Dimorestudio

Lanvin Shanghai; courtesy of Dimorestudio.

Dimorestudio

Lanvin Shanghai; courtesy of Dimorestudio.

Dimorestudio

Lanvin Shanghai; courtesy of Dimorestudio.

Dimorestudio

"Progetto Tessuti" Paris Deco Home presentation in January 2020.; courtesy of Dimorestudio.

Dimorestudio

"Progetto Tessuti" Paris Deco Home presentation in January 2020.; courtesy of Dimorestudio.

Dimorestudio

"Progetto Tessuti" Paris Deco Home presentation in January 2020.; courtesy of Dimorestudio.

Dimorestudio

Residential project in Milan; courtesy of Dimorestudio.

Dimorestudio

Britt Moran and Emiliano Salci; courtesy of Dimorestudio.

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Milan

In Lieu of Milan Design Week, Dimorestudio Updates Us From Italy

With the absence of Milan Design Week this year, patrons all over the globe are connecting elsewhere. For us, and so many others, that connection is virtual. Yesterday, we exemplified that by speaking with Dimorestudio’s Co-Founder Britt Moran on Instagram Live to hear what’s new, and what the studio would have presented at Salone del Mobile 2020 if it weren’t for the COVID-19 outbreak.

Moran gave us a peek at life in Milan right now, and spoke about the studio’s shifting focus—for Dimorestudio, Dimoregallery, and Dimoremilano. He also caught us up to speed on some recent projects, including their designs for Lanvin boutique in Shanghai and “Progetto Tessuti”—the studio’s latest presentation at Paris Déco Home.

To join that video interview, Whitewall spoke with Emiliano Salci—the other half to Dimorestudio; its Creative Director and Co-Founder. Via email, we heard how he’s staying inspired in isolation, how the brand is approaching private and public spaces, and what’s he’s staying inspired in isolation, and what atmosphere surrounds him at home.

WHITEWALL: How are you doing amid COVID-19? Are you able to work on anything during isolation?

EMILIANO SALCI: We are able to work even if in a different way, as being home and not able to meet in person, implies much “virtual” time with the team, for example. The creative process is less about computers and more about manual work, constant feedbacks and throwing and bouncing ideas, which is best done in person.

WW: Tell us a bit about how you’re staying inspired. Any specific books, movies, playlists, recipes, social media accounts?

ES: I have many pictures and images in my archive, and have an excellent visive memory. I also have many books at home from which to draw inspiration, even if many are at the Studio and currently have no access to them.

Movie wise, I am watching films by Michelangelo Antonioni and Francois Truffaut—both in black and white and in color—for the very modern approach, the scenography, the color scheme, and the aesthetics.

WW: Tell us about your new Instagram series “#DimoreIcons.” Why are you highlighting these specific pieces? What do they have in common? 

ES: With #DimoreIcons, we wish to highlight the iconic pieces of furniture which have been designed in the years, have become staples, have led to trends, but which unfortunately have also been copied. It is our way to point it out and to battle it.   

WW: Tell us a bit about working on residential projects. How does this type of approach differ from more hospitality or retail spaces? 

ES: We enjoy doing them all, even if for public projects we fall under less family constraints. With public projects we may be bolder, meaning we wish to convey a luxurious and warm feeling and to create a place where one would live.

Private homes need to be welcoming, cozy, the balance between the homeowners’ requirements and the space, with the end result visually conveying fluidity.

Retail projects necessitate to convey a residential, domestic feel. Thus the mixture of custom made and historical furniture. For hospitality and restaurants, we use less historical furniture, as it is more fragile and tend to focus instead on custom made or re-editions of historical pieces.

WW: We were looking forward to seeing you in Milan during Salone del Mobile. Can you tell us a bit about what you were aiming to show there?

ES: With Dimoremilano—the new brand comprising furniture, fabric, object and outdoor collections by Dimorestudio—we would have presented the new collection: sophisticated, sober, elegant and timeless. With the postponement of Salone, we will showcase it in 2021.

With Dimoregallery—the historical and contemporary design gallery—in a familiar, domestic  setting, we would have mixed and juxtaposed elements and products as well as the new collaborations with contemporary designers.

WW: Can you tell us a bit about what’s seen in your home, art- or design-wise?

ES: Our home is our nest and refuge, where we collect all the objects which have been part of our lives, or which we’ve collected over the years.

As per our projects, there is a combination of historical and contemporary design from the ‘30s, ‘40s, ‘50s onwards. I am particularly fond of an artwork by Enrico Castellani mixed with 17th century Chinese objects and a floor lamp by Osvaldo Borsani.

 

 

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