5 minute read
Sambonet
Gianni’s Rosenthal Heritage Turandot collection. Photo: Axel Franz. Styling: Hendrikje Bernhoeft Gianni with the Jungle collection, which was launched at Salone del Mobile recently
Acclaimed designer Gianni Cinti has produced an outstanding new cutlery collection with Sambonet. Jungle has pushed the boundaries – testing Sambonet’s already exceptional skillset with is complex décor and intricate design. The result, however, is a glorious ode to technical mastery. Tableware International speaks with the passionate Gianni Cinti about working with metal and the complexities of the collection
Gianni, what was the brief from Sambonet when designing the Jungle collection? The brand wanted to create a contemporary but also iconic cutlery assortment, reflecting Sambonet values. The product was supposed to respect the brand’s heritage and promote sustainability framework. It was an à-rebours job in that I made the whole foliage pattern first. It was inspired by simple and nature-inspired shapes, drawn in pencil. After the pattern design, I dealt with its placement, so that every cutlery piece had a décor piece. Each abstract sign had to reveal a whole pattern, just like
it was conceived, when all pieces where close to each other only.
and innovation at the same time, speaking to a large audience with a contemporary and timeless language. It looked like a complex but engaging design challenge.
What was your starting point when it came to the inspiration? My project was based on construction and deconstruction: two design actions strictly related to fashion, always my reference What challenges were you presented with when working on Jungle? I faced multiple challenges, both technical and design oriented. Cutlery has limited surface to feature a décor, and my idea was to create a large, asymmetric and visible décor.
I think this was the turning point of this project – before Jungle, all cutlery textures were micro and seamless on the cutlery’s handle. Jungle has different aesthetics.
How long did Jungle take to come to fruition, from initial consultation through to presenting the collection at Salone del Mobile? The project was planned quite fast, reflecting the instinctive touch of this collection’s décor. The technical development needed time, starting from the prototype design to the finished set up. In addition to the fundamental steel version, we have created three more variations: a beautiful copper shade, vivid gold and total black. The molds production was the hardest step, as each piece is different from the other and decoration is featured on both sides thanks to engraved and hand-refined molds, in line with Sambonet tradition.
In my view, the project’s design focus had to be the decoration even if it’s often little considered, it is a great Italian heritage and a styling trend with great potential. I think that decoration doesn’t represent the modern times only, but also tells a lot about craftsmanship and minor arts, just like goldsmith art, engraving and chiseling, an essential part of our culture. Working with decorations and balancing visual elements are actions that allow me to clothe shapes, just like I enhance a body with a dress.
I recall your multi-faceted Heritage collection with Rosenthal where you really pushed the limits of creativity, were you equally as inspired when working with metal for Sambonet? Of course. Path and approach with Rosenthal and Sambonet are similar even if the projects tell quite different stories. Furthermore, both porcelain and steel have considerable, specific features and technical limits to be constantly kept in mind in the creative process.
Are you equally as happy creating a porcelain or cutlery collection as you are a fashion/ textile collection? Bruno Munari, a great Italian designer, said “an artist’s dream is to enter museums, while designer’s dream is to enter local markets”. I’m happy to take people to the table. It’s a place to bring different
Colour check
The Jungle collection comes in four colourways – black, stainless steel, copper and gold, pictured above.
generations together and to welcome and feed everyone, respecting diversity. Sometimes table is a political act. Table runs through trends, writes stories, bonds memories and people. Objects capture the essence of those who use them, more than clothes, as objects contain moments. They slowly get old, but the ones that have been well made never become outdated.
Does metal appeal to you in the same way as porcelain? Yes, I’m fascinated by all materials that can be shaped, even if in a different way. There’s something human and alive in these materials. They’re both a meeting/clash of Stainless steel has technical limits but thanks to Sambonet’s knowhow and willingness, I have been able to overcome them.
In addition to the balance needed between company and designer, I was really lucky: Sambonet and I have a great working relationship but as we already worked together in 2018 this built this project on trust, openness, teamwork and understanding. This is not my project, it’s the project of everyone who worked on it.
Finally, are you planning any other cutlery or porcelain collections? It’s too soon to say, even if I would
fire, water, air, earth. Metal and porcelain are fragile, sparkling, durable, cold, transparent, just like people. These materials always surprise me, for their facets and endless differences.
Were you given complete artistic freedom by Sambonet, or did you have to work within the constraints of the materials – in this case, metal? love to resume the tradition of long-time collaborations between designers and companies, especially the home design ones. We lost this way of working in favour of one-shot projects: it’s a choice that makes productions fragmented. I would love to keep collaborating with these excellences even to give continuity to their range, as great designers like Wiinblad and Gropius did for Rosenthal, or Gio Ponti himself for Sambonet, giving birth to extraordinary objects.
