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Why do you think the world regards Italian design so highly ?
Having consistently delivered since the 50s means it is now the place in the world for design . The know-how has been passed down , so the Italian companies are not outsourcing production to Asia like many others have , keeping “ Made in Italy ” as a high accolade . The largest and best design fair in the World , Salone del Mobile , has also helped .
Through the Tollgard showroom , you have curated a selection of the world ’ s best contemporary design , what is your process for this ?
When seeking out new brands for the showroom , my thought process always goes back to the Scandinavian principle of the red thread - the creative DNA - that binds these makers from more than a dozen countries . The red thread that the Tollgard showroom follows is the value these brands place on how things are made , the questions of living that they answer , and the honesty of their ingredients .
Are there any parallels between the Scandinavian and Italian design approach ?
The two are definitely linked but not necessarily by approach . I believe they share the mantle of the best design region since World War II . Scandinavia was unrivalled in the late 40s and the 50s , I think , and then the 60s belonged to the Italians and I don ’ t believe anyone has knocked them off the top spot ever since . Italy - finally rid of fascism - came alive in the 50s , and by the 60s was unstoppable . Creative ventures like movies , fashion and design were benefactors of the economic boom and the result was colourful , bold , and sexy . Scandinavian design wasn ’ t . For all the virtues of the “ Lagom ” approach of Scandinavian functionalism , it wasn ’ t going to rival Italy in the swinging 60s .