The Coherent Approach of Risk-taker Giulio Cappellini

                              by Saxon Henry

DesignCommotion wanted to know how Giulio Cappellini, who isin charge of the artistic direction for Cappellini,manages to stay on the leading edge of contemporary Italian design. Here’s whathe had to say:

DC: Your very name is synonymous with avant-garde Italiandesign: what is it about you that you believe has set you apart in the designworld?

GC: The continuous desire to innovate, risk and search fornew and interesting creative people in the world. I have always had thiscoherent approach whilst thinking that there are always more new things to doin the design sector.

DC: As you scout and nourish new design talent, what do youlook for in the beginning that proves there’s a kernel of genius in theperson’s designs?

GC: It is important to understand if there are signs ofresearch, of great personal and original innovation in a young designer, and ifthey are ready to question themselves, as making a product is somethingserious.

DC: You have said that one of your responsibilities is tomake designers dream. How do you foster this level of synergy with thedesigners with whom you collaborate?

GC: It is important to find a perfect feeling between myselfand the designer. You can discuss, try and work for a long period of time on aproject with the aim of creating a good product only if you have the rightharmony. 

DC: Why do you think Miami has become a U.S. epicenter forItalian design?

GC: I think that Miami is a contemporary city, open todifferent cultures and therefore completely open to new stimulus in art anddesign.  

DC: How have you seen Italian design change over the courseof your career?

GC: From the 1950s to the 1980s, Italian design has beencharacterized by strong stylistic and functional innovation. It seems that inthe last few years many companies have concentrated more on presentinglifestyle than extraordinary products, something that I think should be thetrue vocation of a brand.

DC: You have said that you work to nurture long-sellersrather than bestsellers when you work with designers. Who do you think is yournewest long seller?

GC: Most definitely the Mr. Bugatti chairs by FrançoisAzambourg and the Lotus seating collection by Jasper Morrison because they arecomplex, innovative and honest products.

DC:  What do you love most about what you do?

GC: What I most like is to think that there is always somuch yet to do in design. It is not true that everything has already been done.

DC: If you could change anything about your profession, whatwould it be?

GC: I would try and make products that are closer to thepublic’s requirements, and that can also make them dream.

DC: What is the most exciting thing you’ve done in your workduring the past several years?

GC: Definitely having had the possibility to meet andcollaborate with fantastic people such as Achille Castiglioni, Shiro Kuramata,Jasper Morrison and many others. Exchanging ideas with these people has givenme the possibility to really grow from a cultural point of view.

DC: When you were a child, were there signs that you wouldbe involved in some type of design? How did your creativity show itself at anearly age?

GC: I have always been curious and I have always likedplaying with forms and colors, being attracted most of all by simplicity, in asophisticated and not banal way. My dream has always been to create fascinatingand innovative objects.

This month, Design Commotion (http://www.DesignCommotion.com)has an Italian section (Eye on Italy).