Philip Gefaell is one of the most exciting young jewelry designers shaping the future of luxury. From his first experiments flipping vintage rings as a teenager in Poland to creating custom diamond pieces for international clients from his studio in Bangkok, Gefaell’s journey is a masterclass in passion, craftsmanship, and modern entrepreneurship. In this exclusive interview, we explore the pivotal moments that defined his career, how he approaches custom jewelry design, and what drives his global success as a new-generation luxury jeweler.

 

Philip Gefaell

 

Start of the Interview:

1. Let’s start with that moment in your childhood/younger years—what did jewelry represent to you back then? Any earlier approach?

Absolutely. When I look back at my childhood and teenage years, jewelry had a very specific and powerful meaning to me it was all about hip-hop culture. The biggest impact came when I was around five or six years old and heard 50 Cent’s Get Rich or Die Tryin’ for the first time. That moment pulled me into the world of American music and culture, and I completely fell in love with it.

From that point on, jewelry became more than just decoration it was a symbol of “We Made It.” In Poland at that time, especially in the early 2000s, no one around me wore jewelry like that. The country still felt quite grey in many ways, and this shiny, bold world I saw in music videos felt like something from another planet. The sparkle, the excess, the confidence it left a huge impression on me. It became a dream: that one day, I’d live a life as colorful and expressive as the people I saw on those screens, and that I’d wear that kind of jewelry myself.

 

2. Looking back, was hip-hop important as a gateway—not just into jewelry—but into entrepreneurship, self-expression, identity or essentially anything in your life?

Yes absolutely. I’d say hip-hop shaped at least 50% of who I am. That culture and music weren’t just entertainment for me; they became an inseparable part of my identity and influenced nearly everything I’ve done in life.

It gave me confidence, the drive to chase dreams, and most importantly, the belief that the impossible was actually possible. Watching music videos, following the lives of people in that scene—especially from the U.S.—I wasn’t just seeing flashy visuals. I saw a life I deeply wanted. I saw budgets, lifestyles, and energy that felt magnetic.

While many people around me simply admired it from a distance, just enjoying the aesthetic, I internalized it. It lit something inside me—a hunger, a deep motivation. It wasn’t just admiration; it was aspiration. That mindset, that belief system, became the foundation of my approach to entrepreneurship, self-expression, and ambition.

 

 

 

3. When you began flipping vintage rings in high school, did you already see yourself as a brand in the making—or was it simply instinct and hustle?

To be honest, at that time, I wasn’t thinking about building a brand at all. It was purely about finding a comfortable and fast way to make money. Jewelry wasn’t even my first hustle—I had done various things before, including making custom fur-trimmed jackets for clients when I was younger.

I was always on the lookout for a side hustle, something that could bring in extra income. So when I started flipping vintage rings in high school, it was really just another idea that made sense financially. I saw an opportunity, I took it, and that was it—no long-term vision yet, just instinct and hustle.

 

4. You’ve studied art history, taken goldsmithing courses, and worked in production centers most people have never heard of. How do you think this mix of academic and street-smart learning shaped your creative voice?

I think the combination of academic learning, goldsmithing courses, and hands-on experience in real production centers has shaped my creative voice in a very unique way. Over the past 10–11 years of working in the jewelry industry, I’ve built a solid mix of knowledge and instincts.

Studying art history gave me a strong foundation in aesthetics and an understanding of visual language—how beauty is constructed, how to draw from different eras, and how to recognize timeless forms. It gave me a wide range of inspiration and a more thoughtful approach to design.

Then there’s the goldsmithing. A lot of people in jewelry design don’t actually understand the technical side of the craft. That often leads to issues during production—designs that can’t be executed properly, or unexpected limitations. Because I studied the craft itself, I understand how a piece functions, how it’s built, and how to turn an idea—mine or a client’s—into a finished product without guesswork. I know what’s possible and how to make it work structurally, not just aesthetically.

Finally, working in production centers—many of which most people have never heard of— taught me a lot about the realities of the industry. You’re working with some of the most valuable materials in the world, and where there’s money, there’s always risk. I’ve learned how to read people, navigate negotiations, and avoid being taken advantage of. That “street- smart” education is just as important as any formal training, especially in a business like this.

