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Gaetano Castelli. Master of Set Design

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A Dreamer Who Makes Others Dream
A Tailor Who Tailors Sartorial Scenes

I find myself in front of a creative genius who moves from architecture to interior design to painting to set design. A true Italian intellectual. His name is familiar in every Italian household from the golden era of television for sleek and elegant set designs and has won Italy international awards for his set designs. For years San Remo Festival stage in Italy and Moulin Rouge in Paris have had his signature on the set designs. I was anxious for this talk, yet I found a very humble, down to earth counterpart. He is one of those rare types who manages to, regardless all the stones that life throws one’s way, keep that little curious kid alive inside. What was supposed to be a 15-minute talk easily stretched over an hour and I wished I had stolen more time of his.

Aynura: The purpose of this interview is to explore Italian excellence thru the stories of people who create it. Studying your work, I have a feeling that your passion and life work have been about creating persona, sort of character.

Gaetano: I would start with the question “who is a set-designer”. I’ve chosen this profession because it brings together all other artistic activities – painting, architecture, sculpture and many more. I am a set designer, I do scenography for theatre, TV. But I am also a painter. I’ve studied architecture. Eventually I didn’t pursue it as a profession as I started to work at television at a very young age. Set design is different from all these artistic activities. It is a lot about fantasy, ephemeral extravagance and energy that absorbs the audience. It all starts with a piece of paper, but it is about dreaming. I like to dream, and I like to make others dream. My task, I think is to astound just like the artists of the 17th century did.  All the works of Bernini, Borromini were scenographic, theatrical. I like baroque style, it’s synonyms with chiaroscuro (play of dark and light). Rome, with its churches and palaces is a baroque city, it has so much to be inspired from. In baroque style nothing is simple and plain. The frames, mouldings are dynamic. It emits energy.

Aynura: Were you born in Rome?

Gaetano: I am Roman, that is right. My father was Roman, and my mother was German. Living in the city of master pieces, one runs the risk of overlooking these beauties and great examples. We studied these master pieces in textbooks as schoolboys. But now I pass by Colosseum every day without giving much thought to it. I think I have been fortunate to live in this city. Growing up in a city of great examples of baroque style has probably done its part in the theatrical set designs that I create. As I quickly mentioned, Baroque is theatre, dynamism, motion, play of dark and light. Caravaggio is baroque. He is scenographical, yet there is truth, sense of reality in his works. Thru interplay of light and dark in his works he brought God close to humanity. Rococo is exaggeration, ornate, excess in embellishment and a lot of curves. The 1800s is characterized with return to neo-classism. In my small work, in set-designs, I’ve used all these styles, as well as renaissance style, specific colors, the pastel, warm colors of façade and interior that is typical to Roman and Venetian artists.

Aynura: Was there someone, a name who you looked up to, was your idol when you were little?

Gaetano: When I was a schoolboy, Rai used to run a family entertainment show on Saturday evenings. Always before the show I’d hear the name of the set-designer in the announcement part – set design by Cesarini di Scenagalia. I wanted to be Cesarina di Scenagalia. This dream took me to an artistic lyceum. It was a very difficult one to enter. My father wanted me to follow my uncle who used to work at a bank. He sent me to a different school, and I did everything to fail there. My mother knew that I laid my eyes on the artistic lyceum. Back in time she herself wanted to study there too.  But she was coming from a well-known family. For the class my mother’s family belonged to sending a daughter to a creative school with half naked dancers meant losing that daughter. My mother contented herself with playing piano but kept dreaming. She saw her dreams come true thru me. She silently sided with me, and I secretly took the entrance exam. My father’s intention wasn’t bad, he wanted me to have a secure job. Later I enrolled at architecture and set design courses as I wanted to be a set designer.

But with years my father came in terms with my choice. He was even proud of me. After he passed away, I found a folder where he kept all the articles published about me on newspapers, magazines. He used to cut out all of them to keep in a separate place.

I started to work very early. Always at Rai 1. First, I was assigned to Bolzano [north of Italy close to Austria] at 24 years old where everything was in German. It was a good opportunity to build understanding of the local culture. Later I returned to Rome to eventually be in charge of the set design of all entertainment programs of Rai starting from 1970s. The elegance of set design of those years is exceptional. Fantastico, Studio 1, Lunapark were among the most watched entertainment shows of that time. Each one of them had a distinct set design.

Looking back, I realize in search of novelty I’ve created some things that could have been predecessor of modern technologies. For example, the screen where I wrote Europa with Christmas light bulbs was probably predecessor of led wall. I used to manipulate the colors of those light bulbs thru computer by playing the degrees of red, green and blue – at 33.3 percent of all there the light becomes white. Obviously, I could play with different tones. Now neon works just the same way with the same tones of colors. I should have patented that invention. Unfortunately, I didn’t. Now for the set design of San Remo I include led wall for some parts. But back then I used to create it in my own way. Even when I use led walls, I have a supporting structure in place. It is not a good idea to totally rely on digital walls. I see myself as a tailor. I tailor design the set to the mood of the program, express this mood in a symbolic design as it is not a set design for movie, but for TV and theatre.

Aynura: You mean set design is a sort of sartorial work?

Gaetano: Yes. It is a sartorial work and I see myself as a tailor. Everything I create is about creating a world that is ephemeral. Caravaggio’s paintings, the style of 17th century,  interplay of light and shadow is my theatrical world. It is the style of my paintings. In a way, my work is to create sartorial personalities.

Aynura: There are different types of set designs as I understand, which one you think is your territory?

Gaetano: I am more oriented for television and theatre. As for the movie, I can do it, but I’ll say something that may sound absurd. Movie set-up has little space for imagination. I mean, movie making starts with a scrip, right? There is a guide for every little detail. Going thru the guide, I see what is in there. But for let’s say San Remo, the song contest there is no guide. This gives me more space for fantasy and creativity. Also gives space for metaphoric, symbolic expression. I prefer creative freedom in this sense.

