Fornace Anfora (Anfora glassworks), is located on the island of Serenella, Murano. Andrea Zilio’s brother-in-law, Renzo Ferro, runs the workshop. At the time when Andrea joined Anfora, Renzo’s father Giulio ran the workshop as well as Andrea's training, which put a strong emphasis on copying historical works of blown glass. This mastery of complex traditional techniques provided Andrea with the necessary knowledge to allow him to innovate, creating contemporary objects.
Luigi Bevilacqua created Tessitura Luigi Bevilacqua in 1875. At the time, Luigi acquired 18th century weaving looms from a silk-weaving school in Venice. The same machines weave thread in the mill to this day by means of Jacquards, 21st century punch cards and replacement parts taken from other machines. Mathematical designs are transferred to a series of perforated cards, the work is then executed and cut manually by a team of expert weavers in the mill.
Stefano Nicolao created Nicolao Atelier Sartoria Teatrale, a Venetian costume-tailoring workshop, in the 1980s. The period costumes created in this atelier are completely worked on by hand, and precious fabrics are sewn together using techniques and styles faithful to the original period designs. The costumes produced in the workshop are commissioned and exhibited internationally, in opera houses, theatres, ballets, cinemas and on television.
Practised by women in her family and in the neighbourhood of Burano as a passion rather than profession, Lucia Costantini grew up immersed in the craft of merletto lacemaking. Aged 11, Lucia started to attend a lace school run by nuns after which she followed a Veneto region training course. Passionate about innovation, Lucia goes beyond the traditional limits of lacemaking by combining traditional patterns and techniques with her own pioneering methods.
Domenico Tramontin e Figli boatyard has been making handmade gondolas since Domenico Tramontin created the workshop in 1884. Domenico’s great-grandson, Roberto Tramontin, now runs the workshop and continues to make gondolas in the same way. A team of expert artisans work on the gondolas by hand and continue to use a design created by Domenico that truly revolutionised the gondola industry. Before Domenico’s design, a gondola would require two gondoliers to row it, but Domenico’s design curved the bottom of the boat in such a way that the weight imbalance creates a natural bias towards one side. As a result, the gondola can be propelled from one side only without altering its course.
Stimulated by the revival of the carnival in the late 1970s, Sergio Boldrin founded La Bottega dei Mascareri in 1984. He and his younger brother Massimo create and finish their hand-painted masks following rich traditions and knowledge of a centuries-old craft that dates back to the 13th century. The masks are modelled in plaster moulds and then decorated with acrylic or watercolour paint. Their atelier is now one of the few remaining authentic mask making workshops in Venice.
Orsoni is a historic Venetian furnace that uses the same techniques from 1888 to produce 24K gold leaf mosaics and enamels with more than 3,000 tones and shades. While the company proudly conserves its heritage and historical knowledge, it also put a strong focus on design and innovation. In 2003, Orsoni was incorporated into the Trend Group.
Master goldsmith Giampaolo Babetto began working with metal in 1969. Giampaolo does not wish to reflect outward appearances through his work but rather the essence of objects. This has driven him to work with geometric forms, creating works that reflect a minimalist, architectural to figurative range of styles. To achieve distinctive colours and delicate textures, he personally prepares a metal alloy of his creation. He textures the surfaces by beating and often scratching the gold.
Ballin shoes was founded in 1945 by two brothers, Giorgio and Guido Ballin, and is now based in the Rivera Del Brenta in the Province of Venice. Giorgio’s three children, Gabriella, Reanna and Alessandro, took over management of the business in the 90s. Ballin continues to offer impeccably made footwear, thanks to the attention paid in constructing the forms and to considerable manual input at all stages of the production chain.
Founded by by Luigi Bonotto in 1912, Bonotto originally produced straw hats. By the 1960s, the small workshop had grown along with the Italian textile industry into a significant manufacturer of textiles. The company now employs over two hundred master artisans. Giovanni Bonotto, the creative director of the company, evokes the concept of a 'slow factory'. Rather than using automated electronic machines, Bonotto uses hand operated mechanical machines precisely because they are 'slow'.
Mario Bertolin, his brother Luigi and his uncle Severino co-founded Ceramiche Artistiche 3B in 1978. Mario’s brother and uncle have now retired. Mario has dedicated the past 40 years to working exclusively by hand continuing the rich ceramic traditions of the city of Nove, Vicenza. He specialises in making unglazed fired biscuit earthenware, known in the region as “biscotto”. Another specialised artisan tends to the glazing, colouring and painting of the fired ceramic piece.
Giovanni Battista Fadigati's uncle bought Este Ceramiche Porcellane in 1955 and Giovanni has run the company since 1975. When Giovanni’s uncle bought the factory, he discovered a vast collection of semi-buried moulds and dyes. This priceless discovery permits the company to perpetuate a rich artisanal legacy. Very much in the spirit of this tradition, the porcelain making process is entirely carried out by hand, from the creation of plaster moulds up to the final brush strokes.
Tabarrificio Trevisino is one of the few companies that has retained knowledge of the artisanal technique of creating Tabarro cloaks. While the advent of the coat led to a decline in interest for cloaks, over the past years these have started to come back into fashion thanks to the dedication of companies such as Tabarrificio Trevisino. While Tabarro are the signature creation of this tailor’s workshop, it also produces other custom-made items of clothing.
The Tipoteca Italiana foundation was inaugurated in 1995 and a museum to promote and preserve the heritage of Italian typography opened its doors in 2002. The foundation also hosts educational workshops for schools, scholars and enthusiasts from around the world. Silvio Antiga opened Grafiche Antiga printing company in 1968. During the 1980s, the desire to preserve the character of early printing motivated Silvio to collect artefacts related to traditional methods of printing.
Giorgio Morelato is a master cabinetmaker and lends his name to the family workshop and company that crafts furniture. By combining time-honoured techniques and classical styles such as Biedermeier and Louis XVI with contemporary styles including modular designs, the workshop remains attached to local traditions while appealing to contemporary tastes. As well as designing its own furniture, the studio also works with internationally acclaimed designers.
Bruno Barbon is a cabinetmaker and restorer who creates putti, candlesticks, frames, plaques, ornaments, sculptures, and furniture of all kinds. He is one of the few artisans who still carves the famous moretti veneziani (Venetian moors). His work ranges from creating pieces based on customer designs to reproductions of period pieces. He also restores furniture, chairs, console tables, frames, sculptures and wooden pieces of any period or style.
Marino and Sabina work in the atelier Mario Berta Battiloro in Venice. In this historic artisanal laboratory, gold, silver and other precious metals are hammered into ultra-thin leaves, ready to be used in a number of fields. Founded in 1969 by Sabina’s father, Mario Berta, the small workshop aims to continue the family trade started in 1926. Marino Menegazzo is one of the last artisans left in Europe able to turn an ingot into gold leaf by hand, an ancient profession that came to Venice from Byzantium in the 11th century.
Valese is the last foundry in Venice. Managed by Carlo Semenzato, Valese continues to produce objects in bronze and brass following traditional techniques of production. Molten metal is poured into moulds using the sand casting method, which uses sand as the mould material. As well as producing models of Saint Mark’s horses, moretti (Moors) and Saint Mark’s lion, Valese produces ornaments for gondolas, and complex objects such as chandeliers.
Gianpaolo Fallani’s father Fiorenzo opened a screen-printing workshop in 1968. Gianpaolo now runs the screen-printing studio and shop. Gianpaolo has worked with many artists, organising residencies and workshops. The studio and shop is opened to the city through the hosting of numerous cultural events, concerts and exhibitions. Gianpaolo aims to keep the studio a vibrant place where artists can experiment and where the public can meet artists and see their work.
Silvia Stein Bocchese and her husband founded Maglificio Miles, a high-quality knitwear producer, in 1962. Silvia remains the president, but her four children now run the family company as a team. Maglificio Miles makes sure that designers’ ideas are finished to the highest possible standards by an expert team of artisans with wide-ranging skills. The company collaborates with some of the best names in fashion, including Azzedine Alaïa with whom it has worked for nearly 40 years.
Giulio Candussio grew up in Spilimbergo, Friuli near Aquileia. Archaeological excavations that began in the 19th century brought to light many remains of the old Roman city including numerous mosaics. Giulio discovered these as a child, and growing up would understand mosaics as art, as an extension of painting. At a young age, Giulio attended the mosaic school of Friuli and his subsequent training was mainly self-taught. From the first years of study, he developed his own mosaic concept, characterised by a need for constant experimentation with materials and techniques, breaking away from traditional mosaic work. Giulio has worked on projects throughout Italy and around the world. His works include the Tottenham Court Road underground station in London and the temporary World Trade Centre Path Station in New York. The artistic nature of his designs and style characterises his work.
Dominique Monié graduated from the L'Ecole Nationale Des Arts Decoratifs (ENAD) in Nice, in 1979. She dedicated herself to painting until 1986 when an encounter with a craftsman brought her into the world of gilding. She passionately studied the restoration of gilded wood and gilding in general, mastering all the techniques required to work on objects dating from the 17th to 19th century. As well as restoring pieces with traditional techniques, Dominique works on contemporary creations.
British artisan Adam Lowe is the director of Factum Arte (2001) and founder of the Factum Foundation for Digital Technology in Conservation (2009). In his role as director of Factum Arte, he has produced artworks for leading contemporary artists including Anish Kapoor, Marc Quinn, Grayson Perry, Cornelia Parker, Shirazeh Houshiary, Maya Lin and Marina Abramovic. He has completed numerous international conservation projects and his work has been exhibited in many galleries and museums.
Roman Räss was born in Appenzell. Son of a farmer, he grew up working with wood. From a young age, Roman learnt the alpine wood carving technique Weissküfer and would decorate wooden milk dishes with notch carvings. Dating back to the 19th century, Weissküfer is a technique that uses native Swiss woods such as spruce wood and maple to create wooden implements used during the daily work of rural Appenzell dairy farmers. This early interest in woodwork drove Räss to complete an apprenticeship in Weissküfer. To learn more about wood, he attended the wood sculpting school in Brienz. He then worked for a well-known wood sculpting company. Roman is now a self-employed wood sculptor based in Brienz and principally works creating nativity scenes and Weissküfer objects.
Martin Deggelmann is the founder of metalwork company Martelleria. Mattelleria started by restoring vintage cars, an activity that the company still undertakes to this day, however it has now diversified to work on numerous metalwork projects with designers and architects.
Pere Ventura Sala was born and grew up in Barcelona. In 1966 he started to study design at the Centro Español de Nuevas Profesiones (Spanish Centre for New Professions) in Barcelona. Soon after, he joined Rafael Marquina’s architecture and design studio. A need for autonomy resulted in Pere leaving this field of work. He dedicated himself to creating objects that combined leather with metal, wood and stone. In 1989, he opened a workshop in Barcelona that focuses on small-scale production of pieces designed by the workshop as well as external designers. While leather has been at the centre of his work, he has also worked with numerous other materials. Pere has collaborated with a number of designers, including working on the construction of Oscar Tusquets Blanca's Gaulino chairs, produced by BD Barcelona.
For the past three years, Andrzej Dobrowolanski & Jakub Przyborowski have worked from a shared workshop in the suburbs of Warsaw. Their work encompasses cabinetmaking, joining and carpentry.
Born in South Africa, Wilma Plaisier moved to the Netherlands in 1992. In 1999 she started to work as a pottery painter at Royal Delft. She would continue to work in this historic Delft pottery manufacturer, the last of the original 32 earthenware factories established in Delft in the 17th century, for 10 years. During these years, she trained in the art of painting pottery, mastering several techniques including the world famous Delfts Blue and Red-Blue-Gold. From 2005 to 2017 Wilma studied perspective, still life, figurative and portrait drawing, paint techniques and the history of art at the Art Academy (VAK Delft) in Delft. Since 2016 Wilma has worked with Heinen Delfts Blauw as a designer and master painter.
Sculptor and glassmaker Bernard Dejonghe undertook a training in plastic arts and ceramics at the École des métiers d’art (School of Crafts) in Paris. The school, now the Picasso Museum, provided Bernard with general training in drawing as well as basic ceramic making techniques. Bernard then spent a number of years reading and studying different arts in a journey to express himself. This led Bernard to dedicate himself to ceramic and glass sculptures. Bernard now develops innovative technical processes to work on fundamental forms, reducing them to their simplest essence.
Cathy Chotard graduated from the School of Fine Arts of Rennes in 1970. Her passion for jewellery drove her to undertake training to be a goldsmith-jeweller in the workshops of Fontblanche, Nîmes, in 1993. From her workshop in Montpellier, Cathy now dedicates herself exclusively to working with precious metals. Cathy’s work has been exhibited in France and internationally.
Ludovic Avenel trained at the École Boulle in Paris, and created his own cabinetmaking workshop in 2008. Ludovic embraces techniques and knowhow of the past, integrating them into his contemporary, avant-garde and innovative works. His experimentation with new materials questions traditional knowledge. The sometimes conventional aspect of his works seeks to reconcile contemporary materials, design and craftsmanship.
Nelly Saunier is a master artisan in feather work. Over the past 30 years, she has dedicated her imagination, talent and exceptional knowhow towards creating feather designs, in particular for the luxury industry and acclaimed tailors. She carries out each step in the manufacturing stage of her creations. Despite a high demand for her work from luxury brands, Nelly Saunier dedicates part of her time towards creating works of her own.
Kristin McKirdy graduated with a Master of Fine Arts degree from the University of California (UCLA) and a MA in Literature from the Sorbonne. The two-dimensionality of visual arts strongly influences her approach to ceramics as well as her choice of composition and subject. Kristin is an art historian fascinated by archaeology and Mediterranean civilisations. These interests are strongly reflected throughout her works. Kristin has participated in numerous collective and personal exhibitions around the world.
François-Xavier Richard is a painter, sculptor and engraver. He studied at the École des Beaux-Arts in Angers, during which time he also worked on designs for theatre and scenography. It was at this time that he first got a taste for artisanal methods of production. After his studies, he was asked to participate in an experiment teaching crafts to young students. It was here that he first came into contact with the world of wallpaper. After working for a wallpaper-producing company he decided to create Offard's studio. He now specialises in making handmade wallpaper and prints contributing to the renewal of a craft almost forgotten since the mid-20th century. The studio explores new avenues, including combining traditional printing techniques with the use of new technologies.
Julian Schwarz was born in Birmingham, UK, into a family of artists and artisans, his father being a painter and his grandfather a carpenter. In his early career, he experimented extensively with woodworking and painting but ultimately dedicated himself to woodcarving. Julian has since settled in France and uses many traditional woodcarving techniques when sculpting. Three key stages punctuate his work: the choice of the wood; the choice of manual and traditional tools; and the finalisation of the form.
Claude Aïello is a ceramicist from Vallauris who comes from a long line of ceramicists. In 1998, in an attempt to revive their ceramics industry, the town of Vallauris organised an event where designers and ceramicists paired up to create original pieces. Of all the artisans associated with this venture, only Claude would make this method of collaboration a central feature of his work.
Having been trained in gilding and woodcarving, Frédéric Richard took over a company, RG Les cadres Gault (The frames Gault), which specialises in producing handmade high-quality frames.
Yann Grienenberger has been at the head of the Centre International d’Art Verrier (International Centre for Glass Arts) since the 2000s and plays a key role in promoting glass arts, an emblematic craft of this French region. Yann has long believed that the sustainability of this activity lies in modernisation and collaboration. The centre, which is rooted in contemporary creation, reflects Yann’s way of thinking.
From childhood, Nathanaël Le Berre wanted to create. It took a while for Nathanaël to find his calling, having first enrolled in various programmes to study art history then stained-glass production. He finally started a diploma in metal and graduated in 1999. He learnt the art of freehand metalwork. His work reflects his thoughts on curved forms and the observation of tensions. His inspiration comes from observing human forms and nature.
Nicolas Marischael follows in the footsteps of a long line of silversmiths. He often creates contemporary pieces of his own design but also works with a number of designers and artists. This practice of working with designers led him to work with Felipe Ribon.
Intaglio engraver Didier Mutel graduated from the École Supérieure Estienne and from the École Nationale Supérieure des Arts Décoratifs in Paris. Didier then went on to study at the Atelier National de Création Typographique (the National Workshop of Typographic Creations), where he gained knowledge of traditional methods of typography and applied this knowledge to contemporary creation. He teaches at the Institut des Beaux-Arts de Besançon. His work is characterised by a constant search for innovation based on traditional techniques of engraving and intaglio printing.
Recipient of a cabinetmaking DMA (Diplôme des Métiers d'Arts) from the École Boulle in Paris, Steven Leprizé created ARCA Ébénisterie, his own cabinetmaking workshop, with other alumni of his school. It was here that he created WooWood. The creation results from extensive research into the treatment of the wood surface, conducted in his workshop.
Aki Cooren is the daughter of a Japanese jewellery designer. She grew up moving between France, Japan and the United States. She returned to France at the age of 18 and studied interior and product design at the École Camondo. Arnaud Cooren was born and raised in northern France. He first studied contemporary art in Belgium before moving to Paris to study at the École Camondo.
Romain Lescroart is the President of the Fédération Française des Dentelles et Broderies (French Federation of Lace and Embroidery).
French-Colombian designer Felipe Ribon studied engineering at the École des Mines and then industrial design at the École Nationale Supérieure de Création Industrielle ENSCI (National School of Industrial Design), graduating in 2008. In 2009, he won the Design Grand Prix of the City of Paris and in 2012 was a winner of the Audi Talent Awards.
Laurent Nogues is an embosser who graduated from the Ecole Olivier de Serre and decided to work with the Créations Fournier printing house that had long been managed by his father. In 1994, he created his own company Créanog. Laurent constantly seeks to innovate and push boundaries. His series of tactile embossed books was born from this desire. These books give the blind the possibility of discovering French heritage though embossed images.
Grégoire Talon studied at the Haute École des Arts du Rhin, graduating with a degree in fine and plastic arts followed by design and applied arts studies at ENSCI. Grégoire started to work with the Compagnons du Devoir in 2010 and in 2015 became the director of the Center of Excellence of Soft Materials section of the Compagnons du Devoir.
Inspired by both living and extinct animal forms, master metalworker Mylinh Nguyen welds fantastic sculptures from brass, bronze and silver. Each work originates as a sketch before taking shape as an intricately detailed metal sculpture. Her works articulate the smallest details of fantastic animals such as the minutely detailed tentacles of her sea creature sculptures. She has been fascinated by metal turning since the very first time she tried this technique and enjoys the different states of malleability of metal. Parallel to her larger works, Mylinh also produces jewellery and accessories that are also inspired by an animal theme. Mylinh trained in two artisanal techniques. She holds a diploma in metalwork from the National School of Applied Arts and Crafts Olivier de Serres and a diploma in embroidery from the School of Applied Arts Duperré in Paris.
Mathieu Lehanneur is a French designer at the forefront of the design scene who graduated from the École Nationale Supérieure de Création Industrielle. He turns to science for inspiration and applies this to the fields of arts and craftsmanship. His works can be found around the world in museums inicluding the MOMA in New York. Mathieu has designed works for international brands.
Anita Porchet is a Swiss enamel artisan who lives and works in the canton of Jura. Anita’s godfather, who was himself an engraver-enameller, introduced Anita to enamel work at the age of 12. She studied at the Haute École Arc, formerly the Graduate School of Applied Arts in La Chaux-de-Fonds, where she obtained a Certificat Fédéral de Capacité (Federal certificate of capacity) in 1984 in engraving and enamel. The following year she obtained the artistic aptitude degree from the Cantonal School of Art in Lausanne. Then a practical training in Geneva with enamellers May Mercier, Suzanne Rohr and Elisabeth Mottu-Juillerat. In 1993, she created her own enamel workshop in Lausanne. She has worked with well-known watchmakers such as Patek Philippe, Piaget and Vacheron Constantin for whom she performed the reproduction of the ceiling of the Opera Garnier in Paris.
François Junod has always been fascinated by mechanics. He was born in Sainte-Croix, Jura, a small Swiss town with a rich history of watchmaking, automata and musical boxes. He graduated from the drawing and sculpture section of the School of Fine Arts in Lausanne and was apprenticed to Michel Bertrand, automaton restorer. François is particularly attracted by the 18th century Age of Enlightenment when automata of writers and painters were created. François wants to rediscover how the automata of that century were made as well as their movements. His challenge is to surpass what was made at the end of the 18th century. Equally important to him is the continuity of the craft through the training of the next generation of automaton builders. He is considered an undisputed master of this endangered art that combines watchmaking, engineering and art.
Johanna Nestor specialises in the handmade creation of traditional tiled ceramic stoves. She draws her inspiration from nature, in particular from oak trees. The bark-like texture tiles of her large towering stoves resemble that of the rough trunks of oak trees. These stoves often become centrepieces for the rooms they are placed in. Johanna studied and graduated from the University of Stockholm in 2016 with a degree in Fine Arts. Following this, she opened a studio in Åre, Sweden. Here she creates unique handmade tiles, tiles for stoves and ceramic tiled stoves using classical techniques developed and tested over decades. However, contemporary preoccupations such as environmental consciousness and sustainability are central to the creation of her works that provide an alternative source of heating. In 2017, Johanna was nominated for the Young Swedish Design Award for her "heating trees".
Konstantinos Vogiatzakis is the last artisan in the Magnesia region to continue the ancient Greek tradition of saddle making for donkeys and mules. Konstantinos lives in a small village between Athens and Thessaloniki. He started a five-year apprenticeship of this trade at the age of 16. When his master retired, Konstantinos took over the workshop. The mountainous region’s principal and sometimes only means of transport is by donkey or mule, resulting in a stable flow of work for Konstantinos. It takes approximately two days to make a saddle. Its decoration indicates the animal it is intended for.
Daniel López-Obrero is the third-generation master artisan of his family to continue the engraved and embossed leather techniques known as Cordoban and Guadamecí. Ángel López-Obrero and his wife Mercedes created the workshop and brand Meryan (MERcedes y ANgel) in 1958. They first started to work with this trade in 1951, when they returned to Cordoba from Barcelona. Here they opened a studio dedicated to painting and sculpture but soon they started to focus their work on the ancient art of the Cordoban y Guadamecí, which was disappearing. The first years were dedicated to experimentation. Soon after Meryan opened in 1958, they started to receive national then international recognition for their work. The workshop produces a large range of products such as bags and furniture. Ángel and Mercedes’ grandsons, Daniel and Carlos, now run the workshop. Daniel is recognised as a master in the art of leatherwork.
Renzo Scarpelli was born in 1947. At the age of 13, he started working the stones in one of the oldest artisan workshops in Florence. After numerous years of apprenticeship and artistic studies, Renzo opened his workshop in Florence. Renzo Scarpelli's mosaic workshop perpetuates the rich mosaic tradition Commesso Fiorentino that dates back to the Italian Renaissance and from Florence de Medici. This technique brings together painting, the knowledge of stones, stone size and colour. Renzo Scarpelli now works alongside his son Leonardo in the mosaic workshop to create high-quality artistic masterpieces. The "stone painting" is the extraordinary combination of art and artisanship, tradition and innovation. Renzo believes that the future of this craft is in the hands of the young and dedicates an important portion of his time towards the training and teaching of students. In 2016, Renzo's name was inscribed in the guestbook of the MAM, the Maestri of Arte e Mestieri.
Ingunn Undrum has been making rope for twenty years. Ingunn undertook a long apprenticeship in traditional rope making at Hardanger Fartøyvernsenter in Norway. As part of her education, Ingunn spent three months at Ropewalk in the Historic Dockyards in Chatham, UK, to learn about form and lay technology that does not exist in Norway. She works at the Hardanger Og Voss Museum in Norway where she creates new rope and restores historical pieces. Ingunn’s studio is the only one left in Norway and works with old machines and natural fibres. The process of creating things fascinates Ingunn, and she controls the entire process from start to finish with her hands.
