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An invasion of [Victor Hugo, 1802-1885] |
Research in the aesthetic sphere is a distinctive factor of the ‘made in Italy’ products and is unanimously recognised as the driving force behind a much more extensive innovation which, aside from the appearance of the product, has implicated the manufacturing processes, the organisation of the work, and the marketing and communication strategies. Look ahead: nice is wise. In the specific case of the ceramic sector, one can observe at present the tendency to consolidate the direct collaboration between industries and the design milieu (architects, interior designers, universities, research institutes) with the obvious desire – at least in the case of the more advanced industries – to rely on culture to ‘rejuvenate’ the more traditional commercial approach tout court, and defend and strengthen their own leadership in an ever more global and competitive market. The aforementioned relationship between industry and designers has created a (steadfast) coherent conduct where in many cases the cultural gap remains considerably open. Today that gap is partially filled thanks to the construction of a common alphabet on the theme of sustainability: it is a complex challenge but with clear and well connected objectives, the pursuance of which requires a keen collaboration amongst all the players involved in the process of reorientation. In this fascinating challenge, designers and industries are on the front line. But end consumers, are also concerned. By putting certified products on top of their purchases list, they will, in fact, push the best producers to perform even better. At the same time, the increased demand for eco-products will influence companies which are lagging behind to include sustainability as an important criteria of their offer. |