Origins of a Craft: A Journey into the World of Mikkel Brøgger Jewelry
The seed of craftsmanship was planted early in my life, long before I understood its significance. My grandfather Erik’s woodshop, tucked away in the basement, was a world of quiet wonder. I would stand beside him as we turned wooden bowls together—enchanted by the scent of fresh shavings, the texture of grain, and the transformation of raw material into something both useful and beautiful.
As I moved through adolescence, art and fashion became constant companions. High school saw me immersed in classical drawing and photography, and later, fashion studies gave structure to my visual instincts. Yet one motif continually pulled me back: the allure of hand-shaped metal and the enduring mystery of gemstones.
I began working for an international jewelry and silver gallery, representing revered names like Japanese silversmith Hiroshi Suzuki, German visionaries Ulla and Martin Kaufmann, Belgian talent David Huycke, Danish master Torben Hardenberg, and the extraordinary Giovanni Corvaja of Italy. Alongside, I undertook a traditional European apprenticeship with two designers affiliated with Georg Jensen—an experience that would shape my sensibility forever.
There are certain names etched deeply into my foundation: Agnete Dinesen, once a gold and silversmith at Georg Jensen’s original Copenhagen studio; the visionary duo Karen Ihle and Jens Eliason; the provocative Dutch artists Ruudt Peters and Ted Noten; the poetic Italian Giampaolo Babetto; and the unforgettable masterclass with Japan’s Otsuki Masako.
Since then, I’ve had the honor of designing for esteemed houses such as Georg Jensen, David Yurman, and other design companies.
My heart has always beat for the sinuous elegance of René Lalique and the dreamlike world of Art Nouveau. A quiet stroll through the Galerie des Bijoux at the Musée des Arts Décoratifs in Paris remains an annual ritual—a pilgrimage of sorts to refresh my sense of awe.
In pursuit of knowledge and inspiration, I traveled widely. From the diamond factory of Royal Asscher in Amsterdam and the trading bustle of Antwerp, to the trailblazing contemporary jewelry gallery Marzee—my eyes were opened to radical new ways of understanding adornment, shaped by institutions like the Rietveld Academie.
New York held its own revelations. There, designers like Robert Lee Morris, Ted Muehling, and Daniel Brush stirred my imagination. I drew deep inspiration from the kinetic creations of Alexander Calder, the expressive modernism of Art Smith, the ornamental artistry of Vivienna Turun Bulüv-Hübbe, and the refined lapidary tales of Marie-Hélène de Taillac.
Academic and curatorial influences were no less formative: the Marcus & Co. retrospective at the Pratt Library, Bard College’s View from the Jeweler’s Bench, and Jewelry: The Body Transformed at the Met—curated by Beth Carver Wees—each shaped my evolving narrative.
In 2012, I had the joy of co-exhibiting my first collection in Paris, at the prestigious IBU Gallery in Palais Royal, alongside the luminous Gabriella Kiss. It was a moment of clarity: my voice as a jeweler had found its stage.
I continue to draw inspiration from those who keep the cultural memory of jewelry alive—Sandra Hindman of Les Enluminures, the discerning eye of Fabien de Montjoye, and the incomparable Diana Scarisbrick of Albion Art.
Daily sparks come from curators and voices such as Vanessa Cron, Beatriz Chadour Sampson, Marion Fasel, Frank Everett, Stellene Volandes, Keegan Goepfert, and Carol Woolton. Their work sustains my ongoing passion and curiosity.
When I began this journey over two decades ago, the global conversation around jewelry was far quieter. Initiatives like NYC Jewelry Week, founded by Bella Neyman and JB Jones, have reenergized the field with community and celebration. So too has GemX, and the establishment of L’École, the school of jewelry arts founded by Van Cleef & Arpels in Paris, led by Nicolas Bos—now the CEO of the Richemont Group.
I remain deeply grateful to the many auction experts who shared their knowledge so generously—particularly Kevin and Berj Zavian of Cluster Jewelry, who first introduced me to the heartbeat of New York’s Diamond District, and Ward Landrigan, a guardian of the city’s jewelry heritage.
There are names I will always hold in reverence: Fulco di Verdura, Suzanne Belperron, Arje Griegst, Monies, Elsa Peretti, Paloma Picasso, Jean Vendôme, Jean Schlumberger, and Andrew Grima. From Tiffany’s collaborations with Frank Gehry to Georg Jensen’s bold partnership with Zaha Hadid—these are the dialogues that continue to shape my world.
And finally, to JAR. I will never forget the moment I first noticed a pair of his earrings worn by Agnes Gund of MoMA. She spoke his name—Joel Arthur Rosenthal—and something clicked. Since then, his vision has haunted and inspired me, as has Victoire de Castellane’s extraordinary work for Dior and her own eponymous line, last seen in the luminous halls of the Gagosian Gallery on Madison Avenue.
In short, my passion for jewelry evolved from creating, making, and selling to what I now cherish most: storytelling. I’m captivated by the dialogue between past and present—by the legacy of great maisons like Chaumet and the fascinating history of its founder, Nitot. His era, his creations, his clients, and the enduring presence of these extraordinary pieces—still worn more than 200 years later—never cease to amaze me. This is the true magic of crafted jewels.
