After earning a degree in Product Design from NABA—Italy’s largest private fine arts academy and a leading institution in art and design education—he began his professional career in the vibrant creative heart of Milan. There, he worked at Miomojo, the Italian vegan accessories brand, and at A+A Design Studio, one of the country’s most influential trend agencies, where he gained firsthand experience in the worlds of fashion and luxury.

In 2021, he made a decision that is unusual for an Italian designer: he left Milan and moved to Madrid to pursue a master’s degree in fashion with a clear business focus, the FBA at ISEM. This move opened a new chapter in his career and has now placed him in the creative circle at Loewe Perfumes.

IN THE HEART OF LUXURY

• The early part of your career—your training and first jobs—took place in Milan, one of the world’s leading luxury capitals. What would you say has been your biggest lesson in such a competitive environment?

Having been born and raised in Milan, I was fortunate to be surrounded by people—including family members—who were already involved in the world of fashion and luxury. So I have to say that once I entered this environment, even though I was new to it, I knew I was stepping into an extremely dynamic and very, very competitive world. The best lesson I’ve learned from this experience is that, in an environment that often seems dehumanized, keeping your feet on the ground and nurturing relationships creates connections that, sooner or later, come back to you and open doors. In addition to this, as someone who is very meticulous, I’ve learned firsthand that time is an indispensable variable in the equation of any project, and a perfect idea that arrives late is less useful than an idea with room for improvement that arrives on time.

• After six years working there, you decided to give ISEM a try. Why would a guy from Milan decide to come to Spain to study fashion?

I chose ISEM and Spain for several reasons, and seeing as I’m still here more than four years later, I can say those were very wise decisions. Spain is a country that we Italians feel very close to in many ways, and as someone passionate about craftsmanship, I’ve always viewed it with special interest. Furthermore, in recent years the creative scene has really taken off: dozens of brands have emerged that have carved out a niche and built an international reputation in a very short time. And, at the same time, major players in the luxury sector and other industries have consolidated their positions like never before, or have even “redefined” themselves in the eyes of consumers, as we’re seeing with Zara. For all these reasons, ISEM seemed to me like a very well-rounded option for entering this world, offering a good balance between technical knowledge and business acumen, and a clear focus on the fashion industry.

• Which lessons from the FBA have been particularly influential in your subsequent professional development?

I truly believe that having a strategic, 360-degree view of a brand is a huge advantage in any role and an essential requirement. Even a designer like me—whether at a fashion house, a corporation, or a startup—carries the weight of the “brand” they work for and its codes; they don’t design for themselves as they would in their own studio or for their own brand. That’s why it’s crucial to understand where the brand comes from and where it wants to go, to know how to read the market, to be well-versed in the competition, and to have a clear understanding of the value proposition—both your company’s and the competition’s.

• What differences do you see between the Italian and Spanish approaches to design and craftsmanship?

The truth is, I’ve felt right at home in Spain. I was lucky enough to start working for a brand that perfectly aligns with my approach to design: a very organic blend of concept and creative innovation, combined with the craftsmanship of those highly skilled artisans we’re fortunate to have in both countries. I’m really excited about how my career is progressing here and, above all, the synergy that exists between Spain and Italy, both culturally and in terms of production.

CURRENT ROLE

• You're currently a Product Design Manager. What part of the job do people not realize is essential to the creation of a perfume?

For the first time, while working in the beauty industry (with perfumes, candles, and the entire bath line), I began dealing with formulas, alcohol, stability tests, and so on. Everything designed in the beauty world is based on a formula, and each one reacts differently and has different rules depending on the material used to dispense it. It’s a very technical and delicate design process, especially in perfumery, because it contains alcohol and is a flammable liquid. In fact, a perfume doesn’t exist without nearly a year of testing to observe how it changes over time and how it interacts with the materials it comes into contact with. That makes development times much longer and multiplies the variables you can’t control.

• What kind of relationship do you have with artisans, suppliers, or manufacturers when developing a perfume and its packaging?

Every designer at the brand has their own approach to bringing their creative visions to life, so I can only speak for myself, but I’m sure one of the reasons the brand has grown so much over the past decade is our commitment to the expertise of artisanal craftsmen, particularly those in Spain. Personally, I like to approach the artisan or supplier with a well-thought-out idea—one that strikes the right balance between extreme creativity and technical feasibility—while also incorporating the expertise and that refined, natural touch that an artisan can bring to the product, which adds tremendous value. I am firmly convinced that innovation lies at the intersection of the most unexpected creativity and technical feasibility.

• Which project or launch has been particularly challenging for you, and why?

Every project is a world of its own. When I joined Loewe, the focus was more on premium fragrances and accessories; now, however, we designers naturally divide up all the projects among ourselves—including perfumes, home scents, accessories, bath products, and so on. Each one presents a significant challenge, because the more premium the line, the greater the attention to detail, the higher the quality of materials, and typically the smaller the production runs. On the other hand, a “core” project—that is, one aimed at a broader market and with a more affordable price—will face greater challenges in striking a balance between quality and quantity.

ALUMNI TIPS

• What skills would you recommend to someone who wants to pursue a career in design at a luxury brand?

Surround yourself with images, pay attention to the details, the finishes, and the visual and tactile sensations conveyed by luxury products—and how they differ from mass-market items—through what your five senses perceive. And, tying this back to what I said earlier, having a thorough understanding of the market, the major fashion houses, and their visual and storytelling codes is essential. And finally, it should never be a choice driven by money, but by genuine passion: that will make everything else fall into place naturally.

• If you had to sum up your design philosophy in one sentence, what would it be?

I strive to transform artisanal excellence and innovation into timeless pieces, where every detail serves a purpose and every material tells a story that resonates with us all.

• What advice would you give to a student who is right now where you were in 2021?

Whether you have a creative background or not, in your day-to-day work—now or in the future—everything you’ll learn can be applied and will help you grow in an environment that demands more and more flexibility every day. Understanding what goes on in each department within a complex organization is an advantage that will open many more doors for you and make you stand out for your excellence—which, in an industry as niche and competitive as fashion and luxury, is absolutely essential for gaining entry.