Atelier della Calce is a restoration and interior design boutique builder, specializing in lime. Based in Turin, Italy… we use this web presence to showcase our work, publish a portfolio of completed projects and let interested parties know where we exhibit. We’re pleased to help and readily available. Welcome to the world of sublime Italian artisans. Atelier della Calce è un costruttore di boutique di restauro e interior design, specializzato in calce. Con sede a Torino, in Italia... utilizziamo questa presenza sul web per mostrare il nostro lavoro, pubblicare un portfolio di progetti completati e far sapere alle parti interessate dove esponiamo. Siamo lieti di aiutare e prontamente disponibili. Benvenuti nel mondo dei sublimi artigiani italiani.

Successful entrepreneur and honorary sommelier, Lamberto Vallarino Gancia today dedicates his knowledge and energy to various activities related to the wine sector and, from 7 September 2015, to the management of the Stable. «A complex and fascinating world - emphasizes speaking of the Theater - a symbol of the city that has been offering for sixty years performances of high artistic quality and that contains within it history, culture, much Italian professionalism and excellence. Imprenditore di successo e sommelier onorario, Lamberto Vallarino Gancia oggi dedica le sue conoscenze ed energie a diverse attività legate al settore vitivinicolo e, dal 7 settembre 2015, alla gestione della Stalla. «Un mondo complesso e affascinante - sottolinea parlando del Teatro -, un simbolo della città che da sessant'anni offre spettacoli di alta qualità artistica e che racchiude al suo interno storia, cultura, tante professionalità ed eccellenze italiane.

Created around 25 years ago, the International Cultural Heritage Fair at Carousel du Louvre has grown to become not only the oldest but the leading heritage fair in Europe. Since its creation, it has naturally asserted itself as the fair not to be missed by the sector’s stakeholders: professionals from the field of built, non-built, tangible and intangible heritage restoration and preservation. The Salon du Patrimonie Culturel counts the best handcrafts and fine restorer around Europe. Organised by Ateliers d’Art de France, every year, the International Heritage Fair gathers over 300 exhibitors and 20,000 visitors, general audience and professionals alike, for 4 days at the Carrousel du Louvre in Paris. The International Heritage Fair was founded in 1994 by Pierre Chevalier, President of Chevalier Conservation, a textile restoration company and President of the SEMA (Society for the Promotion of Art Trades) for 14 years. The fair developed under the leadership of Jean-Pierre Jouet, founder, with his company OIP of French cultural fairs such as the Biennale des Antiquaires, the FIAC, the Salon du Livre and the Salon Nautique. The International Heritage Fair was taken over by Ateliers d’Art de France in 2009, upon the reunification of the Crafts trade, Creation and Heritage family, initiated by its president Serge Nicole. The purpose of Ateliers d’Art de France is to carry on the fair’s work, to help it grow and create new momentum. Throughout the various themes covered each year, and at the instigation of Aude Tahon, president of Ateliers d’Art de France since 2016, the International Heritage Fair became the main forum for reflexion in the heritage sector – its issues, its topicality, its challenges. This unique fair illustrates the strength of Crafts and Heritage Trades in France. In 2019, the fair celebrated its 25th anniversary with a record of 380 exhibitors present. Créée il y a environ 25 ans, la Foire Internationale du Patrimoine Culturel au Carrousel du Louvre est devenue non seulement la plus ancienne mais aussi la première manifestation patrimoniale en Europe. Depuis sa création, il s'est naturellement affirmé comme le salon incontournable des acteurs du secteur : professionnels de la restauration et de la préservation du patrimoine bâti, non bâti, matériel et immatériel. Le Salon du Patrimoine Culturel rassemble les meilleurs artisans et restaurateurs de qualité à travers l'Europe. Organisé par Ateliers d’Art de France, le Salon International du Patrimoine Culturel accueille chaque année plus de 300 exposants et 20 000 visiteurs, grand public comme professionnels, pendant 4 jours au Carrousel du Louvre à Paris. Le Salon International du Patrimoine Culturel a été fondé en 1994 par Pierre Chevalier, Président de Chevalier Conservation, entreprise de restauration textile et Président pendant 14 ans de la Société d’encouragement aux métiers d’art (SEMA). Le salon s’est développé sous la conduite de Jean-Pierre Jouet, fondateur, avec sa société OIP des salons culturels français tels que la Biennale des Antiquaires, la FIAC, le Salon du Livre ou encore le Salon Nautique. Le Salon International du Patrimoine Culturel a été repris par Ateliers d’Art de France en 2009, à l’occasion de la réunification en son sein de la famille des Métiers d’art, la Création et le Patrimoine, à l’initiative de son président Serge Nicole. Le but d’Ateliers d’Art de France a été de poursuivre l’action engagée, veiller au développement du salon et insuffler une nouvelle dynamique. A travers les différentes thématiques traitées chaque année, et sous l’impulsion d’Aude Tahon, Présidente d’Ateliers d’Art de France depuis 2016, le Salon International du Patrimoine Culturel s’est imposé comme le principal lieu de réflexion sur le secteur du patrimoine – ses enjeux, son actualité, ses défis. Unique au monde, le salon illustre la force des Métiers d’art et du Patrimoine en France. En 2019, le salon a fêté son 25e anniversaire avec le nombre record de 380 d’exposants accueillis.

