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Issue link: https://digital.miamilivingmagazine.com/i/1547432
All the information across the products is always different from one another: what was it like to create a Tangram-like world that is repeatable yet always unique? It was like building an alphabet. I created forms and signs that could combine with one another in ever-changing ways. The system remains recognisable, but each composition has its own personality, as if every object possessed a distinct character. Colour has always played a central role in your work: how did it express itself within this collaboration? Colour was the tool through which I gave the collection an emotional temperature. I looked for a sense of warmth and humanity by working with watercolour and a palette of earthy tones, then setting them against brighter contrasts and accents. The aim was to find a balance between festivity, elegance, and wonder. The geometries that define the collection’s Masterpieces have a very strong visual identity: how did they come about, and what meaning do they hold? They emerged through an exchange with the Acqua di Parma team. We began with the idea of imagining characters similar to the masks of the Commedia dell’Arte, which then took the form of a modular game, a sort of Tangram. This, in turn, generated the entire setting in which they are placed: the architecture of a palazzo and a mountain landscape. Simple forms that, when combined, become figures. The Advent Calendar recalls the shape of a hotel, where each compartment opens like a window: how did you translate this imagery into a visual experience? I imagined it as a miniature architecture, like a luminous and slightly unreal winter palazzo. Each window is a threshold, a small surprise. I was interested in transforming the everyday gesture of opening into a narrative experience.