ISSN 2612-2553

RICONOSCIUTA DALL'ANVUR COME RIVISTA SCIENTIFICA PER LE AREE 08 (ARCHITETTURA) E 10 (SCIENZE STORICO-ARTISTICHE)

ABSTRACTS

FOULARDS DI FERRAGAMO CREAZIONI PREZIOSE E DEMOCRATICHE Silvia Pinna

The article traces the significant stages of the famous exhibition of Ferragamo “Seta”,

which ended in 2022, based on its catalog and the essays that compose it.

Starting from the introductory contribution of Stefania Ricci, emphasis has been placed

on the evolution of the foulard of the famous Maison to our days, from the history of the

textile market in the second half of the 20th century, passing through the figure of Fulvia,

the fourth daughter of Salvatore, and of her role in the company and in the art of silk since

1971, to the contributions of artists and students who paid tribute to this precious and at

the same time democratic yarn of the silkworm.

Particular importance is given to the creative process of the “quadro printed on silk”, to

the historical-artistic influences and to the craftsmen and techniques that have led and

lead to its realization, with particular attention to the different characteristics and types

become symbol and icon of the brand.

Contrasts, influences and references to which the noble and imaginative fashion accessory

of Ferragamo lends itself to reflect and accompany the social life over the decades.

IL TRANSFERWARE CON DECORI CLASSICI IN ITALIA TRA OTTO E NOVECENTO Giorgio Levi

The paper discusses the diffusion in Italy of the three most important English printed decorations

(transferware), “Willow”, “Colandine” and “Ferrara” and their relevance from a production-

economic point of view for the big ceramic industries (Richard-Ginori, Galvani

and SCI of Laveno) and for small companies such as those in the San Michele degli Scalzi

district of Pisa.

MARCO COSTANTINI E LA DECORAZIONE A STAMPA ALLA S.C.I. DI LAVENO Lena Costantini

The essay describes Marco Costantini’s work. From 1947 to 1966 his activity took place in

the factory of the Società Ceramica Italiana of Laveno, where he dealt with engraving for

the decoration of earthenware and porcelain, creating his own works or transpositions

from drawings by Guido Andlovitz, Antonia Campi, Leonor Fini, Mario Vellani Marchi, exhibited

at the Milan Triennale in 1951. In 1966 Costantini opened his workshop in Laveno

Mombello, where he continued his activity as engraver. The shop has been managed by his

successors since his death in 2003.

“NON SORRETTA DAI NUOVI PROCESSI TECNICI”. ARTIGIANALITA’ SERIALE NELLA CERAMICA POPOLARE VICENTINA Edoardo Lo Cicero

The contribution aims to examine how the phenomenon of folk Vicenza ceramics during

the second half of the 19th century represented an effort by a provincial and artisanal

world to respond to industrial and mass-produced innovations, primarily originating from

England. Vicenza manufactories, in their endeavor to withstand the influx of stoneware

imports, had to reconsider their manufacturing processes, making them quicker and more

cost-effective. Consequently, they incorporated the use of masks, stencils, lace as a pattern

template for adorning plate rims, and shaped sponges in the decorative phase. This,

in turn, contributed to shaping both the forms and designs of what is commonly referred

to as folk ceramics.

GIO PONTI E LA CERAMICA JOO MILANO: IL VALORE DEI RIVESTIMENTI CERAMICI NELL’ARCHITETTURA MODERNA Fabio Marino

Since the second half of the 1950s onwards, Gio Ponti established a long-lasting partnership

with Ceramica Joo Milano, the producer of high-relief glazed ceramic tiles, designed

by Ponti himself and used to clad the majority of his architectures. Ceramica Joo

Milano falls within the category of those manufacturing companies with a hybrid structural

setting, capable of merging industrial demands while preserving execution methods

associated with artisanal concepts and craftsmanship. This collaboration persisted

continuously for extended periods, supporting the Milanese architect not only in making

and exploring the multiple conditions of the design process but also in furthering a vision

and a line of thought consistently articulated in his writings. The products by Ceramica

Joo Milano fulfill Ponti’s pursuit of incorruptibility, famously expressed in his book Amate

l’architettura and numerous articles published in “Domus”, but also in the company’s advertisements

featured in the same magazine, which document and illustrate the values of

high-relief glazed ceramic coverings in modern architecture.