 

 

 

5. Poland, Paris, Bangkok—three very different environments. How has each city influenced your design language or your idea of luxury?

Each of these cities has shaped me—and my idea of luxury—in completely different ways.

I was born in Łódź, Poland, a city where luxury was never something I saw around me growing up. There weren’t boutiques or five-star experiences, and most people didn’t have the kind of budgets associated with fine jewelry. But what Łódź lacked in luxury, it made up for in history. In the 19th and early 20th centuries, it was known as the “Polish Manchester”

—a major industrial center filled with textile factories. The city’s wealthiest industrialists, known as “Lodzermensch,” built incredible palaces, villas, and tenement buildings that still stand today. Walking through the city, seeing these remnants of ambition and craftsmanship, planted a dream in me: that one day, I’d create something lasting and meaningful too— something that could outlive me.

Then came Paris. In my early twenties, every bit of money I earned went into traveling there. It was my personal dreamland. For the first time, I had enough money to experience true luxury—fine dining, shopping in boutiques, getting to know what world-class customer service felt like. But more importantly, Paris is the global capital of jewelry. I immersed myself in museums and the great maisons: Cartier, Suzanne Belperron, Lorenz Bäumer, even works from René Lalique and the oldest jewelry house in Paris, Mellerio dits Meller. Spending time around Place Vendôme, seeing the work of Van Cleef, Boucheron, and others —it completely redefined my idea of what jewelry could be. It wasn’t just craftsmanship—it was art, legacy, emotion.

And finally, Bangkok. Living here has shown me the engine behind so much of the world’s jewelry production. Thailand is one of the leading centers for fine jewelry manufacturing, and here, I’ve seen immense factories and artisans with extraordinary skills. It’s also a place where people truly love jewelry—there’s a passion for bold luxury here that you don’t always see in Europe. You walk into any luxury mall or high-end restaurant, and you’re surrounded by people wearing incredible pieces—diamonds, gemstones, full sets. That energy, that love for adornment, that celebration of jewelry—it’s infectious, and it’s pushed me to think even bigger.

 

6. You’ve experienced both design and full production. What has working with your own hands taught you about quality that most designers might miss?

Like in any industry, jewelry design involves working with many different people—CAD artists, stone setters, polishers, casters. And not everyone shares your vision or your standards. A lot of people will tell you, “That can’t be done,” or “It’s not possible.” But when you have hands-on knowledge of craftsmanship, you know what can be done. You’re not easily swayed. Even if someone doesn’t know how to achieve a result, you can often guide them through it, because you understand the process deeply.

That knowledge also gives you power when it comes to quality control. Many people enter the jewelry business without knowing how jewelry is actually made. That often leads to problems—they rely too heavily on what they’re told by manufacturers. A piece might look off to the eye, but without technical knowledge, you can’t confidently say why, or whether it’s acceptable.

When you’ve done the work yourself—when you’ve filed, soldered, set stones—you gain a much sharper eye. You can catch flaws early, prevent mistakes from reaching the final product, and ultimately deliver pieces that truly meet the highest standards of quality. That’s something you just can’t fake. It’s what allows me to stand behind every piece I make with full confidence.

 

 

7. When you’re developing a piece for a client—especially high-end ones—what matters more: their story, your aesthetic, or the technical possibilities?

I believe all three—story, aesthetic, and technical possibilities—are equally important and deeply interconnected when developing a piece for a client. Story is something I value immensely. I love the idea of telling a story through jewelry—but not in an obvious way. The beauty of art, to me, lies in subtlety. I aim to create pieces that spark thought, that make you pause and wonder: Why is this person wearing that? What’s behind it? The story shouldn’t scream at you—it should whisper. And when there’s depth behind the piece, it becomes something much more powerful.

Of course, aesthetics and technical execution go hand in hand. They’re inseparable. Clients who come to us are usually familiar with our craftsmanship and our design language—they trust our aesthetic judgment. So while their personal story often becomes the starting point, it’s our design perspective and technical ability that bring it to life.

In many ways, their story is the spark, but it’s our vision and craftsmanship that shape it into something timeless. It’s a true collaboration, where every element supports the others.

 

8. A lot of young creatives dream of “breaking into luxury.” From your experience, what do they often get wrong about the reality of it?

