Interview with Luisella Valtorta from Dilmos
In the 80s Milan’s design was known worldwide for its experimental language and roaring trade. The economy gallops, advertising booms, while design becomes a lifestyle and the industry seems to be at the disposal of all the great designers.
Dilmos showroom in via Solferino in Milan is born in 1980, at the dawn of a new era of ecstasy, almost obsession with design language and form. We discuss this with Luisella Valtorta, owner of this space that has hosted the most important names in International design. Luisella tells us about Dilmos’ mission, the transition from retailer to exhibition space with the exhibition dedicated to Mendini (1985), the collaborations with various designers and the constant commitment to promoting self-production in design.
What are Dilmos’ mission and defining features?
Ever since the 80s we’ve been concerned with the poetics of objects, a fundamental aspect of design. Nowadays it’s customary for the design industry to consider poetics, but this approach was absent all through the 90s and the early 2000s. Unfortunately we are still living the heritage of that period, during which design concentrated on marketing and became “product” and people “customers”. But something is changing, for the better.
Another aspect that distinguishes us from others is the way we do exhibitions. At Dilmos we feel it’s important to work on the linguistic differences of each designer. The contrast creates a dialogue between different authorial voices.
With what designers and brands have you worked on poetics?
An example is the work we do with Edra, a brand that collaborates with Humberto and Fernando Campana, two very strong personalities in the world of design. Moroso also has a certain poetic, but the most obvious example would be the collaboration between Alessi and the great Alessandro Mendini, with whom we did the “Interno di un Interno” (“Inside of an Inside”) exhibition, which was also picked up by the Groninger Museum.
What do you consider milestones in Dilmos’s story?
In 1980 we opened as a showroom for pieces of design furniture. Ever since then we’ve been on the lookout for emblematic pieces of modern design and furniture produced by companies that express a sense of the present age.
Since 1985, year of the Alessandro Mendini exhibition, Dilmos is not only a showroom but also begins organizing shows so as to interact more directly with the designers. A commitment that was taken due to a growing awareness of the value and significance of object poetics.
Meeting the designer and understanding the man behind the piece has been a question of personal growth. I was no longer satisfied with being a retailer, I wanted to understand the more human dynamics behind design and that was through organizing exhibitions.
Among the most important are "Interno di un interno" (“Inside of an Inside”) (1991) by Alessandro Mendini and "Differenze" (“Differences”) (1988) in which we managed to involve Ettore Sottsass and Alessandro Mendini, Andrea Branzi and Paolo Deganello, Denis Santachiara and Ugo Marano. Each designer had to design half a table. Ettore Sottsass for example, worked with Mendini. Each designer knew who he was working with but not what he would design. They only had two parameters to respect (width and thickness) and we joined the parts.
How have the motivations pushing you to do experimental design and limited editions changed from the 80s onwards?
They have completely changed because methods of communication have changed. Successful industrial designers in other countries communicate following structured guidelines and precise methods. Before showing in a design gallery they show in museums, which are institutions that can sustain and establish them.
With regards to universities on the other hand, Maarten Baas’ burnt furniture was a final thesis at the design faculty of Eindhoven, which helped him initiate his career.
In the more organized systems of today there is a quest for sustainability: for structure that can help able designers and a work method that teaches them how to plan and realize their projects. This means these institutions care about the future of their talents. Designers that are formed in this manner have methods which make the work harder for us, but at the same time enrich us through an exchange of knowledge. I’ve had the chance to compare the work methods of Italian and foreign designers, and the latter are much more rigorous.
Has Dilmos always promoted self-production in design?
Certainly. I could well be considered the godmother of self-production in Italy. The proof is in Design e Autoproduzione (Design and Self-production), curated by us for Clara Mantica in 2005.
With regards to the designers Dilmos has hosted until now: what attracted you to Studio Job’s work?
Their work is halfway between design and actual art. For years form has dictated function, but Studio Job seemed to be going in the opposite direction, surprising us with fables and decorative elements. They have thus given life to an indomitable body of work, which grows with each added chapter.
And Pieke Bergmans?