On the other hand, at theatre how much the audience can experience depends on the type of tickets they buy. Usually, the front seats are considered the best. In fact, they are one of the most unlucky seats. One should always have the chin up moving left to right to have a decent view of actors, still wouldn’t see the legs because of the height of the stage. The best place is presidential seat, also called “Prince’s seat”, the spot where the spectator doesn’t have to move the head to watch. I create sets that are transmitted thru television screens. My work is to have the audience dream while watching from home. Back in time when I started the TV was a small box, it was a greater challenge. Now screens have grown larger, but the task is still the same.

Aynura: What was your first set design?

Gaetano: It was for Rai 1, for a cultural-journalistic debate program that was called “Diciamo la verità”. I was hired as a one-time assistant designer. Full-time set designers of Rai were not interested in journalistic and debate programs. Thus, I was called in. They needed a set design that could be assembled and dismantled every week to allow other programs to go on. I came up with a “globe” made with plastic and plasters that created an impression of starred skies. Back then Rai had a machine that could print anything plastic under vacuum. It had cost almost nothing and could be placed at one corner of the studio and do not interfere with other programs.

Aynura: Every set design was about inventing something new. You basically were an inventor. Your own most favorite set?

Gaetano: First, the Rockpolitik for Adriano Celentano. I have done all of his set designs and I think that was one of the most beautiful set designs. Besides it was an entertainment program with songs. This set designs brought me Rose d’Oro award, the festival that takes place the Montreux in Switzerland. It is an international awards festival in entertainment broadcasting and programming. Three programs – Al Paradise, Il Ribaltone and RockPolitik were nominated and all three were awarded in “international” category. Besides for its size RockPolitik was maybe the largest scene created in Europe.

Aynura: Does Italy still nominate programs to this festival?

Gaetano: No. Italy doesn’t have Italian programs anymore. They work with imported formats, for example Dancing with the Stars. But our set designers are sought after and employed all over the world outside Italy. These imported formats run the risk of flattening and loss of individual cultures and traditions. We run the risk of losing our DNA. Everything becomes cheap led wall which flattens fantasy. Set designer gets replaced by image director with a reduced work and result. Back then Academy of Arts didn’t have set design study in Europe. It was only us who took it seriously and advanced this area of study as a discipline.

Aynura: Back to the modern technology, what are your thoughts about the interaction of these two?

Gaetano: I have been in set design for more than 50 years so I think can say a word or two.

If I had had the tools and illumination equipment that are out there now when I had started, I would have created different things. But I started at a different time with different resources. When I started, little bulbs were used for lightning. Then came neon. At that time clean and elegant designs were what we looked after, especially in times of black and white screen. Then came the color screens. Also, a different sort of technology. My point is modern technology is a good novelty to enrich set-design, but we should be careful not to abuse its use. It should serve as a tool to create set design, but not to replace it totally, to enhance it, to not reduce it. We should be careful not to turn the set into a night club. If the design of the set requires, it is good to use projectors as a complementary detail. Today projectors and lights are taking over conceptual design. It has become a common practice to use only led walls. If led turns off, everything goes dark. If the whole stage is made of led screens, to me it’s death of set design. There is no depth. Always there should be images running in the background if not it all will go dark. I also use a lot of technology but always in a way that it serves to the structure of the set design that I am building. I feel that we are losing Italian art in our set design. You know Moulin Rouge? Italian art is what they want on their set. Also, in the US. Because Italians know how to bring together different forms of creativity such as architecture, sculpture and art to create theatrical scenery. If we do not keep this knowledge alive, we will be losing set-design workshops that are fundamental to this industry. Loss of set design means loss of costume design, craftswork. We need to avoid this loss at all costs. This is what our DNA is, it is losing our DNA.

Aynura: What would your advice be to the youth who want to pursue career in set design?

Gaetano: First of all, follow your passion. Secondly, stay up to date, know what is happening in the sector. Specifically, set design that is not related to theatre only anymore, there is cinema, video, television which are probably more important now. Moreover, set design is not about designing a scene, it is about finding solutions to what are beyond set design, such as interior design, sculpting, architectural issues. Eventually, one tries his hand at many things, it is a journey. For example, I’ve designed hotel foyers, restaurants in Rome, gardens in Albania etc. Enthusiasm, experience and keeping up with time are fundamental for success. Traveling, exposure, and having cultural sensibility is also very important for this profession.

Aynura: You’ve worked with legends, give me some names.

Gaetano: From internationals for example, Liza Minnelli. I’ve done all concerts of Pavarotti. Chelentano, Gigi Proietti, Benini and so many more. I was responsible for all of the entertainment programs of Rai 1. People used to watch us for good content and matching elegant set design. Back then the most important show was on Saturday evening with 20-22 million viewers. I worked with the best costume designers, musicians to put out a program that had quality content and matching set design. They were author programs, each program used to carry signature of a handful professionals. That was a great responsibility, there was sense of ownership for each detail of the programs.

Aynura: What would be your advice for young, aspiring nations like mine? How could these young nations benefit from the Made in Italy know how and excellence?

Gaetano: Before everything else, workshops. Employ an expert or two from Italy and headhunt young talents of your country to practice in these workshops to restore the DNA of your culture. Learn techniques for painting, design, architecture along the way. Create internally to avoid importing from outside. That would lay a good foundation. Otherwise, one depends too much on external capacity. It becomes very costly, also runs the risk of losing one’s own cultural flavor. The external expert needs to live there to understand and feel the culture. Try to avoid one-time service providers. Design should be relatable to the local people. Disciplines such as architecture, sculpture, restoration etc. are interesting fields to study. But set design is interplay of all of these and many other artistic and creative activities. The objective should be to become self-sufficient in bringing together artistic and creative activities of one’s own and modernize it.

