Interviews with Roman Zavolunov

I have been Working in the jewelry industry for more than 30 years. During this time, i learned different techniques, materials, and handcrafted methods. Today, I create jewelry eyewear and accessories under the Romano Rozay brand, combining jewelry craftsmanship, engineering and attention to detail.

My interest in design and jewelry started from the desire to create something with my own hands. For many years, I studied different techniques, materials and handcrafted work, gradually developing my own hands. For many years, I studied different techniques, materials and handcrafted work, gradually developing my own style and approach to design.

My main priorities are quality, attention to detail and handcrafted work. I prefer working with my hands, using jewelry techniques, materials and personal experience. when creating a new piece, i try to combine beauty, engineering, and uniqueness.

When i work on a design, i feel inspiration, curiosity and enjoyment from the creative process. The most exciting part for me is when an idea gradually turns into a real piece made by hand.

My experience in handcrafted jewelry taught me patience, attention to detail, and understanding of materials. Years of practice and the constant desire to learn and improve my craftsmanship had the biggest influence on me as a designer.

My goal is to continue developing Romano Rozay, creating new jewelry eyewear models and accessories, and presenting my work at international exhibitions and design competitions. I want to continue combining handcrafted work, engineering and a unique style in my projects.

I would advise young designers to be patient, practice a lot and not to be afraid of mistakes. It is very important to keep learning and pay attentions to details. Real style and experience come with time, hard work and constant improvement.

I think it is important for designers to develop their own style and not simply follow trends. Good design requires patience, discipline and attention to detail. I also believe that real experience comes from practice, mistakes and continuous learning. Quality should always be more important than speed.

My day is usually spent in the workshop. I work on design, making parts, assembling and refining pieces by hand. A lot of time is spent working under a microscope and paying attention to small details. I enjoy seeing how an idea gradually becomes a finished piece.

I follow modern design, but i try not to depend on trends. For me, it is more important to create my own style and make pieces that will still look relevant many years later. I am most inspired by handcrafted work, materials, engineering solutions, and the process of creating a piece.

For me, good design is a combination of beauty, quality and thoughtful construction. I pay attention to details, comfort, durability and how harmoniously the piece looks. Good design should look natural and be made to a high standard.

I consider a design ready when all details look harmonious and the piece fully matches my idea. However, even after finishing a work, i still notice things that could be improved in the future. For me, design is a constant process of development and refinement.

One of my most important works is creating jewelry eyewear under the Romano Rozay brand. This project combines handcrafted jewelry work, engineering solutions and many years of experience. It is especially important to me that all details are made by hand, including complex constructions and small elements.

It is difficult for me to name one favorite designer. I respect people who create their own style and pay great attention to quality and details. For me, the most important things are originality, handcrafted work and strong design.

Since childhood, i enjoyed working with my hands attended a sculpture class for 6 years. Later, I studied mechanical engineering, which gave me a strong understanding of construction, precision and functionality. Most of my life has been connected to jewelry craftmanship, and many years of experience as a master jeweler have strongly influenced my approach to design. Today, I continue creating new models and ideas in my workshop.

In my work, I value quality, an honest approach and attention to detail the most. I prefer not to rush and to create things at a high level. I handle most processes myself because it is important for me to control every detail of the piece. In people and business partners, I respect professionalism, responsibility and respect for handcrafted work. I belive that a good designer shoud be patient, continue learning and have their own style.

I believe it is important to preserve the traditions of handcrafted work and share my experience. I have two students, and i enjoy passing on the knowledge and skills that i have developed over many years. Through my work, I try to show the value of quality, craftsmanship and attention to detail.

Participating in the A Design Award has been a valuable experience and an opportunity to present my work to an international audience. Such competitions help designers grow, gain new ideas and connect with people from the creative industry. For me, it is also important that handcrafted work and craftsmanship receive more attention.

I wanted to combine jewelry craftsmanship and eyewear design in one object. The main goal was to create eyewear that looks a piece of jewelry while remaining functional and comfortable to wear. The inspiration came from traditional handcraft techniques, clean lines and attention to detail. Much of the design evolved directly during the handcrafting process.

The main focus was to create eyewear that combines the aesthetic of fine jewelry with the practicality of everyday use. I wanted to achieve clean proportions, comfort, structural rigidity and a high level of hand craftmanship. Great attention was given to details, construction and the balance between appearance, strength and functionality.

I plan to further develop this eyewear line by creating new models and refining the construction, materials and handcrafted details. I also plan to present the design at international exhibitions and competitions, and in the future produce limited editions and custom orders.

The development of this concept took about a year. During the process, some stages had to be paused in order to find the right solution for specific structural and engineering challenges. A significant amount of time was spent on handcrafting, refining the construction and remaking individual components until the desired level of quality, structural rigidity and overall design balance was achieved.

