A backstage talk with
Giorgetti’s Creative Director
Giorgetti Atelier, via Serbelloni. Milan.
We had the pleasure to meet Giancarlo Bosio, Giorgetti’s Creative Director, on the occasion of the première of “Object To Project. Giorgetti Design Since 1898” at the Milano Design Film Festival.
Besides the natural conversation about the event and the film, it’s been an opportunity for a brain-picking session, ranging from design and business to culture and marketing, revealing a complex and fascinating scenario, accordingly to the newly-adopted transparency of the brand.
Obvious to say, the celebrations for the 120th anniversary offer an indisputable and broader context for the topics discussed.
The idea of doing an interview was a natural opportunity for us, to give people the chance to know from the voice of the brand, and literally from yours as the appointed Creative Director.
Would you like to tell us what you do for Giorgetti?
I have a quite structured position in the company because we start from a design department, with the creation of a format, let’s say a concept; nonetheless, we have a dialogue with sales channel, and we are in charge to present and convey a message, an emotion through institutional events, such as the Salone del Mobile. Then we ask ourselves how to move and adapt those emotions and messages for smaller environments, very often not directly managed by us: to a shop, to a store, to all the sales outlets around the world. We create recipes that can be transferred linearly and naturally, so as not to lose much of the emotion that we can obtain in those moments, which are very important for the company and which we pour a lot of energy on.
Is this the challenge, isn’t?.
[Addressing the “we” used for the answer] Is it a team job?
Of course, yes. We are a well-mixed group of designers, architects, communication, marketing professionals and graphic designers.The whole package to properly blend architecture, communication, visual design.
For such a composite team, it is possible to speak of a shared culture?
It depends on what you mean with culture. If you think of a mingle of elements that constitute a DNA, an approach, a method, a way of introducing yourself and also to carry on some guidelines maintained beyond the people who are part of the team, in this sense is culture. Then, maybe the culture with the capital “c” is something different.
It’s a special year of celebrations, but also a year in which you look ahead. His narration has never been self-celebratory. What kind of year is it, from your point of view, for Giorgetti?
Celebrating 120 years of life is something significant, and for a furniture company, it is also quite uncommon. These celebrations have the power to give you the measure of what has been, of all the past continuity and the changes. It’s also a chance for us to recognize ourselves, breaking the regular pace of building today something for tomorrow. Because, like in every company, in the end, you work in minimal time, with very close purposes.
It arises that in120 years Giorgetti have overcome many obstacles, many changes, many second thoughts. It helps a lot. It gives you an open mind to consider the future and see it as a new possibility to restart the game.
Thanks to this unusual “change of rhythm”, what do you have learned that you couldn’t notice in the daily, fast-paced routine?
I think it’s a bit like it happens in social groups. Actually, you know about your family, but when you meet them after a long time in particular events, you take a step backward, and you see it differently. Something that you already knew, but which was placed in a side memory. By just looking for images or texts you need to create the 120th communication, you find out the company is now entirely different; that it started long ago and it has undergone significant changes. The opportunities and needs of change have been higher than those of other companies that arrived on the market a short time ago.
In this sequence of little adjustments, what kind of influence did the dialog with the outer world and specifically with the world of art?
Meaning art as the one we see in museums, I don’t know how much of this link we have. As I was saying before, It’s a different art, a different concept, a design modeled on ourselves. In the beginning, our founder chooses a different path, linked to art and culture together; something that could offer a new design.
Some people may apply art to the product; for is in the choice of people who we wanted to work with, people coming from a world not so close to design but more linked to culture.
They could be critics or writers or, let’s say, art historians. People who generally said they didn’t do this job. To bring elements that came from these people’s studies and paths That was the choice.
With regards to the film, two keywords had aroused our curiosity, and you already somehow already answered on the topic of “transformations.” What you can say about “challenges”?
Well, it is even predictable to claim, but every transformation brings a challenge within it. Doesn’t?
It’s also a way to survive, by the way, and there are those who operate a transformation because they look for something new, and there are those who do it out of necessity. Either way, the last transformation I can remember, that is partly the topic of the book, of the book’s title [“Object To Project”], is the passage from the production of single objects to a broader, more organized, multifaceted concept that applies to environments, in their whole. In the last years, we applied the same research approach, from the product to the rest, so we have much broader branches to address to, for example, the kitchen, which once was something very far from us. But also decorative objects, a series of other elements that describe the Giorgetti environment more than the single item.
This thing of a projected generated by single products, but then resulting from a combination, from a general harmony, from a general control over the whole environment. There’s nothing we define as a single item: everything is part of a collection. Everything is available.
It’s demanding for sure because there are so many elements that come into play. It’s very complex. That’s the real challenge.
The thing that most fascinates us is that you described a company that is celebrating its 120th anniversary this year, as a young company. Because you spoke of maturity, of being ready for new challenges, for a change, exactly as you may say for a company that is maybe 20 years old, or 10 years old. And I think this is the definition of what you are and of how you are narrating it. What is, in your opinion, or limited to what you can tell us today, what is Giorgetti’s next step?
It is a good question, and we kept it for the end… [chuckles] and it is the worst. It’s difficult to say it now, but for sure things grow quickly. There are some projects, of course, but verything will arise step by step, that’s it. It is clear that the company had a significant evolution in the last years, actually in the previous two or three years, and now it is ready to accept new challenges, even from the point of view of communication, and of its method of conveying a message, of finding new channels, and so on