Our Design Favorites of the Week Draw on the Creativity of EDIT Napoli 2020

Isabella Prisco
·10 minuto per la lettura
Photo credit: Serena Eller Vainicher
Photo credit: Serena Eller Vainicher

From ELLE Decor

It’s been a little over a week since the 2020 edition of EDIT Napoli was unveiled from October 16-18, yet somehow, the creative enthusiasm of the event doesn’t seem to have gone anywhere. The projects presented by those involved transformed cardinal spaces of the city into open-air theaters exalting extraordinary examples of artisanal and signature design, breathing new life into the entire sector despite recent events. “EDIT Napoli is an innovative design fair created to support, promote and celebrate a new generation of designers,” reads the Manifesto for the event ideated by Emilia Petruccelli, an engineer by training and entrepreneur and buyer by trade, and Domitilla Dardi, a curator and design historian. For them, the document is a window into the project’s future, which, facing one of the most beautiful gulfs of Italy, opens itself up to professionals and design fans alike. As the cradle of craftsmanship and handmade, the city of Pulcinella is offered as the perfect backdrop: while the Monumental Complex of San Domenico Maggiore hosts the leading exhibitors at the fair, including young creatives on the Seminario platform and a new project launched under the Made in Edit label, it was the Theater of San Carlo and the National Archeology Museum of Naples to act as a backdrop for Edit Cult, the section dedicated to signature design (in the opening picture, Ceramic Tower by Jaime Hayon for Bosa in the historic Filangieri Museum). Between world premiers, revisitations, original collections, and crowd favorites, Edit Napoli continues to give proof of that fertile ferment, which, as a product of the times, moves the furniture industry towards a new tomorrow. What’s more, it moves in a solid continuum between the past and present, becoming a timeless testament to our living spaces.

Edit Napoli 2020 - Monumental Complex of San Domenico Maggiore

Aline Asmar D'Amman for Laboratorio Morseletto

Photo credit: Marco Zorzanello
Photo credit: Marco Zorzanello

“The spontaneous beauty of the stones owes nothing to humans. Surprise, ecstasy, fantasy, precision, similar to the sentiment of a poetic image, meet in the anonymous elementary forces that, when woven, create nature.” Referencing the words of philosopher Roger Caillois, the architect from Beirut, Aline Asmar d’Amman, took to Edit Napoli 2020 with a project born in collaboration with Laboratorio Morselletto. The Memory of Stones is a collection that solidifies the poeticism of stone through sculptures and furnishings. The typical veining of marble worked in Vicenza, with its stunning imperfections, stands out in a series of elements that are as decorative as they are functional, combining elementary forms to rough surfaces in a sculptural whole addressing the ancestral link between man and nature.

De Castelli

Photo credit: Serena Eller Vainicher
Photo credit: Serena Eller Vainicher

It’s from a new sense of living and the original, everyday practices that De Castelli’s project Copper at Home is born. Dedicated entirely to the home, the objects presented for the first time this year bring the natural beauty of copper to the contemporary domestic evolution: beautiful and pragmatic, not to mention safe, the furnishings exalt their materiality while also underlining their antibacterial properties. De Castelli collaborated with three designer couples to give life to the Wave shoebench, designed by Lanzavecchia+Wai, the Alpha coffee table, designed by Martinelli Venezia, and the Burraco table, designed by Zanellato/Bortotto.

Sylcom Light

Photo credit: Elio Rosato
Photo credit: Elio Rosato

Dismantled and reconstructed, the glass material of Sylcom Light recounts the traditional craftsmanship of Venice in a spectacular installation conceived by the art directors at Debonademeo, within the Monumental Complex of San Domenico Maggiore. In addition to Rezzonico, the symbolic chandelier of Venice created in the 18th century by Giuseppe Briat, the company Spinea also presented a live preview of their Festa chandeliers, designed by Debonademeo, Lulù by Domenico Rinaldi and BonBon by Andrea Lazzari. Looking to the chandeliers of 19th-century ballrooms or the pearls of Murano, the collection of luminous solutions draws inspiration from the past for contemporary homes.