This design was not commissioned. I decided to independently develop the idea of combining jewelry craftmanship and eyewear design in one object. I was interested in creating not just an accessory, but a functional object with a high level of hand craftmanship, engineering approach, and attention to detail. This approach to fully handcrafted eyewear made from precious metals is extremely rare and i have personally seen very few comparable works.

AT the moment, this design is not being produced by another company. I plan to personally develop and produce this eyewear line under the Romano Rozay brand while maintaining a high level of hand craftsmanship, quality and control over all production details.

I have always been interested in combining jewelry craftsmanship, engineering and functional design. Eyewear seemed like an interesting object where aesthetics, construction and handcraftsmanship could be combined in a single piece. I wanted to create something rare and unusual that goes beyond the ordinary perception of eyewear.

I was not focused on any particular designer or brand. I was more influenced by traditional jewelry craftsmanship techniques, engineering approaches to construction and the handcrafting process itself. Most of the design evolved directly during the working process and through finding my own solutions.

This design is intended for people who appreciate hand craftsmanship, rare object, high quality execution and attention to detail. It is not a mass-market product, but an object for those who see eyewear not only as an accessory, but also as a combination of design, engineering and jewelry craftsmanship.

The main difference of this design is the combination of jewelry craftsmanship, engineering approach and fully handcrafted construction made from precious metals. Great attention was given not only to appearance, but also to comfort, construction, proportions and details. During the development process, some elements were removed, others were added and some parts were remade until the desired level of quality, balance and comfort was achieved.

The name is connected to the Romano Rozay brand under which this collection is being developed. It reflects my personal approach to design, combining hand craftsmanship, individuality and the desire to create rare objects with their own character.

Traditional jewelry tools, hand metalworking techniques, soldering, polishing and various methods of precise fitting were used during the work process. A microscope, laser welding and specialized tools for working with precious metals and small construction details were also used. In some cases, custom tools had to be made depending on the complexity of the connections and construction details.

The most unique aspect of this design is the combination of fully handcrafted jewelry craftsmanship with an engineering approach to eyewear construction. Almost every parts was handmade and precisely fitted with great attention to quality, structural rigidity, lightness, comfort and small details.

The main part of the work, including the design, construction and handcrafting process, was done personally by me. Specialists in their respective fields participated in certain stages such as professional photography and preparation of presentation materials.

Technology was used as a supporting tool to achieve a high level of precision and quality. A microscope, laser welding and precise processing methods helped in working with small details and complex connections while maintaining the main focus on handcrafting and jewelry craftmanship.

The main research was carried out through practical work, observation and the handcrafting process itself. Great attention was given to proportions, comfort, structural strength, component connections and the behavior of materials during production. Many solutions were tested and adjusted directly during the handcrafting process.

One of the main challenges was combining visual lightness with strength, comfort and reliability. A significant amount of time was spent finding the right solutions for connections, proportions and small details. some elements had to be remade several times until the desired level of quality, precision and overall construction balance was achieved.

I decided to submit this work to an international design competition because I wanted to present my approach to handcrafting and design on an international level. It was important for me to show that eyewear can be not only an accessory, but also an object that combines jewelry craftsmanship, engineering approach and handcrafted work.

During the work on this project, i gained an even deeper understanding of the importance of patience, precision and attention to small details. The process helped me improve my engineering approach to construction, material behavior and component connections. I also developed a better understanding of the balance between visual lightness, comfort, strength and the quality of handcrafted execution.

All solutions were also tested in practice, including fitting and testing on my own face to achieve the right comfort, fit and balance. this required a significant amount of time and continuous refinement of details.

My connection to design began in childhood, when I spent several years studying sculpture. Later, I graduated from the Tashkent Automobile and Road Construction Institute with a degree in mechanical engineering, specializing in the construction of road machinery and equipment. I then became a jeweler, gaining many years of practical experience working with gold, precious stones, and precision constructions. As a result, my approach to design combines artistic thinking, engineering logic, and hands-on craftsmanship. For me, design is not only about form and aesthetics, but also about structure, strength, mechanics, and how an object performs in real life.

I have always been motivated by the desire to create something that did not exist before. I am interested not simply in making a beautiful object, but in finding my own solution for how it should look, how it should function, and how it should be made. I became a designer naturally: my engineering education taught me to think structurally, while my work as a jeweler gave me the ability to turn ideas into reality with my own hands. For me, design is the combination of an idea, engineering, material, and craftsmanship in one complete object.

I cannot say that one day I consciously decided to become a designer. It happened gradually. It was always important to me not simply to do the work, but to change, improve, and look for my own solutions. Over time, I realized that this constant search for something new is what design really is. So I would say that I did not choose design as a profession — I naturally grew into it.

I mainly design jewelry and objects that combine fine craftsmanship with functional design. A special place in my work is occupied by my collection of gold eyewear, where I focus not only on form and appearance, but also on construction, mechanics, and detail. I am also interested in developing watch designs and other small functional objects made from precious metals. In the future, I would like to create more works of this kind — rare, complex pieces conceived as complete, individual objects.

