“There are so many reasons, but we are losing the culture behind production,” she told Dezeen. “I don’t know how many more years we have production for because also companies are dying every day in Italy.”
When asked to compare the design scenes in London and Milan, she said: “Milan unfortunately is sitting in the past and the past is gone. All the most important people of the beautiful past of Milan are very old or dead. I don’t see energy now; the city is like a closed box.”
London, by contrast, is “a sort of belly of the world,” she said. “London is the centre of many kinds of thinking. Many people, young people but also people from all over the world, are attracted because London is open.”
Moroso is creative director of the eponymous Udine-based company that was started by her parents, who asked her to help reinvigorate the firm during the recession in the eighties.
Under her influence, the small, craft-driven company began to collaborate with international designers including Konstantin Grcic, Patricia Urquiola and Ron Arad. Moroso is now one of Italy’s most highly regarded design-led furniture brands, yet it continues to manufacture all its products in workshops close to its headquarters in north-east Italy.
However Moroso fears that Italy’s craft-based manufacturing excellence is dying out. “Italy in a way is very much in a crisis because it doesn’t want to change, doesn’t want to move and is becoming very old,” she said. “We have had more than 20 years of bad management of our government, society, schools, institutions. Everything has almost disappeared, so this is very bad for culture and design is part of that.”
Milan remains the world’s most important centre for furniture design but there are concerns that it is losing its influence. Earlier this year Claudio Luti, president of the Milan furniture fair, said that poor planning was damaging the city’s reputation. He told Dezeen: “If things don’t work in the right way, they damage Milan, they damage our future.”
In April, Former Domus editor Joseph Grima told Dezeen that “an era is drawing to an end for Italian design.” He added that the Italian apprenticeship system, where crafts skills are learned directly from masters, is “in a little bit of a crisis” as the rest of the world moves towards a schools-based system.
Moroso agreed that Italy’s design schools were suffering. “The schools are collapsing,” she said. “When I see our universities and design schools, they are not the best in the world, they are not so important unfortunately. If you don’t give importance to learning, not immediately but in ten years you lose a generation of material culture.”
Moving production to emerging economies like China was not a solution for her company, Moroso added. But she laughed off concerns about Chinese companies copying her products.
“In China they have all the copies of everything, especially Supernatural chairs by Ross Lovegrove,” she said. “In every coffee bar you can find them. They’re not ours but they’re very famous so I’m happy!”
Reade the full interview here.
Firmada em 2012, a fusão Light Design+Exporlux resultou numa oferta mais ampla de produtos ao mercado nacional, viabilizando a entrada da nova empresa no setor de grandes obras corporativas e de iluminação pública. Além da sua experiência industrial e tecnológica, na produção de equipamentos tradicionais e com tecnologia LED, a Exporlux acrescentou, ao premiado desenho Light Design e sua experiência de quase 40 anos na elaboração de projetos, energia e vontade de inovar. Dificilmente uma parceria poderia dar mais certo. A sintonia entre as duas empresas já começou a produzir seus primeiros efeitos.