A Journey into New Beauty

An objective, if benevolent, reading of Italy today—of its productive, creative and artisanal landscape—cannot fail to take account of the remarkable variety of districts, crafts and local identities that have preserved the charm and magic of the past while continuing to engage with the present. Admittedly, today’s landscape is no longer the one that left those embarking on the Grand Tour as pilgrims of beauty awestruck, as Piero Camporesi recalls in Le belle contrade: “It may come as something of a surprise that the Peninsula appeared, more than a Bel Paese, as a vast workshop of industrious craftsmen —a land of masters, artisans, merchants, bankers, sailors, engineers, architects, labourers and gardeners. Filled with workshops, spinning mills and all sorts of other mills, ironworks and mines, with carefully cultivated fields and admirable orchards and gardens. It was less a country of artists devoted to the cult of beauty than a great construction site, buzzing with machinery and tireless workers.”

What links Ugo La Pietra and Sara Ricciardi toghether? What unites Arthur Arbesser and Roberto Sironi? What do Paola Navone and Sam Baron have in common? More broadly, what inspires twelve internationally renowned designers to retrace part of the Grand Tour—not in search of ruins or sublime landscapes, but in pursuit of the techniques, trades and craft traditions that only Italy is capable of nurturing and showcasing in such extraordinary variety? Despite their many differences, these éminences grises of contemporary design recognise one another through the values that the Michelangelo Foundation for Creativity and Craftsmanship has long championed: the central role of human talent in the conscious and creative transformation of materials. 

In her article for the ‘Mirabilia’ exhibition staged by Fondazione Cologni dei Mestieri d’Arte at the Triennale Milano dedicated to Milanese artistic craftsmanship, art historian Susanna Zanuso describes the climate of feverish activity that animated the workshops of Milan’s master artisans as follows: “From the workshops of crystal makers, gunsmiths, turners, embroiderers, smelters, ageminators, carvers of cameos and medals, came objects executed with rare perfection whose success was the result of their unique, surprising nature: the discovery of new craftsmanship techniques, the so-called ‘secrets’ jealously guarded by Milan’s ateliers of which these sources tell us, allowed these craftsmen and inventors to create never-before-seen artefacts that became the object of desire of every European court.”

The priceless Renaissance legacy bequeathed to master craftsmen has long been a feature of Milan’s manufacturing fabric: and if the Lombard city is the acknowledged capital of design and fashion, it is, in part, because the city has a vocation for outstanding craftsmanship which has always managed to establish a dialogue with the spirit of the times.

Now in its eighth edition, the Doppia Firma exhibition-event confirms the boundless potential inherent in its original formula: bringing together designers and master craftsmen who bring about a creative exchange of design approaches and manual know-how to create one-off, evocative objects that bring the cultural legacy of the world’s finest ateliers into the modern world.

Games have long been used as a metaphor to help us understand complex dynamics which involve dialogue, at times even conflictual.

Irony, colour, provocation, dream and magic. The twenty-four projects from this seventh edition of Doppia Firma seemingly ignore the golden rule of the twentieth-century industrial product: ‘Form follows function’. Instead, they open up to a completely free kind of creativity, marked by an irresistible playfulness.

According to art historian Henri Focillon, who penned the seminal critical work “In Praise of Hands”, any artistic form can only be conceived by the human imagination, which views reality as form: inside us is an infinite generator of creative possibilities, a dynamic principle that allows us to dream and transform materials consciously, creating forms that are always new.

The sixth edition of Doppia Firma, which celebrates the dialogue between artisans and designers from all over Europe, aims to propose a new definition of “craft”. A definition that distances itself from bygone styles, from divisions that are now outdated, from useless hierarchies.The sixth edition of Doppia Firma, which celebrates the dialogue between artisans and designers from all over Europe, aims to propose a new definition of “craft”. A definition that distances itself from bygone styles, from divisions that are now outdated, from useless hierarchies.

The artisanal activities that we have selected for this edition of Doppia Firma have their roots in a series of noble traditions, typical of the different European countries where the objects presented at Palazzo Litta were made: traditions that are however reinterpreted, trying to give shape to the demands and expectations of a new world, rapidly evolving. And which therefore needs new master artisans who employ the most advanced techniques and know-how to combine tradition and innovation: who benefit from a mature and conscious dialogue with design.