Young designers should first learn patience and not look for quick results. They need to work with their hands, understand materials, not be afraid of mistakes, and constantly push their ideas toward the best possible result. It is very important not to copy someone else’s path, but to gradually develop their own language and principles. True recognition does not come from a single successful project, but from consistency, quality, and staying true to your own approach.

A good designer knows how to create something beautiful and well made. A great designer goes further — they develop their own language, find solutions that did not exist before, and know how to combine aesthetics, function, and character in a single object. For me, the difference is also in the standards they set for themselves: a great designer does not stop at “good enough” if they know the work can be improved.

For me, truly good design is when everything in an object has a purpose and nothing feels accidental. Form, proportions, material, construction, and function should all work together. I evaluate design not only by the first impression, but also by how naturally the object looks and functions, how carefully the details are considered, and whether there is anything I would want to change. If, after looking closely, I see nothing unnecessary and nothing that needs to be corrected, then I consider the design truly successful.

Good design makes an object not only attractive, but also more understandable, functional, and lasting. It increases the value of the material, the craftsmanship, and the idea itself by bringing them together into a thoughtful whole. Good design is worth investing in because a well-designed object retains its value longer and can continue to create an emotional response even many years later. For me, good design is not decoration added to function — it is part of the very essence of the object.

If I had more time, I would create more unique functional objects that combine fine craftsmanship, engineering, and individual character. I would like to design for people who value not mass-produced products or simply a famous name, but rarity, quality of execution, and the idea behind an object. I am especially interested in creating something that a person sees not simply as a purchase, but as something personal and made especially for them.

One of my dream projects is to create a unique mechanical watch in which jewelry art and engineering are combined in a single object. Many years ago, I had the idea of placing a large diamond at the center of the watch, rotating around its own axis, with focused light from below revealing its brilliance and movement. I have not yet had the opportunity to fully realize this idea, but it still remains one of the projects that interests me most.

My main secret is not accepting a result that does not fully convince me. I can remake the same detail many times until the form, construction, and quality become exactly what I imagined. I believe my most important ingredient is persistence.

I cannot say that I follow one particular designer or school. I am inspired by masters from different fields — jewelry, architecture, engineering, and industrial design — especially those whose work can be recognized without a signature. I respect people who have created their own language rather than simply following existing trends.

I am most attracted to objects that may appear simple at first, but reveal very precise and thoughtful construction when examined closely. I appreciate design in which nothing feels accidental or unnecessary, and where the technical solution itself becomes part of the beauty of the object.

Today, I consider the Romano Rozay gold eyewear collection one of my most important works. In it, I was able to combine jewelry craftsmanship, engineering construction, and the functionality of real eyewear. I especially value the details I developed myself and the fact that each piece was created entirely by hand as an individual object, rather than as an adaptation of a mass-produced construction.

I believe designers improve mainly through work. It is important not only to imagine ideas, but also to make them, test them in practice, and recognize your own mistakes. In my case, constant work with materials, repeated revisions, and the search for better solutions taught me far more than trying to achieve a perfect result immediately.

I would probably still be doing something connected with engineering or creating objects with my own hands. I have always been interested in understanding how things are constructed, how they can be improved, and how an idea can be transformed into a physical object. So even another profession would most likely have led me toward creative work.

For me, design is the transformation of an idea into a real object in which form, function, material, and construction exist as one whole. Good design should not only look right — it should also have an internal logic.

There was no single person to whom I could attribute my entire development. Most of my path was built through independent work, patience, and a constant search for solutions. Of course, the support of people around me was important, but the responsibility to continue and not stop was always mine.

What helped me most was the combination of very different kinds of experience: engineering thinking and many years of jewelry practice. But especially important was learning not to be afraid of remaking something that was already finished. Sometimes the greatest progress begins when you admit that a good result is not enough and start the work again.

One of my main obstacles has always been time. I created most of my personal projects while continuing my main work, using evenings and whatever free hours I could find. Another challenge was that many of my ideas had no ready-made technical solutions, so I had to find them myself, experiment, and sometimes remake completed work many times.

A designer should present their work honestly and clearly enough for people to understand not only how the object looks, but also the idea behind it. For me, it is especially important to show the details, materials, construction, and quality of execution. A good presentation should not replace the design itself — it should help reveal what was actually created

One of the directions I want to develop now is related to watches. I am especially interested in creating watch cases from precious metals as independent design and engineering objects. In the future, I would like to continue working at the intersection of jewelry, mechanics, and functional design, creating a small number of truly individual pieces.

My goal is to create work that can be recognized without the need to see the designer’s name. I want to develop my own design language and create objects that do not lose their interest over time. For me, it is more important to leave behind a small number of truly strong works than a large number of ordinary ones.

