This series, COLLECTIBLE In-Depth, unveils the backstage of contemporary creation. Tackling various topics from personal designer processes to the position of collectible design on the global design market, COLLECTIBLE In-Depth offers different views to suit all tastes. Today we speak with NAGOT.

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C: What are the challenges in presenting contemporary collectible design?

NAGOT: The world of collectible design is both fascinating and challenging. Creating limited or unique pieces brings financial difficulties. In Italy, a strong industrial design culture still leads many to associate design with major companies,
making the public hesitant toward independent collectible design. The lack of a supportive ecosystem for small ateliers remains a limitation. However, we are encouraged by the growing interest abroad, especially in Northern Europe, where this field is expanding rapidly. We believe this positive trend will continue to spread, inspiring greater recognition and opportunity for collectible design in other countries as well. 

C: Can you discuss a specific cultural or historical reference that has inspired you recent work in collectible design?

N: We are based in Como; thus, our background is imbued with cultural and architectural influences from the Italian rationalist period. Como has been the testing ground for some of the greatest Italian architects of the twentieth century, from Giuseppe Terragni to Cesare Cattaneo, but also for the abstract artists of the Gruppo Como. This heritage is deeply rooted in us, and I believe it emerges from our creations, which always have a very pronounced sculptural and architectural nature, especially if we think of the Skew or Spéleo collections. In our designs we try to combine these historical references with a forward looking gaze, which draws from everything around us and from the global design scene.

C: How did you get into collectible design? Why did you focus your practice on this type of design rather than industrial design?

N: We come from two different educational backgrounds: interior design and cultural heritage management, with a focus on contemporary art and design. We balance each other because we have a different approach to design. We approached this world in a very natural way as we are both fascinated by the infinite possibilities of experimentation that this field offers, allowing us to draw from many other fields of creativity without neglecting its crucial technical and functional aspects. Working on a small scale allows us to focus thoroughly on each project and be fully involved throughout all the design and
production phases, together with artisans and small local workshops that help us find the best technical and aesthetic solutions for our ideas.

C: How do you navigate the tension between innovation and tradition in your approach to designing collectible objects?

N: The meaning of collectible design lies precisely in the dialogue between innovation and tradition. Tradition is a sort of starting point: it tells stories,preserves symbols and rituals that give meaning and depth to the object. But without innovation it risks becoming sterile nostalgia. Our approach is to always start from a recognizable element — a shape, a material, an object, a gesture linked to collective memory — and then deconstruct or reinterpret it through unexpected details, new materials, or cutting-edge production techniques. The goal is to create something that is immediately familiar, but that surprises and invites discovery. I think that our Captive collection embodies this spirit. Collectibles must have soul and vision. And that subtle balance between respect and disruption is what makes them truly desirable.

C: What are the challenges in presenting contemporary collectible design?

NAGOT: The world of collectible design is both fascinating and challenging. Creating limited or unique pieces brings financial difficulties. In Italy, a strong industrial design culture still leads many to associate design with major companies,
making the public hesitant toward independent collectible design. The lack of a supportive ecosystem for small ateliers remains a limitation. However, we are encouraged by the growing interest abroad, especially in Northern Europe, where this field is expanding rapidly. We believe this positive trend will continue to spread, inspiring greater recognition and opportunity for collectible design in other countries as well. 

C: Can you discuss a specific cultural or historical reference that has inspired you recent work in collectible design?

N: We are based in Como; thus, our background is imbued with cultural and architectural influences from the Italian rationalist period. Como has been the testing ground for some of the greatest Italian architects of the twentieth century, from Giuseppe Terragni to Cesare Cattaneo, but also for the abstract artists of the Gruppo Como. This heritage is deeply rooted in us, and I believe it emerges from our creations, which always have a very pronounced sculptural and architectural nature, especially if we think of the Skew or Spéleo collections. In our designs we try to combine these historical references with a forward looking gaze, which draws from everything around us and from the global design scene.

C: How did you get into collectible design? Why did you focus your practice on this type of design rather than industrial design?

N: We come from two different educational backgrounds: interior design and cultural heritage management, with a focus on contemporary art and design. We balance each other because we have a different approach to design. We approached this world in a very natural way as we are both fascinated by the infinite possibilities of experimentation that this field offers, allowing us to draw from many other fields of creativity without neglecting its crucial technical and functional aspects. Working on a small scale allows us to focus thoroughly on each project and be fully involved throughout all the design and
production phases, together with artisans and small local workshops that help us find the best technical and aesthetic solutions for our ideas.

C: How do you navigate the tension between innovation and tradition in your approach to designing collectible objects?

N: The meaning of collectible design lies precisely in the dialogue between innovation and tradition. Tradition is a sort of starting point: it tells stories,preserves symbols and rituals that give meaning and depth to the object. But without innovation it risks becoming sterile nostalgia. Our approach is to always start from a recognizable element — a shape, a material, an object, a gesture linked to collective memory — and then deconstruct or reinterpret it through unexpected details, new materials, or cutting-edge production techniques. The goal is to create something that is immediately familiar, but that surprises and invites discovery. I think that our Captive collection embodies this spirit. Collectibles must have soul and vision. And that subtle balance between respect and disruption is what makes them truly desirable.