One of the biggest misconceptions young creatives have about “breaking into luxury” is thinking that talent alone is enough. I made that mistake myself early on.

I started my career trying to sell diamond jewelry in Łódź, a city of around 700,000 people in Poland. It’s a place with a rich industrial history, but not exactly a hub for luxury consumption. I spent years trying to convince people to buy and appreciate high-end jewelry —pieces that, honestly, just didn’t fit the local market or mindset. And while I gained invaluable experience during that time, I was swimming against the current. There simply wasn’t a strong demand for what I was offering.

So my advice to anyone trying to enter the luxury space is this: ask yourself if the environment you’re in truly supports the dream you’re chasing. Are there clients around you who understand and value what you do? Is there a culture of appreciation for craftsmanship, exclusivity, and beauty?

If the answer is no, then you need to consider changing your surroundings. That was a turning point for me—moving to a place where people not only wear fine jewelry but celebrate it. If you’re serious about growing in this space, don’t be afraid to go where your work is understood and valued. Sometimes, the biggest step in your journey is simply putting yourself in the right room.

 

 

9. If you had to describe your approach to jewelry in one sentence to someone who’s never heard your name—what would it be?

If I had to describe my approach to jewelry in one sentence, I’d say: it’s all about quality— absolute, uncompromising quality in everything I do. Whether it’s in work, in love, or in life, I believe that if you’re going to do something, you should give it 100%.

Eleven years ago, I decided that jewelry would be my path—and from day one, I’ve poured everything I have into it. For me, creating jewelry isn’t about trends or quick wins. It’s about legacy. I want every piece I create to represent the highest level of craftsmanship in the world. I don’t accept shortcuts. I don’t accept “good enough.” I want my name to be associated only with excellence—so that when someone sees a piece and hears it came from me, they know it’s the best of the best.

That’s what matters to me most in jewelry. Everything else comes second.

 

10. You mentioned you spent everything you earned on travel, fashion, and culture. Looking back, do you see those as expenses—or investments in your creative identity?

Looking back, some people might say I wasted that money—that I could’ve invested it more wisely. But honestly, I see it as one of the best investments I made at that stage of my life.

I was 17 or 18 at the time, still very young, and those experiences gave me something priceless: direct exposure to the luxury industry. I got to see how the world’s most prestigious brands operate, how exceptional customer service feels, how the full luxury experience is crafted—from the packaging to the product, to the way you’re greeted in the store. That shaped my entire understanding of what true luxury means.

It wasn’t something I could have learned at home—my parents didn’t shop at those places. If I wanted to immerse myself in that world, I had to find my own way in. And I’m glad I did, because those early experiences laid the foundation for everything I’m building today.

 

 

11. What are the most common concerns new clients have when buying fine jewelry—and how do you address them?

One of the most common concerns new clients have is the idea of purchasing fine jewelry online. It’s a big decision, and understandably, people want to feel secure. That’s why we’ve made it a priority to build trust through transparency and service.

Every piece of jewelry we sell is thoroughly documented through detailed photos and videos. We also offer live video calls where we can walk clients through every detail of the piece, answer questions, and show the jewelry in real time.

All of our jewelry is certified by internationally recognized gemological laboratories, so clients can be confident in the authenticity and quality of what they’re purchasing.

As for shipping, we deliver worldwide—and every shipment is fully insured. We also cover all additional costs, including customs duties, so clients don’t face any unexpected fees. We’ve designed our process to be as smooth, transparent, and worry-free as possible, so our clients can focus on enjoying the experience.

 

Concluding

Philip Gefaell’s story is more than a tale of creative talent—it’s proof of what vision, discipline, and genuine love for craftsmanship can achieve in today’s luxury market. As a custom jeweler and entrepreneur, Gefaell continues to push boundaries, blending traditional jewelry-making techniques with modern design and business innovation. His work is already earning global recognition, and as he looks to the future, Philip Gefaell is a name to watch in the world of luxury jewelry design.

 

Contact With Philip Gefaell

Discover and follow more about Philip’s work trough the following links:

IG : @philipgefaell

www.philipgefaell.com

Contact:  [email protected]

 

 

Discover an other interview with an amazing Luxury Voice, Alexandre Labails, Founder of Labails Geneve

Written by Founder & Head Editor: Anton Fernandez in collaboration with Philip Gefaell.