Co.Ro. Jewels – Wearable Architecture

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Brand: Co.Ro. Jewels
Site: www.corojewels.com
Designers: Costanza de Cecco and Giulia Giannini

First I discovered Co.Ro. Jewels a while ago at a sales event in Rome. They didn’t know me.  But I remembered them since then – both of the co-founders – Costanza and Giulia. Their jewellery was one of the few designs that remined with me long after that event. Isn’t it what we call authencity? Or individuality and personality – the major traits of Made in Italy? The shapes of their jewellery had soul and character. They stood out.

Recently, a friend of mine reminded me them and I thought it was time to feature Co.Ro. for AQA Series. Discovering Costanza and Giulia as persons was another delight. Being work partners with a childhood buddie for lifetime is not easy, especially when there are finances involved. This design duo has managed to make it work, survive dark period of covid and have plans of expansion for future. They have created their own small and unique world inside a tastefully designed boutique in one of the very “roman” streets of Rome. Actually, they gave quite some interesting tips for success as designer entreprenurs. Keep reading to find out.

Check out their site, prices are surprisingly affordable too.

Enjoy

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For me success is moving slowly but steadily. Throwing away bucket of borrowed money is very easy. We chose a different path. Such gradual and steady progress also gave us time and opportunity to understand and define us who we are, evolve while we grew, and understand who we want to be. All in all, becoming designer entrepreneur is not something one is born into. One needs to grow into it.

– Costanza

How did it all start?

Costanza: We got to know each other at lyceum when we both were 14 years old. Back then we weren’t sure what we wanted to do but we were sure we’d do it together. We shared passion and vision for creativity. In the beginning we tried our hands in different things. At 18 years old, I along with university studies, attended a course on jewellery design at the Accademia di Costume e Moda. It was an intense year when I did both studies, but that is how it all started.

You mean you already had an idea to start your own jewellery brand?

Giulia: Not really. There was a lot of experimenting, making things for friends. I liked to work with wax, Costanza did a course on jewellery design. But we’d keep talking and sharing what we learned, we were together all the time, during the university and after the university.

First self-confidence. Believing in what we did comes first. Secondly, choosing our own path over someone else’s. Even when mistakes happen, it is our own mistake, not an error due to other’s opinions. Also, being able to trust gut feeling. Maybe it doesn’t apply to all business decisions, but allowing yourself to trust in gut feeling shouldn’t be taken lightly.

– Giulia

What did you study?

Giulia: I studied architecture. Costanza did too. We both studied architecture.

You both come with background in architecture. Now it is clear why the brand is about portable architecture. How did you arrive to a decision to start your own brand?

Costanza: While we were studying architecture we started to take courses to learn technical skills like modelling wax etc. It all started as a passion while we studied, our friends, schoolmates would buy from us, or they’d ask for something specific. For us in the beginning it was pastime activity, more of a hobby. It wasn’t a business; I mean, it wasn’t born as a business. It was the success of the idea that took us on this path to create our own brand. In this while, we were studying architecture at La Sapienza.

When did you decide to create your own brand?

Giulia: In 2012 we started to work for one of big jewellery brands for two years. Things seemed to always happen by design. There was a person who asked us to be assistant designer. We accepted the offer, and had an exposure to the operational part of the business. It was a brand that was in market, made collections, took part in fairs etc. This experience encouraged us to pave our own path.

How difficult it was to start and put a business on a roll?

Costanza: As we did everything gradually, step by step, the difficulty wasn’t unbearable. It surely takes a lot of determination, passion, willingness, and time. But for us such gradual growth was fundamental. In the beginning there are a lot of frustrations obviously. But we never thought about abandoning it. It wasn’t a choice. Also, we didn’t have an investor behind, whatever we earned we invested in this work. We believed in our idea.

How difficult it is to run a business as a woman?

Costanza: More than anything it is about credibility. Somehow woman is taken less seriously. The expectation is to have someone behind to support you. People trusted in us, started to work with us and our work took off. Yet two men would have been taken more seriously. Especially when it comes to financial issues. Honestly, we didn’t go to banks for financing, we never test our feet in that water. Also back in time we were very young, about 25 years old. It also explains the scepticism. All in all, ours was a positive experience.

Giulia: There is another side here, we mostly work with artisans, spend time with them. With time one builds trust. At times being woman may even have helped as working with women adds a bit of sympathy to the whole work as well.

Isn’t starting and going without financing difficult?

Giulia: In the beginning this was side hustle, we’d saved some money before starting.

Costanza: For me success is moving slowly but steadily. Throwing away bucket of borrowed money is very easy. We chose a different path. Such gradual and steady progress also gave us time and opportunity to understand and define us who we are, evolve while we grew, and understand who we want to be. All in all, becoming designer entrepreneur is not something one is born into. One needs to grow into it. That’s why I think this steady and gradual progress was fundamental, also to understand our client base etc. Making mistake is very easy, burning money is very easy.

So what is the greatest lesson of this journey?

Giulia: First self-confidence. Believing in what we did comes first. Secondly, choosing our own path over someone else’s. Even when mistakes happen, it is our own mistakes, not errors due to other’s opinions. Also, being able to trust gut feeling. Maybe it doesn’t apply to all business decisions, but allowing yourself to trust in gut feeling shouldn’t be taken lightly.

How do you handle the business part?

Costanza: I find business part difficult, yet we have a lot synergy in design process.

Giulia: in the beginning it was “Arabic”, but gradually one starts to make sense of it. I should tell I have started to like it.

Do you always interpret architectural constructions?

Costanza: Idea of inspiration maybe not always be architectural. But always there should be some suggestion to interpret. Designs always are interpretation of some inspiration. What matters is to interpret skilfully. The more skilfully interpreted, the less recognizable it becomes. Our purpose is not to re-create already existing, but to re-elaborate, re-contemplate.

How do you adjust to client’s taste, market trend?

Giulia: I wouldn’t say we follow market trend. Also our workflow is not about being up to market tendencies. Our work is not organized around collections for each season. There are old, fail-proof designs that we keep producing them. Trend is ephemeral.

Let’s talk about the work process.