Ilaria Borletti Buitoni was born in Milan in 1955. After graduating in Political Science, she started a small business in the parapharmaceutical sector. Volunteering, associations and the third sector have always had an important space in his life, since he was young. In 1985, she decided to dedicate a month every year, as a volunteer, to a hospital center in northern Kenya: from this experience a book of photographs and texts on the life of a nomadic tribe was also born. This experience will be so decisive as to push her, in 1993, to contribute to the birth of Amref Italia Onlus, the most important African NGO that supports health and education programs in East Africa. In 1995, a professional opportunity in the free ads' newspaper sector led her to move to London; there she will spend most of her time for 8 years. It was in London, with her husband, with whom she shared a great passion for classical music, that she gave life to an active foundation in the field of chamber music which aims to promote the career of young musicians, also internationally. However, the bond with Milan has always been intense and has never ceased. Here, in her city, she is particularly committed to promoting the culture of the Third Sector also through direct involvement in various associations particularly linked to health and assistance to people in difficulty. In 2010, she was nominated president of the FAI - Fondo Ambiente Italiano: a commitment that thrilled her enormously, so much so that in 2012 she wrote “For a Possible Italy”, Mondadori Electa, a book on the emergence of culture in Italy. Also in 2012 he assumed the position of member of the Bank of Italy's Superior Council. When she decided to apply, with great regret she left the FAI: the same civil passion that had led her to choose an extraordinary institution that works in defense of the Italian cultural heritage, is what prompted her to accept to apply with the commitment to contribute to the same mission in Parliament. She was elected deputy on 3 May 2013, she was appointed Undersecretary to the Ministry of Cultural Heritage and Activities and on 28 February 2014 she was confirmed in the same position within the government chaired by Matteo Renzi. In September 2014, “Cammino Controcorrente” was released for Mondadori Electa. In December 2016 she was reconfirmed for the third time in the same position by Prime Minister Paolo Gentiloni. He announced his decision not to re-run and to leave politics on 11 December 2017. President of the Società del Quartetto di Milano, one of the oldest and most well-known Italian musical institutions that promotes classical music and in particular chamber music; Councilor of EUYO, the European youth orchestra that unites young musicians from all European countries under the aegis of the European Community. Vice President Fai; Member of the Steering Council of Beic, European Library of Information and Culture; President of weTree which promotes the idea of ​​a new development in urban contexts based on the increase of green spaces through women's commitment; President of the Borletti Buitoni Trust which supports early career musicians around the world and music-related projects for the most disadvantaged communities. Chairman of the Guarantors Committee of AMREF Italia; Councilor of the Friends of Music of Perugia, for 70 years a point of reference for classical music in Umbria; Member of the editorial committee of Passaggi Magazine, a site created to enrich the debate in Umbria and not only around political and economic issues; Member of the National Landscape Observatory of the Ministry of Culture.

With more than 50 years of experience in the wool manufacturing industry, the award-winning weaving factory TACS has kept up the good name of Panno Casentino thanks to a production of excellence, respecting the most rigorous and traditional stages of manufacturing of the famous Casentino fabric. TACS was born and developed with Bruno Savelli’s capacity and foresight, then further improved under the leadership of his son Massimo (honoured with the title of Master Craftsman in 2016), today the company looks to the future under the guidance of Massimo’s son, David, who represents the third generation of a family focused on the respect for traditions. It is undoubtedly their love for a style the roots of which lies in the Renaissance Tuscany and that is still an uncontested symbol of elegance in Italy and around the world, that represents the trait d’union with the past. Together with the sale in the factory store, offering factory-direct prices, TACS items are available in the exhibition stands and in the prestigious boutiques all around Italy and are also exported to the USA, Great Britain, Holland, Portugal, Japan, Vietnam and Korea: thus TACS Panno Casentino represents a successful example of Made in Italy that has its strength in the importance of the best quality-price ratio. Con oltre 50 anni di esperienza nel settore laniero, il pluripremiato tessitore TACS ha mantenuto il buon nome del Casentino grazie ad una produzione di eccellenza, nel rispetto delle più rigorose e tradizionali fasi di lavorazione del famoso tessuto casentinese. TACS nasce e si sviluppa con la capacità e la lungimiranza di Bruno Savelli, poi ulteriormente perfezionata sotto la guida del figlio Massimo (titolato di Maestro Artigiano nel 2016), oggi l'azienda guarda al futuro sotto la guida del figlio di Massimo, David, che rappresenta la terza generazione di una famiglia attenta al rispetto delle tradizioni. È senza dubbio il loro amore per uno stile le cui radici affondano nella Toscana rinascimentale e che è ancora un simbolo incontrastato di eleganza in Italia e nel mondo, che rappresenta il trait d'union con il passato. Insieme alla vendita nel factory store, a prezzi diretti di fabbrica, gli articoli TACS sono disponibili negli stand espositivi e nelle prestigiose boutique di tutta Italia e vengono esportati anche in USA, Gran Bretagna, Olanda, Portogallo, Giappone, Vietnam e Corea: così TACS Panno Casentino rappresenta un esempio riuscito di Made in Italy che ha la sua forza nell'importanza del miglior rapporto qualità-prezzo.

Bespoke tailoring, collaborations and creative direction. Marta Ferri is the designer and founder of "Atelier Marta Ferri". Daughter of photographer Fabrizio Ferri and interior decorator Barbara Frua, she grew up in a very stimulating environment that helped her develop a unique sensitivity towards colour and a passion for interior design. In 2011, she created her first clothing collection exclusively made with upholstery fabrics, obtaining the special mention of "Who's on next" for the sartorial quality and the innovation of materials. After receiving many requests, in 2014 Marta decides to leave the prȇt-à-porter, to dedicate herself to the creation of unique custom-made pieces, opening her Atelier in Milan. At the same time, she began engaging in exciting collaborations for leading names, designing exclusive capsule collections ranging from clothing, accessories to furnishings and interior design projects. Since 2016, Marta has been Textile Consultant for Molteni & C., and has also created "The Styling Closet by Marta Ferri" for them. The bridal collection is where Marta Ferri's work comes into play: her dresses have simple shapes, but are elaborated in the materials: they are often made with upholstery embroidered fabrics, really unexpected for a wedding dress. Timeless classic, but unconventional garments. The Libera collection features quality, pragmatism and colour, lots and lots of colour. A collection released from seasons, occasions or ephemeral trends, characterized by a funny research of fabrics, designs and patterns. 'Emmina' is a mini-me beachwear collection created by Marta Ferri exclusively for yoox.com, made of a selection of items for mother and daughter. "Emmina brings the breath of freshness that stays in my eyes during my holidays in Puglia, the feeling of the sea and romantic countryside of those places, in a mini collection dedicated to the complicity between mother and daughter. I chose a delicate floral print that recounts the innocence and light-heartedness of the holidays. It's a tender wish dedicated to all the mothers who become children again and to the little girls who explore on tiptoe, through us, the world of grown-ups." Every detail in these collections, have been taken care of, thanks to their beloved craftsmanship. The bag designed by Marta Ferri is called “UNICA”, it is in fact a one-of-a-kind object in limited edition that aims to find the perfect harmony between 'her' and who wears it. The tradition of craftsmanship meets the world of furniture. The treated leathers, hammered with sophisticated colors, are skillfully adapted and studied to blend with shapes, textures and colors of different types of fabrics. The designer has chosen precious cuts of interior design fabrics inside the shops of precious weavers and sample archive pieces for a bag with harmonic proportions. Simple, pretty purses without any ostentation, that let bold, vintage prints do the talking. Marta Ferri took part in OVS project, “Arts of Italy”, born with the aim to celebrate the Italian architectural beauty through its details. A project that gave life to a capsule collection in limited edition; part of the proceeds from the sale was intended for the restoration of some masterpieces of Italian art. Nuda is a collection of lost wax bronze sculpture-jewelry made by Marta Ferri. Six silhouettes of primitive and sensual female bodies, dynamic, sometimes surreally cut in half, enclosed within themselves or in the act of launching themselves. A different and peculiar concept of thinking a jewel, far from tradition and at the same time archaic and essential.

