Stefania Lucchetta’s creative path, therefore, wanders between shape and technology, through a formal research which cannot be reached by hands alone, using the most innovative technological conquers, with a mixture of avant-garde break-up and laboratory curiosity, in the world of the jewel.
“If I try to summarize my history, I can say that it is a continuous attempt to overcome what yesterday was possible, trying to use all the means that are available today.”
The strong impulse towards a possible innovation and the will to interpret in the best possible way the contemporary spirit, for Stefania Lucchetta, become, not only the reason for a direct fight against the hand-made tradition, but provocation and need to travel along a different path, along the industrial design courses and a culturally conscious design, which in 2005 ends up in her ADI membership and in niche experimentations precariously balanced between art and design, therefore near what today is more and more often called Design Art.
Her productions are limited editions, apparently in contrast with the seriousness of the big numbers of design, but which again fully agree with  Munari’s reflections according to whom The archetype in the future is going to be more valuable than the large series of products, and perfectly in line with the assertion by Enzo Mari that Stefania Lucchetta in the last years took to herself: The quality of a project depends on the degree of cultural change it triggers.
To open wide the doors of one of the most traditional domains of the so called applied arts to the “machine made”, to replace the modeler and the manual wax modeling with a three dimensional modeling software, certainly triggered a cultural change to the point of opening a debate both on the side of conservatorism of the goldsmith’s field, and of the interest and recognition by the press and international critics.
[…] Stefania Lucchetta’s jewels express the contemporary spirit also through the mix of “luxury” and low cost materials. Resins and diamonds can live together in the same machine made ring, where, therefore, it’s the project itself that determines its value: the uniqueness of a jewel born thanks to the Computer Aided Design and, nevertheless, far from the schemes of fashion and trend, and so destined to determine its specific space-time circumscription.
Using the contemporary means, though remaining extraneous to the contemporary conditioning. The best interpretation of today, the precise meaning of here and now, even modulating her own creativity on shapes without time, as they are near the lines which can be located in the shapes of Nature: fingerprints, sea sponges, or “concrete” geometries of space. The result can be found in the complex wearable architectures, in the jewels by Stefania Lucchetta, which, further to emerging with a precise identity and recognizability from the chaos of the creativity of the 21^st century, perfectly integrate with the lines of the body of the person who wears them in a perfect somatic synesthesia.
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