TOarchitect and designer, Cristina Celestino he is also involved in art direction, as are many of his colleagues. And just like them these days, he is preparing for the Salone del Mobile 2022, which opens at the Fiera Milano Rho on June 7th. “The restart creates great expectations, even though our world has never actually stopped” He says.
“After the initial confusion, everything has somehow started to work again. The companies have focused on the digital to launch the new collections. Many have had excellent results, but now we have realized that it is not enough.” design, he repeats, the physical dimension is crucial. ”If you want to understand what a sofa is like, try it.
And in fact, e-commerce in our world is struggling to pick up speed. But it’s not just this: no virtual exhibition window has the power of exhibition at the fair. And one thing I’m sure about: I would continue to arrange it once a year, not every other one, as some assume. ‘ In addition to presenting its news, which ranges from upholstered furniture to ceramics, Celestino has set up the installation “Florilegio” for Design Week
in the historic Radaelli flower shop in via Manzoni 16: a shop designed in ’45 by Guglielmo Ulrich, an architect she loves very much. “The Salone is also this, an opportunity to rediscover the city. Of course, the amount of security incidents risks making it a huge event where it can be difficult to recognize the quality.
Salone del Mobile 2022: Restart from sustainability
Francesco Meda talks about “Fomo”, “fear of missing out“, fear of being left out: “Everyone wants to use the design week to do something, there are those who call you at the last minute because they want to make an event and they need an idea. In these cases, of course, I say no. ‘
Designer and art director, Meda believes the forced breakup has been an opportunity for companies and designers to rethink. “We used to work after the agreement with the Salon, but we understood that there could be another way. You can launch a product at any time.
For us, it is a completely different way of designing. You give yourself a deadline, based on the physiological time it takes to mature an idea ». However, he remains a staunch supporter of the fair: “On a commercial level, it’s tough without a Salone. The emergency is one thing, but now it has to be bought for“.
Such an impressive event inevitably raises the issue of sustainability. “If we are talking about fixtures, many companies are already thinking of them in order to be able to recycle them at other trade fairs or in showrooms. For an installation with Acerbis, we will use industrial components, which are then put back into circulation. There is also more attention on the product side. And the bulimia of doing as I see it has abated a lot“.
One moment sharing
The designer is the same way Enrico Fratesi from Studio Gam Fratesi: «Much has changed over the last two years. We had more time to devote to projects without the urgency of rushing, and the companies did the same. The goals, on the other hand, are no longer what they used to be. Before, people came to the fair with a lot of prototypes, to probe the market. Today we prefer to concentrate on a few models and only present them when they are perfect, ready for production ».
In the difficult days with Covid, he says, the relationship has been strengthened
with entrepreneurs who have historically been lucky with Italian design: “It was important from a human point of view, not just a professional one. Ours is a slightly introverted subject, if you compare it with architecture, for example. You are not part of a system, most of the time you spend in the studio alone. ” Design Weeks helps: “They are a moment of sharing, a week full of unwritten appointments. We are all there. Many designers live in Milan, but for us in Copenhagen it will also be an opportunity to experience the city. Otherwise if we come to Italy it is to see customers we go directly to Brianza ».
There is a new creative push
For Design Week, Elena Salmistraro has created many new projects: carpets, ceramics, jewels, tables, a washbasin … As part of the exhibition event Interior at the State University of Milan he will erect a five-meter-high fountain in the shape of a Hydra in the courtyard of honor: “One of my monsters,” he jokes. “They say I have a dreamy style, in fact for me emotions are a function that the object must have.”
A vision that has been strengthened over the past two years. “In the pandemic, we re-evaluated the house and its power to make us feel comfortable. Today, more than ever, design must be a friendly presence. I hope it will be the same for the Salon.
In my world I see a lot of desire to leave, you can breathe a good energyThe forced pause nurtured her creativity: “Paradoxically, I felt freer to experiment in the lockdown I felt like pressing the accelerator.”
More with less
Getting out of the carousel for a while was also good for Martino Gamper, which Salonen has participated in for twenty-five years. Back to Milan with an installation of Nilufar Depot, a reference address for collectible item design. “Slowing down was not a waste of time, you can do more by doing less. There are those who jump from one plane to another and at some point realize that they live better if they take the train.
This is also a question of sustainability, of what is sustainable for you. “At Nilufar, Gamper will present a reinterpretation of the curved steel furniture:” I found this old English furniture inspired by the Bauhaus, which fascinated me a lot. I simply thought that restore them and cover them with new substances, but then I decided to make some grafts, as if new branches had sprouted for a while ‘.
Hans is a very sui generis design since the days of “One Hundred Chairs in a Hundred Days”, the project that made him famous. “Today, this type of research has taken place. There are so many different ways to make designs, and it is this pluralism that makes it interesting. If not, it would all be the same“.
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