I really love the element of contamination that is present in his work. As if a kind of virus had infected various pieces of design, burning and melting them. It’s a very different and more visceral approach than that of Studio Job. Studio Job managed to branch out into industrial design though, whereas Pieke not yet.
Peter Marigold from England is another designer I really admire, he’s working with us on his self-produced work, which insists on the concept of doubles. Another fresh and interesting collective of designers is Raw Edges from the UK, they have a video out which shows them in the process of creating a piece.
What schools would you say invest the most in research and innovation?
The Design Academy in Eindhoven, the Ècal in Lausanne and the Royal College of Art in London. They have a different school of thought compared to Italian schools and are based on two principles which are different to ours: experimentation and laboratories. Theirs are structured institutes, they have the support of institutions, the business world, they select new talents and students rightly take advantage of this opportunity.
In Italy, unfortunately, this offer is very limited. It's not the student’s fault, but the schools', that have not yet understood the right approach. Over here, to make it you really have to be on the ball, because you’re on your own and, without any strong guiding principles, you have to find your own coordinates. Let’s not forget that most great Italians of the past were self-taught.
Students that have had more than three hours of laboratory classes are already at an advantage when it comes to working and their career in general. This is the main difference between our schools and theirs.
Italian schools should reflect on their approach, open up in their way of communicating with the outside world, as occurs in London, Eindhoven and Lausanne. In Italy we have exhibitions, but that’s not enough.
There has to be a change in Italian design schools. I believe this step forward will take place because we have the history, culture and designers to do it, but it has to be anticipated, because there are various types of design, not just industrial.
How can this step forward take place?
There has to be a change in mentality. We’re still relegated to an old and slow academic world. We need laboratories and workshops with professionals of the trade, not just academics. Teaching is no longer sufficient. Since 2000 there’s been a change that started in Holland but that is reaching Italy. Here everything is still divided in blocks: schooling, the industry, self-production. We should on the other hand understand that they are like communicating vessels of a common discourse and that they need to be combined to give our design a future.
And how do you do your research?
We go to exhibitions and events throughout the world. We pay close attention to everything that happens. Never getting tired of researching, looking around at everything and trying to understand what a project is about and who’s the man behind it is fundamental. Contemporary art remains my favorite area of exploration. In Milan for example there’s this very interesting place, the Spazio No Profit Via Farini, as well as various famous galleries like Massimo De Carlo.
Is there still such a thing as hidden talent that is unable to emerge?
Nowadays the people that have something to say have found their place and know how to work. I no longer believe in the hidden genius. Like I don’t believe in the bohemian designer or artist. There is no hidden talent, if it doesn’t emerge it’s either because the designer doesn’t believe in his work or that it is not that highly esteemed.
My advice is to never stop working, if you really believe in what you’re doing, because if you quit it means you’re not really that passionate about it. Another suggestion would be keep your eyes open and be curious about everything.
I find the “on the road” philosophy and lifestyle quite interesting; to keep moving so as to constantly learn and experience new things.
What objects do you think are needed today?
There is a great need for objects that focus on man as a living being and on the quality of his living environment.
What is your idea of living environment?
Home is fundamental for man, it’s where we live our intimate sphere. I basically believe that if you buy a piece for your home, you do it because you like it and think it reflects beauty, not because it doesn't cost much. In this sense Ikea ruined design. They palm off as design what is only cheap furniture, they don’t invest at all in research and young designers. You’re sure to find convenient prices, but what is important is that you really love the piece, that it speaks to you and to those that enter your home. Ikea only offers disposable furniture at low rates.
What kind of relationship do you have with your clients?
Some of our clients have been with us for over 20 years and it’s rather nice to grow together. I know all our customers, the designers and the spaces where a piece will be placed personally. We are one of the few entities in Milan that attempt to create a real relationship with our partners, clients and designers and this is a great quality of Dilmos, though of course there has to be an economic return.
Dilmos has its own mission, method and integrity, made of honesty and passion.
Any propositions for the future of design?
Beauty will save us. In the last 20 years we’ve lost sight of our objective, our aesthetic quest and search for harmony, dignity of thought and the need to bond with others. Design has to fuel these fundamental needs. We have to awaken the hearts and minds of people. Make them think more.
