The successful collaboration between IED and HFDA continues

Well-known in the world of luxury and design, Jacopo Bargellini never ceases to amaze us with his wide expertise in design theory, marketing and management. As one of the mentors of the HFDA’s design SPEED programme we had the chance to sit down with him and have a chat about his professional career and successes, as well as the situation of Hungarian design on the international scene. Jacopo Bargellini, the renowned lecturer of IED joined the Agency’s design SPEED program as a mentor in 2019 and has been working with us ever since to reach new heights with the selected Hungarian designers.

The design SPEED mentoring program, launched by the Hungarian Fashion & Design Agency and the Italian Istituto Europeo di Design (IED) started for the fourth time in 2022. During the eight-months-long program, the selected design brands can expand their knowledge through workshops and one-to-one meetings both in Hungarian and in English. The mentees had the chance to participate in a three-day-long workshop in June with Mr. Bargellini as part of the Agency’s cooperation with IED, throughout which, the mentees could participate on 5 sessions held by Mr. Bargellini. During this part of the programme, he introduced and guided them through the world of marketing communication and brand management.

You obtained a degree in architecture in 1989 and a master's degree in design management in 1995. What were your plans right after you finished university?

Right after university, having a degree in architecture and specialisation in design, I wanted to be a designer. Then I realised I didn’t know much about marketing. I went back to school in order to earn a master degree in design management. Starting from that moment I became more and more interested in marketing strategy.

Did you manage to follow the path you desired?

I would say I managed it better than I originally thought I would. I wasn’t expecting then to do all the things I did. I changed paths along the way a little bit but in the end, I think it was for the better.

After studying architecture, you began to study design, why was that?

I consider myself a curious person, I always found something that I was more interested in as I dived into the world of architecture and design. When it came to change, I asked myself why wouldn’t I go there?

What was attractive in the world of design?

I had been attracted to design since I was a child. I was always building and designing something, I kind of knew that would be my destiny. At the end, I went beyond if you put it that way. I started from being a creative to becoming a strategic consultant.

When and why did you decide to work in the luxury industry? Why do you think this segment is special?

I decided to shift toward luxury during the last five years. I think one of the most interesting parts is that the luxury sector is very rich in the sense that companies have a lot of money, so they also have the ability to invest in every field. This is the thing which I like about it, which makes luxury so diversely rich. Financially and in spirit alike. On the other hand, when you are working in the field of luxury, you are not ashamed to say that an object’s only purpose is to be visually attractive and appreciate its beauty. While in design there is this idea that design objects must be functional and sustainable to be correct. There’s no room to be simply pleasing to look at.

Don’t you think that luxury's strong connection with heritage goes against innovation, renewal of its image and message to its audience?

That’s a good question because apparently its actually the opposite. Exactly because best fashion and design brands not only have a strong foundation and a rich cultural heritage, but they are able to transform this heritage into something completely modern and new. This is one of the most beneficial competencies of luxury brands - the capability of changing while remaining faithful to the core values and evolving in line with their heritage.

What do you think, what are the drivers of innovation in the field of design?

For me innovation is not just a product and something tangible but it is an overall vision. When it comes to design, the first principle is to break the rules and not to follow the old path. Nowadays you also have the opportunity as a designer to include the elements of sustainability and inclusivity into your work. But this must be genuine and serious, and for sure not for marketing purposes. I think there are many possibilities to be innovative in the field of design besides using new shapes and colours.

Do you think being innovative is something that can be taught or it is something that you are born with?

I think innovation and being innovative is something you can learn. You must be curious. If you are not curious, you haven’t been born curious you will not become one overnight. While curiosity doesn’t necessarily mean that you are innovative as well, but at the same time it can be the driver of innovativeness.

In what countries did you live during your work?

I had worked in several countries but I only lived in Japan and France for a longer period of time beside Italy. Japan and France are quite the opposites. Japan has an interesting culture but it is so inherently different from the way we live in Europe. Even though I enjoyed both, and I like to work abroad, Italy is where I feel the most at home.

