U Magazine - - EXPOSURE -

Fer­nando and Hum­berto Cam­pana have been cre­at­ing mod­ern clas­sics since 1983. Their cre­ativ­ity is based upon look­ing be­yond the ob­vi­ous to cap­ture the beauty in the ev­ery­day. They use un­ex­pected ma­te­ri­als in sur­pris­ing and in­spir­ing ways, such as in the Ver­melha chair wo­ven in brightly col­ored rope they found in a São Paulo mar­ket or the Favela chair, made out of scrap wood picked up on lo­cal streets. With a con­stantly strik­ing use of color and a heart­felt ded­i­ca­tion to crafts­man­ship, the broth­ers make the or­di­nary ex­tra­or­di­nary and bring out the beau­ti­ful in the sim­ple. Since 2002, Es­tu­dio Cam­pana, their São Paulo-based com­pany, has been pro­duc­ing its own prod­uct line, as well as one-off hand­made pieces. Their work can be seen in the per­ma­nent col­lec­tions of cul­tural in­sti­tu­tions around the world, in­clud­ing the Mu­seum of Mod­ern Art in New York, the Cen­tre Pom­pi­dou in Paris, the Vi­tra De­sign Mu­seum in Weil am Rhein and the Museu de Arte Moderna in São Paulo. They were also named De­sign­ers of the Year at De­sign Mi­ami in 2008, at Mai­son & Ob­jet Paris in 2012 and were given a spe­cial award at the Musée des Art Dé­co­rat­ifs, Paris in Septem­ber 2012.

LV: Why did you agree to cre­ate an Ob­jet Nomade for Louis Vuit­ton? FC & HC: Firstly, for the op­por­tu­nity to ex­plore the Louis Vuit­ton uni­verse. Se­condly, to send a mes­sage about unique ways of work­ing with re­cy­cled ma­te­ri­als. LV: What did you con­sider first: form or func­tion? FC & HC: Both. We al­ways imag­ine and con­sider the func­tion and the form of an ob­ject. The Mara­catu, for ex­am­ple, would be like a dreamed-of but un­likely en­counter be­tween fash­ion and de­sign, part art­work, part ob­ject. LV: How did you work with the Louis Vuit­ton work­shops’ savoir-faire? FC & HC: Our work in­cor­po­rates the idea of trans­for­ma­tion and rein­ven­tion. The Mara­catu, for ex­am­ple, uses re­cy­cled leather off-cuts from the work­shop and stands at the thresh­old be­tween tra­di­tion and in­no­va­tion. We were im­pressed with the archive of ma­te­ri­als, as well as the ar­ti­sans’ abil­ity to de­tect dis­tinct col­ors in the leather and to as­sem­ble var­i­ous pieces in slightly dif­fer­ent shades to achieve the ef­fect of a spe­cific color.

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