Richard Maier is considered a pioneer in the art of engraving. For Richard, this art permits him to tell a story. He attended the school of engraving in Ferlach, Austria (his native country), which gave him a solid formation in this profession. The teachers in the school had told his parents that Richard should change career path, advice that only pushed him to study this craft further. He started working as an engraver in 1980 and from the start looked for a way to express his passion for drawing. Richard thoroughly dislikes engraving letters. Working from his studio in Stuttgart, Germany, Richards works by hand using traditional tools. He considers the Italians to be the best engravers in the world.
Eric Charles-Donatien is a feather craft designer and maker. He studied at the Ecole Duperré and the Ecole de la Chambre Syndicale de la Couture Parisienne. Eric first encountered the art of feather craft while working in the studios and workshops of Hermès and Hanae Mori in Paris. He then became an assistant to the famous French feather crafter André Lemarié and subsequently head of artistic creation for Maison Lemarié. For the next 13 years, he collaborated with prestigious fashion houses including Chanel, Dior, Yves Saint Laurent, Jean Paul Gaultier, Roger Vivier, Vera Wang and Roberto Cavalli. In 2010, Eric founded his company and now develops MOYE & DA, a brand of custom-made accessories. It is important to Eric that he meet each designer so that he can faithfully interpret their fashion vision and realise their ideas.
Stained glass artisan Izabela Kovalevskaja’s goal is to transform stained glass art into something modern. While the theme of her work remains a classical one, her style is much closer to that of tattoo art. Izabela first completed a tattoo apprenticeship and devoted herself to this art for six years. She then started studying stained glass at the Vilnius Academy of Arts. She chose this trade because she has always been interested in sacred art and old churches, in particular the windows that seem mysterious. She is also drawn to the idea of learning something that very few people do and contributing to keeping an ancient trade alive. To Izabela the style of stained glass art is not so different to the colour combinations and bold black lines of tattoo art. Izabela has been producing stained glass for just over two years and is still finishing her studies in this field.
Carloway Mill on the Scottish Isle of Lewis is one of three remaining Harris Tweed mills left in the world. Weaving is not so much a job, but more a way of life that tends to be handed down from generation to generation. The recent story of the mill is that of a renaissance. Like much of the textile industry in Europe, the mill saw a sharp decline in business since the mid-1960s. Even though Harris Tweed is protected by a 1993 Act of Parliament, the mill was on the verge of closing down when Annie MacDonald, a woman from the Isle of Lewis where the mill is located, and an English businessman bought the mill and relaunched the business. The first change that Annie implemented was to make a lighter tweed, ideal for women's ready-to-wear. The Carloway Mill is proud to employ a multi-talented workforce of around 30. The weaving is still done manually, fully respecting the rich protected heritage of Harris Tweed.
Bellerby & Co globemakers was founded by Peter Bellerby and is based in Stoke Newington, London, England. The company's story is quite whimsical. Peter had been looking for a globe for his father’s 80th birthday. After a long and thorough search, he found a number of personality-lacking student globes and very expensive antique globes. Therefore, the natural solution to Peter was to make his own globe. Because, really, how difficult could this be? The answer gradually made itself apparent over the next few years. Having dedicated a number of years to this hobby be understood that this could become a job that no one does in an artisanal manner any more. So, Peter opened his own workshop, Bellerby & Co, which now employs 20 people: craftsmen, of course, but also cartographers.
Josef Hoffmann (1870-1956) was a founding member of the Vienna Secession, a group of artists that included Gustav Klimt and Koloman Moser. Hoffmann was a prominent architect and a designer of consumer goods. He studied at the Academy of Fine Arts in Vienna and from 1899 taught at the Kunstgewerbeschule (School of Arts and Crafts), now the University of Applied Arts Vienna.
Born in Prague in 1886, Jaroslav Horejc devoted his life to design and sculpture, both teaching and producing important works in the Art Nouveau and Art Deco styles. Horejc began working at a lithographic workshop at the age of 14, but after a few weeks switched to the vocational school for jewelers, goldsmiths, silversmiths and metal. Between 1906 and 1910, he studied at the Prague School of Applied Arts, becoming a teacher at the same school in 1912 until his retirement in 1949. His works derive much of their themes from Greek mythology and the Old Testament.
Best known for his architectural designs influenced by the Cubist movement, Vlastislav Hofman (1884-1964) was also an accomplished designer and artist. He studied in Prague between 1902 and 1907 but was also a self-taught artist. As well as working as an architect, artist and set and furniture designer, he wrote a number of essays on political thought and the philosophy of art.
Katharina Mischer (1982) and Thomas Traxler (1981) co-founded mischer'traxler studio in 2009. They both completed BAs in product and furniture design at the New Design University in St Pölten, Austria, and at Kingston University in London, before going on to do MAs in conceptual design in context at the Design Academy Eindhoven. Based in Vienna, mischer'traxler studio designs objects, furniture, processes, installations and more. It focuses on experimentation and conceptual thinking within a given context.
Antoni Cumella (1913-1985) was a Spanish ceramicist from Barcelona. His stepfather taught him the basics of this art from an early age and Cumella participated in his first exhibition at the age of 15. The International Exposition in Barcelona in 1929 introduced him to the works of artists such Mies van der Rohe and Manolo Hugué. He then took evening classes at the Escola del Treball in Barcelona, where he became familiar with the works of Gaudí. Cumella began teaching ceramics at the Grup Escolar Lluís Vives in Barcelona in 1935. He held his first major exhibition in 1955 at the newly opened Museo de Arte Contemporáneo in Madrid, and soon after held his first international exhibition in Bonn, Germany, alongside Joan Miró.
Brothers Juan, José and Vicente Lladró made their first porcelain creations in a furnace built in their own home near Valencia in 1953. They started out creating vases and jugs, but in 1956 began producing figurines, which would become emblematic of the Lladró brand. At the end of the 1950s, Lladró opened its first store in Valencia. The 1960s saw the establishment of a recognisable style, characterised by its elongated lines and forms. With the increasing mastery of their production techniques, the pieces progressively became more complex, sometimes challenging the limits of porcelain. Lladró has not only created an internationally recognisable and innovative design and style but also researched and innovated firing techniques that have earned the company numerous awards. Lladró porcelain figurines can be found in homes and museum collections around the world.
Johann Lötz Witwe was a glass factory founded in 1836 in Klostermühle and bought in 1850 by Frank Gerstner and his wife, Susanne, the widow of Johann Lötz, a glassmaker ("Witwe" means widow in German). The factory was one of the most important factories in what is now the Czech Republic and enjoyed international fame. It began by grinding glass but later switched to producing coloured glass. Around the turn of the 19th century, the factory started to explore close collaboration with Viennese artists and designers such as Josef Hoffmann and Koloman Moser. It enjoyed growing success in the early 20th century, but the First World War saw a sharp decline in productivity, and the redrawing of national borders after the Second World War marked the company's demise.
Gunnel Nyman (1909-1948) was a Finnish glass and metal artist. Born in Turku, Finland, she moved to Helsinki in 1922, studying furniture design there at the Central School of the Industrial Arts. Although trained in furniture design, Nyman also produced a number of lighting designs and created metalwork for clerical use. She gradually turned her attention to glassware and became a leading figure in modern Finnish glass design and a proponent of early mass-produced glassware.
Kaj Franck (1911-1989) is a quintessential reference when talking of the origins of present-day Finnish design. His works stimulate the senses and provoke emotions beyond that of aesthetic appreciation. His pursuit of creating universal, functional, combinable tableware stripped of unnecessary decoration has been an inspiration for contemporary minimal design. Moderation, ecology and equality were Franck’s principles. He strove to minimise the number of everyday objects we need in our lives, drawing attention to the sustainability and life cycle of products. He taught at the Helsinki School of Art and Design and his work earned him international acclaim and numerous awards.
Jean Dunand (1877-1942) was a Swiss/French bronzesmith, sculptor and interior designer who is widely recognised as one of the greatest lacquer artists of his generation. His work developed at the height of the Art Nouveau movement and gradually merged into the Art Deco style. He began studying sculpture at the Geneva School of Industrial Arts at the age of 14. Having gained his diploma in 1897, Dunand moved to Paris to study at the National School of Decorative Arts. He remained in France and worked with a Japanese lacquerer to learn some of the ancestral techniques that had been lost in France.
Charles Catteau (1880-1966) was a French Art Deco designer. He first trained at the National Ceramics School in Sèvres and then at the National Porcelain Factory in the same town. In 1906, he moved to La Louvière in Belgium, where he started to work at the Faïencerie Boch. The following year, he was appointed head of the earthenware factory's Decoration Department, a position he held until his retirement in 1948.
Henri Heemskerk (1886-1953) was a student of Charles Catteau and strongly influenced the production of Art Deco ceramics in Belgium. He first worked as director of the painting studio at Scailmont, but his designs were quickly used in glassware. Often working alongside Catteau, Heemskerk produced works made from moulds or blown pressed glassware, with the surface sandblasted or acid etched.
Little is known about this German-based company which started production in the 1960s and closed in 1979. Among other glass pieces, Ingrid Glas is well known for its variety of textured bark vases.
Jean Daum (1825-1855) established the Daum crystal studio in 1878 in Nancy, France. His son Auguste (1853-1909), who had trained as a lawyer, took over management of the factory, and in 1891 appointed his brother Antonin (1864-1931), a graduate of the École Centrale, head of the Art Department. Antonin was given broad scope to implement the ground-breaking innovations in both design and techniques developed by Emile Gallé. The studio grew rapidly during the Art Nouveau period. It is currently the only commercial crystal manufacturer in France that uses the pâte de verre technique in creating its crystal sculptures.
Barbara Stehr is a German ceramicist born near Hanover in 1936. She studied at the School of Applied Arts in Hanover from 1957 to 1958, going on to study first painting at the College of Fine Arts in Hamburg and then ceramics in the workshops of Bontje van Beek and Otto Lindig. Barbara opened her own studio in 1961, and in 1970 started working as a designer for the Søholm stoneware and faience factory in Denmark. She has also taught at the College of Fine Arts in Hamburg and the University of Applied Science in Rhineland-Palatinate.
Johann Oertel & Co. is a family-run glassblowing business founded in Haida in 1869, in the then Austro-Hungarian Empire. It produces mainly crystal glass and lead crystal. The founder of the company, Johannes Christian Oertel, filed several glassmaking patents, including for a method for producing coloured decoration on hollow glass objects. With the redrawing of national borders in 1945, the company moved to Welzheim, near Stuttgart, where its headquarters are still located. In 2014, the brand name was changed to OertelCrystal.
Lee Broom is a UK-based product and brand designer who has achieved international renown for his original furniture and lighting designs. Broom initially went to theatre school but changed career to study fashion at Central Saint Martins in London. Since establishing his studio in 2007, Broom has created over 100 pieces of furniture, lighting and accessories. His works are at once unique and familiar. He reinterprets classical styles and traditional materials in a contemporary design. His designs are found in hotels, restaurants and bars around the world, as well as in private and public collections.
British artist Tamsin van Essen works primarily in ceramics. She completed a BA in ceramic design at Central Saint Martins between 2004 and 2007, and an MA in ceramics and glass at the Royal College of Art in London between 2010 and 2012. Her work is mainly concept driven, exploring notions of beauty and impermanence through scientific, medical and social-historical themes. Material experimentation is a distinguishing feature of her work, probing the technical properties of ceramics and the limits of its behaviour. Tamsin has exhibited her work internationally, including at Sotheby’s and the Saatchi Gallery in London, the Palais des Beaux-Arts in Brussels, Design Miami, the Nobel Museum in Stockholm and the Musée National de Céramique-Sèvres in Paris. Her works feature in a number of public and private permanent collections.
Marcel Wanders is a leading product and interior design studio in Amsterdam under the creative leadership and direction of Marcel Wanders and with the support of creative director Gabriele Chiave. The studio’s work excites, provokes and polarises as it seeks to bring a human touch back to design. The studio employs 52 design and communication experts. Over 1,900 of the studio’s products and interior design experiences can be found around the world, made for private clients as well as brands such as Alessi, Baccarat, Christofle, KLM and the Hyatt Hotels Corporation. The studio’s works are featured in numerous museums and galleries such as the Centre Pompidou in Paris and the Stedelijk Museum, Amsterdam.
Danish master glassworker Tobias Møhl trained at the Holmegaard Glass Factory and Royal Copenhagen. He also attended a number of master classes in the United States. Tobias works use traditional Venetian techniques such as reticello, murrineand filigree. He combines his knowledge of traditional techniques with innovative designs and techniques. His works have been exhibited internationally and are found in numerous public and private collections.
In the course of his career, Philippe Starck has designed over 10,000 objects, and still counting. Through his work, the Frenchman has a mission, a vision: that creation, whatever form it takes, must improve the lives of as many people as possible. To Starck, sharing his ethical and humanist vision of a more equal planet is a duty, if not a moral imperative, resulting in unconventional projects that bear surprising fruits. The purpose of his designs is evident: an object must be useful before being beautiful. His childhood spent beneath the drawing table of his aeronautical engineer father taught him an important lesson: everything should be organised elegantly and rigorously, in human relationships as much as in the concluding vision that presides over every creative gesture.
The works of Danish artist Cathrine Raben Davidsen combine historical, fictional or mythological material with personal memories. Her work is characterised by a desire to explore different artistic techniques and challenge traditional hierarchies in the arts, such as artisan, designer and artist. In recent years, ceramics have played an increasingly important role. She draws inspiration from pre-Columbian, Japanese and late Bronze Age Scandinavian craft traditions and techniques, as well as raku firing. Cathrine trained at the Royal Danish Academy of Fine Arts in Copenhagen and at academies in Holland and Italy. Her works have been exhibited in galleries and museums in Denmark and around the world.
Robi Renzi was born in the Italian region of Marche and currently lives and works in Veneto, Italy. Robi studied at the University of Architecture in Florence. In 1993, he settled in Milan where he founded 'Renzi & Reale' with Roberto Reale, working in the world of interior design. They had a large studio and produced works for fashion and furniture companies and featured in many publications in national and international newspapers. They worked with a number of materials including fabric, wood, resin, metal sheets and casting. Today, Robi dedicates himself to ceramics. He is very interested in applying ceramic-making methods and processes to that of other materials. Each collection is based around a theme, a technique or a material.
Ivana and Saura Vignoli are sisters. They both graduated from the Ballardini Art School of Ceramics before opening their own workshop together in 1976, in Faenza. The sisters have regularly participated in international and national exhibitions and competitions.
Rafael Perez was born in Haro, La Rioja, Spain in 1957. At first, he studied economics but quickly decided to leave these studies aside and dedicate himself to art. He has exhibited his work in Spain as well as internationally, and has received numerous awards.
Thomas Bohle was born in 1958 in Dornbirn, Austria. While in England at the age of 26, Thomas sat down at a potter’s wheel for the first time. This contact with clay and the process of creating using his hands moved him, marking the beginning of an artistic career dedicated to ceramics. He experimented and researched traditional forms and surfaces and built a rich foundation for working with ceramics. He completed a pottery apprenticeship in 1987 and subsequently opened his own atelier in Dornbirn. Little by little, he developed a recognisable style and gained recognition from fellow artists as well as the art world. In 2002, Thomas embarked on a study trip to Japan followed by exhibitions in Shanghai and Tokyo. In 2006, Thomas was awarded the Bavarian State Prize.
Nuala O’Donovan, is an Irish sculptor who primarily works with porcelain clay. Her abstract forms take their inspiration from natural forms, in particular the patterns and geometry of living organisms in the plant and animal kingdoms. Living forms are a progression rather than a static form, they are in a constant process of change. The forms in her work evoke this progression, evolving during the making process but becoming static after being fired. Each element of the pattern is individually made, the form is constructed slowly over a period of weeks or months. Nuala completed a BA in Three-Dimensional Design at Middlesex University in the UK in 1994 and studied Ceramics at the Crawford College of Art and Design, graduating with an MA in 2008.
London based ceramicist Malene Hartmann Rasmussen works with mixed media sculpture, making and arranging multiple components into complex narrative displays of visual excess. The dialogue between components and the way one's unconscious can direct the composition interests her. Malene’s detailed surreal ceramic works draw on motifs from the domestic and natural worlds. Her works evoke visions of excess by merging several seemingly incompatible worlds. Memories, daydreams and childhood nostalgia are all called upon by the artist who weaves them together into a fairytale of her own making. Her surreal narrative is an eclectic collection of ideas comprising mythological creatures, popular graphic culture and her own childhood in rural Denmark. Malene’s interest in forests stems from their recurrence in European literature and myths, ancient cults, pagan rituals and as a metaphor for the hidden realms of the unconscious mind.
Nicholas Lees’ materials for sculpture are porcelain, space and light. While Nicholas first studied English and History at the University of Kent, his interest quickly turned to ceramics and he undertook a second BA in Ceramics at Bristol Polytechnic and an MA in Ceramics at the University of Wales Institute, Cardiff. His works question the physical elements in the relationship between the object and the body of the viewer, which deal directly with perceptual phenomena. What is seen and understood of solidity and materials shifts according to the relationship between the object, space, light and the eye of the viewer. The presence of the object on the surface floats and shifts according to perception. Nicholas’ work can be found in several international museum collections.
The works of British ceramic sculptor Matthew Chambers are born from a love of geometry, optical art, modern architecture and design. He pursues these interests in an abstract sense by exploring shapes and making mathematically constructed pieces in clay, created from many different wheel-thrown sections. His sculptures convey individual properties of space, light and colour, and sustain an expression of abstract as well as rhythmical beauty. Matthew attended the Royal College of Art, London obtaining an MA in Ceramics and Glass in 2004. His works can be found in public collections in the Fitzwilliam Museum, Cambridge, National Museum, Scotland, the Musée National de Ceramique de Sevres, France, the Musée Ariana, Geneva and in various private collections worldwide.
Patricia Shone is a potter who has worked and lived on the Isle of Skye, Scotland, for the past twenty years. Her highly textured ceramics are entirely hand formed using the weight of the clay to stretch and distort patterns on the surfaces. Her work has developed significantly using this technique, which with various firing methods results in a range of ceramic objects reflecting the geology of the island. The power of remote landscapes, the weather and the inhospitable nature of the Isle of Skye are themes central to Patricia’s works. Her work tries to give a sense of this force of nature through spontaneously formed textures, unpredictable firing techniques, and the acceptance of failures as well as successes.
Simone Crestani started working glass at the age of 15. After a ten-year apprenticeship in Lunardon’s factory, he opened his own studio. An introspective and self-taught artisan, Simone has over the years combined lessons learnt and experiences gained to push glassworking beyond traditional boundaries. Simone goes beyond traditional techniques and overcomes limits of shapes and dimensions of hollow spaces. He works glass in a technique that he calls Hollow Sculpture, which allows him to create large-scale pieces without neglecting the smallest detail. Simone combines design and artisanship to produce innovative and exclusive sculptural pieces. Simone’s innovative glassworking techniques are recognised and appreciated around the world.
Lilla Tabasso was born in Milan in 1973, the city where she now lives and works. Following her studies at the Faculty of Biology at the University in Milan, she began working with Murano glass using the ancient techniques of blowing and modelling. Her initial studies in biology are a key component to her research, which focuses on botany. Her still life works of incredible realism depict vases with flowers and draw from the infinite palette of nature’s colours and translucency. Fundamental to Lilla’s depiction are shades, mutations and imperfections: dry branches, faded flowers and wilting leaves. By focusing in such micro-detail on the forms and colours of every flower, Lilla’s works analyse how the expressive potential of nature exceeds that of mankind.
Gabriele Küstner works with fused glass mosaics, a process used by the Romans around 300 BC. Her teacher at the Staatliche Glasfachschule Hadamar, Josef Welzel, introduced her to the process. Following three years of studies as a glass grinder, Gabriele spent one year in Tennessee, at the Appalachian Center for Crafts. Here, she had access to glass blowing facilities and started to work on her technique of pulling glass cane. Upon returning to Germany in the mid-80s, Gabriele opened her own studio. She took a fusing class a few years later that introduced her to the possibilities of using china paint to colour glass rods from the outside. She worked on perfecting this process over the years aiming to render the fusing process visible. Her designs are inspired by the honeycomb pattern found in nature.
Michael Behrens studied at the Academy of Fine Arts in Maastricht, Netherlands, where he graduated with a Bachelor's degree in 2003. The use of colours inspired by the underwater world is central to Michael’s work. Shapes and structures remain in focus and define the dynamic aesthetic of his sculptures on both a micro and macroscopic level. Characteristics of his work include the fine relief-like modelling of the outer shape of his sculptures, the interplay of matt and polished surfaces, as well as cell-like structures emerging from fusing glass sections. An essential part of creating a new Seaform is the sculptural work on the rigid foam model. His work has been part of numerous solo and group exhibitions in Europe and the United States and Canada. He lives and works in Dusseldorf, Germany.
Ida Wieth was born in Copenhagen, Denmark in 1983. She studied glassblowing at the Kosta Glass School in Sweden. In 2009, she graduated with a Master of Fine Art in glass from the Edinburgh College of Art in Scotland. She works with glass and ceramics, and occasionally wood, concrete and metals, to create innovative pieces. Ida combines an artistically poetic approach with tangible artisanal knowledge of materials and techniques, resulting in highly expressive and emotional works. Her work has been shown in Scandinavia, Europe, Russia, Japan and USA.
Born in Hamburg, Marlies Von Soden studied design and costume at the Berlin University of Arts. Marlies worked on costume and set designs for the film and theatre industry for more than thirty years. Her works draw inspiration from this textile-filled experience, attempting to capture the fleeting folds of fabric. Marlies works with neoprene, tyvek® (polyethylene fleece) and phenolic foam. Her folded objects are displayed internationally in collections such as Madame Olivetti or in the Watermill Center, Robert Wilson’s Design Museum on Eastern Long Island.
Linda Nieuwstad’s flowers are larger than life. Her forget-me-nots are as large as breakfast plates, her roses can measure the size of truck tires and you can sit underneath her daffodils. She started to make large sized flowers when she visited an old museum in the Netherlands full of flower paintings from the 18th century. She dreamed of living inside the paintings, and she has been making large sized flowers ever since. Over the past few years, Linda has built up a reputation as a creator of luxurious floral still-lifes made of explicitly industrial materials such as plastic, textile, foam rubber, PVS and steel. To Linda, the underlying symbolism of the individual flowers is of less importance than the general significance of a bouquet as a gesture of pleasure or sympathy.
After graduating in sculpture from the Accademia di Belle Arti di Brera, Daniel Papuli settled in Milan where he still lives and works. He first experimented with sculpture at the start of the 1990’s, working with stone, wood and plaster. During an international workshop held in Berlin in 1993, Daniel was first introduced to the methods of paper manufacturing. He experimented with paper over the next few years making this his principal medium of creation, and in 1997 created his first paper sculpture. Since, Daniel has worked with publishers creating handmade sheets of paper. He continues to experiment with materials with similar structures and tactile properties to paper. He has exhibited his works internationally and they are found in private and public collections in Italy and abroad and in publications of paper art.
Formerly an electrical engineer, Pascal Oudet changed career path towards one of wood-turning about ten years ago. Pascal perfected a technique of sandblasting turned wood to a quasi-transparent degree, similar to the texture of lace fabric. He has been practising this technique for about twelve years but it took him around half of this time to perfect it. He is currently still the only artisan to master this technique in France. Pascal is the president of l’Association Française des Tourneurs d’Art sur Bois (French Association of Art Wood Turners) (AFTAB). Pascal’s works have received national and international recognition and have been exhibited internationally. In 2012, he obtained the Grand Prix de la Création de la Ville de Paris.
Eleanor Lakelin is a London based artist who grew up in a rural area of Wales immersed in nature. This understanding and love of natural material has informed her artistic life. She loves wood, its history and provenance and the fact that it is a living material. She has spent many years perfecting form and experimenting with how the properties of wood can be used to express the rhythm of time and our relationship to the earth. Eleanor exhibits extensively internationally and her pieces have won many awards and commendations. Her work is held in numerous prestigious collections worldwide.