Photos © Dilmos
Dilmos showroom in via Solferino in Milan is born in 1980, at the dawn of a new era of ecstasy, almost obsession with design language and form. We discuss this with Luisella Valtorta, owner of this space that has hosted the most important names in International design. Luisella tells us about Dilmos’ mission, the transition from retailer to exhibition space with the exhibition dedicated to Mendini (1985), the collaborations with various designers and the constant commitment to promoting self-production in design.
What are Dilmos’ mission and defining features?
Ever since the 80s we’ve been concerned with the poetics of objects, a fundamental aspect of design. Nowadays it’s customary for the design industry to consider poetics, but this approach was absent all through the 90s and the early 2000s. Unfortunately we are still living the heritage of that period, during which design concentrated on marketing and became “product” and people “customers”. But something is changing, for the better.
Another aspect that distinguishes us from others is the way we do exhibitions. At Dilmos we feel it’s important to work on the linguistic differences of each designer. The contrast creates a dialogue between different authorial voices.
With what designers and brands have you worked on poetics?
An example is the work we do with Edra, a brand that collaborates with Humberto and Fernando Campana, two very strong personalities in the world of design. Moroso also has a certain poetic, but the most obvious example would be the collaboration between Alessi and the great Alessandro Mendini, with whom we did the “Interno di un Interno” (“Inside of an Inside”) exhibition, which was also picked up by the Groninger Museum.
What do you consider milestones in Dilmos’s story?
In 1980 we opened as a showroom for pieces of design furniture. Ever since then we’ve been on the lookout for emblematic pieces of modern design and furniture produced by companies that express a sense of the present age.
Since 1985, year of the Alessandro Mendini exhibition, Dilmos is not only a showroom but also begins organizing shows so as to interact more directly with the designers. A commitment that was taken due to a growing awareness of the value and significance of object poetics.
Meeting the designer and understanding the man behind the piece has been a question of personal growth. I was no longer satisfied with being a retailer, I wanted to understand the more human dynamics behind design and that was through organizing exhibitions.
Among the most important are "Interno di un interno" (“Inside of an Inside”) (1991) by Alessandro Mendini and "Differenze" (“Differences”) (1988) in which we managed to involve Ettore Sottsass and Alessandro Mendini, Andrea Branzi and Paolo Deganello, Denis Santachiara and Ugo Marano. Each designer had to design half a table. Ettore Sottsass for example, worked with Mendini. Each designer knew who he was working with but not what he would design. They only had two parameters to respect (width and thickness) and we joined the parts.
How have the motivations pushing you to do experimental design and limited editions changed from the 80s onwards?
They have completely changed because methods of communication have changed. Successful industrial designers in other countries communicate following structured guidelines and precise methods. Before showing in a design gallery they show in museums, which are institutions that can sustain and establish them.
With regards to universities on the other hand, Maarten Baas’ burnt furniture was a final thesis at the design faculty of Eindhoven, which helped him initiate his career.
In the more organized systems of today there is a quest for sustainability: for structure that can help able designers and a work method that teaches them how to plan and realize their projects. This means these institutions care about the future of their talents. Designers that are formed in this manner have methods which make the work harder for us, but at the same time enrich us through an exchange of knowledge. I’ve had the chance to compare the work methods of Italian and foreign designers, and the latter are much more rigorous.
Has Dilmos always promoted self-production in design?
Certainly. I could well be considered the godmother of self-production in Italy. The proof is in Design e Autoproduzione (Design and Self-production), curated by us for Clara Mantica in 2005.
With regards to the designers Dilmos has hosted until now: what attracted you to Studio Job’s work?
Their work is halfway between design and actual art. For years form has dictated function, but Studio Job seemed to be going in the opposite direction, surprising us with fables and decorative elements. They have thus given life to an indomitable body of work, which grows with each added chapter.
And Pieke Bergmans?
I really love the element of contamination that is present in his work. As if a kind of virus had infected various pieces of design, burning and melting them. It’s a very different and more visceral approach than that of Studio Job. Studio Job managed to branch out into industrial design though, whereas Pieke not yet.