It takes at least a month to produce a piece and there are designs that we keep reproducing them. The longest part normally is the design part where we work closely to arrive to a content that we both are happy with. In this process trusting each other’s taste is important and we do trust. Our tastes are similar in some ways and different but complimentary in some other ways. While Costanza is more on precise, orderly, classical side, and I am more on the side of unconformity. But it is complementary. It is easy to get into conflict and fight when working in duo, especially when finances is involved. When we can’t agree on something, none of us try to be the righteous one, but be considerate of the other’s opinion. One also needs to be conscious that the conversation is about an idea inside someone’s head, until it gets realized, it is hard to say how it will look or be. The final product is something that represents a bit of both of us. Being in duo is a winning format for us.

Your client?

Our target is diverse, from young women up, the women that are attracted to geometrical shapes. Or just passing by the store, they get fascinated by the display. More than all we observe our products are preferred accessory for architects, it is something they can identify with.

So, you started with a workshop before, not a storefront. When it was that you decided to own your store?

Costanza: In the beginning yes, we were in a workshop in Monti (an upscale neighbourhood in Rome famous for artisanal work). It was a small place of ours where we spent most of our time creating. We used to sell either online or produced for events to get our name up there. When we both turned 30, we graduated from university, and left our work. That turn of age is time when one feels like it is time for a change. With that energy to change something, we went out to take one step further and this place was the first one we saw. There were a series of coincidences between the owner and us. We took it as a sign and went with it. The street is a beautiful one, a real roman street with many goldsmith around with whom we’ve been working since the beginning, The layout of the place let us have our workshop separated from the store front. For us it was perfect.

What is made in Italy?

Costanza: It is something that retells traditions. It is not about merely being produced in some certain place, it is about intrinsic and intangible value that it carries, the culture, the history that it represents. In Italy wherever you go you discover a long history, passion, life and contribution of those who lived. So it is more about that emotional aspect rather than just a product being made in a certain country. The passion with which everything is made, in any given sector.

Whatever region one goes, the common denominator is the dedication to excel in what they do. They just know how to do and do it well. For us it is a pride to be able to contribute and continue this tradition.

Discover authentic creatives at AQA Series

Antonio Martino Couture – Enduring Voice of Authencity

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Couture: Antonio Martino
Site: www.antoniomartinocouture.com
Fashion Stylist: Antonio Martino

Hello folks,

It feels so great to be back with a new discovery in Rome. Those who follow me on social media may have read how hard March has been for me to pull myself together after the war broke out in Ukraine. Watching human tragedy unfold in front of our eyes is inexplicably painful. Thru the suffering one realizes that there is not much power in the hands of individuals like us except making conscious choices every day. Sometimes it feels like the most sensible choice is just to put blinders on, focus on work that creates beauty to stay sane – which I do – with friends that I am blessed to have who also helped me discover Antonio. Time and again, I find this blog to be a cozy nest for me to retreat in times of confusion and despapir.

At a time when the world seems to be swept by mass physhosis, it was so refreshing to discover Antonio. In the environment of homogenized thoughts and actions, it really felt good to talk in depth with someone who had a different take on things and courage to talk openly. Not all the conversation is published here:-)

As usual, I am sharing my impression of him in a phrase – he is the voice of authencity and enduring quality not tainted by marketing slogans and fads. His architectural creations are here to stay, not to dazzle eyes with ephemeral glow and fade away.

Do not miss his description of his clientele:-) Some powerful stuff 🙂 If you feel like you are one of the types he describes, then Antonio is the fashion guru for you.

I found his prices surprisingly affordable too. Check it out for yourselves.

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What is fashion for Antonio?

Fashion for me is life itself. It is a bit of like breathing. I don’t remember my life when fashion wasn’t part of it. Maybe I was around 3 years old when I started to help my mother to do things with needle. My mother used to do embroidery work and my aunt was somehow involved in fashion. In some way I’ve been with fashion from early on. Yet, sincerely, really never inside the fashion world.

Tell us about your studies.

At 14 years old I moved to Rome from Salerno, my hometown to study fashion at a lyceum. It was a feat to convince my parents. I came with my brother. In Rome, we were lucky to meet a woman from Napoli who really mothered us, hosted us and I grew up with her here. After graduation I was supposed to study either in Milan or Rome. But it was hard on my parents to maintain the expenses for both my brother and me. So I attended a small school to learn the technical skills for garment building. With that it took off. In the beginning I didn’t do design, started with technical work.

Maybe someone you looked up to or now you think is your idol?

With years one grows and changes. At the moment Armani is the one who I’d like to be. He is a type that has managed to follow his passion, build an empire and built it intelligently. I believe one also needs to have a stroke of luck. Besides he has a taste and style that is timeless. Now he is over 80 but still there, still in the front line, still working. To me, he is the king.

How was Antonio Martino Couture born?

It was a curious journey – a choice born out of circumstances. In the world of fashion connections are important. First hand recommendation goes a long way. I understand that. Let’s say if I am looking for a seamstress, instead of losing weeks, maybe months for headhunting, shortlisting and interviewing people that I do not know, I go ask around and hire among from recommended candidates. It simplifies the process. So being inside the fashion world makes a big difference. My family or circle didn’t have ties with the fashion world.

There was a time, when I wanted very much and tried hard to work for one of the established houses. But as I said, this was a choice born out of circumstances. Eventually, in 2008, with my then partner we founded Antonio Martino Couture. Since then, now about 14 years, I am heading my own Couture. The early years were very intense, we used to do everything ourselves in an obsolete factory that was outside of Rome. But it had a lot of fabrics, so many other supplies that we needed. Weeks would blend into months – each week starting Sunday evening with us leaving Rome to the factory and coming back home Friday evening. Yet, I am grateful for those early years and to my then partner, thanks to whom the Couture took off.

Do your collections follow the regular fashion calendar?

https://www.instagram.com/p/CMB3FXPjDeV/

Following fashion calendar requires a different set of infrastructure and series of arrangements. I opt for capsule collections obviously, in line with seasons – but planned to create events. I opt for creativity – small collections of fantasy than regular size collections adhered to fashion calendar.

