LucidiPevere is a studio in Palmanova that was founded in 2006 by Paolo Lucidi and Luca Pevere. They started receiving the first assignments from the small companies that were near their headquarters. Little by little the quality of their work began to attract the attention of the international brands. Today, LucidiPevere has among its customers De Padova, Zanotta, Gebrüder Thonet Vienna, Agape, Ligne Roset, Foscarini, Kristalia, Normann Copenhagen and many others. LicidiPevere creates projects that often express the intrinsic characteristics of the materials, or technique used in the construction, such as the Brezel chair for Thonet or the Boiacca table for Kristalia. Paolo Lucidi and Luca Pevere’s projects, whilst achieving commercial success, are not the result, of marketing strategies, as often happens, but of careful work discussed in a sincere and professional manner with the companies that carry it out.
What does the term “two-handed projects” mean? How does it work?
From the beginning we have always designed together, but also separately. In practice, once we receive the brief, we each jot down our ideas, then we compare and decide together how to proceed. Everyone develops ideas to present and the client decides on the final project.
Do you develop two parallel projects?
Yes, but we do not work in watertight compartments. We often meet to see how everyone’s ideas are progressing and we look for strengths and weaknesses in each proposal. It must also be said that each product has a specific father figure who personally monitors the relationship with the customer. However, the other figure does not take a back seat, and is ever present in all the decision-making phases of the project, including the prototype evaluation meetings.
How is work set up when you work for big brands? Does planning projects for large companies leave you enough freedom to still work on other projects?
Our working methods do not change in relation to the size of the company. For us, having a very small studio, can on the one hand, limit us in the amount of work we can manage but on the other it allows us to make a logical selection in the choice of the clients. Usually even when we work for more structured companies we are not obliged to participate in large tables of people and we are in touch with those few contacts who have decision-making power. This approach allows us to have a faster and more streamlined project development.
The possibility of having expressive freedom for you is very important …
We like to have clients who still consider human relationships important. Moreover, we prefer projects that originate from the design and not only from numbers dictated by market needs, which are often not too reliable. Developing an object based on statistics means limiting yourself to following an existing trend, thus making it impossible to create something new.
Do you have any favourite materials?
We have no prejudices against materials, but it is easier to fall in love with material ones.
What is your relationship with the prototype? How important is it to get a good project? Is it true that sometimes many are made?
Usually before proceeding to prototyping we conduct very thorough studies and build detailed three-dimensional CAD models. The prototypes basically serve to perfect the proportions and some technical details, but the soul of the project does not change.
Today more or less all designers compare themselves through social media, what relationship do you have with it?
Making a little joke, on this subject, unlike everything else we’ve mentioned previously, on this issue we are completely divided! It is mainly Luca who looks after the social media, and we basically only use Instagram. We believe that social media is a useful means of spreading our work, but for us at the focus is on the project at hand, not the best solution to render it more appealing in various displays.
So social media can influence many designers?
Watching Instagram we witness the proliferation of products that are conceived specifically to be photographed and disseminated on contemporary media, and which before long nobody will remember. The focus in question is no longer the product itself but rather the image or the window dressing. We are not about “ticking the boxes for form’s sake” and accruing “likes”.
Even if already established you are still young authors; do you have authors or historical periods of reference?
There is no one particular figure to which we can say we refer to, but undoubtedly, there are many who teach. Academic studies have led us to learn about and understand Italian masters such as Castiglioni, Magistretti and Munari. We were most certainly also influenced by the concreteness and practicality of the studies where we started this profession, namely Marc Sadler and Marco Ferreri.
And a historical period?
More than a particularly close one, we have a more distant one, i.e. the 80s.
Is it true that companies only want established authors?
It depends on the companies; if a company is well-known it can be true, it can be a positioning strategy. A young designer can try this route, but it will be very difficult for him to reach the goal. However, to compensate there are many small and medium-sized companies extremely available to deal with young designers. We, too, started like this.
What advice would you give to a young designer who would like to pursue a career?
Even when we started, everyone had a sort of fear of facing the company. It is an unavoidable rite of passage that could not be avoided and therefore, often, even in a somewhat rude way, during the fairs we would present ourselves at company stands looking for a contact person to show our designs to. Other times we would cold call, trying to make appointments or we would present our work directly to the company. With door-knocking so many of them remained closed, but eventually we saw that some started to open. The advice is to persist.
I imagine the ability not to be discouraged is very important …
Yes, we can say that at this stage it is one of the fundamental requirements. Above all, at the beginning it is necessary to adapt and not be discouraged by the many “I don’t cares” that they will come across. A very important thing is not to spare yourself from showing your ideas. The inventor is the real resource for the company and this is reason enough for the company to conduct themselves honestly with the designer. Often young people believe they have the idea of the century that will be stolen if they send it out. We have to say that this is not the case and that often, when after years you look back at projects that at the time you thought were revolutionary, you thank the heavens that no one ever actually produced them.