Joe Hogan has worked as a basket-maker since 1977 and opened his own workshop at Loch Na Fooey in the west of Ireland in 1978. He was drawn to basket making because it offered the possibility of living in that beautiful area and growing their own willow. For many years Joe concentrated on making functional baskets and improving his skills. He also researched and made most of the indigenous baskets of Ireland, the baskets that were used for fishing and farming. For the past 20 years, Joe has become increasingly interested in making artistic baskets. These are usually inspired by finds of wood. This work is prompted by a desire to develop a deeper connection to nature.
Born in 1952 in Gstaad, Switzerland Arnold Annen studied at the Bern Design School and completed his practical training in Jean-Claude de Crousaz, Pierre Mestre's (France) and Sakakibara's (Japan) workshops. In 1989, he opened his own studio in Basel. Arnold is famous above all for his works in Limoges porcelain. Over the years, he has refined his technique, which is an unmistakable hallmark of his work. He makes transparent bowls as thin as paper. To reach this level of perfection, his procedures involve a disciplined approach, along with sophisticated manual techniques. He has developed small and large porcelain objects, dedicating particular attention to space, volume and interstitial spaces.The extremely thin walls of his bowls make it impossible to correct errors. Even the smallest bubble would ruin a piece.
Jérôme Blanc was born and grew up in Geneva, Switzerland. He studied woodworking and cabinetmaking for five years at the School of Arts and Crafts in Geneva, but it was not until a trip to Australia that he was introduced to woodturning. This encounter enticed him closer to woodwork. He trained as a woodturner in Australia and opened a woodworking, sculpture and woodturning business when he returned to Geneva. In his approach, Jérôme Blanc truly belongs to his time. A time concerned with ecology that in Jérôme’s opinion could benefit from a return to simplicity. The contemporary environmental issues that preoccupy the sculptor are reflected in his creations. Fundamentally, Jérôme creates pure and simple shapes made from wood, a natural element that comes from the earth and can return to the earth.
Cara Murphy is a contemporary silversmith based in Northern Ireland. Trained at the Glasgow School of Art and the Royal College of Art, London, she applies traditional silversmith techniques to create innovative, functional and sculptural silver tableware. Cara takes her inspiration from the natural environment, creating silver landscapes for the dining table that metaphorically 'grow' from it. Her award-winning silverware has been exhibited in numerous applied art and silversmithing exhibitions, and her work is represented in many international collections.
Gabriella Gabrini is a skilled enamel artisan who lives and works in the Northern Italian city of Padua. She graduated as a ceramist from the School of Art and the Academy of Fine Arts in Venice. After working in the studios of Medandri, Melotti and Fornasetti she started to work in Paolo De Poli’s workshop, to whom we owe the recovery of this particular ancient Italian art of enamel. She worked in his studio for 20 years. Since then, Gabriella has kept working with this technique and has continued to study and perfect it through her complicated and detailed works. She has since opened her own studio. In 2000 she was named Officer of Merit of the Italian Republic by the then President of the Republic, Carlo Azeglio Ciampi, for her commitment and dedication to artistic craftsmanship.
Nature comes to life and blooms in the intricate refinement of Alice Riehl’s work. Alice discovered porcelain while training at the French Ceramic Institute in Sèvres, France. It has since become her medium of predilection. Her family heritage being linked to that of lacework, it came as a natural choice to combine this medium with her porcelain production. The lace texture effect signs her work. Alice models her works entirely by hand without using any moulds. Each piece is therefore unique. She produces sculptures as well as porcelain wall installations. Nature is at the centre of Alice’s inspiration and work. Her work is found in private and public spaces in Europe, America, the Middle East and Asia.
Suffolk glass artist Laura Hart creates fine art glass sculpture and functional glass tableware from her studio in rural Cavendish. She specialises in fused and kiln formed glass orchids, glass wild flowers and meticulously detailed fused and cast glass butterflies. Laura’s work brings several traditional glass-making techniques together with the addition of sterling silver for anatomical detail. She specialises in fused glass production uniting 21st century 3D design applications with age-old traditional glass making techniques. From her well-equipped studio in Cavendish near Sudbury in Suffolk, Laura holds monthly two-day glass fusing workshops. The classes are open to all levels of experience from absolute beginners to veteran glass fusing fanatics.
Giampaolo Bertozzi and Stefano Dal Monte Casoni founded Bertozzi & Casoni in 1980 in Imola, Italy. From their early studies at the Ceramic Art Institute of Faenza, their interests gravitated towards experimenting with sculpture, seeing in ceramics the possibility of painted sculpture. For almost two decades, they worked on creating innovative designs employing traditional methods of production such as majolica. Towards the end the 80s and the start of the 90s, they started to experiment with materials driven from industry. Following their “Scegli il Paradiso” project in 1997, that reached dimensional and creative heights not earlier achieved, Bertozzi & Casoni would from then on almost only use materials driven from industry.
Simon Zsolt József is a Hungarian ceramicist, painter, sculptor and designer. Simon studied porcelain painting (1988-1991) at Fischer Mor Porcelain Industrial Vocational School, Herend. Movement in sports and dance are important to him and are an integral part of his works. Upon graduating, Simon travelled around the world. During this time, he drew a lot, experimenting with drawing and developing a style true to himself and his passion for movement. Upon returning to Hungary, Simon started to adapt this drawing style to his work as a porcelain painter. Over the years, he complemented his previous studies with numerous others in music, drama, painting, teaching and design of porcelain production. Simon considers his sculptures, drawings and paintings to be studies of movements without real forms.
Ashraf Hanna is an Egyptian born British artisan, living & working in the UK. Ashraf undertook an MA in Ceramics and Glass at the Royal College of Art, London, graduating in 2011. Ashraf builds individual and related groups of ceramic vessels by hand, each object informing the next. One of his major interests is the profiles, lines and spaces that emerge from this process of development and ultimately their placement in relation to one another, creating a contrast between the juxtaposition of sharp lines with softer curves. Ashraf works with a restricted palette of refined slips and stained clays. The pared-down natural and subtle surface treatments combine to produce vessels that explore the essence of form. His work is exhibited internationally and is in the permanent collection of the Victoria & Albert Museum and the National Museum of Wales.
Sebastiaan van Soest is the last gilded leather-worker in the Netherlands. The craft was transmitted from father to son and Sebastiaan literally grew up among gilded leather. Wherever his parents went to work, they would take Sebastiaan and his sister along. In the 90s, the workshop created a gilded leather room for a replica of Huis ten Bosch at the Holland Village in Japan. That was the first time that Sebastiaan would participate in manufacturing gilded leather. A few years after his father passed away, Sebastiaan dedicated himself to this craft, wishing to preserve the unique knowhow handed down by his parents. He is the owner and manager of Goudleeratelier Van Soest. Sebastiaan’s mission is to breathe new life into gilded leather and give it a modern look and application.
Tommaso Pestelli’s career began in the family workshop. Here he absorbed knowledge though observation. Tommaso continued to work on the traditional artisanship he had learnt alongside masters of the trade when undertaking studies at the Florentine Academy of Fine Arts and at the "Opificio delle Pietre Dure". Here he qualified as a restorer in glyptic and goldsmith's art. Today, using traditional techniques and technical expertise, combined with originality and creativity, Tommaso and his wife Eva create fine jewellery, collectibles and home accessories made of gold, silver and semi-precious stones, inspired by the sense of style and atmosphere of the past. Some of Tommaso's jewellery is on display in the permanent collection at the Museo degli Argenti in Florence, at the Uffizi Gallery and international galleries.
Adi Toch explores the visual language of metal through colour, movement, sound and tactility. She creates engaging objects that investigate the embodiment of vessels and containers. Her work begins with a flat sheet of metal and is entirely shaped by hand by means of tools such as hammers. Her work communicates through its sensory qualities and invites the observer to pick it up or look closely before revealing its story. Adi graduated from The Cass, London in 2009 with a Masters in Art, Design & Visual Culture, following her BA from Bezalel Art Academy in Jerusalem, metalwork department. Her work is exhibited internationally and included in major public collections such as the V&A Museum, London, Fitzwilliam Museum, Cambridge, National Museums Scotland, National Museum of Wales and The Jewish Museum, New York.
Born in Warsaw, Poland, artist and curator Monika Patuszyńska first became fascinated with ceramics while in high school in Denmark. Later while studying in Paris she was introduced to casting of ceramics, a technique that has been central to her work ever since. Monika received her MA from the Wroclaw Academy of Fine Arts (Poland) in 1999. The exploration of abandoned spaces and untried paths is central to her work. Monika opened her own studio in Milanówek near Warsaw in 2001. She frequently exhibits all over the world and has won many awards for her work, which is found in public and private collections worldwide. She is a member of the International Academy of Ceramics.
After graduating in economics and business studies from the Bocconi University in Milan, Gianluca Pacchioni moved to Paris. There, during the nineties, he was plunged into the Paris art world and was overcome with a passion for sculpting metals. He experimented and learnt in an autodidact manner, in the studio shared with other artists at the Quai de la Gare. A desire to work in tandem with the flexibility, experience and creativity of Italian artists drove Gianluca to then move to Milan where he opened a workshop in a 1930s factory. Since then, the workshop has constantly forged sculptures and limited editions of furniture. The workshop only produces works with experimental and innovative working techniques. In 2014, one of his works was permanently exhibited as a symbol of Italian savoir-faire, at the entrance hall of the Italian Embassy in Paris
Born in the Ivory Coast, Alain Mailland moved to Paris at the age of five where he lived until the end of his studies at the National Art School of Cergy-Pontoise. Following his studies, Alain first worked as a mason and carpenter. It was not until he was twenty-eight that he took his first course in woodturning. Alain created a company specialising in interior woodwork, yet he continued to turn wood as an amateur. However, during the early 1990s Alain slowly changed his focus from wood joining to woodturning, and has since dedicated himself exclusively to this craft. Alain soon developed his own distinctive style and technique, particularly in hollowing. He developed special tools to turn wood flowers, and then used this technique to turn and carve pieces evoking marine life or natural creatures. He also uses techniques such as steam bending, texturing and sandblasting. Alain is an internationally recognised wood turner and his works have been exhibited internationally. His works feature in a number of museums both in France and in the United States.
Being the daughter of an Iranian father and German mother, these cultures have had a strong influence on Siba Sahabi’s life and profession. Her work shows how cultures can influence each other and how cross-cultural exchanges can lead to new expressions, focusing on the influence of the Middle East on Europe. Her designs range from centrepieces such as vases to larger objects such as room dividers. Through experimental application of different materials, such as paper, felt and resin, Siba plays with the perception of surfaces and structures. Felt vases are typical of her design, referencing the potter’s wheel, which has its origins in ancient Mesopotamia. Most of her work is handmade and draws on the uniqueness and imperfection inherent to craftsmanship. Her award-winning work has been exhibited internationally in museums and galleries.
Cabinet-maker Ludwig Vogelgesang draws his inspiration from the raw materials he uses. It triggers the emotion, the desire and the drive to create. Wood is the essence of his work. Every day through his work, he learns more about the power of nature and its nobility. Ludwig is precise in his movements, having repeated them over and over again his gestures are accurate, observed and have been repeated countless times, pursing the most adequate and mastered technique. This experience permits him to work wood and furniture in a controlled manner that remains natural. Ludwig is an internationally recognised artisan who has received numerous awards for the quality of his creative work and restoration of furniture. The French Minister awarded Ludwig the distinction of «Master of Art» in 2010 for Culture and Communication.
Jennifer Hickey is a ceramic artist based in Ireland. She studied ceramics at the National College of Art and Design, Dublin, and has been working primarily with porcelain and bone china for a number of years. She works from a small garden studio in her Dublin home that is a constant source of inspiration. Jennifer has exhibited nationally and internationally. Her work is included in the National Museum of Ireland Collection, The State Art Collection of Ireland, and in numerous public and private collections.
Kevin Grey creates unique silver pieces, using TIG welding techniques to join individual formed pieces of metal. For 25 years, Kevin worked within the luxury automotive industry, handmaking pieces for Rolls Royce, Bentley and the Morgan Motor Company as well as for clients around the world. Kevin then started silver work in 2007 upon commencing a two-year programme at the Birmingham School of Jewellery, followed by a two-year artist residency. His accumulated knowledge has provided him with an approach to silver work that extends beyond and complements silversmith traditions. His creative design process invariably leads to a technical challenge that he enjoys resolving. To do so he draws on his intuitive approach and his ability to stretch, shape and join metal precisely, with extraordinary levels of skill and creativity.
Marik Korus (Marie Claude Korus) draws her inspiration from nature, the sea, architecture and details from her environment that capture her attention. She is continually inspired by the nature in Charente-Maritime, France, where she has lived for more than 15 years. Marik works with porcelain, which she finds offers infinite creative possibilities. At first, earth was simply an attractive medium for Marik, however she then found that by kneading, touching and transforming this material it provoked constant questions until the final firing of the earth. Having started from a discovery of the raw qualities of earth, Marik today seeks to increase its transparency and lightness.
Claire Malet is a metalsmith artisan who works with precious, non-precious and found-metals. The shapes and textures of natural forms and landscapes such as fragments of sea-worn shells and rock formations of battered coastline inspire Claire’s work. She also finds inspiration in the characteristics of the medium, working intuitively and allowing the metal to suggest a direction. Claire is particularly drawn to vessel forms, which she believes are one of the most basic and universal of objects, in daily mundane use and play vital roles at occasions of celebration and honour. Claire works from her studio in rural Herefordshire and exhibits in the UK and internationally including at ‘Collect’ held annually at the Saatchi Gallery, London. She has pieces in several public collections, including the Victoria & Albert Museum, London.
The weaving process is central to Jodie Hatcher’s work and is always what drives her development. She graduated from De Montfort University, Leicester in 2011 in Design Crafts and has since gone on to exhibit her work around the UK and internationally. Jodie has experimented with traditional Japanese metal colouring and heat treatment methods during her new 'Vessel' collection to gain further understanding and control over the beautiful reds and orange colours she desires. Jodie’s intention for all her pieces is to both intrigue and to be questioned by the viewer. In 2015, Jodie was selected as the International artist for the Craft ACT Artist in Residence program in Canberra, Australia and earlier this year exhibited as part of the Masters of Modern exhibition in Munich.
Originally trained as a cabinetmaker, Munich born Ernst Gamperl stumbled on woodturning by chance. Equipped with a book on woodturning he starting training in this craft as an autodidact, unhampered by convention in his approach to turnery. After a few years, by means of patience, exercise and research, he perfected this technique and established his first workshop in 1990. Although Ernst used to prefer working with precious, exotic woods, he has since come to focus on working with European wood varieties like maple, beech, Italian olive tree and principally oak. After three years, he entered the design school in Hildesheim, Germany, and was awarded the title "Meister"(Master). Ernst exhibits his work extensively throughout Europe and internationally. His objects have earned him numerous prizes and are found in museum and private collections worldwide.
Mauro Mori has had the opportunity to meet various cultures and travel to unusual places. This has supplied the ideas on which his research is based. His works are moulded by hand bringing emotional and affective values using natural materials, exalting what nature has created. Solid blocks of natural material, moulded by the traditional subtraction method, form the basis of his works. Mauro often works his sculptures in the place of the material's origin, such as Albizia Rosa of Seychelles or marble worked directly at Carrara. The plasticity of the materials, the relief work and the outstanding craftsmanship are common threads running through all his work. His constant research is also shown by the work on metals, which are tooled in plate form and finished with oxidations and patinas.
Heir to a family tradition and shop founded in 1894, Vincenzo (Enzo) Liverino has kept a precious coral crafting tradition alive. Enzo combines his artisanal expertise with entrepreneurial skills. He was the only Italian at the first world coral convention (Kochi, 1993) and Enzo spent ten years travelling between Naples and Taiwan. It was at this time that he refined the selection criteria for the raw material. Enzo introduced the manufacture of cameos and initiated the importation of Asian coral from Japan and started to export products to foreign countries.
Geir Nustad was born in Tromsø, in the north of Norway. He moved to Kosta, Sweden in 2006 to begin his studies to become a glassblower at the Kosta Glascenter (Kosta Boda) where he was taught the famous Grail technique and from which he graduated in 2009. He continued actively to search for his own expression with glass and the same year Geir started to study in the Glass Department at the Gerrit Rietveld Academie in Amsterdam, Netherlands, and graduated in 2012. He now works from Amsterdam. Through his works, Geir intends to create a bridge between craft, design and fine arts in order to create a deeper connection between the object or sculpture and the spectator. His artistic practice stretches from drawing and painting to creation of objects, sculptures and installations, mainly made of glass.
From her workshop in Basel, Switzerland, Barbara Amstutz creates silver objects for everyday use and liturgical purposes as well as works of art. These works are created in limited series or as one-off pieces. Barbara uses her knowledge of traditional silversmith techniques to produce innovative contemporary objects and takes great pleasure in pursuing ideas and carrying out elaborate designs. The unlimited malleability of silver as well as the wide variety of options for working with this precious metal fascinate her. As well as creating her own works, Barbara restores, repairs and conserves antique silver and other metal objects.
David Huycke is a Belgian silversmith artisan and professor at PXL-MAD School of Arts and at Hasselt University. He studied jewellery design and silversmith work at the Saint-Lucas School of Arts in Antwerp. Since 1993, David has worked as an independent artisan in the field of the sculptural art-objects. In 2010, he finished his PhD in Arts with the project, “The Metamorphic Ornament: Re-Thinking Granulation, a practice-based research on the contemporary artistic relevance of the ancient technique of granulation”. David’s current research focuses on the meaning of material-surface in the contemporary silver object. His work is shown in galleries and museums worldwide and features in permanent collections such as in the Design Museum in Ghent, the Röhsska Museum in Gothenburg, the Indianapolis Museum of Art, the V&A in London and others.
Helena Schepens’ work contrasts a combination of concepts and artisanship. As a silversmith, she very much enjoys the process of raising three-dimensional volume from flat metal sheets, feeling the form develop in her hands. Helena studied Jewellery & Silversmithing at the Royal Academy of Fine Arts Antwerp (BA & MA, 2000-2004) and at the Royal College of Art in London (MA, 2004-2006). In 2007, she created her own studio in Antwerp. Her vessels create a refined pattern of openings producing an effect of light and shadow on the surface. She often derives the themes of her work from nature, such as the microscopic organisms that live in water, called diatoms. Their beautiful patterns became an endless source of inspiration for her silverwork.
Frédérique Petit has explored many art forms ranging from, piano, choir, and decoration to metalwork, but there is one common denominator to these: thread. Thread as weft or as chain, as a palette of colours or as architecture, from thin almost invisible silk thread to her later works that use iron rods. Frédérique discovered and learnt how to weave through self-learning and observing primitive looms at the Musée de l'Homme. She dedicated a good part of her career to the creation of tapestries, but in 2004, an ardent desire to explore other crafts pushed her to experiment with different materials. Paradoxically though, she uses her experience gained while making tapestries to weave her new materials. To Frédérique, a deep technical knowhow of the medium she uses is indispensable, however once mastered she strives to go push limits of her knowhow through the innovation of techniques.
Venetian-born Andrea Zilio joined the Anfora glassworks on the island of Serenella (Murano) when he was 19. His brother-in-law Renzo Ferro’s father Giulio taught Andrea the craft. Andrea’s taste for replicating historical blown-glass vessels enabled him to gradually create objects of his own design, for which he mastered the most complex traditional techniques, including reticello, incalmo, zanfirico and sommerso. Mastering traditional techniques provided Andrea with the knowhow to create innovative contemporary objects of his own design based on a rich glassblowing heritage. Quickly, Andrea’s passion for this craft led him to obtain the status of primo maestro (first teacher) at the Glass School Abate Zanetti, in Murano. Andrea taught at the Pilchuck Glass School in Seattle, Washington and was a member of the Abate Zanetti School of Glass in Murano.
After high school, Emanuele Bevilacqua worked for a while as an architectural draftsman. However, since he grew up in a family that has been weaving brocades, velvets and damasks for three centuries, it was not long before he followed the family tradition. Emanuele creates classical designs for fabrics used in interior decoration. Following a complex mathematical process, he makes perforated cartoons of the weaving patterns. Inspiration comes naturally, given his familiarity with the company’s 3,500-piece archive.
Francesca Merciari graduated from the Accademia di Belle Arti di Ravenna. In 2003, while completing a two-year specialisation course in Bolzano, Francesca fell in love with glassmaking. In 2009, she moved to Venice, where she took a degree in visual and performing arts at the IUAV University. Thanks to her training in different glassworks in Murano, Merciari was able to integrate her historical and theoretical knowledge with practical and technical skills. Since 2017, she has been teaching glass fusion and art history to teenagers at the Abate Zanetti School of Glass.
Lucia Costantini was born into a world of merletto lacemaking in Burano. Practised by women in her family and neighbourhood as a passion rather than profession, she grew up immersed in this craft. The neighbourhood would convene in small Venetian piazzas to work on lace together. Aged 11, Lucia started to attend a lace school run by nuns after which she followed a Veneto region training course. Passionate about innovation, Lucia goes beyond the traditional limits of lacemaking by combining traditional lacework patterns and techniques with her own pioneering methods, experimenting with materials beyond white cotton such as metal or polychrome fabrics. Lucia has taught in Italy and throughout the world and has been the recipient of multiple prizes both in Italy and abroad.
When Sergio Boldrin grew up there were no mask shops in Venice. Making masks in papier-mâché became an exceptional way for Sergio to participate in a reborn interest in the craft. Sergio is also an accomplished expressionist painter who has featured work at the Biennale. His hardy Teutonic style allows him to balance his feeling about terrorism, predatory tourism and plastic masks from China with the joy and merriment of masquerade.
Master goldsmith Giampaolo Babetto studied at the Pietro Selvatico Art Institute in Padua and then at the Academy of Belles Artes in Venice. Giampaolo began working as a goldsmith and experimenting with metal arts in 1969. Since then he has exhibited his jewellery and metalwork internationally. Giampaolo does not wish to reflect outward appearances through his work but rather the inwardness or essence of objects. This has driven him to work with geometric forms, creating works that reflect a minimalist, architectural to figurative range of styles. To achieve distinctive colours and delicate textures, he personally prepares a metal alloy of his creation. He textures the surfaces by beating and often scratching the gold. He has taught in many international art schools. His work has been exhibited around the world and features in the collections of the Pforzheim Jewellery Museum in Germany and the Victoria and Albert Museum in London. Babetto explores a modernistic aesthetic.
Master ceramicist Mario Bertolin began learning the family craft of pottery at age 13. He joined the company at a young age and now specialises in the turning of unglazed, fired biscotto (biscuit earthenware) objects on a potter’s wheel. Mario enjoys being a ceramist and takes great pride in his work. He also creates special pieces, often working with well-known designers, artists and art galleries
Giovanni Battista Fadigati has managed Este Ceramiche Porcellane since 1975. His two children have already joined him in the workshops. Giovanni’s father, Giovanni Battista Giorgini, a man known in fashion circles, had fallen in love with the workshop on a drive through the countryside and bought it in 1955. He expanded sales by combining traditional elements with fashionable decorations. Today, Fadigati focuses on the same endeavour: innovation that embraces the past.
A chance encounter with the trade kindled an early passion in Silvio Antiga for typography. Following an apprenticeship in a printing house in Montebelluna, Silvio opened Grafiche Antiga printing company in 1968. When change came to typography in the form of digital technology, Silvio remained fond of moveable type. He wrote and sent numerous letters throughout Italy in order to find and collect disused characters from attics and typographers. Then his fondness turned into a mission, and in 1995 he founded Tipoteca Italiana. Its 2,300 square metres feature a functioning print shop where visitors and schools can discover the art of letterpress. Exhibitions and talks held here revive the knowledge of printing and make it pertinent to contemporary times.