To express my art, creativity is more important to me and this arrangement now allows me to do what I want to do. Let’s say, my objective is not to sell one more jacket, one more coat. The collections serve as pinnacle of creativity, quality and fantasy for me. Timelessness and durability are what I strive for. If I see someone still carry my creation after 10 years, that is my utmost satisfaction – just thinking that I’ve created something that after 10 years still hasn’t gone out of fashion, didn’t die in seasonal changes, and is not worn out, the quality is there – I feel I’ve accomplished something.

Besides, curious cuts that never go out of fashion are fundamental in my mind. For example, neck of a shirt that I designed had seven different ways to wear. So every time it feels like new to wear the same garment just by arranging the neck differently. It is also fun to have that covert touch. In 2017 a new line was born, which is called Urban Park which is more ready to wear mixed with high fashion.

What about now, which path you follow now?

Now I design to excite, to create splash.

So, no mainstream for you?

A big NO. I try to follow the trend in general. Let’s say, if bombers are in trend, I do bombers – but I do it my own way. To put clearly, I do not like to associate myself with somebody else. I never create something that one could say – oh, this is similar to Balenciaga, Dior etc. I make my own and create my own path. My style should be recognizable and speak for itself. But what we see often times is flattened taste and products. In this homogenized noise having my own voice is important for me. But do everybody see what I’ve created? I am not sure – that calls for massive marketing campaigns and investments.

Which is more important in this homogenized world – quality or marketing?

Unfortunately, marketing. Marketing rules. Today fashion is about concept – let’s say pieces are not remembered for their quality, but collections are remembered for the ambience and set up in which they are presented. Garments matter less. This is sad. People instead of looking fashion as a way to define own individuality, look at it as the means to blend in and flow.

What is quality for you?

The quality is very important. All in all, it is not only about quality of fabric. Everyone can get good quality, expensive fabrics and make a dress. There is nothing wrong about it. For me, quality is about research. Quality is about making something beautiful out of something that doesn’t cost much. From little ideas, small discoveries beautiful things can be born.

For example, in one of my collections, I created an oversize, exaggerated trench. The material was a blue net used as construction material inside houses, over the walls. I used it voluminously matching it with leather to create that trench. The final product is impossible to miss, it is exaggerated, voluminous, yet the base cost is pennies. The originality of idea matters. If one is void of ideas, the easy path is to follow the ideas of others and the trend of time.

What is the most common challenge that single creatives face in Italy?

All the designers want to get noticed. This is a form of art, an artistic expression. In the homogenized world the most difficult task is to remain true to oneself. The society likes to frame its members. If something is considered cool at certain period, everybody is expected to follow that path. But no. I do not want to join. I want to follow my own path.

Then who is your client base?

I wouldn’t define my clientele based on age. Yet my designs are not for teenagers. I work for more independent women, mature women. Woman that is self-conscious of her style and her power. A woman that wants to stand out, not blend in. A woman that appreciates quality, curious details, longevity of garments.

Your advice to your students?

I am very strict and demanding to them with a sharp eye to detect the tendency to copy. I guess they see me as their enemy for that. My advice to my students is to always stay informed, yet true to oneself. Learn inside out – not only theoretically, but also practically – hands on to understand how to construct a garment. Practice, practice and practice. Success may come unexpectedly, at the moment you expect it least. And if you are not ready for that moment, it goes away instantly just the way it came in. Always strive to build slowly, steadily, something to last. If after 50 years you are remembered even with just one creation, that is already something.

What is Made in Italy for you?

We Italians, regardless many things, are very lucky to be surrounded with so much beauty that we sometimes forget. Everyone refers to his/her products as Made in Italy because it sells. To me, Made in Italy is more about passion and creativity. Let’s take craftsmanship – it is easy to find it also in France, in China, elsewhere. The true Made in Italy is about a passion that is more carnal passion, sensorial passion – one lives it as if it flows thru, a radical phenomenon that one belongs to.

You know, it Italian we say – cucinare e cucire – the same passion applied to different things – cucinare – to cook, cucire – to sew – always you add your secret ingredient with so much love and affection. We are built like this. I come from south. For us everything happens in the kitchen – conversations, socializing, laughs and discussions – mother always cooks in the kitchen and the life revolves in kitchen. To be together at home – for us in south [Italy] – it feels like warmth of the sun. For us life is colorful, flavourful – everything is carnal, not mechanical, not conceptual. For me that is Made in Italy.

Discover authentic creatives at AQA Series

Rossella Ugolini – Dance of Shapes

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JEWELLERY BRAND: ROSSELLA UGOLINI
ONLINE STORE: www.rossellaugolini.com
GOLDSMITH, JEWELLERY DESIGNER: Rosella Ugolini

Hello folks, now coming to you with a jewellery artisan Rossella Ugolini from Rome. Do you believe in a first impression? I do. My first impression of Rossella was ‘gracefulness’. As I got to know her more, visited her atelier, watched her create jewellery, I was convinced of my first impression. Gracefulness it was!

Talking with her about her beloved city of Rome, handcarft, precision, interpretation of forms etc. is a delight. Leaving here our talk with her for you to have a glimpse into the work of an artisan goldsmith and jewellery designer. She has an advice on how to wear jewellery, don’t miss it, keep reading. Don’t forget to check out her site for her great pieces.

When did you discover your passion for jewellery?

First, I discovered my passion for manual work with small objects. My father was an engineer mechanic. He used to fix things at home and would make me unthread the electrical wires with a strange twister. I found it very entertaining as I could bend and give shape to these tiny and shiny electrical copper wires. Then I was a little girl, about ten years old. For me it was a game. That is how I discovered my passion for manual work.

It was during the high school years of an artistic high school that I realized jewellery was the closest thing to my manual skills. It involved working with small and colorful details. I finished the high school little earlier at about sixteen and a half so I used this chance to go to goldsmith workshops to learn. Gradually started to buy my own equipment while I was studying at the Academy of Fine Arts. I used to study, work at home in the evenings and keep learning from goldsmiths in their laboratories at every chance I had. Still in my mind there is that vivid image of me sitting next to them in silence and watch them working. They smoked heavily. Sometimes they would talk to me and explain things. That is how, I slowly started to make my own jewellery too.

