When I was 21, I joined the family business. My father was a rug dealer so the only option to express myself was by following in his footsteps. I didn’t have any idea of which area I would specialise in, but my own journey started in Stockholm where, by chance, I discovered a passion for mid-century furniture. I have not abandoned this world ever since. For me, the big masters like [Italian designer] Gio Ponti have created the roots and references for many Italian designers working today. Italian mid-century is my favourite design period.

How has your curation evolved over your career?

To be honest, my curation has always followed my personal passion. I opened my gallery based on what I really wanted to do. Obviously, my process has become more refined – I’ve honed my aesthetics and sensibilities, and deepened my understanding of design as a whole. The consistent thread is a focus on pieces that aren’t just visually stunning, but also conceptually rich and emotionally resonant.

In your mind, what constitutes a well-designed piece?

It’s about emotional attraction. Everyone’s first approach is to always to follow their instinct. After this I consider the current waves in design – so not only trends but how they have influenced cultural and historical periods, and thus people’s interests in design and furniture. For example, in the last few years bronze is something that is very appreciated. I also look at the research, craftsmanship and the fact that piece must be different to what is already available in the market.

How do you choose artists to collaborate with?

In the beginning I was travelling all over Europe doing research but now projects arrive on my table as I don’t have as much time to discover talents. I look for individuals who share my passion and bring a fresh perspective to their field. I give a lot of value to creativity, innovation and a willingness to experiment. I like experimentation, either in technologies, or conceptually.

Do you see yourself as an incubator of talent?

The beauty of my work is giving a voice to Italian talents. Italian designers are more focused on their roots and are much more connected to the aesthetic as well as functionality. This is my focus also. Recently, however, I am worried about creativity in the design world. Take for example, Salone del Mobile [also known as Milan Design Week]. It has been great to showcase talents, but I really feel it should be biannual because the creative community cannot invent something incredible and special every single year. Because of the schedule they are stretching the minds of the creative people, which is a big issue. We see this in the fashion world as well with fashion week.

What new projects are you working on?

Nowadays everyone owns the serial industrial pieces – they are so commonplace that people are looking for something more unique. I came up with this idea of Open Edition [held during Salone del Mobile, which this year was April 16-21], which features over 100 items created by the most innovative names in the design industry such as Gal Gaon and Filippo Carandini. The whole series is more selective, and not just in terms of aesthetics. All the pieces are technically refined, with a deeper artisanal connection. For example, every piece of Filippo’s furniture is hand painted, making them unique in a different way. In fact, everything is produced in Italy, which I am very proud of. It’s a new way to approach collectible design and I plan to take it around the world.