Peter Marigold from England is another designer I really admire, he’s working with us on his self-produced work, which insists on the concept of doubles. Another fresh and interesting collective of designers is Raw Edges from the UK, they have a video out which shows them in the process of creating a piece.
What schools would you say invest the most in research and innovation?
The Design Academy in Eindhoven, the Ècal in Lausanne and the Royal College of Art in London. They have a different school of thought compared to Italian schools and are based on two principles which are different to ours: experimentation and laboratories. Theirs are structured institutes, they have the support of institutions, the business world, they select new talents and students rightly take advantage of this opportunity.
In Italy, unfortunately, this offer is very limited. It's not the student’s fault, but the schools', that have not yet understood the right approach. Over here, to make it you really have to be on the ball, because you’re on your own and, without any strong guiding principles, you have to find your own coordinates. Let’s not forget that most great Italians of the past were self-taught.
Students that have had more than three hours of laboratory classes are already at an advantage when it comes to working and their career in general. This is the main difference between our schools and theirs.
Italian schools should reflect on their approach, open up in their way of communicating with the outside world, as occurs in London, Eindhoven and Lausanne. In Italy we have exhibitions, but that’s not enough.
There has to be a change in Italian design schools. I believe this step forward will take place because we have the history, culture and designers to do it, but it has to be anticipated, because there are various types of design, not just industrial.
How can this step forward take place?
There has to be a change in mentality. We’re still relegated to an old and slow academic world. We need laboratories and workshops with professionals of the trade, not just academics. Teaching is no longer sufficient. Since 2000 there’s been a change that started in Holland but that is reaching Italy. Here everything is still divided in blocks: schooling, the industry, self-production. We should on the other hand understand that they are like communicating vessels of a common discourse and that they need to be combined to give our design a future.
And how do you do your research?
We go to exhibitions and events throughout the world. We pay close attention to everything that happens. Never getting tired of researching, looking around at everything and trying to understand what a project is about and who’s the man behind it is fundamental. Contemporary art remains my favorite area of exploration. In Milan for example there’s this very interesting place, the Spazio No Profit Via Farini, as well as various famous galleries like Massimo De Carlo.
Is there still such a thing as hidden talent that is unable to emerge?
Nowadays the people that have something to say have found their place and know how to work. I no longer believe in the hidden genius. Like I don’t believe in the bohemian designer or artist. There is no hidden talent, if it doesn’t emerge it’s either because the designer doesn’t believe in his work or that it is not that highly esteemed.
My advice is to never stop working, if you really believe in what you’re doing, because if you quit it means you’re not really that passionate about it. Another suggestion would be keep your eyes open and be curious about everything.
I find the “on the road” philosophy and lifestyle quite interesting; to keep moving so as to constantly learn and experience new things.
What objects do you think are needed today?
There is a great need for objects that focus on man as a living being and on the quality of his living environment.
What is your idea of living environment?
Home is fundamental for man, it’s where we live our intimate sphere. I basically believe that if you buy a piece for your home, you do it because you like it and think it reflects beauty, not because it doesn't cost much. In this sense Ikea ruined design. They palm off as design what is only cheap furniture, they don’t invest at all in research and young designers. You’re sure to find convenient prices, but what is important is that you really love the piece, that it speaks to you and to those that enter your home. Ikea only offers disposable furniture at low rates.
What kind of relationship do you have with your clients?
Some of our clients have been with us for over 20 years and it’s rather nice to grow together. I know all our customers, the designers and the spaces where a piece will be placed personally. We are one of the few entities in Milan that attempt to create a real relationship with our partners, clients and designers and this is a great quality of Dilmos, though of course there has to be an economic return.
Dilmos has its own mission, method and integrity, made of honesty and passion.
Any propositions for the future of design?
Beauty will save us. In the last 20 years we’ve lost sight of our objective, our aesthetic quest and search for harmony, dignity of thought and the need to bond with others. Design has to fuel these fundamental needs. We have to awaken the hearts and minds of people. Make them think more.
Photos © Dilmos
11 November 2011
4.6/5
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