Master cabinetmaker Giorgio Morelato lends his name to the family company specialised in perfectly crafted furniture. While the Morelatos are attached to local traditions they are also eager to appeal to contemporary tastes. Giorgio Morelato is the president of the woodcraft-promoting Aldo Morelato Foundation, housed in the stunning Villa Dionisi.
Mario Berta Battiloro was founded in 1969 with the aim of continuing a family trade that began in 1926. The small atelier is run by Marino Menegazzo, one of the last artisans in Europe able to turn an ingot into gold leaf.
Gianpaolo Fallani runs the artistic screen-printing studio founded by his father Fiorenzo in 1968, in Venice. When he joined the business, it specialised in photolithography, a process that transforms photographs and slides into typographically printed images. Since then, Gianpaolo has worked with many artists, organising residencies and workshops.
Elisabetta Bocchese is in charge of creative operations at Maglificio Miles, a high-quality knitwear producer founded by her parents in 1962. Elisabetta makes sure that fashion designers’ ideas are executed to the highest possible standard, a task that combines specialised pattern makers, skilled tailors who work by hand, and digital programmers of advanced knitting machines.
Super Wide Interdisciplinary New Explorers (aka Studio Swine) is a collaboration between the Japanese architect Azusa Murakami and the British artist Alexander Groves, a couple who explore regional identity and the future of resources in their work. Studio Swine’s films have been awarded at Cannes and other film festivals, and its work exhibited at the Victoria and Albert Museum in London, Centre Pompidou in Paris and the Venice Art Biennale. In 2017, the installation New Springs was shown in Milan (where it won a Salone award for engagement) and in Miami as an interactive feature for visitors: an artificial tree blossoming with scented, mist-filled bubbles.
Philippe Tabet studied industrial design in France. He worked in Paris for a global design agency, and then moved in Milan where he worked for a furniture and product design studio. He opened his own studio in Milan in 2013. In 2014, he was awarded first place in the Infiniti Design Contest for his Ruelle brasserie chair made in aluminium and wood, combining modernity and tradition. He won first prize in the 2017 Young & Design contest with his Tool stool, made in rotation-moulded plastic by the Italian brand Plust, the result of a broader aim to reduce the volume of objects to a minimum.
Pepa Reverter graduated in printmaking from Escola Llotja in Barcelona, followed by a Bachelor's degree in sculpture at Barcelona University, Faculty of Fine Arts, and then a Master’s degree in video and TV production at the Universitat Politècnica. She now works from her studio in Poblenou, Barcelona’s art district. She loves working with clay, working on such projects as the design of the Sisters Collection of female heads in ceramics for the Italian company Bosa, and works with BD Barcelona.
Kiki van Eijk graduated from the Design Academy in Eindhoven, Netherlands, in 2000. Kiki now works in Eindhoven with her husband Joost van Bleiswijk. She enjoys a mix of industry and craft-driven projects that originate in experiments she conducts using her hands, a process she calls “tinkering”. Her approach begins with a concept and is developed as a story, based on her fondness for narrative objects. In 2016, she was one of five designers including Alessandro Mendini to create new glass and wood surfaces for the Bisazza mosaic producer. In 2017, two new rugs she designed for the Italian company Nodus were displayed at the TextielMuseum in Tilburg.
Born in Turin, Giampiero Bodino first studied architecture. However, his career swerved toward design when he met automobile designer Giorgetto Giugiaro. After a stint designing cars himself, he moved to Rome to learn jewellery design with Gianni Bulgari. Ten years later, he met Franco Cologni and moved to Milan to open a design studio. Collaborations with Richemont brought him to work exclusively for the Swiss luxury group in 2000, becoming its art director in 2002. Since 2013, he has been designing high-end jewellery under his own name, making classically Italian, unique items with precious gems in unusual colour combinations. His studio and showroom are at the Villa Mozart in Milan.
Serena Confalonieri graduated in interior design from the Milan Polytechnic in 2006. After working for architecture and design firms in Barcelona and Berlin, she opened her own studio in Milan in 2011. With a special interest in bold, textured surfaces, she creates products, graphics, textiles and interiors. In 2016, thanks to a professional scholarship, she spent six months in New York working in a textile company as well as taking hand-weaving and rug-knotting classes. Her Masai collection of colourful ceramic vases with faux leather trim was presented at Fuorisalone in the Brera district during the 2017 Milan Salone del Mobile.
Erik Spiekermann is a German printer, type designer and writer. He runs p98a, an experimental gallery and letterpress shop in Berlin. Two of his typefaces, FF Meta and ITC Officina, are considered modern classics. He is an honorary professor at the University of the Arts Bremen and the ArtCenter College of Design in Pasadena, California. In 2007 he was elected a Royal Designer for Industry by the British Royal Society of Arts. In 2011, he received the German National Design Award for Lifetime Achievement. He has written books about typography and has had a column in Blueprint magazine since 2008. Hello I am Erik, about his life and work, was published in 2014.
David Raffoul and Nicolas Moussallem met and studied design at the Académie Libanaise des Beaux-Arts, and set up david/nicolas in Beirut in 2011. The duo’s retro-futuristic aesthetic combines geometry, antique furniture and mechanics, creating furniture both antique and contemporary in design. In 2014, The New York Times named them one of three breakout stars of the Milan Salone del Mobile. In 2015, Nilufar gallery in Milan started to feature their tables, chairs and sofas. The duo are represented by Carpenters Workshop Gallery in Paris, which exhibits their limited-edition pieces. In 2018, their marble Triangoli vases received the Wallpaper* Design Award.
Swiss-born Laetitia de Allegri and Uruguayan-born Matteo Fogale met in 2010 while working at Barber & Osgerby in London, the city in which they would jointly open their studio. Laetitia and Matteo like to combine industry and craftsmanship using honest, unconventional materials that promote functionality and longevity. In 2014, their “Ish” collection of furniture made out of reclaimed post-industrial waste was awarded a Wallpaper* Design Award. In 2017, they presented the Nereidi collection of glass vases hand-blown by Salviati. The same year, their mausoleum of Giallo di Siena and Noir Doré marble for the Tuscan stone company Casone was shown in the Brera district during the Milan Salone del Mobile.
The American designer Ini Archibong recently graduated from the École Cantonal d’Art Lausanne Master’s degree in Design for Luxury and Craftsmanship. In Switzerland, he discovered traditional crafts, attention to detail and skills in luxury-goods production. This, together with the Swiss way of life, prompted him to settle in Neuchâtel, where he works independently. His interests include architecture, engineering, environmental and product design as well as mathematics, philosophy and world religions.
Nathalie Du Pasquier was born in Bordeaux and has lived in Milan since 1979. Until 1986, she worked as a designer and was a founding member of Memphis, the design group united by Ettore Sottsass. She designed decorated surfaces: textiles, carpets, plastic laminates, as well as some furniture. In 1987, she started to dedicate herself to painting. Nathalie paints still life and geometric abstracts with flat colours. She also builds and paints furniture-size structures that are sometimes walk-in rooms. Five monographs of her work have been published, the most recent of which is From Some Paintings, conceived and designed by Nathalie for the exhibition held at La Loge in Brussels in 2017.
Architect and designer India Mahdavi is based in Paris. Her studio, created in 2000, is known for the diversity of its international projects that explore the fields of architecture, interior design, scenography, furniture and object design. India has created a unique environment combining a modern sense of comfort and elegance with colour and humour, a cross-cultured art de vivre. India was appointed Officier des Arts et des Lettres by the French government in 2015. In 2014, 2017 and 2018, she featured on the AD100 list of talents compiled by Architectural Digest.
Inma Bermúdez was born in Murcia, Spain, and studied industrial design at the Cardenal Herrera University in Valencia and then at the School of Design in Pforzheim, Germany. In 2007, she founded her studio in Valencia and was joined in 2009 by designer Moritz Krefter. She works for numerous European companies on a range of designs spanning tableware, lighting and decorative figurines. Inma develops classical as well as contemporary products. Both partners complement their work at the studio with teaching at design schools. Inma worked at the Vitra Design Museum workshops held at Boisbuchet in Southwestern France, and was nominated by Architectural Digest a Designer of the Year 2016.
Emmanuel Joussot follows in his family's footsteps by cabinetmaking. He creates high-end contemporary furniture as well as panelling, antique furniture and gilded wood. He works closely with designers and interior decorators to create interior layouts and single pieces or limited series.
Éric Benqué's designs question the relationship between objects and the space intended for them as well as the position of humans in his designs. This has led him to work alongside artisans in luxurious urban settings and rural areas in France as well as remote settings in African and India. Éric regularly works alongside architects who help him put a special emphasis on spatial dimensions in his designs. Éric graduated from the École Nationale Supérieure de Création Industrielle and specialises in the design of furniture, exhibitions and high-quality spaces.
Antonio Licitra grew up in a small town in Sicily. As such, he draws much inspiration from the sea, nature and mythology. Between 2011 and 2014 Antonio studied sculpture at the Scuola dell'Arte della Medaglia - Istituto Poligrafico e Zecca dello Stato, in the field of craftsmanship and design. He went on to complete a Master's in Advanced Goldsmithing and Jewellery Design at the Scuola Arti Ornamentali in Rome and a postgraduate degree with the Creative Academy in 2017. Antonio now works as a high jewellery junior designer for Giampiero Bodino S.R.L. Antonio aims to give movement, depth and life to each jewel; to do so, he uses life experiences.
Andrea Di Giuseppe completed a degree at the Academy of Fine Arts of Rome in 2013, then went on to complete a Master’s at the Istituto Poligrafico e Zecca dello Stato Scuola dell'Arte della Medaglia in the field of Design and Applied Arts between 2013 and 2016. In 2017, he was one of 20 students to follow a postgraduate degree with the Creative Academy. Following his studies, Andrea undertook an internship as a watch designer at Jaeger-LeCoultre in Switzerland.
Catherine Ferreira graduated with a BA in Metal and Jewellery Arts in 2013 and with a MA in Jewellery Design in 2015 from the Stellenbosch University, following which she undertook a postgraduate degree at the Creative Academy. Catherine now works as a graphic designer in South Africa for House of JD.
Iryna Kharchenko graduated with a Master’s degree in Architecture from Kyiv National University of Construction and Architecture, Ukraine, in 2014. She then undertook a postgraduate degree at the Creative Academy and an internship with Cartier as a junior designer.
Maria Grossman studied jewellery and accessories design at 'Shenkar – Engineering. Design. Art' in Israel between 2011 and 2016. In 2017, Maria was one of 20 students to follow a postgraduate degree with the Creative Academy. She continued as a design intern at Lancel.
Research and innovation complement Giordano Viganò’s irreplaceable technical knowledge of cabinetmaking ingrained over fifty years to create finely finished masterpieces. Giordano couples wood with other materials such as glass, silver and bone, thus combining traditional techniques and innovation. The aesthetic value of each piece is guaranteed by the careful selection and combination of precious materials. Giordano does not wish to produce pretentious or spectacular pieces but rather to accentuate the pure beauty of the minute details within the meticulous finishing of his works.
Andrea Tan studied at the University of Arts, London between 2012 and 2016. In 2017, she attended the postgraduate programme at the Creative Academy along with 20 other students. Following this, she worked as a junior designer for Montblanc.
Guillaume Graff studied Transportation Design Management at the Institut Supérieur de Design Valenciennes in France between 2007 and 2012. After working as a freelance designer for a number of years, Guillaume completed a postgraduate degree at the Creative Academy in 2017. He then worked as a watch designer for IWC.
Following his studies in the field of decoration at the Academy of Fine Arts in Rome, Eugenio Sciarra studied at the Scuola dell' Arte della Medaglia, Istituto Poligrafico e Zecca dello Stato between 2010 and 2013. He then completed a postgraduate degree at the Creative Academy in 2017. Before starting work as a freelance designer, Eugenio completed an internship with Vacheron Constantin in Switzerland.
Elizabeth Lee is a jewellery designer born and based in London. She studied at Central Saint Martins before completing a Masters course at the Royal College of Art, London and subsequently at the Creative Academy in Milan. Elizabeth is drawn to objects that span across different disciplines whilst retaining a sense of craftsmanship. In addition, her particular interests lie in the ethereal and romantic qualities of light, which she finds captures the essence and nature of objects in an emotional and engaging way. This can be seen in her graduate collection, Digital Interlude, consisting of a million hand cut hexagons in thin sheets of printed acetate. The collection looked into the idea of a virtual and elusive space enveloping the body and playing on the idea of light jewellery.
Born in 1994, Giulia Maria Vavassori grew up in Italy. She has always been passionate about art and design. After studying in Como, Giulia continued her studies between 2013 and 2016 at the Milan Polytechnic Faculty of Fashion Design where in the third year she specialised in design of accessories and jewellery. Following her BA, Giulia undertook a postgraduate degree at the Creative Academy. Subsequently she worked as a designer for Chloé and now as a freelance accessory designer.
Architect by training, Ugo La Pietra is an artist, designer, architect, filmmaker, editor, musician, cartoonist and teacher. Originally born in Bussi sul Tirino, in Abruzzo, Italy, Ugo was raised in Milan. In an era characterised by machines and mass production, Ugo has dedicated his career to rediscovering age-old artisanal techniques. Ugo has exhibited his works both in Italy and internationally and curated numerous exhibitions including those at the Triennale di Milano, the Venice Biennale, the Musée d’art contemporain de Lyon, the FRAC Centre in Orléans and the International Museum of Ceramics in Faenza.
Designer Martine Bedin was born in Bordeaux, France in 1957. She designs work in numerous materials such as marble, wood, metal and ceramics. Martine is one of the founders of the Memphis group, founded in Milan In 1981. She has worked on numerous projects and collaborated with architects, industrial designers and professors. Her works can be found in a number of museums and collections both in France and around the world.
Alfredo Häberli was born in Buenos Aires, Argentina, in 1964. He moved to Switzerland in 1977 and in 1991 graduated in industrial design from the Höhere Schule für Gestaltung in Zurich. Alfredo is now based in Zurich and is an internationally recognised designer, having worked with such companies as Alias, BD Barcelona, BMW, Camper, FSB, Georg Jensen, Iittala, Kvadrat, Luceplan, Moroso, Schiffini and Vitra. His designs unite tradition with innovation, joy and energy. Alfredo Häberli’s work and designs have been displayed in numerous exhibitions throughout Europe and his work has received numerous awards in Europe over the past 20 years.
Born in 1932, Ingo Maurer first trained as a typographer and subsequently studied graphic design in Switzerland and in Munich. Here, he set up his own company in the 1960s, Design M, to make and market his own designs, the first of which was the celebrated "Bulb", a bulb within a bulb. "Bulb" won a place in the MoMA design collection as early as 1969. In the 1960s and 1970s, Ingo made a name for himself with unusual designs and appearances at trade fairs. Ingo designs lamps, lighting systems and objects and has increasingly exploited the aesthetic effects of LEDs since the 1990s. In 2010, Ingo received the Design Award of the Federal Republic of Germany, followed by the Compasso d‘Oro for lifetime achievement, awarded by the ADI (Italian Association for Industrial Design) in 2011 and the Kulturpreis Bayern, awarded by the Bavarian Ministry of Education, Culture, Science and Art in 2015.
Born in Barcelona in 1941, Oscar Tusquets Blanca graduated as an architect in 1965 from the Escuela Técnica Superior de Arquitectura in Barcelona. Oscar was a founding member of Studio Per, and until 1984 worked on numerous projects with Lluís Clotet. In 1975 he worked on the Mae West Room in the Figueres Teatro-Museo with Salvador Dali. He later became a founding member of BD Barcelona Design and initiated a career as a furniture and object designer. He has worked with international producers such as Alessi, Driade, Forwerk, Ritzenhoff, Quartett Casas and Nani Marquina, and his work features in museums such as the MOMA in New York and the George Pompidou Centre in Paris.
Marcel Wanders is a leading product and interior design studio in Amsterdam under the creative leadership and direction of Marcel Wanders and with the support of creative director Gabriele Chiave. The studio’s work excites, provokes and polarises as it seeks to bring a human touch back to design. The studio employs 52 design and communication experts. Over 1,900 of the studio’s products and interior design experiences can be found around the world, made for private clients as well as brands such as Alessi, Baccarat, Christofle, KLM and the Hyatt Hotels Corporation. The studio’s works are featured in numerous museums and galleries such as the Centre Pompidou in Paris and the Stedelijk Museum, Amsterdam.
Pola Dwurnik works with oil paints, various drawing medium and collage. Her paintings aim to capture the strength of expression of figurative representation, attempting to portray the identity caught between inner emotions and outer expressions. On top of producing art, Pola experiments with innovative concepts of curating art exhibitions. She has launched a number of exhibitions and art series. Her work is found in museums in Poland as well as private collections around the world.
Warsaw-born Piotr Sierakowski graduated from the National School of Visual Arts La Cambre in Brussels in 1981. At first, his research focused on mobile lighting and its integration into architecture. In 1982, he became an artistic director for Koch & Lowy in New York, specialising in the production of lighting, furniture and accessories. During the 80s, he expanded the scope of his business to include interior design. In 1992, Piotr moved to Bordeaux, France. During this time, his work moved away from industrial design and towards the creation of unique pieces that he made himself in his studio. Between 1994 and 2001, he managed the "object" workshop at the École des Beaux Arts (School of Fine Arts) in Bordeaux. Since 2006, he has settled in Paris where he creates pieces in wood, stainless steel and marble.
Enno Lehmann was born in 1958. His parents Peter Lehmann and Angelika Lehmann were both sculptors. Enno first undertook four years of studies at an agricultural college and subsequently studied at the Academy of Fine Arts in Munich. Since 1992 Enno has worked as an independent artist exhibiting his works individually in Munich, Freising, Amberg and Worpswede. In 2005 he became a member of the artist group "Buchet 8" and exhibits works with Heike Bildhauer-Lehmann. In 1995, Enno created a company "Colours and Effects" later "Colour" to develop, manufacture and use colour materials. It was while working with “Kremer Pigment” in the late 1990s that Enno came into contact with Ingo Maurer who was looking for a technically useful colour to represent the appearance of dry pigments. Enno has taught at the State Academy of Fine Arts in Stuttgart since 2009.
Spanish artist-designer Jaime Hayon (1974) studied industrial design in Madrid and Paris. He joined the Fabrica design and communication research centre in Treviso, Italy in 1997, where he headed the design department until 2003. He then set up his own design studio and is now an internationally acclaimed designer. His knowledge of the artistic crafts has enabled him to push the boundaries of many media, resulting in numerous and varied collaborations with traditional companies such as Baccarat, Choemon, Bosa and Lladró, collaborations that emphasise and embody his dedication to the preservation and transmission of artistic craft skills.
Riihimäen Lasi Oy was a glassware company based in Riihimäki, Finland and established in 1910. The factory began by producing domestic glass and glass containers and then diversified to making also glass bottles and windows. The factory worked alongside many acclaimed designers such as Gunnel Nyman, Greta-Lisa Jäderholm-Snellman and Aimo Okkolin, producing basic to high-quality glassware and, later, cut glass. After merging with Kaukalahti in 1927, the company became the largest glass factory in Finland. The name was officially changed from Riihimäen to Riihimäen Lasi Oy in 1937. The company changed owners a number of times before closing its doors in 1990.
Tapio Wirkkala (1915-1985) was a Finnish designer and sculptor. His range of designs was immense, from glassware and jewellery to furniture and even a Finnish banknote introduced in 1955. As well as designs for mass production, Wirkkala created individual sculptures in a number of media. He gained international recognition after his success at the 1951 and 1955 Milan Triennale. Wirkkala worked with a number of internationally recognised brands, including Levi’s design studio in New York, the German porcelain manufacturer Rosenthal and Murano glass manufacturer Venini.
Originally a glassworks company founded in 1881, Iittala has grown to become one of Finland's leading brands, working alongside designers at the forefront of Scandinavian design, such as Kaj Franck and Alvar Aalto. The company specialises in tableware and cookware and has a rich heritage of glassware designs. The company has diversified from glass to other materials such as ceramics and metal.
Royal Boch - Keramis is an earthenware company in La Louvière, Belgium. The company was founded in 1841 and marketed its products under the name Keramis. The company saw rapid success, growing from 250 workers in 1893 to almost 1,000 in 1900, reaching a peak of 1,350 by 1936. The company hired Charles Catteau as a designer in 1906 and appointed him head of the decoration department a year later, when he was only 27. He renamed the department the Fantasy Workshop in 1920. The company changed names and owners a number of times.
Scailmont was a Belgian glassworks company established in Manage in 1901 by H.R. Hirsch. In 1924, the company opened a department specialising in non-crystal decorative glass headed by Henri Heemskerk and directed by Charles Catteau. The two became the company’s most distinguished designers. The company went through a period of great success in the 1920s and 1930s, employing over 800 people at its peak. It merged with Durobor in 1976, taking the name Hainaut and later Vereno. Scailmont is associated in particular with satin-finished glass in the Art Deco style.
Henri Bergé (1870-1937) was a French decorator and illustrator known for his work in the Art Nouveau style. He studied at the Ecole Municipale des Beaux-Arts (School of Fine Arts) in Nancy, France. Bergé designed numerous stained glass windows and other glassworks, but he is mainly known for his important contribution to the creation of publicity designs.
Hanna Krüger was born in Berlin in 1979 . She studied at the Kunsthochschule (Academy of Fine Art) in Kassel, Germany, between 2005 and 2011. She is a product designer, focusing mainly on furniture and exhibition architecture. She opened her own design studio, Studio Hanna, in 2011. Her unique conceptual works have been exhibited in museums and galleries both in Germany and internationally.
Peter Behrens( (1868-1940) was a German architect and designer, and an important figure in the Modernist movement, working on projects with architects such as Le Corbusier and Walter Gropius. He started out by studying painting, to which he dedicated the early years of his career. In 1899, Behrens was the second person to build a house in the Darmstadt Artists' Colony. This was a defining moment for Behrens as an architect. The move away from Munich signalled a progressive distancing from the Jugendstil (Art Nouveau) movement towards a more sober and austere style of design. Behrens worked with numerous academic institutions and companies both within his native Germany and abroad.
Fusions SARL started as a foundry installed in David de Gourcuff’s garage. A few years later, this had developed into a factory with more than thirty artisans. The foundry in the Puy de Dôme department in France gives life to works designed and commissioned by national and international artists and designers.
Saddler Jean-Paul Mahé graduated from a technical university with a degree in mechanical engineering, training in sewing techniques and leatherwork. For this combined project, Jean-Paul uses foam and mesh fabric to create the piece, adapting methods acquired in sewing workshops and tanneries.
Seat carpenter Maurice Barnabé studied at the École Boulle, Paris, where he obtained a certificate of professional aptitude in upholstery. He joined the Maison Siegeair in 1983 and became the head of the carpentry workshop in 2006. For this project, Maurice makes raw wood elements for furniture.
Bernadette N'Guyen works as a cutter and tailor at Maison Siegeair. She graduated with a certificate of professional aptitude in sewing in 1980. For this project, Bernadette assembles the different parts made of leather and fabric.
Austrian born Robert Stadler studied design at the IED Milan and at the ENSCI, Paris. In 1992, he cofounded the Radi Designers group , which stayed active until 2008. The group produced commissioned pieces for Galerie Kreo and major industrial commissions such as the meal set for Air France. In 2001, Robert set up his own design studio that produces works for numerous names in the luxury industry and limited edition designs for carpenters. His works are to be found in a number of museums such as the MAK in Vienna, and he has himself curated several exhibitions. Robert’s designs question objects' identities and explore the exhibition space to distort the usually defined categories of art and design.
Dominique Pouchain is a bronze and ceramic worker. He carried out his apprenticeship in the family workshop. He started to explore sculptural works in 1981, and since 1985 has exhibited his works. He has produced sixty works with Guillaume Bardet.