I think people primarily expect originality and a certain level of quality from a recognized designer. The more recognition a designer receives, the greater the responsibility toward their own work becomes. It is not enough to repeat a formula that has already been found — you have to keep developing while remaining true to your own principles.

Good design makes the objects around us more functional, understandable, well made, and durable. It can change our relationship with things: instead of constantly replacing them, we begin to value objects that are made well and designed to last. I believe that respect for materials, craftsmanship, and quality is itself an important part of good design.

I am currently working on a gold watch case project. It interests me especially because it requires both jewelry precision and engineering thinking. I am developing the construction, connections, and fastening solutions myself, gradually refining each part until it becomes part of one unified system.

The projects that give me the greatest satisfaction are those in which the original idea seems very difficult, but gradually becomes a real object. What is especially valuable to me is the moment when, after many technical solutions and revisions, the piece finally begins to look as if there could have been no other solution. Those are the projects that give me the desire to keep moving forward.

I would like to see less dependence on short-lived trends and more attention to quality, individuality, and durability. Modern technology allows us to produce things faster and faster, but speed should not become the main criterion. I am drawn to the idea of restoring value to craftsmanship and to objects that are not created for just one season.

I think technology will continue to influence the design and production process more and more. But at the same time, this may make handcraftsmanship and individuality even more valuable. The easier it becomes to create something technically, the more important it will be to distinguish work that truly contains original thinking, experience, and human craftsmanship.

I do not have a fixed timeline. A project is finished when both the aesthetic and technical questions are resolved and I no longer see a reason to change anything. Sometimes this takes several months, while a complex project can develop over years. For me, the deadline is never more important than the result.

I usually begin with an idea or a problem that I want to solve. First, I try to understand the basic principle: how the object should look, how it should function, and how it should feel in the hand. I rarely begin with detailed drawings. I prefer to develop the idea gradually through the material itself, testing proportions and construction during the process.

If I can see that I can make it better, then the work is not finished. For me, it is important not to stop simply because the result already looks good. I want to bring it to the point where I fully believe in it myself.

Both happen, but the most interesting work usually appears when a designer is not too dependent on existing trends. Trends can reflect their time, but strong design can also change direction and sometimes remain relevant much longer than the trend itself.

Technology is a tool that expands possibilities, but it does not replace the designer’s thinking. It can help achieve greater precision, solve a complex technical problem, or make possible something that could not be done before. But the original idea, proportions, and character of the object should still come from the person.

In my main design work, I do not depend heavily on software. I develop most ideas directly at the workbench, working with metal by hand. I use traditional jewelry tools, precision measuring instruments, and equipment for drilling, soldering, finishing, and polishing. For me, direct contact with the material remains an important part of the process.

For me, material is never just a surface applied to a form — it influences the construction and the character of the object itself. Color should also have a reason and work together with the proportions and material. For example, combining different shades of gold can create visual contrast while also emphasizing the structure of the piece. The surrounding environment also matters, because an object should preserve its character in real life, not only look good in a photograph.

I would be interested if someone asked, “Why was this detail made this way?” For me, that means the person noticed not only the appearance, but also the construction, the solution, and the work hidden behind the form. Very often, a large part of my design process is contained in those details.

The first thing I want to understand is why the solution feels so natural. I begin to look at the proportions, construction, and details and try to understand the designer’s way of thinking. If the work is truly strong, it does not make me want to copy it — it makes me respect the fact that the designer found an original solution.

I believe in collaboration when each person brings real expertise to the project and respects the overall idea. My ideal design partner would be someone who is significantly stronger than I am in an area I do not fully master, for example complex watch mechanics. At the same time, it is important to me to maintain clear responsibility for the overall character and direction of the design.

The strongest influence on my design has come not from individual famous designers, but from people I have encountered in real professional work — craftsmen, engineers, and specialists who understand their materials and their craft deeply. Watching an experienced person solve a practical problem can teach you a great deal. At the same time, I have always tried to develop my own design approach independently.

I cannot name one book that defined my approach to design. I have been influenced much more strongly by practical work, by observing how things are constructed, and by my own experience solving technical problems. Books can provide knowledge and broaden perspective, but my design language was shaped mainly at the workbench.

My skills developed gradually through decades of practical work. Jewelry taught me precision and respect for materials, engineering education taught me to understand construction and mechanics, and my own projects constantly forced me to search for solutions I had not used before. The most important thing was never to believe that I already knew enough.

I would be very interested in speaking with Leonardo da Vinci. Not only as an artist, but especially as someone who did not separate art, mechanics, engineering thinking, and observation of nature. I feel close to that principle of combining creative ideas with technical thinking.

I do not consider myself famous. For me, an award mainly means that work into which I invested a great deal of time and effort was understood and appreciated by people outside my own circle. That is rewarding, but it also raises the standard for the next project. Recognition is not the final goal for me; it is confirmation that it is worth continuing to move forward.