I consider myself a very lucky person. I’ve managed to do what I like to do and I do what I like every day with all the problems that exist at work. I think those who work in craftswork are satisfied people anyway. So if anyone has such passion, I would encourage to pursue it even as a side job as it will bring immense amount of joy.

Where do you draw your inspirations from?

Surely, from the city of Rome. I grew up here surrounded by the Baroque architecture, beautiful forms, and the colors of Rome. Translating my thoughts, emotions into form is what it is about. Movement of dance is a form. When I already have a form in my mind I transform it onto material. That’s why many of my collections have names, for example, the collection of Castle. When I travelled to Puglia, I visited the Castel del Monte. It was a magnificent octagonal castle, an overwhelming structure. It had spelled me so much that I started to study its plan, the colors, its surroundings and thus the Castle collection was born.

This is as a natural process, as if a stroke of lightening, or an image, constantly happening in my mind. I see something that I like or inspires me, the next thing I know is it gets interpreted into a jewel.

Explain us the process of creating a jewellery.

The first step is drawing a sketch. Normally, that sketch is what corresponds to the original idea the most, it is more immediate. Then I elaborate the drawing with precision to the exact size. Jewellery should be comfortable and wearable, the parameters are important. Equally important is the technique – how to shape a ring that sits comfortably or form an earring that is not too heavy. These are technical parts of the process.

How long does it take to make a jewellery, let’s say a ring?

It’s difficult to say. If I’m happy with my idea and drawing, it takes at least two weeks. A lot depends on whether it is a one-piece item or there are several pieces to be assembled. The last step is setting the stone, and this is a whole another process.

What materials do you use?

I like working with gold. It is flexible, ductile and shapes come out beautifully. Also silver. With silver I make collections that are more contemporary. Because it is possible to bronze it and give a more rock look. Bronze and copper are not my preferred metals, they are difficult to work with. However, the material is secondary. Its choice depends from the preciousness of what I make.

Who wears Rossella Ugolini?

Rossella Ugolini’s woman is a woman who surely chooses the jewellery for herself. She is a woman of attitude, role and character. She already has traditional jewellery and wants something different, personalized and unique. We may design the jewellery together just for that person, so it is unique.

The age of the woman?

I have two categories of women for whom I design. The women in their 40s, who have already built their career and can afford themselves. But also, there is a young audience of 18-20 years now, who enjoy personalized jewellery. In general, this category will pick the most minimal, simple pieces from my collections. They keep coming back, they follow me on social media, ask for more maybe for fiends, or bring me their family stones to create a jewellery. Of course, also there are men who buy jewellery either for themselves let’s say cufflinks or jewellery for their partners.

Your advice to women on how to wear jewellery?

Each woman has her own face type, her own style and taste. In my opinion, you have to follow your own style, not fashion. If you wear a sweater, you don’t have to wear a jacket to put a pin on, you can also put the pin on a sweater. You have to follow your style and your feelings.

What is craftsmanship for you?

I’d say these days a lot of work is done in cad and on computer. All these are great alternatives to the manual work. Yet not my preferences. I feel that when I give a jewellery a shape manually, I embed part of my soul in it. It is not just another cold jewellery; it has a soul. Imagine the soul has entered into the object to take a shape. When one looks this way, very intriguing shapes can be born, especially if the shapes are circular. In manual work we use metal as well as wax to give shape. With wax that is worked both hot and cold it is possible to do more sensational moulding.

What is the most important quality of an artisan goldsmith?

The first thing that comes to mind is precision. But I’d say no. In my opinion, a goldsmith must have the quality of creating shapes that are particular, uncommon. This is precisely the quality of an artisan goldsmith – interpreting the form. One should be good at creating shapes that are singular, recognizable, particular, and harmonious. In craftsmanship small details are what make all the difference.

I think this is also the case with Made in Italy?

Yes, for me everything must be Made in Italy. That makes the difference. Even the boxes. For me Made in Italy is an ideal. It is a bit like renaissance. In the Renaissance workshops numerous artisans used to work together on the same project to make it as beautiful as possible. We all have the same goal.

A’biddikkia – Bold. Bright. Sicilian.

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FASHION BRAND: A’BIDDIKKIA
ONLINE STORE: WWW.ABIDDIKKIA.COM

DESIGNER: GIOVANNA MANDARANO

Hello folks, starting the year light and bright. With a fashion brand. From Sicily. Presenting to you A’biddikkia.

Do you know the luxury fashion house Dolce Gabbana? Ever wondered why the style of this house is so colorful, bold, rich and distinct? A little ‘no secret’ secret – it is inspired by Sicily.

I read somewhere on the Internet that being Sicilian means to be a brand. A brand of style and taste. Who can argue against it? With its glam, iconic style, bold and bright colors that resemble the sun, sea, the nature (those lemons and flowers), Sicilian cart and myriad of other symbols, suggestive lace, handwork and craftsmanship Sicilian fashion is quintessential. Sicilians know how to nail the timeless.

A’biddikkia just like Dolce Gabbana draws its inspiration from Sicily (but costs a fraction of it. It is a good news, isn’t!:)). Born in one of the most beautiful small islands of the Aeolian archipelago, A’biddikkia is not about dresses only. Just like they do in Sicily, it is also so much about accessories, shoes, scarfs, everything else that adds to that spice, glam and iconic style.

Watch the story to see Giovanna’s interpretation of Made in Italy and Sicilian Style. In the meantime, do not forget to head to their site to check out the online store and channel your inner passion with their very Sicilian style:)

www.abiddikkia.com

Dust of Time

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Store: Polvere di Tempo (Dust of Time)
Address: Via del Moro, 59, Rome (Trastevere)
Online Store: www.polvereditempo.it
Artisan: Adrian Anibal Rodriguez
Adrian Anibal Rodriguez, artigiano and the owner of the workshop store Polvere di Tempo (Dust of Time) in Rome. Foto: Luca Fantini, 2021

It is that time of the year. And the AQA Series is here for you with a story of a store where everything is about TIME.

