Cristina Celestino was born in 1980 in Pordenone, Italy and after graduating from the University of Architecture in Venice in 2005 she joined the studio of architect Massimo Carmassi. In 2013 she set up her own studio in Milan, working with craftsmen to develop products made of iron, marble and glass. Fashion, art and design are interspersed with a fusion of the old and new, traditional and modern, forming her unique and free thinking. Curious about all materials, Celestino's work is based on observation and research, exploring potential material forms, functions and attitudes. Pure and sincere shapes and materials constitute the best Italianate design aesthetic, and in 2022, the young woman designer received the Maison & Objet award, demonstrating her extraordinary achievements in the fields of home, interior design, art direction and other decorative design.

For the design of furniture and objects, Celestino's sources of inspiration are diverse, even encyclopedic. She creates multifaceted and sensual objects, incorporating them into the memories of life and family.

The sofa is a design product that Celestino has a passion for. The sofa brings people together and provides a place to sit and chat, in addition to having many different looks and physical sensations. Starting with the single sofa that borrows the shape of the brand's shoe heel from the furniture collection for Sergio Rossi in 2017, to the Peonia armchair collection for PIANCA in 2022 and the Aldora sofa for Moooi, the sculptural, wrapped backrests give these pieces a classical and elegant taste, while the curved shapes derived from petals and The curved shapes derived from petals and high heels express a unique femininity. For Celestino, the sofa is not only a piece of furniture, but also a multifunctional place where people can sit comfortably and enjoy a pleasant chat, relax or work.

For Celestino, accessories are a clever combination of aesthetics and function. She studies cufflinks, rings and earrings, trying to reinterpret these pleasing and delicate structures by enlarging and transforming them. The studio's "Pulsar" collection of lamps for 2019 utilizes the graphic symbols of the eponymous planet, inspired by the contemporary perspective of Arte Brotto's style in the 1960s, with its intricate craftsmanship in metal combined with the unconventional use of crystal produced in Siena. The result is a sculptural and dramatic effect that focuses on the spirit of the Esperia region.

Interior design work is rooted in the spatial culture that emerges from everyday life, and Celestino is adept at accumulating and listening to it and communicating it through design. She believes that the relationship between space and material should be like a plant touching the sun, allowing the shelter of history to provide context and sustenance to the project in a contemporary narrative. Her architectural education experience also triggered her interest in architectural history and urban planning, stripping away different cultural strata and reconnecting a building and a space with the past, from which she gets answers for the present.

From Le Corbusier to Adolf Loos and Carlo Scarpa, Celestino has always been able to draw on the work of the world's leading architects for her approach to surfaces and materials. In the Policroma ceramic collection for CEDIT, she blends classical style standards with modern expressions: the Marmorino plaster edges inlaid with black metal panels used by Carlo Scarpa are combined with Adolf Loos' iconic marble panels. The marble is often carefully cut into many geometric shapes in the entrances to some halls in Milan, as are the patterned edges of Hermès silk scarves. This approach of drawing, mixing and recreating, which Celestino explains as his "half-way" approach to design, has instead resulted in an innate curiosity, erudition and free thinking about aesthetics and science.

Celestino's obsession with materials and geometry transcends history and tradition, interweaving an interdisciplinary approach with the rigor of analytical research to create new concepts and decorative codes that yield unexpected spaces, objects and experiences that respond to the complexity of the design world. In collaboration with fashion brands, her design philosophy of identity, values and history has also led to interesting work. 2021 Celestino designed the Back Home collection for Fendi Casa, with a classic Penguin stripe in tribute to the Old Master. To discover the brand's cultural roots, she delved into Roman gardens, terrazzo and traditional forms of material use. The resulting home collection is gentle yet powerful: enlarged cufflink fixings become counterweights for balancing lamps, double-themed mirrors are connected by chains that echo the details of the jewelry, and the butterfly backs of earrings serve as inspiration for small tables.

Even with a full commission from the partner company, Celestino prefers to base his work on extensive references to the archives and specific traditional styles. After spending a long time getting to know the brand and its long history, it is the designer's job to interpret the core ideas behind these sources and translate them into a vision related to the product design. As a result, historical themes often form the basis of their work. For example, for the store design for Fornace Brioni at Milan Design Week 2020, Celestino drew inspiration from the local Italian gardens of Mantua, where the brand is based, with terra cotta strip floors facing pale blue walls, curved lines and hypnotic geometries alternating between warm tones of pink, ochre and white terra cotta, producing a re-examination of textures of Baroque graphic symbols to echo the work of Bernini and Borromini's illusion of perspective, while recalling the Baroque architecture of the Lombardy region and the Bibiena Brothers Church.

For the fall edition of the 2022 Paris Fashion & Home Design Show, Cristina Celestino is the Designer of the Year, with three pieces on display at the Palais Exotique. Célestino will start again based on past design reflections, making exquisite decorations and creative architectural projects a means of sensory communication, bridging the gap between the past and the present, reinterpreting the themes of "seeing", "talking" and "sharing" to the audience. "sharing" and other themes, temporarily immersing in an alternate reality.

Article Source:艺术与设计

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