My favorite color is blue. I prefer quiet, secluded places where I can be alone and think. When it comes to food, I enjoy traditional national cuisine. I prefer the warmer seasons of the year. In objects and products, I value quality above all, and the brand itself is not especially important to me.

One memorable moment happened while I was working on my eyewear. I needed a small tool that would allow me to work with the special screws conveniently without risking damage to the lenses. What began as a simple technical solution gradually became a separate design element — a special key made of 18K gold. I like this story because it reflects my process well: sometimes a small practical problem unexpectedly leads to the creation of an entirely new object.

A good day for me is when a detail I have been working on for a long time finally begins to function exactly as I intended. Sometimes it is a very small technical result that no one else would even notice, but for me it opens the next step. Those moments give me the energy to continue working.

No, of course no one could know where it would lead. But some signs were already there in childhood. I spent several years studying sculpture, and I enjoyed creating form with my hands and turning an idea into a real object. Later, engineering and jewelry took this in a completely different direction, but now I understand that the beginning was there.

In a thousand years, technology will probably be so different from today that it is difficult for us to imagine. But I think one thing will remain unchanged: the human desire to create, improve the objects around us, and express ourselves through them. The tools may change completely, but the human desire for beauty, invention, and individuality will probably remain

I would like people to know that behind my work there is much more than the external appearance of an object. Each piece represents years of practical experience, many technical solutions, revisions, and handwork. I am not trying to create a large quantity of things. It is far more important to me to create a small number of objects for which I can take full responsibility, from the original idea to the final detail

I began my journey in Tashkent, Uzbekistan where from a young age, I've been inspired by the beauty of nature and the process of creation. I was drawn to form, proportions and the emotional impact of objects created by hand which led me to pursue the art of sculpting. Sculpting ignited a passion which after my families immigration to the United States of America led to becoming a master jeweler.

I founded Romano Rozay to express my creativity, showcase my craftsmanship and bring my ideas to life. I wanted to create something unique and share my work with the world through pieces that combine art, engineering, and handmade craftsmanship.

The ability to transform my ideas, thoughts and passions into a tangible creation that can be shared with the world.

I enjoy designs that push my limits to create. Pieces which are intricate, unique, and made with the finest materials.

David by Michelangelo is one of my favorite designs because of its masterful craftsmanship and extraordinary attention to detail.

My first design for a company was a platinum ring with 18k yellow gold pear shaped center stone.

My favorite material to work with is 18k gold and platinum.

I typically feel more creative towards the end of the day.

I focus heavily on intricate detailing, craftsmanship and precision. These elements play a major role in creating a successful design.

There are several emotions tied to each phase of design. During the initial design phase I am inspired, and excited by the opportunity to explore new ideas and let my creativity run wild. As the project develops, I become more focused and detail oriented. Completion of the project brings a strong sense of accomplishment and pride.

Excitement, pride, sense of accomplishment and inspiration to begin the next project.

A successful design entails the designers creativity, functionality and craftsmanship. It creates a meaningful connection with the user.

A good design includes a balance of functionality and beauty.

i believe a designers responsibility is not only to create beautiful objects, but also meaningful, durable, and high-quality designs that people can preserve and pass on over time.

I think design is becoming more individual and meaningful. People are beginning to value uniqueness, quality, and handcrafted work more than mass production, especially with the growth of AI and modern technologies.

My work has mainly been presented through private viewings, photography, and design competitions. In the future, i would like to exhibit internationally in cities such as New York, Milan, or Paris.

Inspiration for my work comes from jewelry art, architecture, nature, and even luxury automobiles. Sometimes, by looking at shapes and lines, i begin to see future eyewear designs.

my creativity grows through experimentation and the constant search for new ideas.

I would describe my style as a combination of jewelry craftsmanship, engineering, and individuality. My approach to design is focused on creating unique handcrafted pieces that combine beauty, functionality, durability, and attention to detail.

i currently live in New York, and i believe that the combination of different cultures, craftsmanship, and life experience influences my view of design and helps me create more individual works

I prefer to work with companies that value quality, craftsmanship, and original ideas. For me, good collaboration, attention to details, and a shared vision for creating unique products are very important

I believe companies should look not only at a designers name or advertising, but also at the quality of the work, originality of ideas, and attentions to detail.

A good designer should have their own style, passion for their work, and the desire to create something unique.

My design process usually begins with an idea, inspiration, or an interesting shape. Then i start experimenting with materials, constructions, and details. During the process, the design often evolves and changes naturally. I pay close attention to balancing beauty, functionality and durability.

I like objects that combine design, quality. some of my favorite design items are watches, eyewear, jewelry, unique furniture and automobiles with beautiful lines and engineering.

My day is usually centered around work, design and creating new jewelry pieces. i spend most of my time in the jewelry workshop working with details and materials. even outside of work, i continue thinking about new shapes, constructions, and future projects.

I believe young designers should be patient, continue learning and not be afraid to create something original. Real style comes with time, experience and a lot of practice.

