AMADEO KANN

Defying the boundaries between high jewelry and avant-garde sculpture, this spectacular objet d'art is a study in monumental brilliance. At its center lies a colossal, masterfully faceted crystal, cut to mimic the internal fire of a flawless diamond. The stone's sheer scale is audacious, designed to drape across the hand like a veil of light, capturing and fracturing the room's ambience into a spectrum of luminescence.

The crystal is suspended upon a bespoke, architectural chassis crafted from high-polished sterling silver. The setting features a rare dual-shank mechanism, two ergonomic finger apertures that allow the massive stone to float weightlessly above the knuckles, ensuring stability while maximizing visual impact. This engineering feat transforms the wearer's hand into a living pedestal for the art.

This exclusive piece has been immortalized by the Hollywood New Crown Jewel, Candice Lauder. As a triple-threat actress, singer and hypermodel, Lauder's endorsement of the piece on the cover of Amadeo Kann Fetiche cemented its status as an icon of 1970s glamour and modern excess. It is not merely a ring; it is a piece of cinematic history.

At the intersection of conceptual haute couture and contemporary sculpture, Extinguisher Bag emerges as a hybrid object that challenges conventional design categories. The piece reconfigures a universal symbol of emergency, the fire extinguisher, displacing it into the realm of radical luxury and transforming it into an emblem of aesthetic power.

Its high-gloss red lacquered cylinder asserts a commanding sculptural presence, while the flexible hoses, reimagined as functional shoulder straps, introduce a deliberate tension between utility and provocation. Far from functioning as a conventional accessory, the work aligns with a contemporary artistic discourse that elevates everyday objects into cultural signifiers. Through this gesture, Kann suggests that modern luxury no longer resides in excess, but in the conceptual weight an object is able to carry.

Extinguisher Bag embodies a fundamental duality: protection and danger, urgency and glamour. To wear it is to engage in a performative act, where the body becomes the support of a visual narrative, one that questions consumption, security and the aesthetics of power.

Angel Blood treats the perfume bottle as a reliquary rather than a container. Hand-cast in red crystal and sealed beneath a faceted stopper cut to catch chandelier light, the piece borrows the vocabulary of the 1970s fragrance counter and pushes it toward the altar. The grosgrain ribbon, tied by hand and never twice the same, is the only element of the work that stays soft.

The name refuses the comfort the industry usually sells. Where a house of perfume promises youth, purity and seduction, Angel Blood states their price: the red is not desire, it is what desire spends. Through that inversion Kann returns fragrance to what it was before it was merchandise, a substance poured over the body to make the body worth looking at.

Angel Blood is not a scent but a claim about scent, that we buy fragrance to be mistaken for something divine and settle the account in the only currency the body holds. The work is complete whether or not it is ever opened.