How to Design Global While Remaining Local in Design

I think that our identity of—as an Italian design factory or research laboratory into the field of
design stays precisely. In that, we are able to express different localities or different local
cultures represented by our designers. Because if we work with Philippe Starck he is
representing—and people is looking into—within his projects, expecting to find an expression of
French culture. If we work with Michael Graves, people—the quality of his work stays in the
fact that his work is coming out from American culture. Or with Japanese or Brazilian or
British—and the characteristic of preserving this locality, this local culture is the biggest strength
that is one of the skills of the Italian design factories, not global at all. In a way, we become
interesting on a global scenario, right because we represent very specific local cultures, which
having presented by our designers.

As far as I can see, this phenomenon of the Italian design factories, which is, today, the kind of
hail of all the phenomenon, like the Deutsche of Verbund, the Bauhauser, the University to the
Arts and Crafts in England and so on, is continuing to act well. In terms of where the creative
energies can come from, I agree that today, in this moment, Italy has a little freshness like we
had many years ago. And there are countries which are apparently, in this moment, more
interesting. For example, UK, Japan, even probably US, at least, into the world of architecture if
not design. And so, we are very much looking to these areas.