When I’m designing, I always have the golden ratio in the back of my mind. It’s a mathematical, timeless approach to beauty. I don’t use the golden ratio as a mechanical trick, but it does make my designs intuitively timeless. It’s as if they might stem from classic antiquity as easily as from the present. In my mind there’s no distinction between these two time periods.
I use very diverse starting points when drawing collection objects. They do tend to be two-dimensional or linked to my roots in the graphic arts. My M collection, for instance, originated in a painting of a fictional house made by Japanese artist Minoru Numata. The pieces of furniture I designed would go perfectly with that non-existent house. The architecture of cities such as Florence or Venice is also a direct source of inspiration. When I walk around there, any stone or building can lead me to design a new piece of furniture. Iconic Casa Malaparte in Capri led to the marble Curzio loose-change tray. During my whole childhood we would travel to Capri. Every summer we would pass by the mythical cliff house of writer-director Curzio Malaparte. It’s an artists’ residence now, the place where so many famous artists once stayed. To me personally, this house almost embodies the essence of architecture. The roof, part of which is also a staircase, I translated into the sculptural Curzio vide-poche. An homage to Malaparte’s house, which was immortalised in Jean-Luc Godard’s film Le Mépris.