Sergio MAZZA Magnolia lamp, 1971 Glass and chromed metal
H 28 cm, Diameter 40 cm Ed. Quattrifolio
Part two of Despoke’s interview with private design dealer Thomas Rugani, an American dealer based in Paris. We talked further about Mr. Rugani’s main interests as a dealer, and the history of specific cultures that fascinated him.
DSPK: I have noted that you have, for the present moment, been dealing in design objects that come primarily from Italy and Japan. How have you decided on this material and how does that go over in Paris?
TR: My interests in Italian and Japanese design began primarily because of these countries’ histories in the context of visual language and their responsiveness to materials when creating objects of aesthetic value. Both countries have intensely developed aesthetic sensibilities paired with a rigorously refined sense of fabrication. For example, 20th century Italy’s production methods were originally derived from small workshops specialized in particular materials (marble, glass, wood, brass, etc.) that were centuries old. When grouped to manufacture specialized items, whether it be furniture, lighting or decorative objects, the results have often been astounding.
DSPK: Which is more or less the truth in Japan’s history no?
TR: Similarities exist with Japan, within the context of taking age-old, traditional crafts like lacquerware or fine paper production techniques and pursuing an increased production schedule. These histories are quite rich, and that was what caught my attention, initially. Looking further into these histories, and following them to the present day, you can see the sort of exacting craftsmanship in items produced throughout the 20th century and into the 21st – from chairs, sofas and sideboards to lamps, tableware and textiles. Of course, today much of what is manufactured is machine-aided, though many beautiful examples are still hand-produced, for example, glass in Italy and specific lacquerware objects from Japan. Paired with ideas from contemporary designers, the results are often stunning, as a disciplined sense of aestheticization is apparent in many objects; which is also one of the many reasons that numerous international designers work with Italian or Japanese firms in the production of their work.
DSPK: Do you feel like Paris is particularly interested in Japanese and Italian design, or are you carving out a niche and establishing those traditions here?
TR: As far as how this material fares in Paris, it is now a question of catering to a global market. For the moment, the material I have does very well, as much of it is uncommon in Europe and sparks interest quite readily. If I find there is less interest in Paris or Europe, it is possible to offer these works to a different audience, say in the United States or elsewhere. On the other hand, European design also fares quite well in Japan and the U.S., where I have also sourced items for clients that are located in these places.
DSPK: What sort of market do you aim for? What is the client base that finds your material of interest?
TR: As the works I have to offer are often uncommon and at the same time quite reasonably priced, the client base is quite broad, making the works attractive to higher-end galleries for re-sale. At the moment, I work with a number of galleries in Paris and a handful in other European cities. There is also the client base of individual collectors, who reside between the United States and Europe, as well as in Japan. Since the recent launch of a website, I have also had interest from individuals in different parts of Europe as well as further afield, such as Australia, New Zealand and Canada.
DSPK: Do you find that clients are primarily the browsing types or are they more specific – Hunters as opposed to gatherers?
TR: Clients have also come to me to source specific objects for their particular preferences or needs, whether it be a specific designer, an object that has gone out of production or for a specific function in an interior. Once an individual is informed of something that piques their interest, I am always happy to aid in developing and completing their vision for their collection or their interior. I am also pleased to be able to offer objects that are adaptable to different interiors, as well as to accentuate period interiors, which is primarily the latter half of the 20th century. Considering the correct price point, I believe clients are pleased as they recognize that the objects will not lose value and that there is always the possibility to re-sell any item as the desire for their interior or focus of their collection changes with time.
DSPK: You mentioned the recent launch of a website. Having been active for a number of years, why have you just decided to put a website into play?
TR: It’s the 21st century, right? (laughs) Well, I had been putting it off for years and, as I am a private dealer lacking the benefits of a public showroom, I believe it’s another avenue to reach a broader public while still maintaining a private profile. Of course, for interested parties, it is possible to view objects of interest by appointment, but with a website, the global community is able to view a partial record of what I have to offer and, if so inclined, ask questions, propose items that they may have to offer me or find a selection of links that they also might find of interest.
Website:www.thomasrugani.com/
Read PART1
I always learn something from Tom—always have!!