Even today Tommaso De Carlo realizes his colors with earth and other natural materials in his workshop, which since the eighties is located in the Old Conventino in Florence, where, in an environment of artisans and artists, he works as interior decorator. Starting from the ancient techniques and decorative forms that are breathed in the Florentine territory, he has developed his own style, creating a language that updates the decorative patterns typical of the Florentine Renaissance. Ancora oggi Tommaso De Carlo realizza i suoi colori con la terra e altri materiali naturali nella sua bottega, che dagli anni Ottanta si trova nell'Antico Conventino a Firenze, dove, in un ambiente di artigiani e artisti, lavora come arredatore d'interni. Partendo dalle antiche tecniche e forme decorative che si respirano nel territorio fiorentino, ha sviluppato un proprio stile, creando un linguaggio che aggiorna i motivi decorativi tipici del Rinascimento fiorentino.

Patrizia Gioia's aim is to bring to life the ancient art of fresco through workshops, student lectures, website and a video. The workshops, often held at medieval festivals throughout Italy or at universities, expose viewers and students to all aspects of fresco creation. April 2013 Bottega dell'Affresco was registered in the European Consortium of Historical Re-Enactments, C.E.R.S. L'obiettivo di Patrizia Gioia è quello di far rivivere l'antica arte dell'affresco attraverso laboratori, lezioni degli studenti, sito web e un video. I laboratori, spesso tenuti in occasione di feste medievali in tutta Italia o nelle università, espongono spettatori e studenti a tutti gli aspetti della creazione di affreschi. Aprile 2013 Bottega dell'Affresco è stata iscritta al Consorzio Europeo delle Rievocazioni Storiche, C.E.R.S.

The Iberian Forum of Lime (FICAL) is a space created in order to unite the different professionals related to said material to share knowledge and events related to lime and its applications. The Iberian Forum of Lime is a non-profit association whose purpose is the development of research, training and dissemination of the production and use of lime. They can be part of FICAL both natural and legal persons, with capacity to act who so request, provided they accept the rights and obligations that correspond to them as members of the association. Joan Mestre Ramis (Felanitx, Majorca) is the president of FICAL: the Iberian Forum of Lime (Cal). A non-profit association whose purpose is the development of research, training and dissemination of the production and use of the lime. FICAL can be part of both physical and legal persons, with the capacity to act as requested, provided they accept the rights and obligations that correspond to them as members of the association. El Fórum Ibérico de la Cal es un espacio creado con el fin de unir a los diferentes profesionales relacionados con dicho material para compartir conocimientos y eventos relacionados con la cal y sus aplicaciones. El Fórum Ibérico de la Cal es una asociación sin ánimo de lucro cuyo fin es el desarrollo de la investigación, la formación y la difusión de la producción y el uso de la cal. Pueden formar parte de FICAL tanto personas físicas como jurídicas, con capacidad de obrar que así lo soliciten, siempre que acepten los derechos y obligaciones que les correspondan como miembros de la asociación.

Simona Rinciari creates jewelry with an innovative technique that allows the conservation of the organic plant and the direct contact with the same, leaves, roots, fruits, flowers, vegetables, etc. exhibited in Europe, Japan and America. She invented a procedure, a technique to immobilize them in eternity, to mummify them, almost to vitrify them.

The Pantheon of Agrippa has represented the greatest expression of the glory of Rome for more than two thousand years. The story of the Pantheon is inseparably tied to the Eternal City, and been its image through the centuries. Built by Agrippa between 25 and 27 BC, the Pantheon was a temple dedicated to the twelve Gods and to the living Sovran. Traditionally, it is believed that the present building is the result of the radical reconstruction by Hadrian between 118 and 125 AD. It is the only ancient Roman building that has remained practically intact through the centuries. In 608 Pope Boniface IV had the remains of many martyrs removed from the Christian catacombs and placed in the Pantheon. Thereafter, the temple was officially converted to Christianity and named Saint Maria ad Martyres. The Pantheon was an inspiration to Raphael, one of the greatest architects of the Renaissance, and he requested it be his place of eternal rest. The Basilica is still a church, where Christian worship is celebrated continuously and which it considers essential to accompany the celebrations with commitments of solidarity. Il Pantheon rappresenta, da più di duemila anni, l'espressione massima della gloria di Roma. La sua storia si lega in maniera indissolubile allo sviluppo della città eterna di cui è immagine nei secoli. Il Pantheon fu ispirazione dei più grandi architetti del Rinascimento, tanto che Raffaello volle farne il luogo del proprio riposo eterno. Nel 27 a.C. Marco Vipsanio Agrippa, genero, amico e collaboratore del primo imperatore Augusto fece costruire questo tempio, dedicandolo alle sette divinità planetarie. Ad esse si deve il nome di Pantheon, che, in greco, significa “di tutti gli Dèi”. L’edificio originario, che doveva essere di dimensioni ridotte rispetto a quello attuale, fu riedificato da Adriano tra il 118 ed il 125 d.C. Nel ricostruirlo, Adriano non tenne conto dell’impostazione di Agrippa: rovesciò l'orientamento dell’edificio di 180 gradi e aprì davanti al nuovo tempio una grande piazza porticata. Il Pantheon, chiuso e abbandonato sotto i primi Imperatori cristiani e successivamente saccheggiato dai barbari, nel 609 d.C. fu donato dall’Imperatore bizantino Foca a Papa Bonifacio IV. Papa Bonifacio IV consacrò il tempio dedicandolo a Santa Maria ad Martyres. Il riferimento ad una schiera collettiva cristiana fu voluto in contrapposizione all'antica dedica pagana a tutti gli dèi di Roma. La Basilica è, tuttora, una chiesa, dove viene celebrato, con continuità, il culto cristiano e che considera essenziale accompagnare le celebrazioni con impegni di solidarietà.

