The simplicity and graphic quality of the forms in the works of the famous silver designer, the owner of Compasso D'Oro - the most prestigious award of Italy

Passing the gallery

Materials prepared: Dilara Muradova

Magazine: (64)

When in 1957 the young Gabriel De Vecchi decided to leave the architecture for the sake of working in the company of his father, many were perplexed: the potential of this area was very high, while silver was associated exclusively with antiques — respected, beautiful, and ... unnecessary. Then the world, tired of war, preferred the charm of functional, comfortable and not very expensive things. The quintessence of the design of the 50s was best expressed by Charles Eames: "When I invent a chair," he said, "I lastly worry about how it will look." Silver did not fit the standard of engineering aesthetics, marked by the favorite 50-mi word good. Gabriel De Vecchi needed to find a compromise or leave the stage. At the age of 19, he takes the first step towards what was later called the "triumphant return of silver." The forms are simple and graphic - a tribute to De Vecchi the architect, the design is completely devoid of decoration. However, the De Vecchi jeweler does not give up his position: the aesthetic component of objects far exceeds the requirements of the era. The pragmatic 50th, an aesthetics that promotes constancy and versatility, has been replaced by a bright 60s. In the world of Andy Warhol and the Vietnam War, eternity was not valuable. Crafts survived the crisis. De Vecchi's colleagues divided into two camps: some completely denied the processes that took place in art, others "changed" their workshop, trying to maintain at least a slight similarity of traditional forms by using popular synthetic materials. De Vecchi went the other way. In 1959, he became one of the founders and active employees of the "Group T". The members of the "Group T" (from the English. Time - time) address the problems of kinetism. Three-dimensional space, they believe, no longer meets the needs of design. From now on time becomes the main factor. By the end of the 60s, the style of De Vecchi was finalized, later called the "language of mirrors". The designer focuses on the two main characteristics of silver: the mirror effect and achromatism. On the one hand, the smooth surface reflects the things that surround the object, on the other - the appearance of the object can be destroyed by a myriad of virtual images. Appealing to touch, movement, gesture, De Vecchi seeks a multisensory connection between the viewer and the object ... Over the next decades, De Vecchi's exhibitions are held in the leading museums of the world, he teaches in Brera and Milan, holds the post of vice president in the Italian sector of the World Council crafts. In the 90s handicraft techniques gradually became part of industrial design. Toshiyuki Kita rethinks the tradition of making Japanese varnish utensils. American Frank O. Gehry creates the famous wicker furniture collection for KNOLL. The Czech Borek Sipek is inspired by the exotic techniques of Filipino masters ... The creative method of De Vecchi is recognized worldwide. He becomes the owner of Compasso D'Oro, Italy’s most prestigious award. And the founder of the other - St'Art - for young silver designers.