Born in Wisconsin, United States, Raelyn Larson finished her Bachelor of Fine Arts at the University of Wisconsin in 1993. In 1994, she moved to Paris, France, and then to the Drôme region in 1997. She here met Guillaume Bardet and has produced a dozen works of his.
An artisan's daughter, Séverine Dufust studied at the fine arts school in Cherbourg. In 2005, she obtained an aptitude certificate in ceramic turning and continued her professional training in 2010 at a ceramic house in Dieulefit. Séverine has produced sixty pieces for designer Guillaume Bardet.
Jean Dufour started working in a workshop from the age of sixteen. He received his professional diploma in ceramic art in 2004 and a diploma from the Maison de la Céramique in Dieulefit, France in 2011. He has produced twenty pieces for Guillaume Bardet.
Zélie Rouby received her professional diploma in ceramics turning in 2004 and a professional diploma in ceramics from the Maison de la Céramique in Dieulefit, France in 2008. She has produced sixty pieces for Guillaume Bardet.
Born in 1988, Quentin Marais arrived in Dieulefit in 1989. He graduated with a professional aptitude diploma in ceramics from the same city in 2009. For Guillaume Bardet he interpreted two ceramic works.
Born in 1971 in Rouen, Guillaume Bardet moved to Paris at the age of 15. He competed his studies at the École Nationale Supérieure des Arts Décoratifs, Paris, in 1999 and worked with Jean-Marie Massaud until 2001. Since then, he has worked independently for a number of European companies. Guillaume develops innovative designs for home furnishings including intensive studies related to lighting. He has also developed his activity as an interior designer. Since 2005, he has taught in the ateliers of the École Nationale Supérieure de Création Industrielle. In 2009, he moved with his family to Dieulefit in the Drôme region.
Emmanuelle Dupont graduated in 2005 from the École supèrieure des arts appliqués Duperré (ESAA, Paris) in textiles and lacework. She developed her own style of lacework, giving this medium an artistic status of its own. She defines herself as a painter and sculpture who uses lace as her primary material, exploring visual and tactile elements of lacework. Her work uses traditional stitches while developing new, innovative pieces. Her subjects revolve around the animal kingdom and vegetation. She produces work for brands in the luxury industry such as Valentino, and has worked on numerous projects including the creation of jewellery.
Named Master of Art in 2002 by the French Ministry of Culture, Roland Daraspe is an essential goldsmith reference in France. He first trained as a boilermaker and later as a naval aviation mechanic. For a while, he was interested in glasswork, but came back to metalwork. He produces works for tableware and decoration. He approaches goldsmith work in an innovative manner, reinterpreting traditional methods of working precious metals as well as creating new gestures. His creative process also involves drawings. His works can be found in numerous collections and galleries in France and around the world. Roland is eager to pass on his knowledge, and has over the years taken on a number of trainees and apprentices.
Florent Rousseau is a graduate of both the Union Centrale des Arts Décoratifs (UCAD, Paris) in binding, gilding and decoration, and the Estienne School (Graduate School of Arts and Graphic Industries) Paris, in binding and decoration. Florent undertook an apprenticeship in leathers and skins in the family workshops les établissements Jullien in Paris. In 1988, he opened a small workshop in the same city and worked to bringing bookbinding techniques from the Middle East to the Western European book market. He has experimented with numerous materials and techniques focusing on transforming paper and leather. Adamant in his desire to pass on his knowledge, Florent taught techniques of bookbinding and decoration and founded the APPAR (Association Pour la Promotion des Arts de la Reliure) in the mid-1990s, to teach both amateurs and professionals.
Sarah Sjøgreen worked on tall ships around the world for many years and felt an interest in learning more about the crafts behind these magnificent ships. So, when she was lucky enough to get the chance to become a rope-maker, she took it and has not looked back since. Sarah believes her hands to be her most vital tools and that quality is the most important feature in their production of rope. She gets great satisfaction from taking part in every step of the rope-making process and seeing the final result come to life.
Founded in 1759, Josiah Wedgwood and Sons, commonly known as Wedgwood, is an emblematic British china manufacturer. The company was created by Josiah Wedgwood and rapidly became one of the most important china manufacturers in Europe. From the outset, Wedgwood has been at the forefront of technical innovation and design, creating new forms of earthenware such as Queen’s Ware and Jasperware. The company continues to be a leader in china design and production, drawing from its rich heritage to produce traditional china designs while setting trends in contemporary design.
The Koninklijke Porceleyne Fles, more commonly known as Royal Delft, is the last of the 32 earthenware factories established in the Dutch town of Delft in the 17th century. The company was created in 1653 by David Anthonisz van der Pieth, who converted his house into a factory. The company changed hands soon afterwards. Then, owing to a sudden drop in availability in Europe of chinaware imported from China, Delft earthenware rapidly grew in popularity. The rise of another earthenware producer in Europe was likely the cause of the decline of Delft ceramics in the 19th century, and Royal Delft is the only factory that is still active today.
Bing & Grøndahl was a Danish porcelain manufacturer founded in 1853. The tree towers that make up the manufacturer's trademark stamp originate from the Copenhagen coat of arms. The company’s emblematic dinnerware series with a seagull motif, created in 1952 by designer Fanny Garde, became known as the national service of Denmark in the 1950s, when a census discovered that one in ten Danish households owned one or several pieces of this collection. In 1987, the company merged with the Royal Porcelain Factory under the name Royal Copenhagen.
Andries Dirk Copier (1901-1991) was born in Leerdam, Netherlands, the son of a glass blower at the local glass factory. Copier joined the factory at the age of 13 as an apprentice in the etching department. From 1917 to 1919, he studied typography at the technical college in Utrecht and subsequently attended the Rotterdam Arts Academy. In 1923, Copier was appointed designer of the Leerdam glass factory's advertising and publishing activities and also started designing glassware, including his “Unica” (one-off) pieces. He also created designs for the textile and ceramics industries. In 1940, he founded the Glass School in Leerdam, which he also directed. Although the original aim of the school was to train employees of the glassworks, it expanded to include students of decorative arts and, later, artists as well. Copier was also director of the School of Applied Arts in Amsterdam.
Royal Leerdam Crystal was founded in 1765 in Leerdam, Netherlands as a bottle manufacturer, expanding over time to produce high-quality glass tableware. At one time, it was the glassblowing department of [bGlasfabriek Leerdam. Numerous designers have contributed to the company's output throughout its rich history, including Andries Dirk Copier, Floris Meydam and Willem Heesen. In 2003, Royal Leerdam merged with Libbey, the second largest glassware producer worldwide.
Emile Gallé (1846-1904) was a French master glassworker recognised as a major exponent of the French Art Nouveau style. His father was a successful ceramics and decorative glass maker who had his own factory in Nancy. After studying drawing, philosophy and botany, Gallé went on to study glasswork in Meisenthal, before joining his father in his factory. His first creations were of their time, using enamel to decorate glass, but he soon developed his own style, working with opaque glass that he would carve out, often into plant-based motifs, using multi-coloured or cameo glass. His career received a sharp boost in 1878 when his work was highly acclaimed at an exhibition in Paris. A decade later, he had gained international fame. Gallé distinguished himself as a leader of the emerging Art Nouveau style and is considered as the driving force behind the movement in Nancy.
Jacques-Emile Ruhlmann (1879-1933) was a French interior and furniture designer and a leading exponent of the French Art Deco style. Ruhlmann was born in Paris to parents who worked in the decorating business. However, it was not until he had completed his military service that he began to take an interest in the subject, designing and creating furniture from home as a self-taught artist. When his father died in 1907, he took over management of the family business. His increasingly Art Deco designs were heavily influenced by those of the 18th century. In 1919, Ruhlmann created Ruhlmann et Laurent with Pierre Laurent, specialising in the design and production of luxury home goods such as furniture, wallpaper and lighting made from exotic and precious materials.
The Manufacture nationale de Sèvres is a leading European porcelain manufacturer. Since its creation in 1740, the factory has been closely linked to the the French political order. It was established with the support of Louis XV in order to compete with the porcelain manufactories in Chantilly and Meissen. The company then came under imperial and subsequently national management. It still produces works in accordance with its origins, that is, ceramic works using artisanal techniques. It reproduces iconic pieces using its rich collection of moulds, as well as contemporary pieces. The ceramics are produced both for state needs and for commercial purposes.
French-born artist and designer Pierre Charpin graduated from the Fine Art School of Bourges in 1984. Since the early 1990s, he has dedicated himself to furniture and object design. His practice revolves around experimental and research projects, working with the support of numerous institutions, including the Centre International de Recherche sur le Verre et les Arts Plastiques. Following his first solo exhibition in 1999, Charpin began producing limited series. He has also taught at the École Supérieure d’Art et de Design de Reims and at the industrial design department of the Cantonal School of Art in Lausanne, Switzerland.
Born in 1979, Norwegian glass designer Beate Einen first studied 3D ceramic and glass design at the University of Central England between 1999 and 2000 before graduating with a BA in 3D glass design from the Surrey Institute of Art and Design in 2002. Beate continued her studies with a three-year training course in glassblowing at Kosta Glass School before completing an MA in glass design at the University of Sunderland. On finishing her studies in 2007, Beate founded her studio, Beate Einen Glass & Design. She hand-blows most of her creations but sometimes also works alongside master glassblower Micke Johansson. She produces functional objects such as glasses and dishes, as well as sculptural chandeliers and unique pieces. Her works are displayed in a number of galleries in Norway and in international exhibitions.
Vidar Koksvik was born in 1969. He is a leading Norwegian glassworker, whose pieces are exhibited internationally. He studied at the Art School in Rogaland, Stavanger between 1991 and 1993 and at the Orrefors Glass School in Sweden in 1994, and subsequently obtained a BA in 3D glass at the Surrey Institute of Art and Design in 1998. He also obtained an MA in curatorial practice from the University of Bergen in 2017. Koksvig masters an array of traditional techniques characteristic of the Scandinavian and Italian glassmaking schools. He sees himself as a “glass sampler” who learns and works with numerous techniques and a combination of influences. He likes the technical challenges that working glass represents. Depending on its design, a piece can take a few days to a few weeks to complete. Koksvik shares his studio with fellow glassworker Kari Håkonsen in Tjura, Norway.
Jeroen Wand is a Dutch designer born in 1985. He studied product design at the Academy of Fine Arts and Design in Maastricht and received an MA in applied arts from the Sandberg Institute in Amsterdam. After graduating, he founded Studio Jeroen Wand in 2008.
Through his art, Slovakian artisan Tomáš Libertíny explores the beauty and intelligence of nature and questions existential issues of the human mind’s relationship with nature. He embraces present-day methods of production while acknowledging the vital role of the artist’s hand in his work. His awareness of patterns in nature are central to his drawings, paintings and sculptures. The last are executed with industrial precision but, paradoxically, controlled randomness is essential to their production process. Born in Slovakia in 1979, Tomáš studied engineering and design at the Technical University Košice in Slovakia and subsequently art and design at the University of Washington in Seattle. He continued to study painting and conceptual design at the University of Bratislava before completing an MFA at the Design Academy of Eindhoven, Netherlands. He currently lives and works in Rotterdam.
Sebastiaan Straatsma both designs and produces his own pieces. Objects with historical and emotional value fascinate him, and he reuses and reinterprets these in his work. Since 2006, he has focused mainly on vases. He starts by reinterpreting a classical form, altering its purpose, design, material and history. To realise these works, Straatsma has developed his own innovative and unique technique using epoxy resin on the surface of moulds designed from classical forms. Between 1993 and 1999, Straatsma studied at the Design Academy Eindhoven, Netherlands. In 2000, he moved to Rotterdam, where he established a design studio, which he subsequently moved to Schiedam in 2003.
Dutch designers Wieki Somers and Dylan van den Berg founded Studio Wieki Somers in Rotterdam in 2003. The duo studied at the Design Academy Eindhoven in the late 1990s. Their creations are known for their attention to the materials, technological ingenuity and the introduction of fantasy to commonplace household objects. The studio provides an enlightened reading of the everyday environment. It collaborates with numerous international manufacturers, museums and galleries, and its works feature in museums such as the Museum of Modern Art in New York and the Centre Pompidou in Paris.
Manuel Gustavo Bordalo Pinheiro (1867-1920) was a Portuguese ceramicist, illustrator and caricature artist. He was the son of a renowned illustrator and began his career as illustrator for his father's publication Pontos nos ii. He also worked with his father in the ceramics factory of Caldas da Rainha. Following his father’s death in 1905, Bordalo Pinheiro joined the company's management, setting illustration aside and devoting himself exclusively to ceramics. Soon afterwards, the company was put up for public auction, obliging Bordalo Pinheiro to look for alternative premises. He founded a new company in 1908 called São Rafael, which later changed its name to Rafael Bordalo Pinheiro Factory. The factory distinguished itself with its production of ceramics that combined traditional models with the new Art Nouveau style that was sweeping through Europe at the time.
Vítor Agostinho is a product designer with extensive experience in the ceramics industry. Following research in this area, he shifted his focus from pure design to that of customisation and self-production. His experience with ceramics provided him with the opportunity to develop his glassworking method of production alongside ceramic making and moulding.
Japanese architect and designer Oki Sato created Nendo in 2002. Under his direction, Nendo, which means “clay” in Japanese, provides furniture design, interior architecture and graphic design that aim to be as flexible as clay is to work with. Born in Toronto, Canada in 1977, Oki Sato completed an MA in architecture from Waseda University, Tokyo in 2002 and immediately opened his own studio. In 2005, he established a Milan office and has since received international recognition for his innovative designs. In 2012, he started lecturing at Waseda University. Nendo designs aim to provide fresh perspectives by combining eco-design and traditional manufacturing processes.
Lasvit is a creative hub of glassmaking talents, fresh ideas and daring designs founded in 2007 and based in the Czech Republic. This young and innovative company creates custom-made installations exhibited around the world. Lasvit’s dedication to producing limited glassware series or mostly made-to-order individual pieces in exclusive designs has captivated designers and made it an award-winning company. Lasvit was founded by Leon Jakimič, who manages the company with the utmost respect for the Czech Republic’s rich glassmaking tradition. Over the years, Lasvit has worked alongside numerous designers and artists, such as the Campana Brothers, Kengo Kuma, Yabu Pushelberg, Nendo and Ross Lovegrove.
Swedish design studio Front was founded in 2003 by three designers, Anna Lindgren, Sofia Lagerquist and Charlotte v.d. Lancken, and has been creating as well as pushing boundaries ever since. Its works are based on discussion, exploration and experimentation, and its members collaborate on all projects, from initial concept to final product. The design process also involves computers and robots and is inspired by animals, thus ensuring innovation and unexpected outcomes. In addition to objects for mass production, Front also creates many one-off pieces for collectors and galleries. The studio’s works feature in the Museum of Modern Art in New York, the Victoria & Albert Museum in London and the Centre Pompidou in Paris.
The Royal Porcelain Factory, commonly known as Royal Copenhagen, is a Danish porcelain manufacturer founded in 1775 under the aegis of the Danish dowager queen, Juliane Marie. Three wavy blue lines make up the trademark that symbolises Denmark’s three seas. Royal Copenhagen originated in the context of a widespread European fascination with the white and blue porcelain imported from China during the Ming and Qing dynasties. It was founded by Danish chemist Frantz Heinrich Müller in a converted post office, and King Christian VII took over financial responsibility for the factory in 1779. Royal Copenhagen has grown and changed hands several times since, merging with other companies such as George Jensen and Bing & Grøndahl.
Stig Lindberg (1916-1982) was a Swedish ceramics, glass, textile and industrial designer, as well as a painter and illustrator. He is best known for his china, enamel and textile designs and is considered one of Sweden’s most influential post-war designers. He studied painting at Stockholm's University College of Arts, Crafts and Design. He went on to work for Gustavsberg in 1937 and was named artistic director in 1949, a position he held until his retirement in 1980, designing individual objects as well as tableware for the company.
Gustavsberg was a Swedish porcelain, ceramics and faience factory founded in 1826 and broken up and sold off in the 1990s. At its peak, Gustavsberg porcelain was found in many Swedish households in the post-war era. Stig Lindberg was one of the factory's emblematic designers and is credited with being one of the principal reasons for the factory's survival after the 1940s economic crisis.
Kati Tuominen-Niittylä (1947) is a Finnish designer best known for her designs for Arabia and Iittala. She graduated from the University of Art and Design in Helsinki in 1976. She worked in Arabia's Art Department from 1980 to 2003, when she left to set up on her own. However, she still maintains her studio in the Arabia factory. Archetypal shapes of buckets, sieves, bowls and baskets found on farms inspire Tuominen-Niittylä's forms. Her hand-thrown, hand-built coarse stoneware clay is fired at a high temperature and has an almost geological appearance. The surface of her works are patinated with colour oxides or carved with tools, revealing an interplay of colour and textures. Tuominen-Niittylä was awarded the Grand Prix and the Gold Medal at the International Ceramics Festival in Mino, Japan in 1998 and 2002, respectively, as well as the prestigious Kaj Franck Design Prize.
Vittorio Zecchin (1878-1947) was an Italian painter and designer. The son of a Murano glassmaker, he studied at the Academy of Fine Arts in Venice. He frequented the Venice Biennales, where he met artists, architects and designers exhibiting their works. He was especially interested in the artistic trends of the time, in particular the avant-garde Vienna Secession movement, and developed an interest in applied arts, ranging from embroidery to tapestry and especially glass, which became a passion of his. In 1914, Zecchin presented a series of pieces he had made at the Barovier glassworks. Between 1921 and 1925, he was artistic director for Capellin Venini & Co., designing modern pieces based on classical 16th-century Murano works. After leaving Capellin Venini, he began designing for a number of glass producers. In the 1930s, he also dedicated himself to teaching and working with schools.
Paolo Venini and Giacomo Cappellin founded Cappellin Venini & Co. in 1921. The company split a few years later, leading to the creation of Vetri Soffiati Muranesi Venini & Co., with Napoleone Martinuzzi as artistic director. Over the years, thanks to his passion for sculpture, Martinuzzi developed stunning innovations, brought to life by the skills of the master glassworkers in the Venini workshop. Venini has remained at the forefront of the industry and has set contemporary glasswork trends by continuously collaborating with cutting-edge designers and artists. Creations bearing the Venini signature have found their place amongst the iconic works exhibited in museums around the world, such as the Metropolitan Museum and Museum of Modern Art in New York, the Cartier Foundation in Paris and the Victoria & Albert Museum in London.
Giovanni "Gio" Ponti (1891-1979) was an Italian architect, industrial designer, furniture designer, artist and publisher. He graduated in 1921 with a degree in architecture from the Politecnico di Milano. From 1923, he worked with the Richard Ginori ceramics factory and contributed to a shift in its type of production. At the same time, Ponti devoted himself to architecture, designing his first house in 1925. In 1927, he opened an architectural practice with Emilio Lancia, which ran until 1933. From 1936 to 1961, Ponti taught interior design, furnishing and decoration at the Politecnico di Milano. In 1952, he teamed up with two fellow architects to create the Ponti-Fornaroli-Roselli architectural practice, one of whose highlights was the Pirelli Tower, built in 1956.
Carlo Ginori founded the Doccia porcelain manufactory, the company that is now known as Richard Ginori in Italy in 1735. Its early ceramics were made of soft paste, as porcelain was not easily available in Europe. Ginori obtained wax models and casts intended for bronze casting from the heirs of a major Florentine sculptor, which he would use to create porcelain statues. The factory passed from father to son over several generations and started to use clay whitened with metal oxide. The factory continued to produce statues as well as tableware. Gio Ponti served as artistic director from 1923 to 1930, producing pieces in the Art Deco style.
Vinicio Vianello (1923–1999) was born in Venice and trained at the city's Fine Arts Academy. Immediately after the Second World War, he came into contact with a group of Spatialists inspired by Lucio Fontana. Vianello's exhibition at the Galleria Barbaroux in Milan in 1950 marked a sharp turn in his career towards the creation of, among others, ceramics and glasswork. Between 1950 and 1954, he presented a series of asymmetrical vases at the Venice Biennale and the Milan Triennale. He then began exhibiting his work internationally and came into contact with artists and styles the world over, notably Scandinavian design. Vianello worked internationally, taking on projects that encompassed numerous media and bridged craftsmanship and design.
An architect by training, Ugo La Pietra is also an artist, designer, filmmaker, editor, musician, cartoonist and teacher. Born in Bussi sul Tirino, in Abruzzo, Italy, La Pietra was raised in Milan. In an era characterised by machines and mass production, he has dedicated his career to rediscovering age-old artisanal techniques. He has exhibited his works both in Italy and abroad, and curated numerous exhibitions, including at the Milan Triennale, the Venice Biennale, the Musée d’Art Contemporain de Lyon, the FRAC Centre in Orléans and the International Museum of Ceramics in Faenza.
The Cooperativa Artieri Alabastro was founded in 1895 and is the oldest alabaster-producing structure in Volterra, Italy. The mission of the cooperative is to bring alabaster artisans with the necessary artistic, technical and commercial qualifications together with a view to ensuring quality products. Today, the cooperative has 27 partners. The artisans of the cooperative create works using traditional techniques. As well as its standard range of products, which is partially renewed each year, the cooperative makes custom-made pieces for its customers.
Born in La Spezia in 1939, Gaetano Pesce is an Italian architect, painter, designer, sculptor and philosopher and a pioneer of Italian design in the postwar era. Pesce studied architecture at the University of Venice and during his early career was a member of Gruppo N, an architectural collective strongly influenced by the Bauhaus movement. During the 1950s, he worked as an architect, urban planner and industrial designer. From the 1960s, he researched the function and form of utilitarian objects such as furniture and jewellery, inspired by studies on human emotions and perception, resulting in an avant-garde style. Bold and strong use of colours and innovative use of materials characterise Pesce's works.
Ettore Sottsass Jr (1917-2007) was an Italian architect and designer known for his furniture, jewellery, glass, lighting and office designs. Born in Innsbruck, Austria, and raised in Turin, he studied at the Politecnico di Milano, graduating in 1939 with a degree in architecture. After the war, he worked with his father, also an architect, rebuilding houses, often in a Modernist style. In 1947, he moved to Milan, where he opened an architecture and industrial design studio. The studio was awarded numerous contracts that required him to work regularly in the United States from the late 1950s, and to design electronic devices and the first Italian mainframe computer for Olivetti. These experiences would lead to the creation by Sottsass of the Memphis Group in the early 1980s. The group is famous for its Postmodern designs produced during the 1980s.
Alessio Sarri was born in 1957 in Sesto Fiorentino. He attended the Art School of Porta Romana in Florence and subsequently developed an interest in dance and theatre. In 1981, he met Matteo Thun and created the first prototype of a container. The complete collection of Rara Avis containers was presented during the Memphis Group's exhibition in 1982. From thereon, Sarri followed a path of research in the fields of design and ceramics, experimenting with new methods and techniques.
Architect and designer Andrea Branzi (1938) has worked and lived in Milan since 1973, when he moved from his native Florence. In 1966, with fellow architects and designers, he founded Archizoom Associati to promote avant-garde architecture. In 1976, he joined the Alchemia design group founded by Alessandro Guerriero, which was known for its experimental industrial design. Branzi was also one of the founders, in 1983, of the Domus Academy, the first international postgraduate school of design. His works feature in many museums and exhibition spaces, such as the permanent collection of the Cartier Foundation in Paris. He was named Honorary Royal Designer by the United Kingdom in 2008.
Paolo Ulian is an Italian designer born in Massa-Carrara in 1961. He studied painting at the Academy of Fine Arts in Carrara, attending classes by Getulio Alviani and Luciano Fabro. Uliani then enrolled at the Institute of Industrial Arts in Florence, graduating in 1990. In 1992, he opened a studio in Tuscany with his brother Giuseppe. He has exhibited his work both in Italy and abroad and won the first edition of the international Design Report Award presented by the German Design Council. He has gone on to glean further awards and has worked on designs for a number of Italian companies, such as Fontana Arte, Luminara and Zani e Zani.
