From the Edmmond Studios team we were struck by his profile, loyal followers of his work, for us, it is pure inspiration and for this reason we wanted to collaborate with him and learn about his way of working and creating, how a concept is generated from scratch, his references and their methodology.
1. If we go back to the beginning, what memories do you have of your childhood, the place where you grew up, and what do you think of all this that has helped you be the person you are today?
I was, and still am, a wild ass. My childhood was street and friends. I remember most of my skateboarding buddies; we all used to mess up the village church square's curbs. At that time, Tom Delonge was ringing in my ears from one of those Discmans that wouldn't fit in your pocket.
I guess those times have given me the same as they have given everyone else: that part that we all consider more 'pure': so to speak. A good part of my concerns is defined by what made me feel free at that time...
2. What do you think a designer should have today? Since Edmmond, we are getting to know very varied and disciplinary profiles, including yours.
Nowadays, we are always connected, and it is difficult to remain faithful to a manifesto of one's own, but it must be so. After all, those who have chosen this path have done so partly to create and decide on something. When you consciously decide that you want to be influenced by a trend or a particular designer, you lose part of your essence.
3. At what point did you become interested in photography and art direction, and I made you set up your studio (Definolab)?
Visual language has always been the one that has offered me the best space to express myself comfortably and fluently. My entire academic career and my life, in general, have been nourished by it. I could say that it has made it easier for me to be where I am and to be who I am.
And the world of photography. It has always seemed magical to me, but until less than five years ago, I never imagined that it would become my obsession in such a way, let alone that it would be my most extraordinary professional occupation.
DEFINO is an interdisciplinary design laboratory born to work on exceptionally varied projects side by side with local artists and artisans.
All the studio's projects were combined with photography and art direction work that I manage alone, and that is one of the reasons why each design is costing us a little more time than "normal." It's been less than a year since the adventure began, and soon, we'll start bringing out little things.
I had more than two years of uninterrupted work, almost all of it "work" in photography and graphic design until I got a call from a colleague with whom I had studied interior design to propose formalizing something and start designing in our way, mostly for fun. Initially, we faced a couple of furniture projects, and a few days later, by surprise, a small interior design project appeared. Soon the second one arrived, this one already more significant. And that's what we're doing.
4. What do you like best and least about being creative?
That you are creating all day long and that you are making all day long. Hahahaha. Now seriously, I love the possibility of deciding in such a comprehensive way, even skipping the margins. Mostly, my work affects the final design-content deeply. I can't change the what but the how, and that's a lot.
Working in off is the worst part of the cake; most of the jobs are closed, we creative people do all the time, and even more, if you go jumping from project to project and you always have something fresh to stir inside the coconut.
5. You would define your style when defining a project; you think some very marked references have influenced it.
Interdisciplinary defines me. I have a graphic design background, interior design, and some courses in Still life and art direction. A good mixtape... hahaha!
My background allows me to become very versatile.
When defining a project, both the team around you and the briefing itself very clearly set some guidelines to be followed as far as possible to promote the pace of work and the final result.
References? I have had many connections throughout my professional career... And I think some of them have influenced me indirectly, more so than my work, since they are artists and designers from very different disciplines.
I want to define my style as "new classic," but it is a term that is too open and has a very defined attitude in my head but not in everyone's.
6. Who is your figure to follow? In the world of art or in life in general, who are your references?
My brother. My parents. My friends... I don't have any references or figures to follow that I don't know. I know about them probably what they have wanted me to know, which has given them the benefit of building a character that is perhaps not entirely real, and I don't believe in anything that doesn't feel real.
7. What are your next projects? Not just work or creative projects.
To continue growing and maturing my style.
The truth is that the line between my work and "my personal life" is so subtle that one always affects others. So I try to make my most important project myself.
I am a fan of everyday achievements. Continuing to work on what I am passionate about is my life's project.
8. What would you highlight about Edmmond as a brand? Do you feel identified with us or with any aspect of our universe?
In my opinion, Edmmond is one of the most outstanding references in our world on the national scene. I've been following you for several years, and there hasn't been a single "disappointment." That bold and correct aesthetic makes me feel identified with your universe.