FORNASETTI MILANO – MADE IN ITALY DAL MOBILE D’ECCEZIONE ALLA PRODUZIONE IN SERIE Andrea Delle Case

Piero Fornasetti (1913-1988) is an artist with multiple aptitudes to whom critics have assigned

as many definitions. By investigating the Fornasetti designer we will discover the

Fornasetti painter, by delving deep er into the Fornasetti painter, we will find the Fornasetti

decorator, by declaring him a decorator we will discover the collector’s approach and

again that of the Fornasetti designer; a seamless circle.

The article intends to address the “invention” developed by Fornasetti in the decoration of

furniture production in an evolutionary key: from the single example to the mass production

started, independently, according to very modern criteria for the time. A path punctuated

by the Milanese triennials that from 1936 reaches up to 1951, the year in which he

exhibited the Trumeau Architettura, designed by Gio Ponti, now in the permanent collection

of the Victoria & Albert Museum. An experiment in total decoration that gave rise to

Piero Fornasetti’s highly original production.

“LA PELLE DEGLI OGGETTI” RICERCHE DI ETTORE SOTTSASS SUL LAMINATO PLASTICO Fiorella Bulegato, Marco Scotti

The article aims to reconstruct a path within the research of Ettore Sottsass jr., an architect,

artist and designer who, since the early stages of his career, dedicated a particular attention

to the theme of the decorated surface of the objects and found since the Fifties an

unexplored potential in a new material, the plastic laminate. Turning his gaze to the mass

production, Sottsass started from the production of a few first prototypes and reached an

international affirmation with the new iconographies of Memphis in the 1980s: nowasays

his projects represent significant case studies for reflecting on the expressive and communicative

possibilities of the “skin of objects”.

Elena Dellapiana BAMBOLE CHE PASSANO SU BAMBOLE CHE RESTANO

For the 50th anniversary of the soft seat “Le Bambole,” B&B offers a reissue signed by

its original author, Mario Bellini. The short essay questions the changes in meaning of an

object born in the effervescent context of the 1970s counterculture and re-presented today

as one of the characters in the Made in Italy play, including through the changes in

visual registers used for its communication/promotion.

Ali Filippini LA PARABOLA DELL’APEM

During the years of reconstruction, the department store La Rinascente became the promoter,

with Gio Ponti’s contribution, of Apem (Artigianato Produzione Esportazione Milano),

a company to support Italian craftsmanship in order to promote its export.

Apem would be short-lived and the intended goal would not be achieved; nevertheless, in

that period Ponti involved several artists and ceramists in the initiative, as well as the best

craftsmen, with whom he made some objects himself.

The essay is a systematization, made from the few available sources functional to the

reconstruction of Apem’s history, placed in the broader Italian context of the Marshall

Plan with related companies such as Cna (Compagnia nazionale artigiana) or Enapi. On

the sidelines, it emerges how La Rinascente, from the immediate postwar period to the

founding of the Compasso d’Oro award in the early 1950s, played a key role in the design

culture of Italian design, marking some fundamental steps.

Sergio Vatta XANTI SHAWINSKY E LO STUDIO BOGGERI. LE COMMESSE TRIESTINE DEL 1934-35

The text presents, for the first time in an organic way, the works carried out by Xanti Shawinsky

for commissions from Trieste between the first months of 1934 and 1935. The artist

in this period works for the Studio Boggeri in Milan, the most innovative and updated in

the country, which entrusts him with the tasks examined on these pages ranging from the

creation of sketches for covers and posters to the study and design of company logos and

complex mechanical realizations. The clients of the Firm are on this occasion: the Lloyd

Triestino Press Office and Illy Caffè.

Archivio Abstracts

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