Andrea Anastasio studied philosophy before embarking on a cultural journey that led him to cooperate on projects entailing the cataloguing of Islamic architecture in India, research on innovation in traditional craftsmanship techniques, and partnerships with architectural practices, publishers and museums. Fascinated by the study of the poetics of conceptual art and its potential convergences with industrial design, he designs furniture and objects for Italian companies that play a leading role on the international scene. His research focuses on the manipulation of objects, consumer goods and domestic materials to generate cross-contamination of languages and meanings.
Anne Petters is a multimedia artist with a strong background in glass. In 2011, she received her MFA in Sculpture/ Glass from Alfred University, New York. Born in Dresden in 1978, Anne grew up in the German Democratic Republic. She understands the political change in her country, which she experienced as a displacement of reality, as a basic influence on her lifestyle and artistic work. Her interest in controlling and displaying moments of fleeting and vulnerable existence leads her to a poetic, metaphoric use of glass and other materials. Anne has been awarded numerous artist residencies. In 2014, she received the Queen Elizabeth Scholarship Trust (QEST) Scholarship. Anne has taught as visiting lecturer at the Royal College of Art, London and is currently leading the glass studio at the City and Guilds of London Art School.
Andrea Salvatori lives and works near Faenza in Italy. He attended the Istituto d’Arte per la Ceramica in Faenza where he first began to work with glazed earthenware. He graduated in Sculpture from the Accademia di Belle Arti of Bologna in 2000. Andrea’s works juxtapose meticulous copies of classical stone statues with new subjects, contrasting contemporary themes with kitsch aesthetic. Andrea sometimes combines his porcelain sculptures with objects such as Murano glass vases, Meissen porcelain miniatures and Ginori period ceramics that he finds in flea markets across Europe. His detailed works demonstrate his mastery of ceramics. Since 1997, Andrea has exhibited his works in several national and international solo and collective exhibitions.
Elie Hirsch graduated in ceramic design in 2001 and metal sculpture in 2003. For two years, he worked with sculptor Hervé Wahlen in his workshop. Elie is a laureate of the competition "Jeunes créateurs des ateliers d'art de France" in which he participated in 2007. He participates every year in numerous fairs and exhibitions in France and abroad.
To Maria Ten Kortenaar, porcelain is a medium that allows her to express what she perceives, feels and experiences in everyday life. Through porcelain, she is able to translate her impressions into artworks. Happiness, sunsets, rainy days and landscapes that she observes in real life all find their way into her artwork. The titles are links to her personal memories. There are two different layers to her work. The visible layer: to emphasise the many colours in her works, Maria chooses to keep the form as simple as possible, choosing the cylinder. Her cylinders are built up from smaller fragments. To draw the attention of the viewer, she disturbs the pattern just slightly. This uneasiness catches the eye. There is harmony and there is disharmony, created with a rhythm. The emotional layer: the colours and composition tell her story, while the white porcelain serves as the blank sheet of paper on which her story is written. It is her aim to translate our inner life in such a way that it becomes visible to others.
Italian master metalworker Alessandro Rametta is a self-taught sculptor. He is inspired by the infinite expressive possibilities of metal, the distant memories that reverberate through the matter, the familiarity of a material that holds ancient secrets. Alessandro works in an intuitive manner, developing his own refined techniques while experimenting on the subjects that he believes to have the highest expressive potential to explore. Alessandro founded La Fucina di Efesto over 20 years ago and has since been creating works for renowned artists and designers, including sculptures for collections in Italy and around the world. Alessandro places special importance on transferring knowledge and teaching, and places much emphasis on creative ethics. The Cologni Foundation in Milan gave Alessandro the title of Master of Art.
Furniture designers and manufacturers Boca do Lobo strive to encourage sensational experiences by creating beautiful pieces passionately handcrafted in Portugal by master artisans who love what they do. Their designers possess an undeniable talent for composing pieces that stir emotions. Boca do Lobo artisans' knowledge, accumulated over years of experience, is imparted with love through their craftsmanship. A dynamic process of innovation, within both technology and design, forces Boca do Lobo to continually reinterpret the brand. No detail or element is overlooked as they offer the very best pieces at the frontier between design and art. Each piece brings the viewer into Boca do Lobo’s world - a world of emotions.
Claudia Biehne’s works merge sculptural and applied art disciplines together. Porcelain is worked in a modern way articulating her signature. Claudia takes great pleasure in experimenting and is simply curious to discover and push the limits of what is possible. Her works draw inspiration from and reflect natural marvels and developments, because she finds in nature the archetype of all creations and the cradle of experience. Claudia’s works are found in several museums and international private collections. Claudia’s porcelain workshop strives to obtain a high-ranking position in the German ceramics scene. The porcelain studio located in the former cotton-spinning mill in Leipzig, is open to visitors.
Frances Priest graduated from the Edinburgh College of Art with a BA and PGDip in Ceramics in 1999. She combines studio-based practice with site-specific projects. Frances uses drawing and ceramics to explore and interpret languages of ornament from different cultures, places and periods in history. From her Edinburgh studio, she creates ceramic objects using clay as a canvas on which to build surfaces of inlaid line, coloured glaze and enamel decals. The relationship between making and drawing is essential to these explorations, with ceramics as an ideal material to push between the two states. Her work has been recognised at a national and international level with pieces held in private and public collections including National Museums Scotland, the Victoria & Albert Museum and the Fitzwilliam Museum. She lives and works in Edinburgh.
Gloria Giannelli lives and works with alabaster in Volterra, Italy. Her works enhance the qualities of the materials she works with and demonstrate the transparency of alabaster. Gloria started to work with alabaster from an early age. Her works have a feminine style and distinguish themselves with elaborate floral motifs and carved embroideries. The considerable experience that Gloria has gained over many years permits her to realise increasingly complex objects. Her works also draw from the professional knowledge of two master artisans in Volterra, turner Cerone Homer and ornament worker Gazzanelli Renzo. Gloria has been awarded a number of prizes throughout her career such as the Gremigni Award. She has participated in numerous exhibitions both in Italy and internationally.
From her Parisian workshop, feather worker Janaïna Milheiro creates textiles, sculptures and other pieces made from feathers. She develops and invents new skills and techniques in order to provide a very personal, innovative vision of feather work for the luxury, fashion and home decoration industries. This experimental and technical approach to feather work gives life to extremely visual pieces with sometimes very surprising purposes. Trained in several handcrafted textile techniques, Janaïna creates unlikely lacework made of feathers, silks woven with feathers, feather flocking as well as three dimensional grids or sculptures in feathers. She is both an artisan and designer. Since 2011, she has been working with passionate clients such as collectors, interior designers and highly demanding fashion houses or luxury brands. Born in 1985 in Brazil, Janaïna graduated from the ENSCI and Ecole Duperré in Paris.
Juliette Bigley is a master metalworker who works with base and precious metals. Juliette creates sculptures that are both familiar and abstract, re-interpreting recognisable forms of containers to create ambiguous spaces that question how we relate to the physical world around us. Her works place a strong emphasis on lines and thresholds. At the heart of her works are three relationships, those between people, that of the objects with other objects and the relationship between people and objects. Juliette initially pursued classical singing and then healthcare management. She chanced upon what would become her love for metal during evening classes. Juliette then studied Architecture and Design at the Cass School of Art, training as a silversmith and obtaining both a BA and a research MA.
Karen Lise Krabbe began her glassmaking career in the early 1990s. Her works focus on the use of composite materials where two or more materials melt together and form a new one with other properties and expressions. The baseline in all of her works is characterised by intensive material research. She principally uses glass, silicates and bio-materials. Her works explore composite materials’ aesthetics and physical potentials, exposing them to diverse techniques, partly with the knowledge of traditional techniques of glass and ceramic craftsmanship in mind and partly techniques that the new materials themselves intentionally or spontaneously lead her to. Her handmade 3D-print exhibited at Homo Faber is characteristic of this. Karen runs her own workshop in Aarhus, Denmark and is often presented at international and national exhibitions.
Lorenzo Passi’s enthusiasm for glass began while studying at the Francesco Arcangeli Art institute when he attended a workshop led by glass artist Joan Crous. Aged 20, he moved to Venice and began a glasswork apprenticeship on the island of Murano in the workshop of Archimede Seguso and “Zanetti Veteria Artistica”. He started training in techniques for manufacturing blown and solid-worked glass. In 2009, he moved to Nuutajärvi, Finland, where he continued training in glass works, graduating three years later. While in Finland Lorenzo began experimenting, matching blown glass to other diverse materials such as metals and wood. This technique would become the basis of his poetic creativity. Upon graduating, he returned to Venice to the workshop of Archimede Seguso and Zanetti glassworks. Lorenzo held his first exhibition in 2013 and has since exhibited his works internationally.
Rowan Mersh is a multimedia sculptor who explores form through intuitive application of a material’s inherent qualities. His diverse and experimental approach to creation is epitomised by his ability to take very ordinary materials and transform them into the extraordinary. From textile sculpture to kinetic and interactive installation, Mersh’s pieces are inventive and multipurpose, bridging the realms of art, design and fashion. Regularly exhibiting internationally with Gallery FUMI, Mersh’s sculptures have been acquired by major private and public collections the world over, most notably the V&A, Jerwood and The Crafts Council collections. His commissions and special projects include works for the Mercury Music Prize, Fendi and Veuve Clicquot.
The Bonini garage has been providing mechanical assistance specifically dedicated to Ferraris for nearly 30 years. It has been officially authorised as a Ferrari service and works with the latest electronic equipment for diagnosis and tuning. All this without forgetting the classic old Ferraris on which the company actively performs all kinds of restoration and repairs.
Sergio Bortoluz founded Konner S.R.L in 2002. He has used his 25 years of experience in the field of turbine construction and precision engineering to develop two key products: the TK250 turbine and the K1 two-seater helicopter. Konner’s products use ground-breaking technology that allows them to reach an optimal power/weight ratio, and they are unique in their use of highly available fuels such as diesel.
From his garage in the heart of Galicia in northern Spain, David Borras alias El Solitario creates custom-made motorbikes, embracing all the separate elements in a motorbike, separating them and highlighting them instead of hiding them. He creates a distinct style which is instantly recognisable. The bikes combine the pinnacle of motorcycle technology with features of classic design. Each motorbike is the product of the company's experience and, much like the unique nature of experiences, so each motorbike is unique too.
Hartley Cycles is the culmination of over 10 years of fine metalwork and a love of cycling. From a small workshop in South London, award-winning frame builder Caren Hartley creates beautiful steel and stainless steel bicycles uniquely tailored to each client. Her bikes are made by combining a variety of metalwork techniques such as bronze brazing and silver soldering. Some are specific to bicycle manufacture and she developed others during her multidisciplinary metalwork career.
Pedemonte started to manufacture carbon fibre car frames in late 1970 for some of the biggest names in the automotive industry. Pedemonte has now built on this unique expertise and transferred this technology to the creation of custom-made bikes. Like a racing car, each Pedemonte bike frame is engineered and built to fit the exact requirements of the customer, aiming to provide optimal comfort. Thanks to customer participation throughout the production phase, Pedemonte ensures that each bike frame is tailor made and unique.
Stajvelo's philosophy is rooted in simplicity, ecology, comfort, design, and above all, riding pleasure. Thierry Manni created the company in 2017. The expert knowledge of ten or so people was brought together to produce their first eco-bike, RV01. The advanced components of the bike frame make it unique. Its automatic transitions, simple maintenance and easy on and off parts make it simple to use. The bike's well-studied geometry, shock-absorbing handlebar and latest model seat ensure it is comfortable to ride.
Stefano Conticelli founded Bottega Conticelli in the heart of Umbria, Italy. The company specialises in luxury accessories, developing their objects and furnishings entirely in-house. Attention to detail and the high quality of the finished works have helped establish the company's place in the market. Fully designed and engineered according to the brand’s unique vision of ultimate quality, their work stems from time-honoured local craftsmanship, pioneering research and development as well as careful manufacturing, all based on unique designs by Stefano Conticelli.
Jean Daum (1825-1885) founded the Daum crystal studio in Nancy, France in 1878. He was succeeded by his two sons, Auguste (1853-1909), who had trained as a lawyer and who took over management of the studio, and Antonin (1864-1931), who after graduating from the École Centrale joined the company as head of the art department. Between them, the brothers oversaw the company's growth during the burgeoning Art Nouveau period, implementing the ground-breaking innovations in both design and techniques developed by Émile Gallé. The Daum studio is currently the only commercial crystal manufacturer in France that uses pâte de verre, an ancient Egyptian technique of glass casting, to create its crystal sculptures.
Louis-Jean-Sylvestre Majorelle, better known as Louis Majorelle, (1859-1926) was a French interior decorator, furniture designer and cabinetmaker. He was at the forefront of Art Nouveau furniture design and was founding member and vice-president of the École de Nancy. The son of a furniture designer, Majorelle was raised in Nancy and later studied at the Fine Arts School in Paris. On finishing his studies, he returned to Nancy, where he continued to work in the family studio, designing and producing furniture and metalwork. Partly influenced by fellow furniture and glass designer Emile Gallé, Majorelle started to incorporate inlays in his work, taking inspiration from nature. He created lamp designs for the Daum brothers and contributed to making Nancy the cradle of French Art Nouveau design.
Josef Rindskopf (1829-1890) was born in Teplitz in the present-day Czech Republic. Teplitz had some well-established glass companies, one of which belonged to his father. Josef Rindskopf himself co-owned a glass company with his brothers. A year after his death in 1890, his four sons created a new glass company called Josef Rindskopf's Sohne. To begin with, the Josef Rindskopf's Sohne factories mainly produced blank glass, which would be sent to other factories to be decorated. In the 1890s, the company bought specialised equipment for etching, painting and sandblasting, enabling it to implement a complete cycle of production. The company produced iridescent glass in the Art Nouveau style for export. Financial constraints in the 1930s saw the company sold and taken over by another glass manufacturer.
In contrast to her grandfather, René Lalique, who sketched his designs, Marie-Claude Lalique (1935-2003) created models of her subjects in Plastiline. Her works took their inspiration from nature and the animal kingdom. She created a jewellery line in the 1960s, and on taking over management of Lalique in 1977, she strove to place the company and its designs at the vanguard of contemporary trends.
Lalique is a French glasswork company founded in 1888 by jewellery designer and glassmaker René Lalique (1860-1945). During its early years, Lalique produced fine jewellery, combining gold and gemstones with other precious materials such as mother of pearl and ivory. As of 1890, Lalique started to experiment with glass, but it was not until 1907 that he began to market glassware in his shops. The company quickly became known for its glass art, notably on vases, perfume bottles and ornaments. René Lalique was considered one of the driving forces behind French Art Deco design. On his death, he was succeeded by his son Marc and subsequently his granddaughter, Marie-Claude Lalique. Having had no children, Marie-Claude Lalique sold the company to the Pochet Group in 1994, which later sold it to the luxury goods group Art & Fragrance, recently renamed the Lalique Group.
Founded by Thierry Hermès in 1837 in Paris, Hermès was established as a harness-maker. Later, Thierry's son expanded the family business into saddlery, at the address in Paris that still houses the saddle workshops. During the early 20th century, the founder’s grandson foresaw the coming changes in transportation and envisioned new lifestyles. Introducing the signature “saddle stitch” to a wider range of leather goods, he expanded and adapted its functions for a cosmopolitan clientele. Since then, from bags and luggage to small leather goods, from clothing to silk scarves or watches and perfumes, the excellence of Hermès know-how and the range of quality objects have constantly grown. Now international in scope, Hermès is characterised by its excellent manufacturing inspired by the values of traditional craftsmanship, and remains a family group, fostering a unique creative spirit and continuous innovation.
The origins of Jaeger-LeCoultre are inscribed within a rich watchmaking history of innovation and increasingly intricate creations. At the vanguard of watchmaking technologies, Antoine LeCoultre founded the first LeCoultre workshop in the Joux Valley in 1833, producing parts of unprecedented precision. The workshop became a family affair, with each generation breaking industry barriers. In 1880, Edmond Jaeger opened his first workshop in Paris devoted to realising his vision of creating precise speed-measuring mechanisms. This innate passion for quality and innovation naturally gravitated these two brands towards one another and the Maison Jaeger-LeCoultre was born in 1937. Jaeger-LeCoultre preserves its heritage to this day through intricate and innovative designs.
Giuseppe Sciascia began his career at Audemars Piguet as a repair watchmaker. His training took him through all the workshops in order to perfect his knowhow and technique. He then joined the after-sales service. In order to strengthen his knowledge of repeater watches he trained with "Renaud & Papy" and then joined the Audemars Piguet museum. Giuseppe’s accumulated experience permitted him to train watchmakers in the after-sales department. In the following years, Giuseppe worked with a number of companies repairing watches. He joined Jaeger-LeCoultre’s customer service in 2010 as watchmaker. He also provides technical reference for antique watches and participates in the development of repair estimates for antique watches and restorations. In 2017, Giuseppe joined the Heritage team as an expert in antique watchmaking.
Founded in Paris in 1827 by Jean-Pierre Duvelleroy, the house began with a vision: bring fans back into fashion. Patronised by European courts and nobility, Duvelleroy quickly became an international symbol of fan making. In the 19th century, Duvelleroy opened boutiques on the Rue de la Paix in Paris and Bond Sreet in London. Starting with Queen Victoria, Duvelleroy became official suppliers to queens of the European courts. European fashion for fans saw a sharp decline after 1945, but the heritage of Duvelleroy survived largely due to its inheritor, who carefully preserved pleating moulds, vintage fans, and sketches with the conviction that something would be made of them one day. This day came when Eloïse Gilles and Raphaëlle de Panafieu came to him to present a groundbreaking project: revive and modernise the fashion of fans and revive Duvelleroy.
Frédérick Gay is one of the last fan-makers in France. Frédérick was born in 1971 in Romans Sur Isère. He has a double training in plastic and applied arts. Artist and fan-maker, he masters drawing, pleating and penmanship, skills essential to the creation of fans. Frédérick studied under master fan-maker Anne Hoguet between 1997 and 1999 and learned fan-making through the restoration of fans. In 2000, he opened a fan workshop in his hometown. In parallel, he teaches drawing at the art school of Romans sur Isère. Frédérick’s work has always been inspired by the history and symbolism of fans. In 2010, Frédérick became Duvelleroy's fan-maker, creating unique pieces.
A unique love story gave birth to Van Cleef & Arpels. Daughter of a precious stone dealer, Estelle Arpels met Alfred Van Cleef, the son of a stonecutter. The pioneering spirit of the couple drove them to create something innovative and long lasting. In 1906, Van Cleef & Arpels opened their first boutique in Place Vendôme in Paris, a square synonymous with Parisian luxury and elegance. Van Cleef & Arpels produced emblematic high jewellery of the Art Deco period set apart by their refinement and innovation. In 1933, they patented their Mystery Set™ technique. The company grew rapidly, becoming the first French jeweller to open boutiques in Japan and China. Today, Van Cleef & Arpels perpetuates the heritage, vision of excellence and innovation that first brought the company together.
Antico Setificio Fiorentino is an ancient silk mill located in the heart of Florence founded by noble Florentine families. Thanks to its ancient looms and a unique warp machine based on a design by Leonardo da Vinci, the mill perpetuates precious traditions of Renaissance textile art. The mill thrived during the second half of the 20th century when the company started to manufacture textiles to furnish stately homes and museums, both in Italy and internationally. Today the mill is Florence’s only surviving silk mill. The mill’s purposefully slow woven brocades, damasks, lampas and filaticcio, fabrics remain their principal production to this day. The luxury menswear company Stefano Ricci S.p.A. acquired the mill in 2010, ensuring a continued Florentine direction for this remarkable jewel of craftsmanship.
Louis-François Cartier founded Cartier in Paris in 1847. The company passed from father to son, but it was Louis-François’ grandsons Louis, Pierre and Jacques who established Cartier internationally. In 1904, the Maison was honoured with its first warrant as official supplier, delivered by King Edward VII. Many others followed, thus establishing Cartier’s reputation around the globe. Cartier is synonymous with excellence as well as commitment, passing on its heritage, supporting craftsmanship and encouraging creation. In 1983, Cartier established what would become the Cartier Collection that today brings together 1,600 historic pieces, which are exhibited in major cultural institutions. The following year, the Fondation Cartier pour l’art contemporain was created, born from a desire to promote contemporary artistic creation. In 2015, Cartier inaugurated the Maison des Métiers d’Art.
Philippe Nicolas is a sculptor-engraver. After completing his studies in the École Boulle in Paris, Philippe furthered his artistic training by joining the engraving workshop of fine and hard stones at the Paris School of Fine Arts. He has put this rare glyptic knowhow at the disposition of famous jewellers since the mid-1980s and has contributed to the promotion and recognition of this fine craft. In 2008, Philippe was awarded the title of Master of Art by the French Ministry of Culture, an award that recognises the expert knowledge of artists or artisans and their commitment to transmitting this knowledge. In 2015, he was promoted to Knight of Arts and Letters. Philippe joined Cartier in 2010, where he runs the workshop and trains four students.
Embroidery has been linked with the island of Madeira since the 15th century, and Bordado de Madeira (embroidery) became acclaimed for its beauty and perfection in the 19th century. It is still handcrafted on the island as it was centuries ago. The technique was internationally recognised in 1850 and the first process of Madeira Embroidery certification dates back to 1938. The Madeira Embroidery, Tapestries and Handicrafts Institute (IBTAM) was created in 1977 and aims to support the sector of embroidery and handicrafts in general as well as to restructure the embroidery sector. Prior to commercialisation, all products that are made on the island of Madeira are submitted to a technical assessment by the IBTAM to ensure the highest standards of quality are respected.
Maria Ana Freitas Lemos was born in 1968 in Porto da Cruz, a village on the north coast of Madeira. She has always been an embroiderer and has taken several courses during her career. Nowadays, she is also a trainer of this well-known art. She entered the world of embroidery when she was a little girl by watching her mother and grandmother for hours while they created wonderful pieces of Madeira Embroidery. She was fascinated by this art and thus became an embroiderer. Her favorite thing to do is to show Madeira Embroidery to people that do not know it. Her favourite pieces are tablecloths, table centrepieces and bath towels. With respect to stitches, her favourites are pulled thread, Richelieu, padded satin, outline, broderie anglaise with bars, rondels and open leaves and satin leaves.
Ana Luísa Abreu Ornelas Santos was born in 1965 in Porto da Cruz, a village on the north coast of Madeira. Her interests in life are cooking, hiking and of course embroidery. She became an embroiderer not only to keep the tradition alive but also because she enjoys doing it. It is a tradition that has passed from generation to generation, and she was influenced by her mother and grandmother who were also embroiderers. She has taken several courses related to embroidery and has become a trainer. What Luísa likes embroidering the most are table centrepieces, garments, bars for bath towels and doilies. Luisa’s favourite stitches are outline, rondels, Richelieu, padded satin, broderie anglaise with bars, pulled thread and French stitch.
It all started in 1906 with a vision to create a tool that would revolutionise the art of handwriting. Inspired by the latest mechanical innovations witnessed during their travels to America, Hamburg merchant Alfred Nehemias and engineering mastermind August Eberstein teamed up with entrepreneur Claus Voss to bring their idea to life. Together, they produced a writing instrument with non-leaking technology and a piston convertor that would change the course of writing history forever, thus laying the foundations for Montblanc. Originally trading as “Simplo Filler Pen Co”, the newly founded Maison created a premium-quality writing instrument, a safety filler named "Rouge et Noir", in 1909. Shortly after, in 1910, the name Montblanc was adopted for the company, inspired by the highest mountain in Europe and symbolising their vision of excellence.