Easter Island, also known as Rapa Nui, is a tiny island known for its huge moai statues scattered all over the island. The world is fascinated by the creation of these statues, not only for the impressive size and quantity of them, but also for the circumstances under which they were built. This small island had very limited resources; not much drinking water, no cattle and no metal. The statues were transported to their final location several kilometres across hilly terrain - all of this being accomplished with the highest leader being a tribal chieftain. Rapa Nui is located in the Pacific Ocean, on latitude -27.15 and longitude -109.4, 3600 km west of Chile in South America. Flying from Chile's capital Santiago, which is the closest flight connection, takes around 5 hours. An isolated triangle measuring 14 miles long by seven miles wide, Easter Island was formed by a series of volcanic eruptions. In addition to its hilly terrain, the island contains many subterranean caves with corridors that extend deep into mountains of volcanic rock. The island’s largest volcano is known as Rano Kao, and its highest point is Mount Terevaka, which reaches 1,665 feet (507.5 m) above sea level. It has a subtropical climate (sunny and dry) and temperate weather. The name "Easter Island" was given by the island's first recorded European visitor, the Dutch explorer Jacob Roggeveen, who encountered it on Easter Sunday (5 April) in 1722, while searching for "Davis Land". Roggeveen named it Paasch-Eyland (18th-century Dutch for "Easter Island"). The island's official Spanish name, Isla de Pascua, also means "Easter Island". The current Polynesian name of the island, Rapa Nui ("Big Rapa"), was coined after the slave raids of the early 1860s, and refers to the island's topographic resemblance to the island of Rapa in the Bass Islands of the Austral Islands group. However, Norwegian ethnographer Thor Heyerdahl argued that Rapa was the original name of Easter Island and that Rapa Iti was named by refugees from there. The Rapa Nui people are Polynesians, such as Hawaiians, Tahitians and the Maori of New Zealand. The native languages of these islands are very similar. Music, dance and art has always been a central part of Rapa Nui culture. The island is today part of Chile, and strong South American influences threaten the existence of the fragile Rapa Nui culture which a mere 3000 people are part of. As tourism became a more common part of the Easter Island society since the 1990s and people travel from all over the world to see this unique culture, there has been an increased pride in the cultural Rapa Nui identity. Today, most newborns that are Rapa Nui are given Rapa Nui names, and parents try to speak the native language to their children as much as possible. During the 1980s and before, most babies were given Spanish names, and parents often did an effort to teach their children Spanish, even if this was their weaker language.

The numerous temples spread across the ancient city of Bagan in the Mandalay Region of Myanmar are impressive and fascinating testament to the Burmese’s religious devotion over the years. The plain of Bagan is one of Asia’s richest archaeological sites, designated a UNESCO World Heritage Site to preserve Myanmar’s religious edifies and architecture. The ancient city was once home to over 13,000 temples constructed between the 9th and 13th centuries. However, some temples have been vandalized and destroyed, with only about 2,300 temples spread over 104 square kilometers remaining in the Bagan Archaeological Zone. This area also comprises four settlements and is open to the public at a fee, with some entry tickets valid for up to three days. According to the royal chronicles of Myanmar, Bagan was founded around the 2nd century AD and fortified by King Pyinbya around 849 AD. However, some scholars believe that the Bamar founded the ancient city in the 9th century. Nonetheless, Bagan was the Pagan Empire’s capital, cultural, and economic nerve center from the 9th to the 13th century. The Pagan Kingdom was the first to unify the region that constitutes the present-day country of Myanmar. The kingdom also established the Burmese ethnicity and culture, including Theravada Buddhism. As a result, the city grew in stature and influence over the period. During the over 250 years of the Pagan Kingdom's reign, the Bagan rulers and locals constructed over 13,000 religious monuments. The religious monuments included over 10,000 temples and 3,000 monasteries and stupas in an area of about 104 square kilometers. At its peak, Bagan was a cosmopolitan center for secular and religious studies, with most students specializing in a variety of languages, medicine, astrology, and legal studies. Over the years, the temples, pagodas, and monasteries have either been vandalized or destroyed by natural calamities, especially earthquakes. Located on the earthquake zone, Bagan suffered over 400 earthquakes in the 20th century, with a major earthquake occurring on July 8, 1975, which damaged several temples, of which some are irreparable. Today, roughly 2,300 temples and pagodas remain over the 104 square kilometers in the old city of Bagan.

“When it comes to everyday objects, it's the smallest details that turn the ordinary into something that really stands out from the crowd. Since founding her label, designer Sabrina Fossi has honed this covetable skill, giving well-known forms an unexpected edge-and a much-needed dose of light-hearted playfulness.” Sabrina Fossi Design is a company producing 100% Italian handcrafted homeware products. Its aim is to bring the best Italian craftsmen skills in each product, giving to the final customers an outstanding product quality. Sabrina Fossi Design started its own production in 2013.

In the workshop of Ruggero Pallaoro you can breathe the great passion for woodworking. Here, among the scents of different precious woods, artistic works full of charm come to life. Creativity and originality come together to obtain timeless objects. A personalized and different way of considering wood and its processing to make each creation unique and exclusive. After living abroad for several years, Ruggero Pallaoro returned to Trentino, where he first resided, in various locations of this wonderful province, to then settle in a small and delightful valley unspoiled in its beauty, the Mòcheni valley. Born in Trento in 1964, he has many years of experience as a product designer. Since he was a child he loves working with wood thanks also to his cabinetmaker father who transmits this great passion to him. In 2006, he began turning the first design vases with modern shapes and small objects such as fountain pens, rollerballs and ballpoint pens. Having consolidated his great passion for this art, he registers the ruggeropallaoro® trademark. He creates unique pieces and small, limited and numbered series, mainly using wood but also metal and stone. Experimentation, innovation, harmonious simplicity are the leitmotif of his creations. In his works of him, in conjunction with the turning, texture and coloring sculpting techniques alternate, all without neglecting a fundamental element; maintain a continuous dialogue with nature.

