Lane Crawford Talks

Nature’s breathtaking beauty is undeniable—the vibrant hues, intricate shapes, and the seamless harmony in which everything exists. This season, we’re embracing an array of nature-inspired home trends that are simply irresistible.

Enter Silvia Furmanovich, a visionary Brazilian jewellery designer whose artistry is deeply rooted in the natural world. Recently, she has transitioned her exquisite craftsmanship from jewellery to homeware, bringing the same captivating aesthetic to our living spaces. What truly distinguishes Silvia Furmanovich is her masterful use of marquetry. This craft involves assembling hand-cut, reclaimed wood veneers to create stunning patterns and images, making her pieces not only visually striking but also sustainably crafted.

This time around, we sat down with Silvia Furmanovich to share with us how her transition from jewellery into homeware unfold, how her creative process embraces sustainability while maintaining the artistry that defines her work and the standout pieces that Lane Crawford customers should look forward to.

The transition happened organically. I have always seen jewellery not just as adornment, but as a form of storytelling and cultural preservation, and I realised that the same philosophy could extend into the spaces we inhabit. During my travels, I often encounter extraordinary artisans working in wood, lacquer, or textiles whose skills go far beyond what can be worn.

My work begins with respect: for the materials, the artisans and the history and traditions behind every piece. We use reclaimed and responsibly sourced woods, often from the Amazon or other regions of Brazil, and give them new life through marquetry. Nothing is wasted. We even use leftovers from the furniture industry. Every sliver of wood has a purpose. I also see the preservation of knowledge and know-how as a kind of sustainability: ensuring that these time-honoured techniques continue to thrive through collaboration with master artisans and their apprentices, into the future. This is what excites me. True luxury, in my view, is something made slowly, consciously and meant to last.

This collection is inspired by the unfathomable intelligence of nature - the way light moves through leaves, the geometry of a flower petal, the forms of forest mushrooms, the rhythm of wood grain. Whenever I visit the marquetry atelier in the Amazon rainforest, I go on long walks and I document all the flora and life forms that I encounter. Marquetry allows me to interpret those organic shapes through texture and tone, almost like painting with wood. There is something powerful and meditative about it: the precision of cutting, the subtlety of fitting each piece together, the harmony that emerges from contrast. Its nature reimagined through craftsmanship, both wild and deeply disciplined.

I am especially excited about the marquetry trays and boxes featuring mushroom motifs. This is one of our brand’s signature motifs, and I think there is something beautifully abstract about them. All of this was made by artisans in Brazil. Each one feels like a small universe. We also developed sculptural vases and mirrors that play with the dialogue between material and reflection, wood and light. They bring warmth and soul to contemporary interiors, while still carrying that sense of wonder that defines my jewellery.

I am always curious about dialogue - between techniques, between cultures, and between time periods. We are experimenting with new forms of marquetry using unexpected materials like bamboo, straw, and even mother-of-pearl, and exploring collaborations with artisans from other traditions, including Japan, India and Uzbekistan. I see the homeware line evolving into a living archive of craftsmanship, where each collection tells a new story about beauty while bearing the mark of human touch.