Servomuto

Photo credit: Serena Eller Vainicher
Photo credit: Serena Eller Vainicher

Directly from Paris Design Week 2020, Servomuto brought their Haute Couture collection to the center of the Neapolitan fair: the installation saw the duo’s new lamps take center stage with an upward momentum, giving homage to the high fashion of Paris. Just like couturiers, the two designers Alessandro Poli and Francesca De Giorgi have crafted a project that “invites us to discover the time-honored savoir-faire of lampshade production, arriving at a contemporary and sartorial version of the lamp in fabric.” The result is an elegant object that starts with thin stems in ash wood and multiplies the facades of its hexagonal bases, opening a thin skirt dressing the luminous body.


Forma & Cemento

Photo credit: Serena Eller Vainicher
Photo credit: Serena Eller Vainicher

Architectural and statuary, it’s also a pivot element that distinguishes the collection of Forma & Cemento signed off by Marialaura Rossiello of Studio Irvine. It’s called Fusto and, just as the name would suggest (fusto means trunk in Italian), the piece is a modular column that becomes the constructive element in a series of furnishings that includes (among others) two tables, two bookcases, and a coffee table — built, of course, in concrete. Here, volumes and proportions are integrated in a timeless geometry, enriched by facets underscoring the game of lights and shadows, and elaborating on the constructive simplicity of the final object to encourage the recycling of its components.

Studio Zero

Photo credit: Serena Eller Vainicher
Photo credit: Serena Eller Vainicher

History, mythology and mystery are the underlying spirits to emerge from Menadi and Madrepora, collections presented by Studio Zero. The former, referencing the ancient Greek tradition that saw the Maenad as followers of the god Dionysus — Bacchantes capable of liberating natural forces into the supernatural through wild initiatory rituals — is a series of terracotta vases, which, like bodies suspended in the convulsive rush of an impetuous dance move, vibrate upwards. Delicate and refined, the creatures are formed in paper clay (a working method for ceramics that sees the insertion of cellulose into the mixture before cooking). Madrepore trays, meanwhile, recount the Ocean’s mysterious abysses and time, in a pattern of irregular designs that recall the wavy motifs and rush of the sea.

Simone Crestani and Giordano Viganò

Photo credit: Courtesy Photo
Photo credit: Courtesy Photo

The unique working methods of glass are met with the fascination of wood in the collection from Simone Crestani and Giordano Viganò. The two creatives imbue their expertise in Minerva, Venere, and Giunone (pictured), a series of vases with mythological names; in Sicily, a side table whose construction recalls the Mediterranean vegetation; Constellation, a tea table with a round form; and Venice, a gorgeous console resting on slender glass legs. The result of a study in new techniques and decorative languages capable of expressing the ability of our own two hands and a deep knowledge of materials, the collection exalts Crestani’s visionary use of glass paired with that of wood in the work of Viganò.

Gae Avitabile

Photo credit: Serena Eller Vainicher
Photo credit: Serena Eller Vainicher

The work of Gae Avitabile, meanwhile, fully captures the essence of plastic. The designer from Caserta begins with plasticity, a term derived from the latin plastĭca and the Greek plastik, or the art and technique of molding, to ideate Anoa. Conceived for both interiors and exteriors, the chair is born from the recycling of expanded polystyrene — used largely as packaging in the food industry — in collaboration with AirPol, a company producing these containers which are used to carve out a new patented material obtained by their post-consumption recycling.

BCXSY per Sidreh

Photo credit: Courtesy Photo Edit Napoli
Photo credit: Courtesy Photo Edit Napoli

Presented by Rossana Orlandi during the 2011 Salone del Mobile in Milan, this collection of rugs created by BCXSY arrives in Naples “available for order”, as the Dutch designers Boaz Cohen & Sayaka Yamamoto write on their Instagram profile. The Balance Rugs line is the result of a collaboration between the Amsterdam-based studio with Sidreh and the Lakiya weavers. Lakiya Negev Weaving is an organization that brings together a community of Bedouin artisans, fighting for the improvement of the socio-economic situation of women that live in Israel’s Negev desert. The rugs are based on the sequencing of various patterns woven by hand and united in diverse configurations, creating personalized surfaces.