Dust of Time… Or as it says in Italian, Polvere di Tempo. This little, cozy shop offers as much nostalgic and warm setting as its name suggests. The green doors, with the Christmas lights on at the time when I visited added a special magical air. Located in a very Roman neighborhood, Trastevere, on one of the winding narrow cobblestone alleys, this workshop store is a must-see place in Rome.

Adrian, the architect artisan and the owner is originally from Argentina. A true guardian of the ancient tools for measuring time. The first time I stepped into the “Dust of Time”, my impression of him was of a very pleasant person who was extremely humble towards all his clients and whoever walked in. Then we talked. I explained to him why I am there. God, I discovered a true philosopher. His knowledge and perception of time were so interesting, so mind invigorating, I forgot for what I was there and we dove into a stimulating, long talk about the phenomenon of time and so many other things. I’ll leave the conversation here for you to indulge.

In the meanwhile, check out his online store where you’ll find one of a kind quality, hand-made tools for measuring time – from hourglasses of different sizes to sundials, compasses and many other curious items that would make a wonderful holiday gift or a beautiful décor item for home – www.polvereditempo.it

Enjoy the story of his time stopping store. The story is up on the my Instagram account.

Enjoy xx

Adrian, I found about you and the store “Dust of Time” on Google. I knew that the whole shop was about measuring time. But when I entered the store, the time stopped. It was an interesting feeling. Usually, looking at the time pass gives us anxiety or sense of urgency. But here observing how time passes in a time-measuring object, hourglass, was kind of pleasing, calming. How did you come up with the idea of choosing this path, dedicating yourself to creating these curious objects?

In fact, everything started by a mere chance. By profession I am an architect. I used to work for a big company. Yet I didn’t really like that life, I wasn’t comfortable. My grandfather used to say, it is better to be mouse’s head than lion’s tail. Working with people who were building big villas and houses was not to my liking. I am a very critical person. To cut it short, in that period, when I was about to give a second thought to my profession, a friend of mine gave me a sundial as a gift.

Was it happening in Argentina?

This was happening in Italy. I’ll skip the part of my life in Argentina up until I was 29, when I decided to move to Italy. I have always been good with handwork, a general tendency coming from family. At such a point in my life, a friend of mine gave me a sundial. Until then, I have never had an exposure to the world of measuring time. As many others, I used to observe time either on watch or over wrinkles. With this gift I leaped into the world of measuring time. Gradually, I started to build a sundial, a wall sundial, which is also vulgarly called Le Meridiane. Later, I tried my hand at making clock candles for monks.

Look, we totally ignore how time was measured in ancient times. We do not have that memory. Our memory starts with the mechanical watches. I mean, mechanical watches themselves are very ancient, the first one being invented around 1300s. But it was a curious object not because of its accuracy, but because how it worked. It wasn’t particularly accurate. Sundials were used during the day and nocturnal at night to determine time by the position of the stars. Hourglasses obviously were a complementary instrument in times when there was no sun or it was cloudy. As a matter of fact, hourglass is not a clock. they are chronometers, they are designed to measure passage of time. As a German philosopher Ernst Jung said, the mechanical watches do not measure time, but fabricate time, because they are totally different from what the real time is.  

Time is a philosophical phenomenon, I think. Just think, in times of hardship, difficulty and anxiety, time never passes. On the contrary, in time of happiness and joy, we do not know how time flies away. That means, time it a relative phenomenon, yes, also a scientific measurement, but as well relative. So, slowly, I started to enter this world. Also, I was young, you know, when one is young, one is not conscious of the value of time, but the elderly are, as the end is drawing close. I smoke pipe and in the world of pipe smokers, the measurement of time is the length of one pipe. What I mean is there are endless ways to measure time.

Polvere di Tempo (Dust of Time). Store: Rome, Photo: Luca Fantini, 2021

So, when ventured into this work, I started with sundials, then moved on to clock candles for monks to measure time at night. In general, all these tools belonged to aristocracy, or borghese. Farmers planned their day around the sun. I think the first phenomenon that made mankind suspect of time was shadow. Because, mankind realized that from the rise of sun until sunset, with the movement and gradient of the sun, the shadow moves and changes. And this was the first reference point in the birth of objects that measure time. This is how sundial works.

Then came synchronization. If we put the whole process in perspective, it was until when someone has decided to let’s say synchronize time in two separate points, and this is, probably, how portable measurement tools came into picture. Above all, I think, it was necessary also during the wars. In times of attack from different sides, calculating time in terms of the position of shadow wouldn’t do the job. Isn’t is amazing how wars along the history found their way in and changed it all.

Measuring time can never be perfected, right? First everything started on empirical experience, then mathematical calculations followed. These are all the topics that interest me and so I dedicated myself to this craft. I try my hand in making different types of watches and work on improving my skills.

One day, I discovered hourglass, which is not a clock, but is a tool to measure passage of time. Hourglass is an incredible tool. That is the only tool where the time is tangible, one can touch time. The sand in the upper bulb is the future, the neck is present and the sand in the lower bulb is the past. It is a practical tool too. But the first version that was called clepsydra, was made of water. So, it was a water clock. Not in this exact form, different sizes of vessels filled with water were used to measure the passage of time. What we call clessidra (hourglass) now is in fact clepsamia, a sand tool.

Where was the clessidra born?

There is no knowledge on the exact place that it was created. I suspect, it was ancient Greece. But as water clock. The version we create now, the sand clessidra is not very ancient. I assume it was in Babylonia, Persia etc. My researches didn’t result with a specific information on that, I mean the water clock is really, really ancient.

Polvere di Tempo (Dust of Time). Store: Rome, Photo: Luca Fantini, 2021

What time the tools that you make date back to?