For me the biggest positive is the ability to create something new and bring ideas to life. One of the negatives is that good design requires a lot of time, patience, and attention to detail.

My golden rule in design is to create pieces that combine beauty, quality and functionality. For me, it is important that a piece is not only beautiful, but also durable.

I believe the most important skills for a designer are creativity, patient, attention to detail, understanding of materials and construction. It is also important to keep learning and improving your craftsmanship.

In my work, I mainly use jewelry tools, hand craftsmanship, and personal experience. I also work with microscope, laser welding, and different materials. Sometimes I even create special tools myself to achieve the exact result I want.

I try to stay organized and work step by step. Some ideas take time, especially with handcrafted work, so patience and attention to detail are very important to me. I often continue thinking about projects even outside of work.

Some work take months, because everything is made completely by hand and requires a great amount of attention to detail.

The question I am asked most often is how I came up with the idea of creating jewelry eyewear and how I manage to make everything completely by hand.

One of the most important experiences for me was working in the jewelry industry, where I was able to learn different techniques, materials, and craftsmanship. This experience helped me develop my own style and begin creating jewelry eyewear.

My clients are people who value handcrafted work, quality, individuality and unique design.

I enjoy creating jewelry eyewear the most because it allows me to combine art, engineering and hand craftsmanship. I enjoy creating something new and unique.

In the future, I want to continue developing Romano Rozay, create new jewelry eyewear pieces and present my work at international exhibitions and design competitions.

I develop all of my designs myself. From the initial idea to the creation of the piece, i am personally involved in every stage of the process.

Yes, I am constantly working on new ideas in jewelry eyewear and accessories. Many projects are still in progress because i pay great attention to details and handcrafted work.

People can contact me through my website and social media for questions, collaborations and custom orders.

For me, design is not only about appearance, but also about quality, engineering, and handcrafted work. I try to create unique pieces that combine beaty and attention to detail.

For me, the decision to handcraft every component was never about rejecting modern technologies for the sake of doing so. It was a conscious choice driven by the desire to maintain complete control over every stage of the process and to achieve a true union between fine jewelry craftsmanship and structural engineering. In practice, this meant that every component was created, fitted, inspected, and refined by hand. This approach demanded considerably more time and patience, but it allowed me to make decisions at every stage and achieve exactly the result I believed was right. From the beginning, my goal was not simply to create eyewear made from precious metal. I wanted to create an object in which aesthetics, strength, comfort, durability, and attention to the smallest details exist in balance and function as a unified system. Therefore, I never viewed individual parts as separate elements. Every line, connection, and structural decision was intended to be part of a single composition, where fine jewelry craftsmanship and structural engineering do not compete with one another, but instead complement and strengthen each other. Ultimately, this complete commitment to manual fabrication shaped the identity and integrity of the 18K Gold Eyewear. The result is not merely a pair of gold glasses, but an object in which craftsmanship, functionality, and engineering thinking exist in inseparable unity

I never intended to create a sculpture that would only be admired from a distance, nor did I want to create an ordinary luxury object whose value was defined solely by precious materials. For me, eyewear must first and foremost remain eyewear. For that reason, I deliberately placed functionality, comfort, reliability, and long-term durability on the same level as aesthetics. I have always believed that beauty should not exist separately from purpose. If an object is uncomfortable, unreliable, or not designed for long-term use, then even the most expressive design cannot be considered complete. Therefore, many design decisions were guided not only by appearance, but also by strength, precision, and everyday wearability. My goal was to achieve a balance in which artistic expression and engineering requirements would not compete with one another, but instead work together in harmony. As a result, the 18K Gold Eyewear can certainly be appreciated as a collectible object, but its true purpose is to serve as a fully functional and reliable piece created for the human face. In my view, it is precisely this union of artistry and functionality that gives the object its lasting value.

When creating the 18K Gold Eyewear, I did not simply aim to decorate a conventional pair of glasses with jewelry elements. My goal was to translate the principles of fine jewelry into an entirely different field, where beauty must coexist with mechanical reliability and everyday functionality. In fine jewelry, great importance is placed on proportions, balance, symmetry, and the relationship between an object and the human body. I sought to apply these same principles to eyewear. Particular attention was given to how individual lines interact with one another, how visual weight is distributed, how the structure is perceived on the face, and how all elements come together to form a harmonious whole. Unlike rings, necklaces, or brooches, however, eyewear is subjected to continuous mechanical demands. Therefore, every aesthetic decision also had to satisfy engineering requirements. It was important to me that decorative features would not exist separately from the structure, but instead become an integral part of it. As a result, the principles of classical jewelry craftsmanship were not merely transferred to eyewear, but reinterpreted and adapted in a way that would allow the object to preserve its beauty, structural integrity, and functionality throughout everyday use

