The Musy family, originally from Haute-Savoie, founded their workshop in Turin, under the arcades of the corridor that connected the royal residences, where the Savoy Court resided.
In 1765, Luigi di Savoia appointed the founder's sons Giacomo, Luigi and Claudio, watchmakers and goldsmiths of the Royal House, a title that was then inherited by the generations to follow.
In 1818, after a fire broke out in the royal pavilion, the shop was forced to move.
Grasping this opportunity for change, Musy decided to broaden the horizons of its business, combining watchmaking with what would be the key to their success: jewelry.
Most of the documentation on their productions - which can be found today in the Turin State Archives - dates back to the last twenty years of the 19th century: among photographs, documents, objects and plates, the archive also houses about six thousand drawings preparers of jewelry and accessories, intended for sovereigns and their courts, politicians, intellectuals and their wives.
They were real design projects, where it was possible admire all the skill and attention to detail that distinguished the Musy brand.
There were many clients from royal houses and their courts, who trusted in the company's ability to be able to customize iconographic elements, interpreting and satisfying their requests.
We also know that there were numerous trips that saw cities such as Paris and Geneva, hubs for goldsmiths, as protagonists.
The goal was to be inspired, to then create whimsical avant-garde jewels: in fact, the works of the Turin workshop soon became models for generations of Italian jewelers to come.
It was 1868, when Princess Margherita of Savoy decided to entrust the boutique with the task of fixing two bracelets; also on this occasion, Musy managed to surprise and transform a simple repair into an extraordinary work.
It was thanks to this excellent work that the company became the trusted shop of the first Queen of the Kingdom of Italy.
Over the course of the entire Turin jewelry business, there were not a few works that became part of the crown jewels, extraordinary masterpieces capable of distinguishing themselves for their elegance and refinement.
At the end of the nineteenth century, Musy sensed the fortune of the Liberty style. Musy was able to let the material, metal and stones assume those sinuous forms typical of the style.
We can say that the Art Nouveau masterpieces from the Turin workshop were to be considered true forms of art.
In 1902 the jewelry set up its own pavilion at the International Exhibition of Modern Decorative Art in Turin.
This debut aroused great enthusiasm in the public and critics: the latter, in fact, decided to award Musy the highest honor and the diploma of honor.
The Musy house will remains etched in minds forever by its duration over time. In fact almost three hundred years of history it has managed to keep the value of its products high, without ever disappointing the clients.
Thus to present day, Musy is determined to bring its fine craftsmanship and design to the general populace, one herald as the best in Italy now presents itself to serve the public with its jewelry style and flair.