It’s easy to say that objects are simply things. But at Flaminia this is not taken for granted, because the immaterial becomes a part of the material itself. That vital principle injected by the hands of the artisan, his thoughts and desires, which shapes things starting from a high technological level of industrial production. The Flag collection designed by Alessio Pinto and about to be presented during Cersaie in Bologna, from 23 to 27 September, is no exception to this tenet. Created inside the company with the same ‘emotional’ path and with know-how gained in over 60 years of production of ceramic bath fixtures, Flag too goes through all the passages – from prototype to model, casting to glazing, all the way to the firing – in the production facilities of Civita Castellana (Viterbo).
Factors such as a complete cycle inside the tradition and quality of Made in Italy, and design that keeps in step with innovation of the bath environment, are clearly visible in the slender lines and lightened volumes of Flag. Corners are smoothed, and the washbasins, toilets and bidets – always made in ceramic material of the highest quality – perform their functions in an essential way, suspended in the air. Color becomes a distinctive feature, and in every piece it exists inside and outside, combined in refined juxtapositions of hues, like milk white and Rubens red, clay and graphite, or mud tones. Every offering gives rise to different images, ranging from the classic to the contemporary.
“Innovation – says Giulio Cappellini, creative director of Flaminia – makes sense only if it manages to respond in a clear, coherent way to the real necessities of the user, giving them not only beautiful and functional objects, but also dreams and smiles.” A concept the company has visually illustrated through a series of photographs by Santi Caleca, gathered in the volume Good Morning Design published by Rizzoli. Here the eye of the photographer investigates an unusual artistic dimension of the creations of Flaminia, discovering the sculptural force inside the architecture. Every piece is taken out of context and reinterpreted in terms of volume, defined by light and shadow, lines and surface, full and empty zones. The soul of things is revealed, exactly like the soul of inhabited spaces.