Receiving the Bronze A' Design Award was a very meaningful moment for me. I was especially pleased that the jury recognized not only the visual qualities of the work, but also the innovation, ergonomic comfort, material choices, and engineering aspects behind the project. I never intended to create merely an expensive object made of gold or a decorative piece designed only to impress. My goal was to create genuine eyewear in which fine jewelry craftsmanship, structural reliability, comfort, and long-term durability exist in balance. Therefore, it was rewarding to see that these values were appreciated by an international jury. At the same time, any award represents an external perspective, and for me this project remains above all the result of many years of experience, continuous refinement, and a constant pursuit of improvement. I believe that receiving recognition does not mark the end of the journey; rather, it provides additional motivation to continue developing new ideas and pushing my work further. Although the 18K Gold Eyewear received the A' Design Award recognition, the principles behind this project are not limited to a single piece. The same approach to combining fine jewelry craftsmanship, engineering, ergonomics, and durability is present throughout my other designs as well. Each model has its own identity and character, yet all of them are part of the same creative philosophy of Romano Rozay. For me, this award is not so much a confirmation that the work is finished, but rather an affirmation that traditional hand craftsmanship and engineering thinking can still create objects that are both unique and relevant in today's world.

The development of the 18K Gold Eyewear took place under rather unusual circumstances. The project was not created in a large studio or with unlimited resources. At the time, I was working full-time in a professional jewelry workshop in New York, so most of the work on the project was done in the evenings after my regular working hours. Often, I only had an hour and a half to two hours before the workshop closed, which meant that every step had to be carefully planned in advance.Long before I started making the piece, I spent considerable time thinking about where to begin and eventually decided to dedicate myself to something that very few people were doing. As a jeweler who had worked with precious metals for many years, I chose to create eyewear in gold. However, this immediately raised new questions. How could I make the piece visually expressive without making it too heavy? How could I combine beauty, comfort, reliability, and durability? The answers to these questions emerged gradually, one step at a time.Many solutions were born not at the workbench, but in my thoughts. Before going to sleep, I often planned the next day's work in my mind, carefully thinking through each operation and searching for the best possible approach. The value of gold did not allow mistakes to be taken lightly, and countless experiments taught me to respect the behavior of the material. For example, I learned how important it was to preserve the elasticity of the metal and how the choice of solder and temperature control could influence its properties.Because ready-made solutions for such work hardly existed, I often had to create my own tools, fixtures, and working methods. Even the smallest deviation could affect the alignment of the temples, the stability of the eyewear, and the overall harmony of the structure. As a result, many tools and techniques were developed specifically to accomplish particular tasks.As the project evolved, new challenges and new ideas emerged naturally. What began as the creation of a pair of gold eyeglasses gradually expanded into a much broader concept. Questions related to maintenance, presentation, storage, and other details arose along the way, each requiring the same commitment to quality and craftsmanship. Finding artisans capable of producing certain components to the highest standards also required considerable time, effort, and financial investment.Over time, I realized that limitations themselves became one of the sources of creative solutions. Some characteristics of the project might never have emerged in a large production environment or in a conventional design studio. Despite all the challenges, I genuinely enjoyed the process. Seeing individual elements gradually come together to form a harmonious and functional object gave me great satisfaction and inspired me to continue refining the project.Ultimately, the 18K Gold Eyewear became much more than the result of a design idea. It became a reflection of many years of experience, patience, engineering thinking, and a genuine love for hand craftsmanship.

During the development of the 18K Gold Eyewear, I quickly realized that appearance alone could never be the primary criterion. Eyewear must preserve its shape, remain reliable, and withstand everyday use. This led me to pay close attention to the behavior of different gold alloys and to how they responded to repeated heating and soldering operations. Throughout the process, I discovered that conventional gold gradually loses some of its elasticity after numerous manufacturing steps. For me, this was unacceptable because I wanted to achieve not only beauty, but also long-term structural durability. As a result, I experimented with different materials, soldering methods, and solders with various melting temperatures. Over time, I concluded that incorporating white spring gold into specific areas of the construction provided the flexibility and resilience that the design required. This solution was not reached immediately. It emerged through numerous trials, mistakes, and continuous refinements. Some components had to be remade, and some ideas had to be completely reconsidered. My goal was to ensure that the engineering solutions would not interfere with the aesthetics, but instead become a natural part of the overall design language. In the end, the use of white spring gold allowed me to achieve the balance I had pursued from the beginning: strength, flexibility, durability, and visual harmony. For me, engineering and artistry have never been separate disciplines. I have always believed that true beauty should be supported by a reliable structure.