The guiding thread of this sixth edition of Doppia Firma is nature, evoked by the designs on show through the texture of the materials, the decorations and the forms of the objects that are intended to embrace it. Vases, sculptures, seats, tapestries, lamps, cabinets, tables, containers and screens are the protagonists of an unprecedented Wunderkammer in which time-honoured techniques and the ideas of designers meet and meld to give rise to contemporary excellence.

I have always liked a distinction that the philosopher Baruch Spinoza makes in his Theological-Political Treatise: the one between Natura naturans and Natura naturata. 

After exploring the synergies between design and craftsmanship with the creation of pieces of furniture for the home, Doppia Firma, staged for the fifth time this year, is emerging into the open air. The theme this time is garden design: a fascinating challenge that has been taken up by eleven Italian manufacturers which have set out to create, in tandem with the same number of creatives operating on the international scene, functional objects with an artistic spirit. 

A beautiful garden and a courtyard full of flowers owe much of their beauty to what Hildegard of Bingen, a medieval German mystic and expert of healing herbs, would have called viriditas: that is, the vital force that runs through trees, flowers and plants and which constantly allows them to flower over and over again and to grow (again).

The search for beautiful forms is an exciting activity that mankind has always pursued. Moreover, if – as it seems – our ancestors learned how to craft ceramics even before understanding how to bake bread, it is obviously because we cannot avoid crafting the matter that surrounds us to introduce new forms to the world.

The French theologian William of Auvergne wrote that the variety of the world contributes to its beauty. An assertion that is still perfectly valid, as anyone who appreciates the work of master craftsmen can confirm.

The poetic lightness of Nymphemburg and Riso Porcelain, the vibrant colours of Atelier Mestdagh’s artistic glassworks, the silver textures of Wiener Silber Manufactur: the fourth edition of Doppia Firma scours Europe and goes as far as Japan in search of fascinating contemporary artisans and rare and precious production techniques.

According to Victor Hugo’s classic work Les Miserables, authentic progress can be achieved only through a daring attitude. To dare means sometimes to challenge the system, to propose a new way of thinking and to see how people react; and that is exactly what we have decided to do with this third edition of “Doppia Firma”.

When Doppia Firma made its debut three years ago, the theme of the “craft design” – that is, the artisanal production of inspiring objects, perfectly fitting a contemporary taste –  was just one of the numerous trends in a crowded creative scene.

For the second year in a row, the Michelangelo Foundation for Creativity and Craftsmanship is proud to be a part of Doppia Firma, a project that embodies the Foundation’s core mission and values by bringing the worlds of design and of craftsmanship into close and fruitful contact with one another. Gorgeous, intriguing, even fun – these are just some of the ways to describe the objects created by the 13 designer-artisan duos who participated in this edition of the project. Still, it is important to remember that the objects are only a part of the story of this exhibit.

There are borders that are not inked on any map yet are very much present in our minds: the line between kitsch and authentic beauty, for example. Or the vast expanse between a hastily made object or cheap imitation and an artefact crafted with love, designed with talent and presented with pride. The Salone del Mobile, for which this exhibition was originally conceived, is a place where such lines converge: tradition finds originality, craftsmanship meets intuition, and creativity leads to innovation.

Like a precious gem, the world of Italian fine craftsmanship has many facets. There are the time-honoured traditional techniques that constitute an invaluable heritage.  There are the artisans’ flawless gestures that require time to be learnt and patience to be transmitted. There are the manual skills nurtured in a specific territory. These facets shine even brighter when they meet the challenging vision of contemporary design and a cosmopolitan approach.

For the last two hundred years or so, most of our systems, approaches and thinking have been moving consistently in the direction of specialization. The division of labour, which allowed for the growth of complexity and ultimately has given way to an explosion of information, requires us to separate, to categorize, and to disassociate one thing from another. 

At the UNESCO headquarters in Paris, ceramic decorations on two spectacular walls evoke the beauty of the Sun and the Moon. The style is unquestionably Joan Miró’s. At the UNESCO headquarters in Paris, ceramic decorations on two spectacular walls evoke the beauty of the Sun and the Moon. The style is unquestionably Joan Miró’s.

Doppia Firma is a fascinating experiment focusing on Made in Italy’s key values, such as the excellence of Italian craftsmanship and creative talent. The project aims to establish a connection between top-end Italian workshops skills and contemporary designers vision. Together they’ll give birth to a collection of unique, innovative as well as functional objects.

The binary code, the basis of digital innovation, is made of two digits: 0 and 1. Like Yin and Yang, like Descartes’ notion of body and mind, these opposites are actually complements. Their duality serves to strengthen, not to divide.