Emmanuel Babled (Amilly, 1967). Milan is his second home country, where he studied design and set up his first studio, which he left in 2010 to move to Amsterdam. The bond with Italy still remains very close. The thread stretches over the intensity of a boundless curiosity for materials and local crafts, mainly focusing on glass from Murano and marble from Carrara. His interest placed him on a path that runs parallel to serial production and led him to self manufacturing and limited editions in design and art galleries. His motto is experimenting. Experimenting new ways to combine traditional technologies and techniques and give life to stories of organic shapes, where one can easily get lost in the streams of a deep inner creativity.

Lorenzo Damiani (Lissone, 1972).He is an architect, who stood out from the group of the young Italian designers from the years 2000. His projects develop with independent originality and subtle rigour, distilling the heritage received from the Castiglioni brothers, putative masters with whom he exchanged views several times. His mark is always new, but familiar, arising from a synthesis of reflections, observations and visions on the use of objects and their semantic nature. His work is filtered through the revelations provided by the different materials used for every creation and the awareness of the powerful imagery of simplicity, thus triggering constant surprise and unusual perspectives on things and behaviours, for the sake of an unprecedented invention.

Daniele Della Porta (Salerno, 1976).Traces of Filippo Alison’s influence, his tutor during the studies in architecture, can be found in his designing attitude, which stands in precarious balance between the material culture and the poetry of everyday living, as well as in the ability of showing the beauty of a simple function. His work is dominated by the confrontation between the designer and the craftsman, the tie with the past and a stable presence in the present. This inclination is found in the design of furniture and accessories, as well as his understanding of art direction which is sensitive to entrepreneurial development based on the central role of the designer and the execution of a craftsmanship rooted in the local territory.

Francesco Faccin (Milano, 1977). Designer by education, his elected material is wood. His closeness with wood has developed during his long cooperation with master Michele De Lucchi and then frequently tested by following his natural vocation for self manufacturing supported by the knowledge of serial production. This attitude led him to experiment in new fields, crossing the boundaries in search for solutions that include scraps or waste or archaic gestures and archetypes. The meaning of his work lies the pursuit of a bare and essential interpretation of the poetry innate in everyday objects, through an aesthetics that blatantly shows its more comforting side.

Diego Grandi (Rimini, 1970). He set up his studio in Milan, DGO_Diego Grandi Office, where he carries out projects in the field of product and interior design and provides design consultancy. As architects, his coordinates are space and surface, exploited with deep awareness and formal and compositional maturity. His path always becomes new in the constant pondering about the variable relations among lines, volumes and colours, where the trajectory of thought follows a mathematical development and artistic influences with a personal touch. This recurring element in his special ability of creating settings and stories in two or three dimensions leaves the viewer with a magic taste of enchantment confined to impossible, although real, constructions.

Carlo Martino (Bari, 1965). Architect, designer and lecturer, in 2004 he founded Studiomartino.5 in Rome with Paola Russo and a group of young former students to devote himself to design, communication and business strategy. Over the years he developed a sound knowledge of bathroom styling until he became art director at Catalano and then at Invova; he was awarded several prizes and awards. Far from any virtuosity, he prefers shapes with a cultural content, silently expressing his passion for typological, technical and formal research summarized in a clean language that, without any traces of past, shed a clear minded light in contemporary emotions.

Marcello Panza (Napoli). He has been working in his Antwerp studio since 1983 dealing with design at 360 degrees, ranging from interior design to product design, graphics and environmental communication. Story telling is privileged in his search for a limpid language that bans homologation and over-excitement but indulges in formal diversion investigating the properties of the different materials he tests. Materials become crucial elements of the graphic or product composition, especially in defining decorations ,which can sometimes be found in a details or else can be recalled by his crystal clear aesthetic sign. More often it is the very soul hidden in the design of things.

Studio AAIDO MA.
Sarah Adinolfi (Salerno, 1975), Francesco Dell’Aglio (Napoli, 1974).Architects and PhD in Industrial Design, they had independent experiences abroad until 2011, when they founded together the Studio AAIDO MA in Naples. The acronym (A stands for architects, AI for Adinolfi, DO for Dell’Aglio) includes the sound of the Japanese ideogram MA. It represents the space between two structural parts and it is recognizable in their designing style, that carefully aims at filling the gap produced in the definition of an idea. In the movement which stems from the concept and goes through different production stages until it reaches the final user, their interior or product design projects are defined through new values that interact with the environment and people, creating unexpected atmospheres and effects.

Paolo Ulian (Massa-Carrara, 1961). Designer by education, he has the extraordinary ability of combining fragments to create objects, whose presence is a silent question as those fragments are splinters of long pondered ideas as well as the physical experience of materials and shapes which continuously vibrate in their newly reached completeness. His path, shared with his brother Giuseppe, is lost in the meandering curves of project and experimentation and it reaches its destination in the synthesis and discarding the superfluous and non functional to better convey the idea. From this we derive the absolute lack of hierarchy between the intrinsic and formal elements in any of his works.