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Marc Monzó, Jeweler

The fascination for all kinds of small objects and an interest in the classical typologies of jewelry have led Marc Monzó to seek the precision of small scale work and the creative play arising from diverse universes and materials.

With a synthetic language, free of superfluous ornamental elements, his work contains a reflection on the process of design and construction of the piece.

Marc Monzó is a fundamental part of MISUI since, as well as being its creative director, he is also one of its main designers and contributes the poetry of essentialist pieces that in turn contain a reflection on the nature of the jewels themselves.






    One of a kind

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Estela Guitart, Jeweler

Estela Guitart places her creations in the tension between beauty and function, and in the search for balance between the two.

Her pieces are a display of movement and rhythm, always starting out from the variation and repetition of segments of clear and simple shapes. An expert in traditional techniques, such as Japanese lacquer and enamel, applied to jewelry, she incorporates the use of color in a celebration of life, while maintaining the intimate character of the pieces.

MISUI chose to collaborate with Estela Guitart on account of the interest her work shows in movement and her exploration of the contrasts and nuances of colors. The functional character and portability of her pieces invest them a beauty that is fully expressed when worn.



    One of a kind

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Noon Passama, Jeweler

Noon Passama’s talents cover several areas of design and are expressed in distinct and complementary languages. The balance between these languages, which range from the classical and historical typologies of jewelry to futuristic elements, are reflected in her design solutions.

Out of all this a jewel emerges that is both an object with its own worth and an element that, beyond embellishing, transmits an attitude.

Noon Passama brings the sophistication of her pieces and the richness of her vocabulary to MISUI. Her vision confers a fresh perspective that broadens the brand’s outlook.

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Marta Boan, Jeweler

Marta Boan’s interest in the observation of detail and her search for the invisible patterns that make up reality, and that are repeated with small variations, have led her to explore boundaries in order to minimize materiality and simplify forms.

The results are small pieces, with an intimate value, that are an expression of fragility.

MISUI counts Marta Boan among its designers because of the rigor and freshness of her small scale jewelry, in which the symbolic value goes beyond the material value. Here the brand shows its commitment to a collection of minimally material pieces that represent a great technical challenge.


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Felix Lindner, Jeweler

Son of a jeweler and educated at the Academy of Fine Arts in Munich, Felix Lindner has both technical mastery of fine tradition and a deep understanding of contemporary jewelry.

His creations explore the imagery of popular culture, ranging from childhood symbols and toys to contemporary industrial design, combining these diverse points of departure with classical jewelry.

This play of oppositions, carried out with refined technique and intense involvement in every piece often questions the most established values.

Felix Lindner brings to MISUI the new impulse of jewelry coming out of the Munich Academy, with a clear hallmark that conveys popular symbolism through the traditional language
of jewelry.

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Etsuko Sonobe,

Tokyo born Etsuko Sonobe is an internationally recognized jewelry designer. She trained at the Musashino Art University in her hometown. She has been awarded several prizes, including the Diamonds International and the Marzee Prize, and has shown in numerous exhibitions around the world, including at the Kyoto Museum of Modern Art and the Museum of Decorative Arts in Paris. The elegance and sobriety of her work conceal a refined and creative technique that delves deeply into the relationship between material, form and structure. Her oriental roots are recognized in her work, especially in the expert knowledge of metal, in the quality of the fabrication and in the choice of soft colors, but the influence of Western aesthetics can also be perceived in the dimension of the pieces and in a rationalistic and concise expression that is very novel within the traditional Japanese market.