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Go to shop4 June 2024
Research into materials, the recovery of traditional processes and innate elegance are the distinctive features of its collections.
“The cabin” is the name of the secret space in the San Babila district of Milan where Deanna Comellini chose to create a small and exclusive showroom, inaugurated during the design week.
On the same occasion, the founder of the carpet company G.T. Design talked about the latest collections: Golden Threads, a very light hand-woven New Zealand wool carpet with inserts of gold foil applied by hand; Golden Fleece is a line of long-pile carpets made of natural fibers such as Afghan wool and linen in different yarn blends; Al Tratto, hand woven on traditional looms and Paglietta whose collection is enriched with a new and very precious weave taking the name of Paglietta Cotta of which Comellini herself describes the genesis.
What is the main feature of Paglietta Cotta?
This is a new “capsule” of our historic Paglietta collection, one of G.T.’s bestsellers, now available in this format and with a luxuriously rich texture. We thought a lot about the name we had to give to this collection then, since honestly the thing that comes to everyone’s mind is the medieval cotta, we called it Paglietta Cotta so we also had a bit of fun.
It is a very original collection, and it is one of the products that identifies us most because like all our products it is completely designed starting from the yarn. The Paglietta yarn was designed to work with light and reflect light, creating plays of light precisely because, when the yarn is stretched on a loom it tends to twist and therefore create particular effects.
I enjoy highlighting the imperfections of handcrafted work, valuing these flaws as they become distinctive features of the product. In this case, such imperfections are not only evident but also enhance its uniqueness and value.
Paglietta Cotta
The processing of these carpets always has a particular history, in this case what type of processing is done to obtain such knots?
I also really love working with traditional looms, this is done on a traditional wooden loom, where depending on the size of the piece being worked more people intervene to be able to do it better.
But the use of these looms with sometimes very technical yarns like this is a strange mix because there is both the natural yarn which is jute for the warp and a yarn which is instead technical in polyester and always all recyclable because it’s one of the things we’ve been working on since we were born. So, by working this yarn which was born in modernity on very ancient looms the result is particularly interesting.
In this regard, how do you deal with the part of technological research which then leads, for example, to using a modern yarn on an ancient loom and how do you find inspiration to experiment with these new forms, not only aesthetically but also in terms of manufacturing?
It’s really my background: I was born more as an artist and then later I entered the world of design. What the artist does is first to follow a concept, an idea he has to represent reality. The designer’s training comes later and therefore once I have an idea to represent my thoughts I then begin to search and build what will be necessary to express the initial concept.
Do you feel free in this artistic research for these projects?
I feel free because I chose to be free from the beginning, I edited myself, I made a life of sacrifices and today this satisfies me because I do what I like to do and in the way I want to do it.