Paola Farina was born in Verona in 1967. After graduating from the artistic high school, she attended the two-year course of decorative arts at the "Cignaroli" Academy of Fine Arts in Verona, then taking part in a project as part of the Exchange Program for Young Workers in the Community European, concerning the maintenance restoration of the Lusitanian artistic heritage which took place in the city of Lisbon in Portugal. In the aforementioned internship she deals with the restoration of external wall decorations located in different gardens of important ancient residences of the place while attending the Centro Europeu de Línguas at the same time. In Rome Paola Farina attended courses in decorative arts of fake marbles and trompe l'oeil at the Accademia del Superfluo, then specializing in Brussels at the Institut Superieur de Peinture van der Kelen et Logelain in decoration techniques related to the imitation of woods and marbles, semi-precious stones, drawing course on perspective, decorative panels such as friezes and ceilings in different styles as well as patinas and gilding, fake stuccos and the study, planning and realization of trompe l'oeil. Paola Farina collaborated with the decorator Antonio Malleo in Rome and Cairo, Egypt, painting a series of interior decorations with themed wall paintings, with tattered, grotesque and fake stucco techniques and door and cupboard decorations. She also collaborates with M. and G. Girelli Bruni in the field of maintenance restoration and decorations of fake stucco on the walls and ceilings of historic residences and large hotels in northern Italy. During her professional career Paola Farina has designed and created many themed trompe l'oeil, decorative panels and thematic paintings on wooden supports, decorations on walls and ceilings, creation of fake marble, fake stucco. As an interior decorator, she has carried out shooting and maintenance restorations in some prestigious residences and hotels Paola Farina also deals with the graphic design of wine labels and the creation of graphic materials for advertising of some prestigious Chianti wineries. As well as the creation of paper maps of farms known as “cabreia”. She currently resides in Florence, and has opened a decorative arts atelier, where she carries out her professional activity.

The Locchi mill produces glass and crystal items for the table and interior decoration. All the objects are forged following the ancient blowing techniques and finished through careful grinding and engraving processes, rigorously done by hand. The origins of Moleria Locchi date back to the end of the 19th century when, in the district of San Frediano, the heart of the Florentine Oltrarno, an artisan moleria workshop was born that made beautiful glasses required, at the time, in luxury ships and large hotels for the extraordinary refinement. The crystal objects, signed one by one, can be found both in prestigious modern homes and in ancient buildings and are dedicated to those who - in Italy and abroad - love true craftsmanship, the one that has always distinguished made in Italy. The laboratory is also known for the accuracy of its restorations on precious glass and crystal objects, which are requested by customers all over the world.

Paolo Penko creates unique works made with the ancient Florentine goldsmith's techniques. Creations that are born to satisfy the desires of an increasingly international clientele. Jewellery that draws inspiration from the oldest and most precious soul of the city of Florence with its small and large geometries, the swirls, the scrolls, the friezes and all those forms and lines of architecture and art that made Florence unique in the Renaissance and that even today reflect their unchanged beauty.

Padrevecchi Cornici (Frames) is one of the most revered craft workshops in the world. It is specialized in producing, carving, decorating and restoring frames. In recent years, the company has extended its skills towards the production, decoration and restoration of furniture and accessories, as well as restoring theatre fittings. Thanks to the rare expertise of its workers, the company offers models from all periods, from the 1400s to the beginning of the 20th century. More than 340 models in every style and finish, reproducing the most elaborate patterns, from early 20th-century floral motifs to Renaissance cassette frames, shaped Baroque style models, and many more. The company was established in 1975 after, as luck would have it, Enrico Padrevecchi met some master frame makers who taught him all the secrets of their ancient profession as well as their love for the art form. The company is still family-sized, with Enrico’s wife and two children, Elisa and Simone, all working there.

The feather is magical. A ductile material, a symbol of beauty and power. For three generations we have been recreating fashion and design through the material that man has always had available in nature, the Piuma. The Nanà Firenze brand is born from the craftsmanship of the Mazzanti Piume company. Sculpture hats, ceremonial head-dresses, fashion headbands to wear every day, but also evening bags, accessories that evoke the mysterious mystery of these magical feathers that we all adore. Or over 80 years, Mazzanti Piume has created artificial flowers and feather arrangements, following the solid family tradition, which was passed down for three generations. The millinery was opened in 1935 in Florence by Natalina Acciai and her husband Lelio Mazzanti. As demand for women’s hats declined in the 60s, their son Maurizio shifted the studio’s focus onto the production of feather boas, working with the Moulin Rouge and the Lidò, and major international fashion houses. The atelier also produced plumes for the armed forces. In 1997, Duccio Mazzanti, Maurizio’s son, decided to focus on haute couture. In 2005, he created the brand Nanà Firenze (named after his grandmother). The brand embodies all the experience and creativity of the Mazzanti company, applied to the crafting of headwear. His headbands and headdresses in feather and silk are true miniature works of art. Mazzanti has also continued the business’s other traditional activities, such as restoration, customized feather dying, appliqués for theatre shows, costumes for films, historical costume and Carnival parades, and so on. Naturally, all pieces are crafted by hand. For Mazzanti, feathers are a magical, charming accessory, expressing lightness, softness and feminine sensuality.

Tommaso Candria opens in Mogliano Marche a handicraft factory specialised in weaving. The activity is located in the territory where’s deep-rooted the wickerwork tradition. A combination of ability and creativity allows making unique items, which are recognizable by care of details and originality in design. Though it preserves its original handicraft character and family dimension, the firm is in a progressive expansion thanks to an extended range of articles. Tommaso Candria apre a Mogliano Marche una fabbrica artigianale specializzata nella tessitura. L'attività è ubicata nel territorio dove è radicata la tradizione della lavorazione del vimini. Un connubio di abilità e creatività permette di realizzare oggetti unici, riconoscibili per la cura dei dettagli e l'originalità nel design. L'azienda, pur conservando l'originario carattere artigianale e la dimensione familiare, è in progressiva espansione grazie ad un'ampia gamma di articoli.

Carla was born in Turin in 1964. She left her home-town at the early age of 6 months, to eventually return as a young adult and for a relatively short period of time. Moving continuously was thrilling, but she needed something that would make her feel at home, a “fil rouge” that would accompany her through these new adventures, something only her own. Her family was very important but not enough to make her feel completely settled. The art of painting and humoristic drawing became “my very best invisible friends”, they would sit by her at all times, comfort her when most needed, help her to understand what she was experiencing. And the most important thing… "they were just mine!" She paints what she wants when she wants... but every day! Regardless of everything and everyone. Taking inspiration anywhere. She paints her emotions, her feelings, the beauty or the unexpected around her. Random search for passion. She went from faceless people in her early teens to painting gigantic close up of wild animals, to Abstract in an abstract part of her life and then back to reality to been a polaroid of the unexpected around her. One rule OIL Paint. She can humoristically fix that moment so that you will never forget it. Carla Chiusano's art is a photograph of life made with the skilful use of the brush. In her works, the desire to urgently communicate some important messages, positive and negative, which are continuously transmitted by the environment that surrounds her, shines clearly. Carla was lucky enough to live in different parts of the world, from London to Rio de Janeiro, from Rome to Geneva: this internationality of her made her an all-round artist, with a broad and profound vision of things. Her works, never banal, are often also the mirror of herself, of her reflective and cheerful character, sweet, hard and uncompromising at the same time. Her ability lies not only in a high pictorial quality, but also in the ability to identify with her paintings with extreme delicacy. She is a curious woman, a lover of life and nature, with a remarkable sense of humour and a spirit of observation, who lives in a world that is not only hers, but ours as well.