The tools that I make date back to 1700s, they are portable models that were first made in Nurnberg. I decided to produce portable objects, for obvious reason, because I had to make my living out of this too. This craft was to be my passion and living. It needed to be practical. But no, wait, even before that I made shepherd’s stick, which is also a tool for measuring time according to the position of the sun.

Another topic is that the mechanical hour that we use today is quite disconnected from the solar hour. Sometimes there is a difference of as much as an hour in these two times. This discrepancy is also due to the need to facilitate the issue of time. For example, the countries such as the US or Russia extend across couple of time zones. To facilitate, organize and avoid confusion as much as possible, the lines of zones do not run exactly along the solar times, they are adjusted. But if we check time against the real solar time, we’ll observe discrepancy. When you see a note – real local time – that is astrological time.

Polvere di Tempo (Dust of Time). Store: Rome, Photo: Luca Fantini, 2021

Listening to you, someone that is as profound and humble as you are, my thoughts wander. The qualities that are required for this work, namely, a lot of attention, concentration, precision – are the qualities of intense mediation practiced to elevate the spirit.

Totally. The artisan work is a very creative work, it is kind of an artistic work. I always say this: the difference between artist and artisan is that artisan creates an artwork that is also a practical product. Usually, an artwork doesn’t have to have a practical use. Also, there are so many artisanal works that with the passage of time have garnered the value of an artwork. For me, artist is the one who is always in search of ways of expression. Artisanal work with modernization has lost a lot of value. Maybe, it garners the value it deserves with time. For example, a furniture of the 17th century is considered an artwork and carries a value of an artwork today. In this sense, this is a very complicated topic to elaborate. But in general, I’d say the difference between an artist and an artisan is that the artisan makes a product that has a practical use in that moment in time.

Many times, I wonder a lot about why we do the things that we do. What do you think, if you hadn’t moved from Argentina to Italy, would you have dedicated yourself to this craft?

Nobody knows, nobody can answer to that question. Let’s say you take a thousand white sticks and one red one and drop them from height. Do you think, the red stick will always fall into the same spot? No, it will always fall into a different place. Human life is like that too, there is a possibility for total change in every instant. That’s why, I do not know. In Argentina there is a saying – you’d be what you are meant to be or you’d be nobody. The saying alludes to a pre-determined destiny. But is there a thing called destiny? I do not know. I am a type who doubts everything. There is a beautiful saying – Doubt is the privilege of the secure. The insecure people can’t permit space for doubt.

Polvere di Tempo (Dust of Time). Store: Rome, Photo: Luca Fantini, 2021

Then fear fills in that space…

Right. Now, there are people that need political and ideological position. Why? Because, such position gives a sense of certainty. The ones that are afraid of insecurity and can’t afford doubt as it opens space for insecurity, adopt such positions that are supported by ideology or philosophy. I have always been agnostic, come from a family that has been non-religious already for three generations. I’ve raised my kids in this spirit as well – one should submit to insecurity, continuous research of the truth.

But isn’t it difficult to live without firm points?

Absolutely. Of course. The truth is a lie in which one believes. But who is in power to say what is the Truth.

Polvere di Tempo (Dust of Time). Store: Rome, Photo: Luca Fantini, 2021

Could this be the reason why you dedicated yourself to a profession that requires so much precision? Your need to search and understand?

I do not know. You know, there is a saying – I know that I do not know, I do not remember which philosopher said this, I don’t have a memory. If I had one, that would have been a strange thing. My point is, the more one learns, the more one understands that doesn’t know a thing – then one adds “maybe”, “might” to everything one says. With such uncertainty, of course, life becomes uncomfortable. Because, being grounded is really comfortable, it brings tranquility. I do not know, I am of doubt and for doubt. I think it is better this way, less comfortable, but better. In fact, this approach of questioning everything has taken me on a path, in respect to time, to doubt and question it too. And it really opens up one’s mind and learn things that wouldn’t have been possible without such attitude.

What your advice would be for the coming generations?

This is a difficult one. For ages, the maximum human speed has been that of a horse. We’ve tried and trained different animals for this, elephants let’s say and the last one has been horse. But then a moment came in history – with the steam engines – the velocity jumped. The increase is not mathematical increase any more, but a geometrical one. It is geometrically exponential. We’ve reached to a point, it feels like, we’ve lost the control over our world, before it was us controlling, now it feels like it’s machines in charge. With the climate urgency and the sort of unimaginable economic crisis that we’re heading, this is a difficult question. But I wouldn’t want the youth to grow up with pessimistic thoughts about the future.  

We started this series of interviews to learn about the excellence of Made in Italy. But we both are kind of strangers. I look with foreign eyes and want to understand what is at the core of this excellence. We do not want to learn from the experience of big industries and businesses, we’d like to learn from people that do the handwork behind, are on top of all and pays attention to all the details along the process.

I think, you’ve picked the right country to learn about the sense of quality and artisan work. 

Polvere di Tempo (Dust of Time). Store: Rome, Photo: Luca Fantini, 2021

AQA Series

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The first story is coming on December 19, 2021. Do not forget to check back in.

AQA series will explore Italian excellence thru the stories of those who create it. Of individuals, who are behind in every great product and meticulously work on every detail. Honestly, at the heart of the project lays the curiosity to better understand this culture, the drive for creativity, Vivere all’Italiana lifestyle and see how young nations like mine can learn, adopt and get inspired from it.

Yet, the project has couple other objectives as well. On one hand, it will open up a window to more affordable ‘Made in Italy’ products, artisans, little known, emerging, authentic brands, designers, small producers, intellectuals and many more. Take it as exploration of the ‘Unknown Italy’. Check out their online shop for great buys. Also to support small businesses and creatives. On the other hand, I hope this series will provide an opportunity for the local creatives to connect with the world outside of Italy.

As we say, here trying to shoot two birds (actually four) with one bullet:) About one more segment of the project specifically related to my country later.

Oh, and I am officially on Youtube. Don’t forget to subscribe. Thank you!:-)