Frank Derlien studied precision mechanics and mechanical engineering. He has worked with Montblanc since 1991, first as an expert craftsman in the resin department and tool building department. In 1998, he became nib-manufacturing manager, a position that he holds to the present day. Since 2012, he has also managed final assembly.
As an apprentice, Axel Nier studied precision mechanic tool and mould manufacturing between 1987 and 1992. He started to put his technical knowledge into practice in 1993, working with a subsidiary company of Montblanc’s until 1996. In 1997, he joined Montblanc metal department and workshop as an expert craftsman and remained in this department until 2005 when he joined Montblanc’s nib department. He held this position until 2015 and in 2016 became a fountain pen and writing expert at Montblanc Hamburg. Axel is now responsible for bespoke nib service and training.
Ina Mathée is a nib-grinding expert. She has worked with Montblanc since 1987.
Kathrin Bechtold undertook studies as a dental technician and worked as an expert dental technician from 2000 to 2006. She started to work with Montblanc in 2007, creating custom-made nibs.
Stefan Friedrich was an apprentice toolmaker at Montblanc from 1992 to 1996 and continued to work in their laboratory centre until 1999. In 2005, he was named Deputy Head of the nib department, a position that he held until 2015. In 2016, he became senior team leader in the nib department.
Ute Rohwedder studied nib grinding. She started to put this technical knowledge, acquired in 1993, into practice by working with a subsidiary company of Montblanc’s until 1996. In 1997, she joined Montblanc as a nib production worker. She entered the quality centre of the nib department in 2008 and continues to work in this department to the present day. Ute is an expert bespoke nib artisan.
Wolfgang Krohn studied precision mechanics. He started to work with Montblanc in 2001 as a technical craftsman and expert in nib manufacturing. Since 2007, he has worked as a quality and project manager in the same department.
This spectacles-maker’s story was started four generations ago by Alfred Bonnet. An eyewear manufacturer working in Morez, he passed down his precious knowhow to his son Robert. After working for prestigious eyewear workshops, Robert opened his own studio in 1950 and naturally named it Maison Bonnet. The house dedicates itself to handmade bespoke frames, made of precious materials. From a very young age, Robert’s son Christian was plunged into this world. Trained in the workshop from the age of 14 and through optical courses, Christian managed to maintain this legacy in a changing market. Master of Art, Knight of the Legion of Honour, Christian works from his workshop in Burgundy where he transmits his passion to his students. His sons, Franck, John and Steven, have led Maison Bonnet into the 21st century.
“When you look at someone closely, the natural features of the face outline the spectacles' drawing.” - Christian Bonnet
“Style always appears as evident when it is a balanced harmony between soul, audacity and anatomy.” - Franck Bonnet
"'Ostentatious discretion' is a good definition of our work. Each of our frames is a partner for life or a particular moment, showing beauty and concealing secrets.” - Steven Bonnet
“Maison Bonnet restores the nobility of longevity, the love of artisanal gesture and glorifies the slowing down of consumption.” - John Bonnet
“My passion for spectacles making started when I discovered the shaping process; being workshop foreman at Maison Bonnet allows me to overcome technical challenges on a daily basis.” - Léo Fromenteil
“My love for drawing led me to spectacle making. Hand-crafting glasses is like giving life to a sketch, transforming it into a 3D design, refining a curve, smoothing the shape, sculpting a bevel, in order to decide where the light will rest.” - Jimmy Funten
Porzellan Manufaktur Nymphenburg has been producing fine porcelain since 1747. With its original workshop buildings from the 18th century, Nymphenburg is the last pure porcelain manufacturer in the world, and has used the same techniques for 271 years. To this day, all the mechanical equipment like mills, mixing vats and potter’s wheels are water-powered by the estate’s river. Nymphenburg creates and mixes its own paints. The factory produces 100 percent handmade porcelain. Even the paste is still produced by hand, taking three years from the initial mix of kaolin, feldspar and quartz to the final product. The strong interaction between contemporary artists and designers and the artisans of the factory creates space for experimentation and ensures that the original idea and concept of the artist is realised completely.
Alisha Mischkowski, 28, started her career at Nymphenburg in 2016. She has an excellent knowledge of glass painting and restoration due to her prior apprenticeship. Now in her second year as an apprentice at the factory, she has turned out to be a remarkable painter of flowers, animals and landscapes. Alisha uses fine squirrel hair brushes, which she prepares to give them an extra thin tip.
In 2016 Julie Birnbauer, 21, started working for Nymphenburg. Already in the first two years of her apprenticeship, she developed a great passion for painting landscapes, flowers and animals. Her favourites are butterflies and shimmering beetles. Porcelain painters need patience, inner calm, and of course discipline in order to apply the many minute details to the glazed porcelain with precise brushstrokes.
Katharina Neumann, 27, began her training as a porcelain painter at Nymphenburg in 2008. Today she is already working as the right hand woman of the head of painting. Despite the diversity of her duties, she has a special preference: skulls. Five out of seven skull editions so far have already taken shape in her adept hands. Katharina's second passion is lettering: monograms, prize trophies and special filigree painted decorations - whenever something is particularly tricky, she reaches for the brush.
While J & L Lobmeyr does focus on the contemporary exploration of crystal, it has always put strong emphasis on cultivating its history, using old pieces to inspire new ones, and drawing on traditional know-how to create innovations. Josef Lobmeyr founded the company in Vienna in 1823 and soon became a provider to the Imperial Court. The company has passed down the family to the present day and sales have expanded internationally. Each piece of glassware passes through at least 24 hands before finally being inspected by a member of the family. Throughout its history, Lobmeyr has had a rich tradition of working with renowned designers, painters and architects such as Josef Hoffmann or Adolf Loos, and today works with contemporary designers such as Stefan Sagmeister and Helmut Lang.
Edmond Suciu was born in 1980 in Medias, Romania, into a family that has long been associated with glass. Micu Manole introduced him to glass engraving in 1999 and Edmond then became his apprentice for two years. In 2002, Edmond engraved special pieces for S.C. Vitrometan Medias. In 2004, he met master engraver Magyara Lali and worked with him, further developing his technique until 2006. While working with Magyara Lali, Edmond began studies at the University of Arts and Design Cluj, Romania, but in 2006 decided to move abroad to further his experience. He worked with a number of British companies until 2016, the year he joined Lobmeyr. Edmond’s favourite style of engraving is deep intaglio with a diamond and copper wheel, and he prefers to work on classic themes.
Born in Frydlant, Bohemia, in 1986, Pavlina Cambalova first studied gem-cutting and engraving at Turnov and later studied glass engraving with Jiri Tesar at Novy Bor. She joined Lobmeyr engraving in 2008, mainly developing organic designs together with Ted Muehling or Formafantasma. Increasingly, Pavlina has become a prominent figure in the international art scene, teaching at Corning and Pilchuck in the United States and Frauenau in Germany as well as the Czech Republic. Consequentially she now only occasionally works for Lobmeyr. Her works have figured in approximately 150 group and solo exhibitions and have been acquired by leading glass museums. Pavlina loves nature, which is also a big inspiration for her work.
Only the most skilful hands can turn natural materials into everyday yet original and unique objects. These hands belong to the craftsmen of Lorenzi Milano, who every day shape precious materials. Giovanni Lorenzi opened his workshop specialised in the production of cutlery and grinding in Milan in 1929. In 1959, the company passed from father to sons, growing with a larger set of products but always placing great importance on traditional items. In the early 2000s, Giovanni’s grandson Mauro, intent on preserving and promoting the values of craftsmanship, opened Cedes, a company equipped with manufacturing facilities. When the historic shop closed in 2014, the family decided to give up the G.Lorenzi brand that would live on through Cedes. However, understanding the importance of the Lorenzi name, Mauro and his children revived the brand in 2017 under the name Lorenzi Milano.
Oreste Emilio Barioglio was born in Milan in 1956. Having finished his school education, Oreste immediately started an apprenticeship to a goldsmith in Milan. He here learnt the art of metalworking, including techniques such as welding, casting and hammering a variety of alloys. In the 1980s, Oreste decided to change from metalwork to leatherwork and started to work with a workshop dedicated to the production of accessories for haute couture. This provided him with first-hand insight into the production process. In the 1990s, he joined G. Lorenzi and assisted the expert artisans in the workshop. Thanks to his knowledge of metal and leather as well as his expertise acquired over the years, in 2010 Oreste became a master artisan responsible for production at the Lorenzi workshop.
Nolasco Valenzuela was born in Batangas, Philippines, in 1976. In 2006, he moved to Italy and he immediately started to work in the logistics department at the G.Lorenzi shop located in Milan, in Montenapoleone street. After few years, thanks to his skills and passion for production procedures using natural materials, he started to assist the expert artisans in the workshop. After the shop closed in 2014, he joined the Lorenzi Milano workshop focusing only on production thanks to his knowledge acquired over the years.
For the past three years, Andrzej Dobrowolanski & Jakub Przyborowski have worked from a shared workshop in the suburbs of Warsaw. Their work encompasses cabinetmaking, joining and carpentry.
Francesco Del Carlo founded the Francesco Del Carlo shipyard in Viareggio in 1963. At the time the site was equipped with three slipways and primarily worked on fishing boats made of oak and pine up to 25 metres in length. While a number of these boats return periodically to the boatyard for routine maintenance, the crisis in the fishing industry and a consequential drop in the number of boats used pushed the boatyard to specialise in the restoration of pleasure boats. The boatyard brings these wonderful vintage boats back to their original beauty, many of which continue to participate in gatherings of vintage sail boats of the Mediterranean. Del Carlo shipyard is now composed of four sheds for high quality services, all equipped with mechanical and carpentry workshops.
Born and educated in Italy, Sandra Davolio later moved to Copenhagen, Denmark in 1985 where she studied at the Danish School of Design. She then established her studio in Copenhagen. Sandra’s porcelain and stoneware works are easily distinguishable by their light glazes and often monochromatic, matte or obscure colours. Through her work, she engages with various classical ceramic and porcelain making techniques, creating an innovative style that reflects a subtle Scandinavian influence. A recognisable shell or vase-like shape often makes up the founding structures of her works. The delicate exterior porcelain form of her works, covered with numerous juxtaposed porcelain flakes, creates a wavelike effect. The organic shapes of Sandra’s design reveal a profound connection with nature and with the sea in particular.
From her early childhood, Theodora Chofaras has led a nomadic lifestyle and considers herself a citizen of the world. She studied ceramics in London at the Camberwell School of Arts and Crafts between 1977 and 1978 and subsequently in Faenza in the Centro di Addestramento Professionale until 1978. From 1978 to 1984, she studied at the École des Arts Decoratifs in Geneva, Switzerland. Her works vary between objects and installations, performances, function and concept, timeless tradition and deconstruction of forms. Theodora works from the island of Aegina, Greece. She also dedicates herself to transmitting her love for ceramics through the teaching of a next generation of ceramicists. Her work is exhibited internationally and has received numerous awards.
Monica Guggisberg and Philip Baldwin have been working together for over 35 years. Their story can be described as nomadic, a notion intrinsic to many of their works. Their journey has brought them to explore glassworks through numerous angles and techniques. Philip was born in New York where he later obtained his BA from the American University, Washington DC, and Monica in Bern, Switzerland. She completed an apprenticeship in lampwork in Zofingen, Switzerland. They met in Sweden in 1979 when attending a glassblowing course at the Orrefors Factory Glass School and would in 1982 open their studio together in Switzerland. They worked together from their studio in Switzerland for 20 years, creating glasswork for exhibitions in Switzerland and abroad, before moving to Paris in 2001. As from 2015, their studio has been based in rural Wales, with the view over the hills.
Amanda Simmons is a glasswork artisan based in Dumfries and Galloway in Scotland. Following a first career as a clinical perfusionist, Amanda undertook studies in glass and architecture at Central St Martins School of Art in London and set up her studio near Castle Douglas in 2006. Currently, her work is influenced by research whilst on residency at Lyth Arts Centre in Caithness with scientists based at the Environmental Research Institute in Thurso. Investigations included the blanket bogs of the Flow Country and renewable energy turbines in the Pentland Firth. Amanda has taught internationally and has displayed her works in exhibitions including the British Glass Biennale and the Scottish Gallery in Edinburgh. Her works are found in private and public collections including The Fitzwilliam Museum in Cambridge, National Museums Scotland and the North Lands.
Hanna Jarlehed Hyving lives and works in Gothenburg, Sweden, where she trained at the Academy of Design and Crafts and obtained her Masters in 1998. She has since worked as a ceramicist in the studio association Chocolate Factory. Her works revolve around her keen interest in ceramic materials and their various expressions. She was for a long time interested in water and its various forms, and this theme can be found throughout her earlier works. However, she has recently developed an interest in forests and moss-covered trees. Hanna sets great importance by glazes in the final outcome of her works. She has held a number of solo and group exhibitions. Amongst others, her work has been bought by the Danish Art Council, and she has received numerous prizes such as the World Ceramic Exposition in Korea.
Zuzana Kubelková trained in glassmaking in Northern Bohemia in the Czech Republic. After her studies at the High School of Applied Arts for Glassmaking in Železný Brod, from where she graduated in glass pressing, Zuzana undertook studies in glass at J. E. Purkyně University in Ústí nad Labem. Zuzana’s creations include both design pieces and conceptual work. Zuzana creates dynamic glass, experiments, fuses it with other substances, analyses and examines it, just as a doctor examines a patient – rationally, but with empathy. She thus resists stagnation, looking for new territories, new approaches and connections in glassmaking. Since 2007 she has participated in a number of exhibition projects. She received the first award for her work two years later.
Andrew Jason Brown principally works glass using an old Italian technique called Battuto. This technique was revived by 20th century architect and glass artist Carlo Scarpa. While glasswork is traditionally made using heat, Andrew creates his glasswork by supplementing heat with this “cold” grinding technique. Andrew is fascinated by the history and design of the Viking period and his works strongly reflect this fascination.
Nanna Backhaus Brown is a Danish glass artisan with a keen sense of colour. A wide palette of colours, remarkably combined, is used throughout her works. Nanna primarily works using an old Italian technique called Pastorelli. Nanna’s father is an architect and her mother a designer. This has influenced her design greatly, so that it strongly reflects minimalistic Scandinavian design. Nanna’s work combines the neat aesthetic of Scandinavian design with the colourful nature of the Pastorelli technique to produce personal and innovative pieces.
Over the years, Lasse Kristensen has been working on producing exclusive quality furniture and has always placed great importance on durability and elegance. Lasse graduated as a cabinetmaker in 2006, passing his final test with the highest recognition, in the form of a silver medal. In the summer of 2006, Lasse was given the opportunity to test his talent as a craftsman when he was appointed to the Danish championships in Møbelsnedkeri - a championship he won. The victory gave access to the Nordic Championship in furniture screwing in Norway, which Lasse also won.
Mette Bentzen has been working on fine furniture production for a number of years. Before that, she spent three years sailing the ocean in a small sailboat. For Mette, carpentry is more a passion than work. The driving force lies in the joy of processing beautiful, living materials, like wood.
Glass sculptor James Devereux started to train in glasswork at the age of 15 and discovered a natural talent for this craft. James specialises in working with hot glass, creating solid forms as well as blown pieces. Over the years, he has acquired a vast knowledge of glassworking techniques and is always happy to undertake new challenges. In 2008, James set up and opened his first studio in the Wiltshire countryside. He became a glass technician at the Royal College of Art in London in 2009, a position that he held up to 2013. Upon leaving London in the same year, he opened up a studio with Katherine Huskie in the British countryside. James’s mastery of numerous skills and his high technical level have contributed to the creation of unique and innovative works. His latest collection of Clovis works can be viewed at Vessel Gallery London.
Born in 1986 in the Czech Republic, Jaroslav Prošek first discovered glasswork after leaving secondary school. He worked and trained at the Marek Landa Art Chandelier Company and subsequently in the workshops of Bohemian crystal masters Mr. Jan Frydrych and Mr. Vlastimil Beranek. Here he discovered his passion for crystal and optical glass sculpture. Jaroslav's sculptures all tell a story and he conveys his passion for the sea, boats and sailing through them. His constant experimentation with the possibilities of materials such as optical glass, crystal glass, stainless steel, marble or wood, and his fine re-conception of form and structure, place him at the forefront of contemporary art and design in the Czech Republic. His works have been exhibited internationally since 2013 and feature in a large number of boat exhibitions such as the Dubai International Boat Show.
Vlastimil Beránek is the third generation of the well-established, glassmaking Beránek family which founded a glasshouse in Škrdlovice in the Czech Republic in the 1940s. He managed the family glassworks from 1992 to 2008. Vlastimil studied at the Academy of Applied Arts in Prague. He is particularly interested in the creation of molten glass sculpture and capturing movement in the simplest way, expressing pure energy in solid material. His forms are rigid and minimalistic in design, often skirting the technical limits of technological possibilities. His monumental sculptures claim their own space and are not limited to the confines of the pedestal. They embrace and integrate different dimensions of the space in which they are placed. They are inspired by the depth as well as the mystery of oceans and also by fire.
Ingrid Larssen undertook training as a jeweller at the Gerrit Rietveld Academy in Amsterdam and the Statens Håndverks- og kunstindustriskole in Oslo where she graduated in 1986. In 1987, Ingrid started creating jewellery and objects using a large variety of techniques and materials. For the past 18 years Ingrid has dedicated herself to textiles, experimenting with an old embroidery technique called smocking (waffle stitching). She uses this technique to create large collar necklaces made of silk and freshwater pearls. Her works are not intended to be worn, however. Throughout her art career, she has been committed to tradition and innovation and has worked as an art consultant, curator and project manager. She has received Norway's guaranteed income for artists since 2011.
Róisín de Buitléar is an artist, educator, curator and writer. She has worked with glass since 1982, drawing inspiration from her cultural heritage. She has site-specific installations in public buildings throughout Ireland. Her artworks are represented in public collections in Ireland, Britain, Japan, France, China and the US. Her recent work focuses on sound objects for exhibition and performance. CAUTION! Fragile Tradition in Transition, a seminal exhibition focusing on traditions of cutting and engraving glass in Ireland, is currently on view at the National Museum of Ireland, where she is the inaugural artist-in-residence for 2018. She is currently engaged in designing a national sound garden for Dublin City Council, and signature sculptures for the National Children’s Hospital Dublin.
Mercedes Vicente was born in Madrid in 1958. Due to her father’s job, Mercedes moved to various locations in Spain throughout her youth. In her opinion this experience pushed her to approach learning in a fundamentally self-taught manner. After finishing her studies in philosophy, she started her artistic training, attending national and international workshops. At first her work was pictorial but this evolved into painterly sculpture. Later, canvas would become her primary sculptural medium. The choice of medium was in part due to availability provided by a family factory of canvas as well as its elastic, organic, flexible and translucent properties. From the start, Mercedes developed her own technique and prepares the materials herself for each one of her sculptures.
Metaphorically speaking, Slovak artist Ašot Haas's career resembles a regular crystal polyhedron with surfaces that are shaped by controlled and uncontrolled events. His multi-faceted studies have included stone sculpture during secondary school, followed by industrial and transport design, and finally glass and sculpture at the Academy of Fine Arts and Design in Bratislava (2002-2007). Ašot has applied a wide spectrum of techniques, including the gathering of visual data from areas of science such as physics, optics, descriptive geometry, quantum mechanics, cybernetics and more. His research involves creating works through the application of mathematical modules and geometric codes. Ašot’s work straddles design, sculpture and glass art.
Elisabetta Bianchi and her younger brother Alessandro Bianchi were born, studied and worked in Florence. Elisabetta graduated with a diploma from the artistic school in 1974 and a fine arts diploma in 1978. She taught at the school of art until 1980 and joined the family workshop in 1981. Alessandro studied art and graduated in 1980 after which he joined the family workshop in 1982. The siblings first joined the workshops as apprentices and through time mastered the ancient art of scagliola.
Throughout a continuous process of research and experimentation, Camille Jacobs has developed a passion for the complicated and unpredictable medium that is glass. Camille first trained as a stained-glass artist, hence her interest in flat, two-dimensional sheets of glass that she has developed through her research into three dimensional objects partly screen-printed with clear and often geometric forms. Each of her objects plays on a contrast between the interior and exterior of her objects. Nature, environment, science, art history and music are continuous sources of inspiration. Through this research she explores the notion of abstraction enhanced with colour and her own theories. Colour acts as physical and mental wellbeing. Her goal is to achieve a perfect balance between shape, dimension, medium and colour, according to the message in the subject.
Hervé Wahlen is a self-taught copper worker and sculptor. After obtaining his BA in Literature, Hervé started to experiment with sculptural work using a number of materials such as wood, cement and forged brass, until he finally started to work with copper. Hervé quickly adopted a taste for shaping his works by hand. His love for this particular way of working has pushed him to create pieces that invite the viewer to have direct contact with the works, in order for them to feel this same emotion. He constantly strives to infuse his works with a presence. His sculptures are patinated and polished, present organic forms, and usually contrast a highly polished golden surface with an oxide-like surface on the reverse side. His works are exhibited in galleries and museums such as the National Contemporary Art Foundation of Paris, as well as in numerous private collections.
Michal Hanula is a designer, lecturer and one of the principle proponents of freestyle design in Slovakia. Using traditional crafting techniques, Michal is known for his woodwork, but his creations also use other media such as recycled materials, wire, horn and plastics. His technique of choice is woodturning, creating series of items for everyday use such as vases, furniture and lamps. He has taught in the department of design at the School of Applied Arts in Ružomberok, Slovakia, since 2005. He has held numerous individual as well as collective exhibitions and his works can be found in a number of private and public collections such as the Slovak national gallery.
Igor Balbi was born in Murano in 1975. At the age of 19 he joined the family glasswork business. His father and uncles would teach him the classical techniques of lampworking. Having learnt the fundamentals of this craft, Igor started to specialise in working Murano glass and “tipetti”, an arduous path and one not usually taken, as far as techniques with sodium-calcium glass torch are concerned. After years of research and experimentation, Igor developed a blowing technique unique to his specific manner of working. Strongly attracted by the qualities and functional characteristics of glass, Igor experiments with matter and evolves with it. As such, new systems of production are created that achieve a high range of chromatic effects. His works are all unique pieces with sinuous lines and forms, characterised by colourful shapes created by superimposing very thin glass sheets.
José-Luis Bazán is the son and grandson of leatherwork artisans who have perpetuated the rich tradition of leatherwork developed over centuries in Ubrique, Spain. From an early age he was fascinated by his father’s mastery of leather materials and his ease at inventing. José first began to train in the family craft at the age of 12 in a refurbishment workshop. After working in a number of different workshops with different teachers he set up his own studio at the age of 18. It was not until this age that he would come to realise that the best of teachers was daring research and alchemy. He has since expressed his passion for leatherwork through his studio, researching, combining materials, creating “impossible” shapes and sharing his knowledge through the training of others. His studio is currently dedicated to providing training courses to professionals as well as amateurs, and works alongside brands in the sector of leatherwork and architecture.
Kris Campo studied Ceramics at the Academy of Fine Arts in Antwerp and the Saint-Lucas institute in Ghent, Belgium. In 1987 she created her own studio and participated in exhibitions and contests in and outside Europe. From 1991 until 2007, she worked as a guide at the Museum of Fine Arts Antwerp and also started to teach. Since 1997, she has run her own studio at the Academy of Fine Arts of Sint-Niklaas. In 2004 and 2008 she travelled to China. Those trips strongly influenced her work. She started creating works based on her own history and passions, with very dynamic, coloured and decorated objects. Kris Campo’s work is mentioned in several publications and was selected in contests in Europe and Asia. In 2012 she won the First Prize of the International Award of Contemporary Ceramics CERCO, Spain.
