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THE CONVERSATION How did you interpret the project for Acqua di Parma, and what affinities did you recognise between your visual language and the Maison’s identity? I approached the project as an opportunity to build a small visual world around Acqua di Parma’s objects. I was interested in animating their universe by turning the products into presences, almost like characters. I believe the affinity lies in the attention to colour, to the handmade gesture, and to a certain idea of elegance that is never rigid, yet remains light. In working on this collection, what challenges did you encounter, and how did you manage to reconcile your artistic vision with the requirements of product design? The main challenge was preserving the freedom of drawing within a very precise system: formats, materials, packaging, objects. I tried to work through synthesis, creating a modular language that could adapt to different supports without losing energy. It was very much a team effort; I only played a small part. Your works manage to combine essentiality with strong expressive intensity. How do you find the balance between formal synthesis and emotional depth? A simple form can contain a great deal of ambiguity, memory, and character. I am interested in images that seem immediate, yet continue to work over time. When you began imagining this collection, what was the first element you started from: a colour, an emotion, a memory, or a form? I started from an attitude — a playful one — and from a sensation: wonder. The idea of a luminous, theatrical, magical Holiday Season, in which objects come to life. From there came the geometric forms, like pieces of a Tangram, and then colour.