A TALK WITH MARCO DE VINCENZO
Photography by Matteo Pastorio
Marco De Vincenzo is one of the most interesting and original figures of Italian fashion industry nowadays. After his studies in Fashion and Costume at the European Institute of Design, he joined the creative offices of Fendi at the early age of twenty-one and launched his own brand in 2009, with which he won the prestigious competition for young designers “Who Is On Next”. His knowledge in design made him an essential element for the jury that awarded the first This is not a Prize, during Artissima 2016. We met him and asked about this experience and his personal relationship with art.
When and how did your relationship with Mutina start?
It started participating as a member of the jury during Artissima, for This is not a Prize. I already had familiarity with the ceramics field and, getting to know in depth Mutina’s history, its interest for contemporary art fascinated me.
What did attract you?
I’m really fascinated by people who work and transform material. Especially by ceramics that, in Mutina’s case, becomes pure design. A poor matter, able to maintain a modern look and to make warmt emerging from itself, even by touching a little tile: the hyper design that preserve its primordial nature.
How did the experience of This is not a Prize end? How was to participate as a judge to this initiative?
It was great. It was the first time for me and I’ve been honored to participate and get to know people that have a strict relationship with contemporary art. When we started discussing about who deserved the prize, I realized that in that judgment not only the aesthetic elements, but also the intellectual aspect, the soul of the artist were counting… The members of the jury educated me: I trained the eye, I learnt how to judge an emerging artist today, why to give him a recognition and invest on him. It’s complicated, because there’s a personal and instinctive aspect that I’ve always considered, but, at the same time, a depth of language that needs experience to be understood. I found people who had this knowledge, so it was beautiful to take part at the event. Maybe I was the most inexperienced, the most curious, but I remember it as a time of learning. It has been a real discovery to me.
What is your relation with contemporary art?
It’s an absolutely instinctive relation. A bit frustrating right now, because I’d like to be a collector, but I’m not. Contemporary art is something that I often need, as if it’s a sort of therapy. Sometimes, all of those hermetic languages leave just a sensation and many questions, more than answers. Because contemporary art is not always comprehensible and, maybe, this is partly its secret. You just have to let it carries you away, as if you’re watching a beautiful movie in which not everything is understandable.
How was seeing Calò’s work at Biennale?
Calò’s work was the confirmation that the best artist had won. It was one of those things that dazzle you and makes you think that you’d wanted to be able to create an artwork like that. As I often do, I had not documented about it(which is useful, in my opinion): my relation with contemporary art wants to be uneducated, until the moment I know it. It was just said to me that the Italy Pavillon was extremely beautiful, I didn’t even remember he was there, I read his name and saw this great, dreamy, wonderful artwork… These are the experiences that contemporary art makes you live and that’s why it’s worth to cultivate it.
You have a passion for interior design. Is there a style that you prefer, or you rather have a polyhedric taste?
I’m quite eclectic. I just like to see things and imagine them in a place, as I do in my work. I could never chose how to furnish a space on paper and reproduce it identical. I like that there’s an evolution, because what fascinates me is the history of spaces and how they change over time. The idea of watching a place after fifty years and remember how it becomes like that. I like that it represents the evolution of yourself and that there’s a stratification.
How do you think fashion and design meet?
Fashion and design are often the same thing. If I think of a bag there’s even more similarity, because it has to satisfy a practical need and the project is the same too: it considers an aspect of creativity, functionality, beauty in itself… It’s a very similar way of working.
Which is your favourite Mutina collection?
I love the handcrafted collections, because they make me feel that exchange between primordial matter, mind and hands, and Rombini by Bouroullec.
If you had to think about a Mutina’s collection by Marco De Vincenzo, what would be your staring point?
I’d start with a multi-tonal use of colours, I’d play with a tridimensional chromaticism. My collection would have an artisanal mold: I’d try to let the fire that cooked the soil and the heat that polished the glaze emerge from the tiles… Above all, I’d create something that would have value over time. Something lasting.