“Piedàterre Venezia”, an icon of la dolce vita since 1952. From our heritage heart to our handmade soles, Piedàterre is synonymous with Venezia. We are the original and authentic Venetian slipper ‘Friulane’ specialists, pouring decades of Italian ingenuity and world-class craftsmanship into our artisan velvet shoes. Each pair is still handmade in the homes of our community of craftspeople and continues to be one of the most enduring icons of la dolce vita. The traditional Venetian slipper was born in the 19th Century north of Veneto, in Friuli, where, during a period of post-war necessity, Italian families began to stitch together sumptuous velvet curtains from closed theatres and flattened bicycle tyres to make new shoes with genius and flair. Though resourceful, the slippers were beautiful works of craftsmanship, stitched passionately by the region’s women with precision, skill and purpose to put shoes on the feet of their neighbours and loved ones. The slippers quickly found a captive audience in cosmopolitan Venice and its influx of visitors. Versatile, chic and - crucially - non-slip, the design was perfect for navigating the city’s cobbled streets. In 1952, a dreaming businessman and his cart full of handmade slippers took a spot on the historic Rialto Bridge. Piedàterre was born. Fuelled by a swathe of enchanted shoppers, the cart remained faithfully in place for 40 years, before the doors of the Piedàterre Rialto store swung open to become the first store in Venice dedicated solely to the historic slipper. Today, Piedàterre slippers are a symbol of la dolce vita across the world, bringing understated chic and a timeless sensibility to contemporary wardrobes from Piazza San Marco aperitivos to New York red carpets and Amalfi Coast sunsets. Each pair is unique, crafted to the highest quality from 100% natural cotton velvet and hand-stitched by our network of Italian craftspeople. Our historic Rialto store and our Campo Santo Stefano flagship remain Venice’s original shops, focused solely on the traditional Venetian slipper. Every shelf explodes with colour. Timeless and 100% made in Italy, Piedàterre’s slippers continue to be our ode to the ingenious Italian spirit that forever finds beauty wherever it looks.

Rising dramatically from the Central Australian desert, the huge red rock of Uluru is one of Australia’s most iconic attractions. Formerly known as Ayers Rock, Uluru is made of sandstone about half a billion years old. It stands 348 metres high and has a circumference of 9.4 km. Uluru is at its most stunning around sunrise and sunset, when the golden light makes the rock’s colours come alive. For the Anangu people, Uluru is inseparable from Tjukurpa, or traditional law. The actions of the creation ancestors are still visible around the rock, and their stories are passed on from generation to generation, just as they have been for thousands of years. Uluru is a spectacular panorama, but it’s real beauty can be found by looking closer. This ancient monolith is home to rare plants and animals, important spiritual sites and caves painted with remarkable rock art. Uluru, also known as Ayers Rock, is a large sandstone formation in the centre of Australia. It is in the southern part of the Northern Territory, 335 km southwest of Alice Springs. Uluru is sacred to the Pitjantjatjara, the Aboriginal people of the area, known as the Aṉangu. The area around the formation is home to an abundance of springs, waterholes, rock caves, and ancient paintings. Uluru is listed as a UNESCO World Heritage Site. Uluru and Kata Tjuta, also known as the Olgas, are the two major features of the Uluṟu-Kata Tjuṯa National Park. Uluru is one of Australia's most recognisable natural landmarks and has been a popular destination for tourists since the late 1930s. It is also one of the most important indigenous sites in Australia.

The Louvre Museum is the world's largest art museum and a historic monument in Paris, France. A central landmark of the city, contains approximately 38,000 objects from prehistory to the 21st century. In 2017, the Louvre was the world's most visited art museum, receiving 8.1 million visitors. A visit to the Louvre and its collections lets visitors discover Western art from the Middle Ages to 1848, as well as a large number of ancient civilizations. Yet it also offers another history to explore. The grand palace that houses the museum, which dates back to the late twelfth century, is a true lesson in architecture: from 1200 to 2011, the most innovative architects have in turn built and developed the Louvre. Long the seat of power, this royal residence was also home to French heads of state until 1870 and is one of the major backdrops to the history of Paris and of France. The Pavillon de l’Horloge is the architectural heart of the Louvre palace. Designed by the architect Jacques Lemercier, it was built during the reign of Louis XIII (1610–1643) but only acquired the name ‘Pavillon de l’Horloge’ (‘Clock Pavilion’) in the 19th century, when clocks were added to the two main facades. At 40 metres high, it is the highest point of the Louvre – a reminder of the keep belonging to the original medieval fortress, demolished in the 16th century when King François I converted the Louvre into a Renaissance palace. The historic Pavillon de l’Horloge is the ideal location for a presentation of the Louvre’s 800-year history. Four rooms, distributed over three floors, tell the story of the museum, its collections and its current activities. The story begins near the remains of the first Louvre, a medieval fortress built by King Philippe-Auguste in about 1200. Follow the fortress wall to find the Salle de la Maquette, dedicated to the architecture of the Louvre. The presentation explains the many transformations that have marked the history of the palace and the ornamental additions made by great artists, from Jean Goujon who carved many decorative elements in the 16th century to Jean-Baptiste Carpeaux who designed sculptures for the Pavillon de Flore three centuries later. There are also traces of the Tuileries palace, commissioned by Queen Catherine de’ Medici during the Renaissance and burned down in 1871 during the Paris Commune. The foundations of the keep that was demolished in 1528 are still visible. The nearby room known as the Salle Saint-Louis is the oldest in the palace; its name derives from traces of decoration that have been dated to the reign of Saint Louis (1226–1270). The room displays everyday objects found during the archaeological excavations that were carried out between 1983 and 1993 as part of the Grand Louvre project; the finds range from a gilded parade helmet attributed to King Charles VI to a simple pair of children’s shoes. The Salle de la Chapelle, on the first floor of the pavilion, is now a museum room; its name is the only trace of the chapel built here between 1655 and 1659 on the orders of Louis XIV. Its display presents the history and diversity of the museum’s collections, how they were formed and how they are organised within the palace. Each collection – Egyptian Antiquities, Decorative Arts, Paintings, Sculptures, Islamic Art, etc. – is represented by a selection of artworks. The Salle de la Chapelle also offers one of the finest views of the Pyramid, the gardens and, in the distance the Champs Élysées, the Arc de Triomphe and the business district of La Défense. The Salle d’Actualité (‘news room’) on the second floor of the Pavillon de l’Horloge presents the museum’s current activities and missions: conservation projects, new acquisitions, research, and news of the Louvre’s national and international outreach, through the Louvre Abu Dhabi and the Louvre-Lens in particular. The museum obviously has to provide the best possible conditions for its artworks – but another priority is to make its visitors feel welcome. People have flocked to the Louvre for over two centuries; from art specialists to novices, in crinolines or jeans, visitors are an essential part of the museum’s life! And sometimes they become works of art in their turn, featured in paintings as they explore the museum and admire its displays…