For me, it was important that the 18K Gold Eyewear would not end with the eyewear itself. I wanted to create an object with which the owner could develop a special relationship. That is why I designed a dual-purpose handcrafted 18K gold key. Its purpose goes beyond adjusting screws and replacing lenses. It symbolizes the ability to care for the piece and preserve it over many years. I have always appreciated the idea that truly valuable objects should not simply remain in a display case, but should live alongside the person who owns them. In the past, fine watches, musical instruments, and precious objects were maintained, repaired, and passed down from one generation to another. This philosophy has always been very close to me. I never viewed the eyewear as a disposable fashion accessory. My intention was to create an object that could be maintained, cared for, and preserved in its original condition. For that reason, the gold key became a natural extension of the overall philosophy behind the project. It transforms the owner from merely a customer into a participant in the life of the object and helps ensure that it can be appreciated far into the future. To me, true luxury is defined not only by rare materials, but also by longevity, serviceability, and the emotional connection that develops between a person and the objects they cherish. That is why even a small element such as the handcrafted key became an essential part of the identity of the 18K Gold Eyewear

I never intended to create objects that would remain relevant for only a season or a few years. From the very beginning, my goal was to create something capable of preserving both its value and meaning for decades. For that reason, I viewed the 18K Gold Eyewear not as a fashion accessory, but as a complete collectible work in which every detail has a purpose. Over time, an entire ecosystem gradually formed around the eyewear itself. A handcrafted 18K gold key, a wooden presentation box, a leather pouch, a passport booklet, and a certificate all became part of the project. These elements emerged naturally over time and required extensive effort to find skilled artisans capable of producing them to the highest standards. It demanded considerable time, resources, and dedication, but I believed it was important that every element reflect the same philosophy and level of craftsmanship. I have always been inspired by the idea that truly valuable objects should endure rather than follow short-term trends. Throughout history, works of art, fine watches, musical instruments, and jewelry have been preserved and passed down from generation to generation. I wanted to create something that could likewise retain its individuality and value over time. Although each model possesses its own design, all of my creations are guided by the same principles: the union of artistic expression, engineering thinking, comfort, reliability, and hand craftsmanship. To me, true luxury is not defined by the constant pursuit of novelty, but by the creation of objects capable of outlasting time itself. Ultimately, I hope that the 18K Gold Eyewear will be appreciated not only as an object made of precious materials, but also as an example that, even in the modern world, it is still possible to create unique handcrafted works with respect for tradition, quality, and longevity.

18K Gold Eyewear cannot be separated from my own personal journey. I grew up in the former Soviet Union, where great importance was placed on engineering thinking, discipline, and respect for quality workmanship. Later, I received an engineering education, and that mindset has remained with me throughout my life. I have always tried to understand not only how an object looks, but also why it functions the way it does. My engineering background also taught me to consider material behavior and the distribution of stresses. During the development of the 18K Gold Eyewear, I constantly thought about where the greatest forces would be concentrated and how the structure would perform over many years of use. This led me to search for solutions that could either reduce stress on vulnerable areas or reinforce them in a way that preserved strength, reliability, and visual harmony. After immigrating to the United States, I devoted decades to fine jewelry craftsmanship. Working in New York, I continuously refined my skills and gained extensive practical experience. Jewelry making taught me patience, attention to the smallest details, and the belief that true quality cannot be achieved without time, persistence, and respect for the material itself. My approach was shaped not only by engineering and years of professional experience, but also by an early passion for art. During my childhood, I spent several years studying sculpture, which helped me develop a sense of form, proportion, and volume. As a result, I have always sought to combine artistic perception with engineering logic. New York also played an important role in my development. It is a city where tradition meets innovation and where people from different cultures constantly exchange ideas. That environment encouraged me to search for my own solutions and not be afraid to follow my own path. Ultimately, the 18K Gold Eyewear became a reflection of my entire life experience. This project brought together engineering thinking, decades of jewelry craftsmanship, a love of handwork, artistic sensitivity, and a desire to create objects capable of preserving their value and individuality for many years.

The development of the 18K Gold Eyewear taught me that true quality requires time, patience, and a willingness to keep learning. Many of the solutions that ultimately became part of the project did not appear immediately, but emerged through numerous trials, mistakes, and repeated refinements. One of the most important lessons I learned is that designers should not be afraid of a long journey or temporary setbacks. I also came to understand that artistic vision and engineering should never exist separately. A beautiful object that lacks reliability and comfort cannot be considered complete, just as a technically perfect construction cannot become truly exceptional without character, proportions, and artistic expression. It is the combination of these two disciplines that gives an object its lasting value. Another important lesson is that the easiest or fastest path is not always the right one. Modern technologies offer tremendous possibilities, but craftsmen should understand their materials, respect their properties, and be willing to invest time in finding the best solutions. In many cases, patience and attention to detail become the source of genuine innovation. I believe that designers should preserve their own vision and avoid chasing temporary trends. If an idea is developed with sincerity and with respect for materials, craftsmanship, and the people who will ultimately use and appreciate the object, that work can retain its meaning and value for many years. Ultimately, the 18K Gold Eyewear convinced me that art and engineering are not opposing forces. On the contrary, it is their union that makes it possible to create unique objects in which beauty, functionality, and longevity exist in harmony.