How do you view the international design scene? How do countries differ when it comes to design? What makes a design-culture outstanding in your opinion?

Every country has a different kind of design-culture so in every country it differs what we consider outstanding. In Italy for example, we have a long history of design and creating generally beautiful artworks, either we are speaking of fine arts or architectural sights. But I firmly believe that every country can express a certain kind of uniqueness throughout design and be breakthrough in that specific region.

As an architect, I am sure you appreciate the different architectural sights of different cultures. What country or region’s architecture amazes you the most?

I have two ‘loves’ in architecture. Old architecture, like the eras of renaissance and baroque or even more recent like Gaudi but I also love contemporary architecture, for example deconstructivism. What I like about architecture is the thought behind the artwork. Not even the most renowned architectures can tell that about themselves, but when there is a purpose and when I see that someone thinks in a different way and they can convey throughout their work, that is what fascinates me.

Teaching plays is a primarily role in your life. How did your teaching career begin? What do you want to pass on to young creatives?

It began by chance. I was working as a consultant and I had a friend who worked at Istituto Europeo di Design (IED) at that time. She asked me if I would come over to make a lecture. So, I went and after she called me to do a small course. I started with small courses but after receiving positive feedback from students I realised that teaching was something I enjoyed tremendously and it was a great direction for me.

What do you think, what is the most important lesson you can pass onto young creatives?

The most important thing for me is to spark their curiosity. Specifically, what I would like to teach them is to take care of the ‘why’ of the things. People are thinking too much about the ‘how’ and the ‘how much’ but never the ‘why’. Which is, in my opinion, the most important.

Where did you like to teach the most?

The most interesting teaching position I have right now it’s in a business school where I have a class of international business students. I teach Luxury Marketing to them as part of their Masters.

What are your plans and objectives for the coming years?

I want to continue to be a consultant but I must be honest, I can get bored easily when I am working on similar projects in a row. So now my goal is to teach in high level business schools.

Now I would like to dive into the questions regarding your collaboration with HFDA. You have been working with HFDA since 2019. What do you think of the professional development of the Agency?

I think the Agency has a very interesting path behind. I’ve seen the Agency growing, especially in the field of fashion in Milano for example. What I think the Agency is working towards now is defining an overall image of Hungarian design in order to present it to the world, presenting what is the essence of Hungarian design. I really like seeing the effort that goes into that goal!

What do you think, what are the right tools, which could help us to define the essence of Hungarian design?

First of all, I am trying to define the common parts of the designer’s artworks. However, I did not find a lot of them at first, but now I think we can define an era, which is an intellectual thought, that can be the starting point to communicate why Hungarian design is different. This for sure, must be communicated! We have to communicate consistently and answer the question: ‘What is Hungarian design?’.

What do you think of the Hungarian design industry?

Although it is a small country not necessarily known for its design culture, all designers are interesting, curious and they approach design in many different ways. I think it is a very creative country but it is of utmost importance to unify and to define the image of all the different approaches and bring them to a common ground.

What makes Hungarian designers unique in your eyes?

I think Hungarian designers are very rooted in their country. They have a strong link with production and materials, which is very interesting. Being rooted in Hungary is great, but it can affect them badly if they remain solely rooted in Hungary, because this prevents them from becoming internationally known.

In which areas could they still grow and expand their expertise in the future?

I wouldn’t say the problem lies in expertise or technology and materials. I think what they have to do is communicate more about themselves and focus on marketing.

In what areas do you think you can help them the most?

My job here is to let them grow by themselves. I am not here to impose anything on them, but more like to ask the question: Did you really understand who you are, and what are your possibilities? The real growth here is to make them be aware that they can be more active in areas that they have already tried themselves but never explored to the fullest. Overall, I think the most important thing again is the brand value, to communicate who they are.

What advice would you give Hungarian designers to achieve international success?

Don’t be so shy! When I met Hungarian designers, they always say ‘Oh but Hungary is a small country, nobody knows us’. Let’s stop with this approach! Start being proud of being Hungarian!