuition required for truly unique work.
Academic interest in jewellery as art
He noted that universities are now treating jewellery like sculpture or painting, with more research focusing on its artistic value. “This has been changing in the last few years, with more and more academic research on the subject matter in universities,” Segura said. The shift, he believes, reinforces the need to protect the creative mind behind each piece.
His own collection includes over 100 brooches, among them a yellow‑gold and emerald vintage piece by Mario Buccellati from the 1960s. The rarity of such items highlights his point: “humans are more interesting than machines,” suggesting that the slight imperfections of hand‑crafted work can be “meaningful and moving.”
Related: How is a personal loan interest rate calculated? Know here
Field trips that shape a gemologist’s view
Beyond the studio, he travels to mines worldwide, a habit he maintains annually. He recalled the Colombian emerald mines, noting the “very dark, black soil” and the striking green of the surrounding jungles. Visits to Myanmar’s ruby mines and Sri Lanka’s sapphire sites left similar impressions.
Balancing tradition and technology
While he champions the protection of the creative process, he warns that the line between assistance and replacement must be drawn clearly.
He said the next step is deeper collaboration with museums and universities across the region. “We’ve started discussions with Singapore, Australia, Taiwan and South Korea,” he explained. The goal is to adapt content to local audiences while preserving the emphasis on human creativity.
Related: China curbs threaten Hong Kong investments
In a brief aside, he mentioned a recent workshop in Seoul where participants experimented with 3‑D printing, only to discard the printed prototypes in favor of hand‑carved models. “Sometimes the tech just feels like a fancy paperweight,” he chuckled.
For Segura, the answer remains clear: protect the mind, the hand, and the spirit that give high jewellery its lasting allure.
