Produced by the best manufacturers in Europe, the works generated by 22 teams made up of artisans and designers bear witness once again to the inexhaustible creative power inherent in the Doppia Firma method. In fact the boundless range of languages offered by the know-how of master craftsmen and women allows creatives to express themselves in total freedom, to work with forms, functions and virtuoso skills in a way that is only made possible by a dialogue with the art of manufacturing.
The enamelled flowers of the ceramic stools created by India Mahdavi and Manufacture des Emaux de Longwy, Pierre Gonalons and Craman-Lagarde’s precious inlays of different varieties of wood, metal and mother of pearl, Kustaa Saksi’s fabulous tapestry woven at the TextielMuseum in Tilburg and Patricia Urquiola’s revisiting of 18th-century porcelain centrepieces in collaboration with the Istituto Caselli and Real Fabbrica di Capodimonte are just some of the examples that testify to the evolution of decorative techniques which will ensure they have a future.
Equally exquisite are the formal experiments of Hannes Peer and Del Savio 1910, creators of a spectacular marble screen, and Martina Guandalini, who together with Azimut and Simone Desirò is making functional objects by combining the transparency of resin with the multicoloured streaks of scagliola and marble. Ferruccio Laviani and Leone Villari’s work goes even further, superseding the traditional typology of the vase with a sculptural object halfway between art and design that is inspired by the checkerboard pattern characteristic of the rooms of Palazzo Litta, reinterpreted in a digital key as if the checks were the pixels of a videogame. A project that ideally represents the spirit of Doppia Firma, the marriage of high craftsmanship and a bent for experimentation in the service of beauty. Beauty of which we have more need than ever today.