Patagonia is not a country but a geographical region. Its location is in the southernmost tip of mainland South America and sits between the Pacific and Atlantic oceans. Patagonia is a huge territory of more than 400,000 square miles that belongs mostly to Argentina but includes a small part of Chile too. Here is a map of Patagonia. Also part of the Patagonia region is the island of Tierra del Fuego and its capital city, Ushuaia. This is the best gateway to Antarctica as the distance between continents is only 600 miles here. Tierra del Fuego is also close to Cape Horn, the Magellan Strait and such names can only bring us back to old myths, adventure and legends. The Andes mountain range constitutes the natural borderline dividing Chilean and Argentine Patagonia sectors. It has mountains. The Patagonian Andes extend to the west like a huge wall. With landscapes of glaciers, lakes and trees, it has snow during winter and plenty of flowers and scents during summer. It is Ocean. Towards the east we find the Atlantic Patagonia Region and its almost virgin beaches. A deep blue sea populated by penguins, whales and dolphins. It is also a vast plateau in its central part, with high “steps” descending from the Andes region towards the Ocean. Most of Patagonia’s territory belongs to this area. And finally the land of the extreme south or the “Uttermost End of the World”, Tierra del Fuego. Mountains and sea come together here like in no other place in the Americas. La Patagonia no es un país sino una región geográfica. Ocupa el extremo sur de la parte continental de América del Sur y se encuentra entre los océanos Pacífico y Atlántico. La Patagonia es un enorme territorio de casi un millón de km. cuadrados perteneciente en su mayor parte a Argentina pero también incluye una pequeña parte de Chile. Aquí hay un mapa de la Patagonia. También forma parte de la región de la Patagonia la isla de Tierra del Fuego y su ciudad capital, Ushuaia. Esta es la mejor puerta de entrada a la Antártida ya que la distancia entre continentes es de solo 1000 km. aquí. Tierra del Fuego también está cerca del Cabo de Hornos, el Estrecho de Magallanes y tales nombres solo pueden traernos de vuelta a viejos mitos, aventuras y leyendas. La cordillera de los Andes constituye el límite natural que divide los sectores patagónicos chileno y argentino. Tiene montañas. Los Andes patagónicos se extienden hacia el oeste como una gran muralla. Con paisajes de glaciares, lagos y árboles, tiene nieve durante el invierno y abundancia de flores y aromas durante el verano. Es océano. Hacia el este encontramos la Región de la Patagonia Atlántica y sus playas casi vírgenes. Un mar azul profundo poblado por pingüinos, ballenas y delfines. También es una vasta meseta en su parte central, con altos “escalones” que descienden desde la región de los Andes hacia el Océano. La mayor parte del territorio patagónico pertenece a esta zona. Y por último la tierra del extremo sur o “Ultimo Fin del Mundo”, Tierra del Fuego. Las montañas y el mar se funden aquí como en ningún otro lugar de las Américas.

Mulinum is an agricultural company born in Calabria from the dream of giving life to a complete and controlled wheat supply chain in every step, which starts from the organic cultivation of exclusively local varieties of seeds to get to the production of wholemeal, stone-ground flours. Subsequently, the flours are transformed into bread according to "ancient recipes and with the use of mother yeast" and into sweet and savory baked goods. From the crowdfunding operation launched in 2016 by Stefano Caccavari to start the first Mulinum in San Floro "in the province of Catanzaro", the project of an agricultural startup has taken shape that wants to replicate, thanks to a permanent and constantly expanding fundraiser, the Calabrian model in every Italian region, adapting it "every time" to the local characteristics. Mulinum works every day for the renaissance of Italian wheat cultivation, focusing on the biodiversity of seeds and the richness of their properties, which remain intact thanks to stone grinding. The large retailers interested in quality flours and breads and the bakers who have chosen to use only ancient local grains are its natural interlocutors. Finally, Mulinum sells directly and at retail on its online shop, in San Floro and in all the other places where its structure will be built. Mulinum è un’azienda agricola nata in Calabria dal sogno di dar vita a una filiera del grano completa e controllata in ogni suo passaggio, che parte dalla coltura in biologico di varietà di semi esclusivamente locali per arrivare alla produzione di farine integrali, macinate a pietra. Successivamente le farine vengono trasformate in pane secondo “antiche ricette e con l’utilizzo di lievito madre” e in prodotti da forno dolci e salati. Dall’operazione di crowdfunding lanciata nel 2016 da Stefano Caccavari per avviare il primo Mulinum a San Floro “in provincia di Catanzaro” ha preso forma il progetto di una startup agricola che vuole replicare, grazie a una raccolta fondi permanente e in continua espansione, il modello calabrese in ogni regione italiana, adeguandolo “ogni volta” alle tipicità locali. Mulinum lavora, ogni giorno, per il rinascimento della coltura italiana del grano, mettendo al centro la biodiversità dei semi e la ricchezza delle loro proprietà, che restano integre grazie alla macinazione a pietra. La grande distribuzione interessata a farine e pani di qualità e i panificatori che hanno scelto di utilizzare solo grani antichi locali sono i suoi naturali intrelocutori. Mulinum, infine, vende direttamente e al dettaglio sul suo shop online, a San Floro e in tutti gli altri luoghi dove sorgerà una sua struttura.

