My passion for wood grew in a craftsman’s workshop where I used to spend a lot of time during my university years.
When did you decide that your future would be in woodworking?
My passion for design flourished at the Polytechnic University of Milan, also thanks to Beppe Finessi, an extraordinary professor who influenced my choices and marked my future.
I developed the idea of designing and, especially, making the objects myself. In the case of single pieces and limited series, the object’s added value lies in the fact that it is hand made.
And by examining, almost obsessively, other consolidated artisan businesses with a solid working experience, I persuaded myself that I could make it work.
Most are private clients who come to me for bespoke furniture with the added value of a project that is tailored to their desires:
the project is born from an exchange of needs and solutions.
What training is needed for this profession?
I believe it takes a double training. On the one hand, you need to have a formal education in the field of design; on the other, you need to develop the technical and manual skills that are necessary to transform an intuition into an object.
How do you reconcile your work with the new needs and trends of the market?
To deal with the entire production process, from the initial concept to the finished product, is an advantage that enables me to approach my work without being affected by the trend of the moment.
Which types of clients do you target?
Most are private clients who come to me for bespoke furniture with the added value of a project that is tailored to their desires: the project is born from an exchange of needs and solutions.
I also collaborate with art-design galleries, and this normally involves a long and articulate creative process that is based on a strong initial concept. In this case, to translate an idea or an intuition into furniture and objects in their own right is much more challenging.
Do you think that young people are fascinated and inspired by your profession?
Many young people work in my studio (in fact, I am the oldest) and I must admit that this makes me happy. When I interview potential candidates, I always underline the fact that in this profession the most difficult aspect is to maintain a high level of concentration even though we are working with our hands.
What are the critical areas in your field? And what are the perspectives?
I run a small carpentry business and a design studio: both fields have critical areas and specific features. For artisan businesses, risk is connected with investments in materials and resources, whereas the design process implies planning and development, which often conflicts with the timing and haste of the client. I believe that, in my activity, the key lies in finding a good balance between the phases of design and execution, always keeping a high quality standard.