For “Policroma” Cristina Celestino combined a variety of references. Adolf Loos’s passion for coloured types of marble, especially Cipollino. Carlo Scarpa’s angular metal frames and marmorino plaster in Venice. The French fashion house’s square silk scarves. The entrance halls of Milan palazzos, Gio Ponti, the city’s Cathedral. All expressed in the designer’s own language: balanced geometrical forms, subtle colours, an effortless, almost restrained, playful elegance.
The marble varieties replicated using the CEDIT technology are all from Italian quarries that are virtually “worked out”. This revives an increasingly rare material as a “living” presence, in a different form which makes no claim to replace the natural original.
Quite the contrary, Celestino immediately states her intention to imitate, by combining marble and marmorino plaster in some variants with a contrasting frame (a typical feature for her, just as it was for Carlo Scarpa), and evoking the centuries-old marble-imitating scagliola plasterwork with a contemporary formula.