A platform about traditional craftsmanship and its reinterpretations.

 

A practical application of the dissertation “Creative Gazes: An investigation into innovation in traditional craftsmanship within the context of the Creative Industries”, produced by Ana Vasco, for the Master’s degree in Communication and Management of Creative Industries at FLUP – University of Porto.

Arlindo Moura

Portuguese Filigree

Arlindo Moura

creating a link between innovation and history

Text by Ana Vasco. The indicated photographs were provided by the artisan.

It is common for great artisans to have grand memories related to the beginning of their careers: the first experiences with precious tools, the pieces admired by everyone, the secrets passed down by experienced family members. However, the childhood memories of master filigree artist Arlindo Moura introduce us to his amusing mission: to pick up, with tweezers, the small rings that fell to the floor between the slats in his grandfather's workshop. This act, which combined dexterity, precision, and patience, was essential for Arlindo to become a man attentive to what is simple, delicate, and challenging, capable of creating fabulous pieces like the life-sized Bordaleira sheep or the dress with a filigree bodice, made in collaboration with designer Micaela Oliveira for Expo 2020 in Dubai.

Arlindo Moura with the filigree sheep currently on display at the Serra da Estrela Sheep Interpretive Centre. Photo: Manuel Marques / Arlindo Moura's Personal Archive

A ring picker

The daily challenge posed by his grandfather was for all the children, but only Arlindo saw it as an obligation. “Among all the grandchildren, I was the only one who stayed in the workshop until I managed to pick up a ring, no matter how long it took,” recalls the artisan. The symbolism of the small rings holds a living chain of knowledge and traditions that remains unchanged. Maintaining this link, Arlindo Moura preserved his family's legacy by becoming the sixth consecutive generation of goldsmiths in Portugal. He continues to honour his history by giving his four-year-old godson an old pair of tweezers to find rings on the floor. This task, arduous for a child, also provided Arlindo with his first lessons in personal responsibility, method, and efficient management. “I had a scheme with my grandfather: the rings I found were placed in specific spots on the bench to identify who had dropped them,” explains Arlindo. This allowed the boy to understand the significant value of the pieces, the necessity for workshop workers to handle materials with extreme care, and that he himself was capable of managing and valuing every aspect of the work environment.

During the Braga Christmas market. In the background, the platforms of his grandfather's workshop. Photo: Ana Vasco

Networks of innovation

From a young age, Arlindo Moura created elaborate pieces. Noticing his grandson’s inclinations and restless spirit, his grandfather strategically guided him to learn from the best professionals in goldsmithing, providing him with a solid foundation in various techniques. “He didn’t teach me directly or make pieces with me, but he always placed me in the right places. For a long time, I didn’t understand the importance of that, but now, as the person responsible for the workshop and creativity, I realise it was essential for me to accomplish the number of projects I do today,” highlights Arlindo. With a profound knowledge of the art of filigree and a great ability to integrate traditional techniques with contemporary approaches, gather competent people, and coordinate teams, Arlindo is the professional who accepts projects no one believes can be realised. This was the case with the creation of the Bordaleira sheep made of certified filigree, a project involving meticulous research and multidisciplinary collaborations. To produce the three-dimensional animal, measuring 110 cm in length, 90 cm in height, and weighing 15 kilos, seven and a half kilometres of gold-plated silver wire were used, and over 75,000 solder joints were made.

Arlindo Moura with the filigree dress produced in partnership with fashion designer Micaela Oliveira, and during a workshop at the jewellery workshop that belonged to his grandfather, one of the oldest in Portugal. Photos: Arlindo Moura's Personal Archive

The wealth of time

Beyond the complex projects he usually accepts, Arlindo constantly faces the challenge of balancing simplicity—which he considers almost a statement of principles—with the recognition of his talent and the complexity of his craft. At fairs, he likes to anonymously capture clients' opinions about his works. “I don’t wear the pieces I make, so I don’t have to like them. What matters is that my clients feel fulfilled with them,” he says. However, the reactions are invariably positive, reinforcing Arlindo's conviction that craftsmanship, requiring time, skill, and dedication, is increasingly valued and on its way to becoming “the luxury profession of the future.” For Arlindo, the concept of luxury has a very personal dimension. Having grown up in an environment adorned with valuable pieces like gold and filigree, he learned to value art and craftsmanship for the dedication each piece demands. From an early age, he understood that the most precious and rare resource for an artisan is the time dedicated to creation, innovation, human connections, and the production of works. Time is the main factor that imprints the pieces with the history and passion of the great masters who came before him. In the old workshop inherited by Arlindo, now quieter and emptier, his grandfather’s bench is a sacred space. There, the past is revered and reshaped in every new creation. In this space, Arlindo Moura has made his own history, ensuring that no link is ever lost among the wooden slats. He is the irreverent and creative continuity that all great masters deserve to leave behind.

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Arlindo Moura Jewellery – SóOuro

Av. Dr. Francisco Sá Carneiro, 1009 – Foz do Souza – Gondomar

+351 224 541 230

+ 351 913 322 856

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