Nika Zu­panc

Azure - - 2017 TRENDS -

You’ve worked with metallics for years. With the Ghi­dini 1961 col­lec­tion, did brass present any par­tic­u­lar chal­lenges?

the chal­lenge was bring­ing some­thing new to a ma­te­rial that has cer­tain...con­no­ta­tions. Ghi­dini 1961 is one of the largest brass­work­ers in Italy, but it’s not present in the con­tem­po­rary de­sign en­vi­ron­ment. Brass works well in a sim­ple, mod­ern form. For me, it’s sim­i­lar to us­ing black and white.

Would you al­ways pre­fer to work with warmer metallics?

I choose my colours as a medium for sto­ry­telling. For my Miss Dior chair (2013), for in­stance, I was in­spired to use rose metallics when I saw a pink Dior coat. It looked very con­tem­po­rary.

Are warmer metallics less vul­ner­a­ble to trends in fur­ni­ture?

I don’t think so. chrome is a clas­sic fin­ish that can have dif­fer­ent mean­ings. As a de­signer you play with those mean­ings. Gold, on the other hand, can be in­ter­preted as too rich, so you have to be care­ful. cooler shades like chrome are al­ready con­tem­po­rary, be­ing quite tech­ni­cal. But I like to play with as­sump­tions.

Your col­lec­tion for Ghi­dini 1961 is called Take Me to Mi­ami. What’s so Amer­i­can about metallics?

Brass re­minds me of the Amer­i­can glam­our I picked up from Hol­ly­wood movies. My in­ter­pre­ta­tion is a sim­pli­fied ver­sion of what I learned in my youth. It prom­ises this par­adise that you can never really grab. the ma­te­rial has al­ways been out there, avail­able but largely for­got­ten. My task as a de­signer is to bring it back.

The Ljubl­jana-based de­signer on her lat­est col­lec­tion for Ghi­dini 1961 of Italy, which is made en­tirely out of pol­ished brass

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