Seminario

Sour

Photo credit: Courtesy Photo
Photo credit: Courtesy Photo

SOUR, the brand founded by Raffa Guidobono in 2017, participated at Seminario, the creative cradle of emerging talents and designers under 30 at Edit Napoli, with a series of planters. The typical rectangular pots are included in the collection, produced in limited edition, dismantled and revisited: pointed, sharp, and geometric, the monolithic containers found here create a new form softened by a palette in dusty pink nuances, dove gray, and Inchyra blue. Born to be eco-compatible, the planters are also available in a natural or rust color.

Made in Edit

Sara Ricciardi + Simone Piva - Monumental Complex of San Domenico Maggiore

Photo credit: Marco Maria Zanin
Photo credit: Marco Maria Zanin

In an exploration of the relationship between mankind, space and time, Sara Ricciardi presented O.R.A., a collection of wellness tools created for Made in Edit, in collaboration with Marco Piva. The six objects presented, including an hourglass, massagers and a series of weights, suggest a ritual dedicated to one’s wellbeing — a meditative moment that almost resembles a prayer. “ORA is the latin verb indicating the action of praying in the famous Benedictine warning: ‘Ora et labora’, or pray and work,” recalls the designer from Benevento on her Instagram profile. “In a world devoted to constant productivity, we need to be able to accompany space with prayer. Exercise and daily discipline are necessary for good breathing, listening to the body, and great concentration.”

Edit Cult

Andrea Anastasio - National Archeological Museum of Naples

Photo credit: Elio Rosato
Photo credit: Elio Rosato

In the Hall of Frescoes, between the spaces of the National Archeological Museum of Naples, Andrea Anastasio presented Aritmia. Le ceramiche per Gatti 1928, an exhibit curated by Alessandro Rabottini that saw six collections of works in ceramics realized by the Roman designer for the historic art atelier of Faenza, where he’s acted as art director since 2017. At the center of the event, the material culture of design: in a study that digs its roots into the symbology and the anthropological interpretation of past decorative arts, with particular reference to the domestic environments of the villa and the homes in the Vesuvian city, Anastasio recounts the modern evolution of research design between technology and velocity.

Martino Gamper for Moroso - Theater of San Carlo

Photo credit: Serena Eller Vainicher
Photo credit: Serena Eller Vainicher

It’s a savvy design reinterpretation by Martino Gamper for several iconic products from Moroso: in the Metamorfosi collection, presented within the Theater of San Carlo, the designer known for his work in deconstruction and reconstruction gives form to a series of new design mash-ups. There are loveseats and hyper-colored small sofas that play with round profiles and curved profiles, which, as Gamper confirms, “Are products conceived for industry, they’re not singular pieces, and I push them through metamorphosis. I retrace the creative process in reverse and I take them back through the factory.” The company was also present within the prestigious spaces of the Monumental Complex of San Domenico Maggiore, with products from the M’Afrique collection.

Foscarini - Theater of San Carlo

Photo credit: Serena Eller Vainicher
Photo credit: Serena Eller Vainicher

To illuminate the beautiful rooms of Naples’ opera house, founded in 1737, was the poetic light of Foscarini: Celebration, the luminous installation conceived specifically for the foyer, lit the lamps designed by Andrea Anastasio, Madre and Filo. The two projects, which intersect to evoke the ritual and celebratory atmospheres connected to archaic religious festivities, express the evocative power of light. For Madre, inspiration came in the generous and welcoming forms of the divinities that protected the fertility of the land and explored links to the light as a generator of life. Meanwhile, Filo is a work deconstructing the archetypal lamp, in which the designer has dismantled and recomposed the object in its singular parts — electric wire, light source, diffusor, decorative element — reinterpreting them with a playful, unconventional approach.