IDEMlab: the creative deed.

Beyond brand fetishism as an exhibition of economic power.

IDEM DIsegno Nettuno

Since childhood, in the wake of a centenary family experience, we have understood the artisan and artistic process as a creative act capable of giving life to the object of use.

 

In this sense, the object reveals a recognizable author, because lines, shapes and colors bring forth an emotion conveyed by the senses, giving life to the object that remains linked to the creator (and the designer) in an emotional relationship.

 

Technical virtuosity – any alternative solution that follows the trend, encouraging mass taste – can never replace the movement that is necessary for the creative act: “seeing” something inside oneself and making the recipient see it, in a sort of epiphany.

 

Technique can only be a testimony of the love with which this creative work is carried out, along with the accuracy, the craftsman’s know-how.

 

The creative process goes beyond technique, because it implies an inexhaustible desire for inspiration, it continuously searches for the soul of things, of events. This creative process reveals itself to those who are listening on the waiting thresholds; places that are truer than truth itself.It is a primitive flow, and for this reason it works well.

 

Fashion cannot be traced back to another fashion: every designer must go back to the original process, retrace the path of the maestros and, with humility, work hard to emulate, not just their extraordinary results, but rather their inexhaustible research.

 

For this reason, when working in the artisanal world, transferring knowledge (and know-how), it is necessary to be authentic. It is essential to give back authenticity to those who will choose that product. The pleasure of guarding (or exhibiting) a deeply loved object (by those who have generated it and those who have chosen it for themselves) is an embankment or an anchor, within a current that is too strong to drive it downwards, towards compulsive “disposable” consumption.

 

Our search for an aesthetic dimension of reality refers to a philosophy that cannot be pure hedonism. Although it is carried out through the senses, it manages to go further because it is aware of transitory nature and, therefore, of the value of each experience, each object, of its uniqueness.

 

In this key, fashion becomes Applied Art: like a painting, a sculpture, it “photographs” the immaterial and makes it “pop”, so that everyone has the right to his or her own piece of contemplation.

 

Capturing a certain state of mind, infusing it into an object made of solid materials designed for functional use: this is the challenge that is always attractive, this is the “game” that we cannot give up (the “let’s pretend you were…” of the child within us), which contagiously infects with a smile those who decide to take part, simply by choosing an object, a bag, a jewel, a scarf for themselves.

 

IDEM’s game always starts by looking at the timeless beauty of the Mediterranean world, a crossroads of stories, peoples and cultures. Certain infinite places, full of life… certain flowers, certain rocks, certain houses, certain crafts, certain sounds wrapped in the liquid light of the Mediterranean: the senses assimilate them, transfigure them and recompose them into small artifacts – unusual but domestic – that reproduce perceptions but are completely new.

 

A timeless dance that is always new.