DIMORE STU­DIO

Vogue Liv­ing style edi­tor Joseph Gard­ner talks de­sign in­spi­ra­tion with Dimore Stu­dio co-founder Britt Moran, on the roof ter­race of the stu­dio’s Mi­lan gallery.

VOGUE Living Australia - - IN VOGUE -

amas­sive queue comes with the ter­ri­tory at Dimore Gallery, al­ways one of the most pop­u­lar des­ti­na­tions at Mi­lan De­sign Week. This year, the trio of in­stal­la­tions cre­ated by Ital­ian de­signer Emil­iano Salci and his US-born busi­ness part­ner, Britt Moran, seals the duo’s sta­tus as de­sign-world rock stars. In­side the Dimore Gallery, they pitched a se­ries of Be­douin-style tents cu­rated with an edit from their ‘his­tor­i­cal’ col­lec­tion. Across the court­yard at Dimore Stu­dio, they pre­sented Per­fectly Im­per­fect, fea­tur­ing key pieces from their Pro­getto Non Finito and Oggetti col­lec­tions. The fi­nale was the de­but of Salci’s Lim­ited Edi­tion col­lec­tion in­side a mist-en­shrouded ex­hi­bi­tion space. Joseph Gard­ner: You’ve re­ally stepped it up this year with three in­stal­la­tions at Salone. Can you talk about the in­spi­ra­tion be­hind each?

Britt Moran: In the gallery, we’re do­ing col­lab­o­ra­tions with young artists and we also built a strong his­tor­i­cal col­lec­tion of pieces from the 1930s and ’40s all the way up to the ’80s, which spans var­i­ous na­tion­al­i­ties. The con­cept tells the story of a trav­eller who has col­lected ob­jects and fur­ni­ture as he moves through life. For the stu­dio space, we wanted to sur­prise and shock peo­ple. We stepped away to a new di­rec­tion be­cause ev­ery­one ex­pects a cer­tain at­mos­phere when they come and see us. We pared down all the dec­o­ra­tive el­e­ments — it’s a white box, with just one ob­ject from our col­lec­tions in each space. It’s meant to feel like you’re in an in­cu­ba­tor with para­chute ma­te­rial on the walls. Gard­ner: Can you talk about the ma­te­ri­al­ity of the pieces and the 1970s in­flu­ence you seem to be chan­nelling? Moran: Every­thing you see this year that looks like brass, such as the metal­lic sides on the bam­boo-topped ta­ble, has ac­tu­ally been plated in gold, be­cause it has a re­ally nice depth to it. This bam­boo-and-plated gold ta­ble is a ref­er­ence to [Ital­ian fur­ni­ture de­signer] Gabriela Crespi, who we’ve re­ally fallen in love with. It’s a con­tin­u­a­tion of our new­found pas­sion for the ’70s and the chic, el­e­gant way of liv­ing between Mi­lan and Rome that th­ese aris­to­cratic fam­i­lies had. They would mix new, avant-garde pieces with more his­tor­i­cal fur­ni­ture passed down from fam­ily col­lec­tions. Gard­ner: I no­tice your use of lac­quered wood in the col­lec­tion, which feels new for you.

Moran: Yes, we’ve worked a lot with wood this year. We’ve gone back to us­ing the old meth­ods of shel­lac, where the wood is highly pol­ished and has a beau­ti­ful, deep di­men­sion to it. We work with a gen­tle­man who does restora­tion in churches. He’s our age but he has an amaz­ing pas­sion. Gard­ner: Could you ex­plain the Lim­ited Edi­tion range? Moran: Emil­iano wanted to do some­thing com­pletely on his own. It was top-se­cret, so when I walked in just be­fore the in­stal­la­tion opened, my jaw hit the floor. The idea was to take cum­ber­some, heavy pieces of fur­ni­ture — things you’d per­haps find in your grand­mother’s best room — and re­build them. They’re made from ex­quis­ite wood, and the prob­lem when you try to re­pro­duce pieces like this is that the wood looks new. It’s a com­bi­na­tion of the beauty of the old world, which has its own patina and lovely, burled de­tails, and a con­tem­po­rary vi­sion. The ad­di­tion of pol­ished steel and gold-plated brass makes them feel more mod­ern. And it’s re­ally beau­ti­ful. VL

Visit di­morestu­dio.eu. For Britt Moran’s guide to his favourite places in Mi­lan to eat, drink and be in­spired, visit vogue­liv­ing.com.au

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