Luigi Camozzo has lived and worked in his glass engraving and design studio on Murano island, Italy, for the past 50 years. He started to design and work glass at the age of 10. Luigi has now mastered numerous techniques and designs, creates, cuts and transforms glass of all kinds. As well as creating pieces from hand-blown glass, Luigi creates millefiori mosaics and glass blocks. Over his 50-year career he has worked alongside numerous artisans on Murano. He works for artists, collectors and galleries all over the world and for famous brands. From 1995, Luigi started to run courses on cold-working practices and theory and he now regularly works as a glass consultant providing training on engraving and its history, cold-working, sculpting and battuto (engraving).
Ceramicist Michal Fargo was born in the centre of Israel in 1984. She attended the Bezalel Academy of Art in Jerusalem between 2007 and 2011. After graduating she received the "First Studio" scholarship at the Binyamini House, Tel Aviv. In 2013 Michal collaborated with PCM Design, designing three collections for the brand. In 2014 Michal won the prestigious Clore-Bezalel scholarship that allowed her to attend an MA programme at the Royal College of Art, London. During her studies Michal participated in several exhibitions, among them the craft biennale in Chengjou Korea, where she received a special citation for her work. Today, Michal live and works in Berlin, Germany, where she has her own studio and teaches at the Berlin University of Arts.
Nives Marcassoli first studied in Bergamo where she obtained a stylist diploma. Her artistic career started with painting when at the start of the 1980s she attended the Pavia Civic Art School directed by the sculptor Alberto Ghinzani. It was not until the early 1990s that Nives would approach the world of glass, broadening her knowledge as an artist. From 1992, she started to study glass fusion as well as hot working techniques with Jorg Kleiner, and from 1994 with Mitiam Di Fiore. Nives has since continuously built on her glasswork knowledge through a rigorous combination of courses and personal experimentation, and has specialised in the creation of stained glass windows for home design. Her work draws on the diversity of her artistic experience, combining paintings, drawings, fused glass, melting pot castings and mould casting.
Norwegian ceramicist Sidsel Hanum gathers her inspiration from forms of nature. The Norwegian coastline and seasonal variations as well as the shifting tides give rise to a diversity that she expands upon. The process explores the potential and limitations of clay. Simultaneously Sidsel experiences an intimacy with nature’s continuous evolution when she uses its methodical and exacting methods. She builds layer upon layer so that the work takes its shape in the same patterns as nature. The tidewater’s amazing variety of shells, corals, sea anemones and starfish is imprinted in her work. She also feels that the tidal rise and fall of the oceans unites the world as one. This is how she likes to view the earth. Her life on an island on the Norwegian coast is part of a large and common universe.
Founded in 1989, Rattan Deco originally focused on home furniture, but in recent years the company has started to create furniture for hotels and resorts. They use a range of woods such as ash, pine and oak. All of their products are made in Mogente, Spain.
The Scuola per Mosaicisti di Spilimbergo (Spilimbergo Mosaic School) was founded by Lodovico Zanini and Ezio Cantarutti in the wake of the First World War in 1922 to offer young people the opportunity to work and study. Spilimbergo presented a perfect place to do so given its deep-rooted tradition in mosaic and terrazzo dating back to Roman times. Mosaic works from Spilimbergo have adorned monuments and streets throughout the world for centuries. Today the professional school aims to give meaning to this rich history as well as provide space for contemporary issues and solutions, stimulating research, innovation, creativity and participation.
Artigianato Artistico Veneziano (AAV Barbini SRL) is a company founded in 1927 by Nicolò Barbini that specialises in the production of Venetian mirrors as well as restoration of mirrors. Nicolò imparted his artistic temperament down to his sons, Vincenzo and Giovanni, helping them understand the secrets of the different working techniques. The mirrors of the Artigianato Artistico Veneziano Company have been exhibited in several fairs and exhibition halls. The company has also furnished hotels, palaces, residences and private houses in Italy and abroad with Venetian mirrors, tables, glass consoles and trumò, enhancing the artistic and architectonic beauty of the structures over the years.
François Passolunghi has been passionately creating and restoring rattan furniture in his workshop since 1993. François is one of the last craftsmen in the Alpes-Maritimes region of France to practise this old technique, which was passed down from father to son. François has distinguished himself through the intricate designs and creations produced in his studio. François watched his father working rattan from his earliest childhood, and later trained as a cabinetmaker in order to perfect his ability to work rattan. The nature of rattan, a tropical wood indigenous to equatorial zones, requires furniture to be worked entirely by hand.
Headquartered in Recanati, iGuzzini illuminazione S.p.A produces indoor and outdoor lighting fixtures. It is the foremost Italian company in the lighting sector as well as one of the most important in Europe. The company was founded in 1959 as Harvey Creazioni. It grew rapidly, separating production between indoor and outdoor lighting. Today, the company is a creative hub for continual innovation and is committed to the study and development of lighting solutions for cultural institutions, retail spaces, offices and numerous other private and public spaces. iGuzzini also works alongside leading architects, designers and universities to produce state-of-the-art lighting solutions.
Milanese workshop VI.MA.S of Vitri Pietro has been producing high quality upholstery work since its creation in 1981. V.I.MA.S works on a wide range of furniture upholstery ranging from sofas and beds to curtains, using high quality materials such as silk, linen and cotton as well as contemporary materials including polyester. To ensure unremitting quality, the workshop continually updates and searches for new materials to work with. Guided by passion, knowhow and professionalism, the expert artisans at V.I.MA.S finish every hand-worked commission to perfection. Each creation or restoration is the result of intensive study and applied knowledge.
A reference for French custom-made carpets, Edition Bougainville® takes its name from the French explorer Antoine de Bougainville. Combining tradition with modernity, each piece is designed and completely handmade in France by a team of expert artisans. The company takes inspiration from quintessential French carpet designs of the past, including the enlightenment period and Aubusson traditions. It also manufactures contemporary, innovative designs that evoke the rich French carpet manufacturing heritage.
Founded in 1976 by Nicola and Elda Fabrizio, Dedar (Design D’Arredamento) is a family-run fabric manufacturer located close to Como, Italy. Deeply rooted in the tradition of the silk district in Como, Dedar works with a number of master artisans and designers to experiment with designs and techniques for curtains, upholstery and wall coverings. From 2011, Dedar has worked with Hermes to produce and distribute home fabrics and wallpaper collections. The Dedar Collection comprises over 300 articles and 3,000 colourways. Comprising just 12 people 15 years ago, Dedar now has an international team of 160 people. Dedar is true to its 'handmade in Italy' label. That said, inspiration for its innovative designs comes from cultures around the world including China, India and Africa.
De Gournay produces made-to-measure hand printed wallpapers and decorated china. Wallpaper and ceramics are hand painted or decorated with gold leaf or embroidery. De Gournay's workshops include expert artisans such as ceramicists, glaze artists, gilders, painters and embroiders. De Gournay offers clients the possibility to add hand sewn silk thread embroidery to their silk backed wallpapers and fabrics. Artisans hand sew with an exceptional level of detail and to the highest possible quality, something that is only achievable by hand. Artisans collaborate with clients in order to bring their vision perfectly to life.
Aquaflor in Florence is a Maison de Parfum. The atelier and the laboratory, as well as, the perfumer’s studio are located in a historic Renaissance palace in the Santa Croce district. The Aquaflor collections, inspired by artistic perfumery, comprise perfumes, colognes, moisturizing waters, room fragrances, candles, and more. The line of cosmetics includes handmade soaps, body lotion, and vegetable body wash. The perfumer's organ contains an extensive collection of over one-thousand raw materials, including precious natural extracts and synthetic molecules. Sileno Cheloni creates tailor made fragrances and signature scents, a unique opportunity by way of a private and exclusive meeting in the perfumer's studio.
Born in Milan, perfumer Nicola Bianchi has authored fine fragrances for important international houses both in perfumery and in the cosmetic world. His motto: ”Cre-ating fine fragrances is not just a matter of technique, it takes passion, because every perfume is a unique and unrepeatable creation."
Founded in 1921 by P. Venini and G. Cappellin, Venini would become a model of excellence in the world of artistic glass. Over time, Venini entered into important partnerships with artists such as Bianconi, Martinuzzi, Scarpa, Zecchin, Bianconi and designers like Peter Marino, Tadao Ando, Ron Arad. Venini presents its works in two collections: Art Glass brings together sculptural vases; Art Light features lighting installations. Venini boasts an unmatched colour palette; its furnace is the only one capable of producing 125 different colours. Venini has always created objects destined to appreciate in value and the hammer prices of its glassware reach record figures at major auctions. Creations bearing the Venini signature have become part of the permanent collections of important international museums such as MoMA in New York. Since 2016, the Damiani family have held the controlling interest in Venini S.p.A.
Ivana and Saura Vignoli are sisters. They both graduated from the Ballardini Art School of Ceramics before opening their own workshop together in 1976, in Faenza. The sisters have regularly participated in international and national exhibitions and competitions.
Dunhill is design driven, with style, substance and purpose; engineering unique and stylish luxuries for men. It was founded in 1893 when Alfred Dunhill took over his father’s harness manufacturing business. Alfred developed and invented products for the emerging motoring industry to meet the needs of a new generation. Leather craftsmanship is as integral today as it was 125 years ago. In the leather workshops of London’s Walthamstow and in Italy, Dunhill upholds the tradition of considered craft. “It must be useful, it must work dependably, it must be beautiful, it must last, it must be the best of its kind” is the mantra of Alfred that still drives the business forward. Dunhill is a leading British luxury menswear brand with a global retail and digital presence, led by the vision of Creative Director, Mark Weston and CEO, Andrew Maag.
Rui Pinto is a natural-born artisan, with 16 years’ experience in jewellery design and making. He masters several jewellery techniques, predominantly the delicate filigree technique. Trained in the North of Portugal, his art represents a fine narrative in a new generation of artists. His artisanship expresses a personal artistic path and honours his country’s history and traditions. Rui emphasises his creative expression and his designs are essential for the development of fine art. As an artisan developing high value jewellery concepts, his knowledge is perceived as equivalent to the preciousness of the materials his works are made from.
Pål Vigeland studied from 1964 to 1967 at the Staaliche Werkkunstschule, Sch. Gmünd, Germany, and from 1991 to 1992 at The National Academy of the Arts, Bergen, Norway. Pål first worked creating jewellery and corpus silver works. It was later in the 1980s that he would start to develop sculptural objects made of copper, brass, iron and bronze. In 2004, Pål made his first series of sculptures from metal taken from used tin boxes. Pål continues to make sculptures from brass and copper, including used copper with a "finished" green patina. An example of such a sculpture can be found in the Royal Palace in Oslo. His sculpture "Kong Kylie" was purchased by the Palace. Pål's work is primarily based on simple geometric shapes. This said, they are also inspired by shapes from nature. The precision of his work is a result of his education as a jeweller.
Ellen van der Woude is a Dutch artist who works and lives in Luxembourg. Creativity is fundamental to her life. Already as a child, Ellen was surrounded by creative outputs such as paper, pencils, paint and clay. Her works now include ceramic creations and painting. The overwhelming beauty of nature is at the heart and soul of nearly all her works. The rich details and variety that nature has to offer, the unique shapes, patterns, textures and colour variations form an endless source of inspiration. Challenging the boundaries of clay and porcelain, Ellen creates delicate, imaginative sculptures reminiscent of sea anemones, sea urchins and coral. Each has its own texture and is decorated with small elements, all made individually by hand. Through her works, Ellen seeks to draw attention to the issue of marine pollution.
Francesco Cigognetti was born in Mantua, Italy and trained at the Università Iuav of Venice where he also obtained his Master's in digital architecture, specialising in designing processes. Francesco then went on to work with several architectural firms and workshops around Italy, developing a number of projects along the way related to urban and interior design. Francesco joined Factum Arte in 2012 where he works as a project manager within the production process. He works alongside other artists, creating ideas and designs. He is in charge of the digital processes department and CNC milling machines, working with different materials such as stone, brass, wood, polyurethane and bronze. He has participated in numerous projects with Factum Arte including the facsimile of the Teschen table, the facsimile of the Tomb of Seti I and Jenny Holzer's installation at the Louvre in Abu Dhabi.
Founded in 1755, Vacheron Constantin is the world’s oldest watch manufacturer in continuous production for over 260 years, faithfully perpetuating a proud heritage of watchmaking excellence and stylistic sophistication through generations of master craftsmen. At the pinnacle of high horology and understated elegance, the Maison creates timepieces with unique technical and aesthetic signatures, and an extremely high level of finishing touches. Vacheron Constantin brings to life unparalleled heritage and a spirit of innovation through its key collections: Patrimony, Traditionnelle, Métiers d’Art, Overseas, Fiftysix and Historiques. It also offers its discerning clientele of connoisseurs the rare opportunity to acquire unique and bespoke timepieces by means of its “Les Cabinotiers“ department.
Born in 1962, Laurent Ramat grew up in one the cradles of French enamel, the city of Limoges. Growing up, he developed a particular interest in drawing and painting and enrolled in the Decorative Arts school of Limoges in 1979. At the same time, he undertook an enamelling apprenticeship at Atelier Faure. Following his studies, Laurent joined a prestigious enamelling workshop in Limoges and further developed his enamel techniques such as grisaille, champlevé and cloisonné. In 2012, Laurent joined the manufacture of the “Metier d’Art” department at Vacheron Constantin, Geneva. By working alongside other artisans and specialists, he has been able to broaden his technical skills, becoming Vacheron Constantin’s master enameller. Laurent is particularly fond of grisaille enamel work.
Antoine van Loocke is an self-taught knife designer, recognised by VIZO in 2004, who creates knives using reclaimed materials. Knives have fascinated Antoine van Loocke as from an early age. He would wait impatiently to visit a knife shop with his parents in Dinant, Belgium. His first attempt at making knives involved a piece of train rail, an anvil, a rudimentary container and a wood oven. He went back to a knife shop that he had visited in Brittany and to his great surprise, the manager of the shop bought six pieces. Antoine works from the small workshop at the back of his garden. He creates pieces of cutlery using traditional methods of small-scale production. His knives take their shape from ancient ones while presenting a modern twist. His works can be found as easily in private households as in renowned restaurants such as Hof van Cleve and De Wulf.
Belgian ceramicist Françoise Joris graduated from the Academy of Fine Arts Charleroi in Belgium with a specialisation in pottery. Françoise has exhibited her works across Europe for the past ten years in individual as well as collective exhibitions, such as the International Biennial of Vallauris. Her work on porcelain started with the creation of very fine bowls that push the limits of the material. After extensive research and numerous experiments, pushing her materials to the limit of their properties, Françoise has now turned to making forms with aerial excrescences or covered by finely interlaced tabs. Her approach is free, and even if it is close to the organic world, her work is the fruit of her imagination. Her research led her to experiment with techniques of mixing porcelain with other materials. She has turned to Nerikomi to add colourful patterns that make her works even more alive.
Joanna Louca studied woven textiles at Middlesex University in the United Kingdom, followed by a Master’s degree in textiles at Goldsmiths University in 1996. She worked as a freelance textile designer and consultant on woven fabrics in London until 2000. From 1999 to 2016, Joanna presented her woven accessory collections in Paris and London fashion weeks, through trade shows and showrooms. In 2012, 'Joanna Louca Woven Editions' was established with the creation of a collection of wall pieces and unique fabrics for interiors. This resulted in her taking up commission projects for private residences, commercial spaces and galleries mainly in London, Paris and Nicosia. She annually visits Pitti Filati to source her yarns, textile conferences, art fairs and attends specialised workshops on weaving. Joanna travels extensively, finding inspiration in local techniques and materials.
Kristiina Uslar graduated from her Master's studies in the department of glass of the Estonian Academy of Arts in 2007. During that time, she worked in the department as a technician. Kristiina was named associate professor of the department of glass in 2017 and as of 2018, the head of department. Since 2006, Kristiina has been taking part in international exhibitions and competitions. She mostly uses the pâte de verre technique. For her Master's thesis research, Kristiina extensively studied ancient Roman Diatretas and borrowed many details from them, such as the usage of numerous pillars, connections, bridges and the overall distinctive structuring. Kristina combines her knowledge of classical glass with the pâte de verre technique in order to create glass sculptures with a modern twist. Her signature style is created through her technique of gradually building up the piece, layer by layer, connecting thin layers and pillars.
Chantal Tramasure was born in Bujumbura, Burindi, where she lived until the age of 12 and was immersed in nature, sun, song and dance as well as colours. As a child Chantal already loved drawing, tinkering and creating objects from finds in nature. She moved back to Belgium with her family and studied painting and drawing at the Academy of Fine Arts of Dendermonde for 12 years. In 1998, she was impressed by an exhibition Frank Steyaert's students held in the same academy. The light that circulated between the shapes and the warm colours of the enamel fascinated her. Following this discovery Chantal decided to follow his teaching. Chantal’s work is neither figurative, nor narrative, nor engaged. She is looking for a carrier to subtly express her experiences of colour, space and structure. She likes the repetitive and the unexpected.
Born in Luanda, Angola, in 1978 Catarina Nuñes now lives and works in Lisbon, Portugal. She obtained a degree in Ceramic Design from ESAD, Portugal, a Master's in Contemporary Ceramics from Tama Art University, Tokyo, and participated in an Erasmus exchange at the UCE, Birmingham, UK in Ceramic and Glass Design. Catarina devotes her creative process and research towards understanding the physical possibilities as well as the significance of ceramic materials. Her trip to Japan changed her relationship with the world. The study of the tea ceremony, intrinsically related to Zen philosophy and Wabi-Sabi, opened the door to questions related to the confrontation and acceptance of the ephemeral nature of sculptural matter. Her aesthetic inspiration is linked to an aquatic sensibility, since she spent much of her life living close to coasts or on islands, whether in the Azores, Japan, Lagos or England.
Antonio Dei Rossi is the last master glassmaker dedicated to the creation of figurative murrines. In opting to use the murrina glassworking technique, Antonio is continuing a long family tradition passed down to him by his father Mario, one of the greatest contemporary exponents of the historic technique born in Murano in the mid-19th century. During his training, Antonio devoted himself to studying the arts, developing interests in sculpture, painting, design and graphics, before committing himself to these fields professionally. Antonio is now the sole heir of the murrina figurative art technique from the island of Murano, respecting its rich history and continuing to produce works in a dedicated manner, almost in self-denial of the complexities it presents. His murrina work conveys an unparalleled level of quality and research in technology and innovation.
For Barbara Nanning, the natural world, with its manifold shapes, textures and colours, is an inexhaustible source of inspiration. Hence, her works are filled with dualities and contradictions that unite amorphous and rigid structures with manual perfection and the application of unexpected materials. Works are given life in groups, such as her gilded glass bowls Verre églomisé, Coloured Shadows and Eternal Spring. For more than a decade, her glasswork has revolved around the exploration of the effect as well as the experience of light and colour in glass. She sees herself as a material-bound artist who invents and develops unusual methods and techniques. Her objective: to paint with glass. Besides artistic objects in glass and ceramics, she creates monumental sculptures for public spaces in metals, both nationally and internationally.
Born in Murano in 1961, Cesare Toffolo grew up amongst a family steeped in glassmaking traditions. His grandfather Giacomo had been a master glassworker who worked for Venini. Giacomo taught Cesare’s father Florino numerous techniques of glassworking, and Florino also joined the Venini glassworks at the age of 17. Florino then started to experiment and work with lampworking, gaining the respect of traditional glassworkers on Murano. It was then Florino’s turn to pass on his knowledge to his son Cesare. Cesare was 14 when he first started to train, and despite his father’s passing away two years later, he continued to develop his lampwork technique. Over the years, Cesare also developed new glassworking techniques such as the filigree, incalmo and the use of gold leaf. He has exhibited his works in Italy and internationally and has led courses in prestigious glasswork schools.
Doris Becker lives and works in Fischback, Luxembourg. She pursued studies in several schools and academies in Luxembourg, Belgium and Germany. Her artistic work and the creations of her ceramic sculptures are influenced by her observation and research of diverse structures in nature including the mineral textures of earth. Doris finds that these imprints formed and transformed by natural space and time resemble abstract paintings. What interests her the most are the seemingly ubiquitous contrasts in nature caused by permanent evolution, such as the contradiction between construction and deconstruction, between formation and deformation, between structuring, de-structuring and even destruction. Since 2006 Doris has regularly participated in international exhibitions and competitions and has received awards, integrated collections and had her works published. She has also participated in various international symposiums.
Duy Anh Nhan Duc was born in 1983 in Vietnam and now lives and works in Paris. Nature is at the heart of this visual artist’s works. As a self-taught artist, Duy specialises in working with plants. Through his work, he intends to capture the unique allure of vegetation and to stage it in the narrative it brings to his mind. The pieces he dreams up are a way to showcase the plants with which we are all familiar, but which we no longer see. Each creation is an invitation to others to take their time observing nature with fresh eyes. In his Parisian studio, Duy transforms plants with subtle forms and invents poetic artworks that reflect the fragility of an instant. Clover, poppy, hydrangea and of course dandelion provide the matter for magical artworks. The fruit of tireless walks to gather flowers, his installations radiate fleeting, sensitive beauty.
Eneida Lombe Tavares finished her MA in Product Design at ESAD college of Art and Design, Portugal, in 2014. The research for her thesis focused on an exploration of her African roots within a Portuguese cultural context. Her project pursued themes of materials, colours, stories and cultural landscapes. In Caruma, this creates a relationship that is familiar to us. It intends to express the intercultural relationship that mixes closeness to what is far away. Hands become the most important tool to explore her origins. Eneida currently works in Caldas de Rainha and is passionate about music research. She feels inspired by topics related to post-colonial studies in the globalised context as well as mutual traditions around the world. Eneida is a designer for Barreiro, Portugal.
María Oriza began her artistic career at the start of the 1990s, focusing on sculpture and exploring a number of materials such as iron, stoneware and polyester. However, she realised that ceramics best fit her way of understanding art. She undertook her training at the School of Ceramics Francisco Alcántara and the Municipal School Moncloa de Madrid in the 80s. This provided her with a technical basis to later focus on the investigation of methods and material. María always tries to find a personal path in which she feels comfortable, and ideas flow naturally. Each production creates a challenge and pushes her to learn, part of a continuous evolution in the study of form and its relationship with surface. María has regularly exhibited her works in galleries and art fairs and in 2007 was named a member of the International Ceramic Academy. In addition, she has been invited to participate in exhibitions, such as "Contemporary Spanish Ceramic" in Taiwan and "Modern Masters" in Munich.
Marian Karel is a Czech sculptor and university professor. He studies at the Central School of Applied Arts in Jablonec nad Nisou in the Czech Republic and subsequently at the Academy of Applied Arts in Prague in the Glass Studio of Professor Libenský from 1965 to 1972. In 1992, he was named head of the Glass in Architecture studio at the University of Applied Arts in Prague and in 1999 was named head of the Department for Fine Arts at the Academy of Arts and Architecture in Prague. Marian uses glass, light and geometric forms to create elusive three-dimensional sculptures that challenge the viewer’s perception of space. His work is minimalistic in design and expresses simple interactions between basic geometric elements. His works have been exhibited in the Czech Republic and internationally.
Ceramica Gatti is the oldest ceramic workshop still active in Faenza. Riccardo Gatti, a ceramist painter and sculptor, founded the workshop in 1928. Riccardo had trained at the local arts and crafts school and later attended the Academy of Fine Arts in Florence where he joined the Baccarini Cenacle. Here, he would meet contemporary artists such as Rambelli, Drei, Guerrini, Nonni and Melandri. Soon after opening Ceramica Gatti in 1928, he would come into close contact with Giuseppe Fabbri, who brought him closer to the Futurist Movement. Riccardo started to develop his own decorative technique with metallic reflections, which provided him widespread recognition. After his death in 1972, Riccardo’s nephew, son Davide and daughters Marta and Laura took over management of the workshop. Today, the workshop is recognised for its constant research in innovation of techniques and its rich production of unique pieces including those with metallic reflections, distinctive to their workshop.