Osservatorio Mestieri d'Arte is an association between foundations of banking origin that carries out cultural and promotional projects aimed at raising awareness, information, research and preservation of the identity of local and national artistic craftsmanship with the objectives of evaluating and promoting the sector of the art professions, to create a national and European network of institutions to promote understanding of the various cultural identities, and to deepen the quality of production, economy and training. The periodical magazine "OmA" is the Association's main communication tool to analyze the issues of artistic craftsmanship and to enhance Italian and foreign excellence. The Association's initiatives range from the publication of volumes to the organization of exhibitions and cultural events, to partnerships with national and international institutions and entities to develop projects, and to award scholarships and internships. The association also deals with training initiatives to promote new and concrete opportunities for cultural exchange and growth for future aspiring artisans. From the experience of researchers and professionals in the production of artistic crafts and crafts, OmA was born, the brand that recognizes the talent of the craftsman and the quality of the workshop and workmanship. The shop, the laboratory and the company display the OmA ceramic plaque and the quality certification. The brand of artisanal talent and quality production has a network of certified artisans throughout the national territory. Osservatorio dei Mestieri di Arte è Associazione tra Fondazioni di origine bancaria che realizza progetti culturali e promozionali finalizzati alla sensibilizzazione, all’informazione, alla ricerca e alla conservazione dell’identità dell’artigianato artistico locale e nazionale con gli obiettivi di valutare e promuovere il settore dei mestieri d’arte, di creare una rete nazionale ed europea d'istituzioni per favorire la comprensione delle varie identità culturali, e di approfondire la qualità delle produzioni, dell’economia e della formazione. La rivista periodica “OmA” è il principale strumento di comunicazione dell’Associazione per analizzare le tematiche dell’artigianato artistico e per valorizzare le eccellenze italiane ed estere. Le iniziative dell’Associazione spaziano dalla pubblicazione di volumi all’organizzazione di mostre e eventi culturali, alle partnership con istituzioni e soggetti nazionali e internazionali per elaborare progetti, e conferire borse di studio e tirocini. L’associazione si occupa inoltre d'iniziative di formazione per favorire nuove e concrete opportunità di scambio culturale e crescita per futuri aspiranti artigiani. Dall’esperienza di ricercatori e professionisti della produzione di artigianato artistico e dei mestieri d’arte è nato OmA, il brand che riconosce il talento dell’artigiano e la qualità della bottega e della lavorazione. La bottega, il laboratorio e l’azienda espongono la targa in ceramica OmA e la certificazione di qualità. Il brand del Talento artigianale e della produzione di qualità conta una rete di artigiani certificati in tutto il territorio nazionale.

Greta Tintin Eleonora Ernman Thunberg is a Swedish environmental activist on climate change whose campaigning has gained international recognition. Thunberg is known for her blunt, straightforward speaking manner, both in public and to political leaders and assemblies, in which she urges immediate action to address what she describes as the climate crisis. Greta Thunberg’s urgent message to tackle the climate crisis has sparked a wave of action, from the global school strikes to political promises for zero-emission economies. But if we’re serious about Global Goal 13 for climate action, we need to wield our most powerful weapon of all: our vote. With elections coming up in the UK and the US over the next year, Thunberg’s call to engage with our democratic rights couldn’t be timelier. Thunberg’s mother was an opera singer, and her father was an actor. Greta was diagnosed with Asperger syndrome, which is now considered an autism spectrum disorder (ASD). It is characterized by abnormalities in social interactions (as in classic autism) but with normal intelligence and language development. People with Asperger syndrome tend to focus deeply on one idea or interest, and Thunberg’s cause became climate change. She first learned about the issue when she was approximately eight years old, and within a few years she changed her own habits, becoming a vegan and refusing to travel by airplane. (Both livestock and airplanes emit a large amount of the gases that contribute to global warming.) Seeking to make a greater impact, Thunberg attempted to spur lawmakers into addressing climate change. For almost three weeks prior to the Swedish election in September 2018, she missed school to sit outside the country’s parliament with a sign that stated “Skolstrejk för Klimatet” (School Strike for Climate). Although alone for the first day of the strike, she was joined each subsequent day by more and more people, and her story garnered international attention. After the election, Thunberg returned to school but continued to skip classes on Fridays to strike, and these days were called Fridays for Future. Her action inspired hundreds of thousands of students around the world to participate in their own Fridays for Future. Strikes were held in such countries as Belgium, Canada, the United States, the United Kingdom, Finland, Denmark, France, and the Netherlands. Thunberg received numerous invitations to speak about climate change. She gave speeches at the World Economic Forum in Davos, Switzerland, and at the European Parliament as well as in front of the legislatures of Italy, France, the United Kingdom, and the United States. In September 2019 her appearance at a UN climate event in New York City—which she travelled to on an emissions-free yacht—drew particular attention for her impassioned comments: “You have stolen my dreams and my childhood with your empty words… We are in the beginning of a mass extinction, and all you can talk about is money, and fairy tales of eternal economic growth. How dare you!” That month, millions of protesters marched in climate strikes in more than 163 countries. While Thunberg was credited with shifting some people’s views and behaviours regarding climate change—her influence was known as “the Greta effect”—she was not without detractors. Brazilian Pres. Jair Bolsonaro notably called her a “brat” in 2019. In addition to her environmental work, Thunberg was credited with raising awareness about Asperger and inspiring those who had the disorder. While acknowledging that Asperger had hampered her in some ways, she also noted its advantages, at one point tweeting: “I have Aspergers and that means I’m sometimes a bit different from the norm. And—given the right circumstances—being different is a superpower.” No One Is Too Small to Make a Difference (2019) is a collection of her speeches. The documentary I Am Greta appeared in 2020.

Laboratorio Paravicini was founded in the early 90’s from an idea of Costanza Paravicini and it was as simple as ambitious: she wanted to create plates and tableware like they used to be in the past, handmade but suitable for everyday use. The decoration technique is called Gran Fuoco sulla Terraglia Bianca (high temperature glost-firing on white eartherware): underglaze decorations are bright, indelible and non-toxic. The Laboratory takes inspirations from the finest tradition of Italian pottery and it has always extended the borders of its production by continuously offering new shapes and decorations. In the years, it has become a precious address for more and more curious and elegant customers. Laboratorio Paravicini has made dining sets on commission for more than twenty years. A made-to-measure production that brings together Costanza, Benedetta and Margherita’s expertise with every client needs. Unique and exclusive works come to life, and they are developed on dreams, thoughts and needs. By showing sketches and samples, Laboratorio Paravicini helps its customers to find the dining set that better meets their own desires. Decorations are taylor-made in both the design and the cromatic range and they are customizable with monograms, emblems and any other request. In this way, every dining set becomes unique and exclusive and reflects the personality of its purchaser. Laboratorio Paravicini offers different types of plates, moulded or smooth, as well as platters that complete all the dining sets. Every shape is made by the Laboratory. High temperature glost-firing decorating technique is made on ceramic bisque before the final glazing. This manufacturing process confers a unique brightness upon the plates: decorations remain protected by outside elements and indelible. This makes the plates suitable for everyday use and machine wash.