Francesco Messina: Italian Collectible Design and Sculptural Craft
- May 29
- 3 min read
Updated: Jul 4
Based in Italy, in the Tuscany region, Francesco Messina trained in Paris, Lyon, and New Orleans. Messina’s practice sits at the crossroads of art, architecture, and craft. His limited-edition pieces are sculptural, emotional, and deeply rooted in Italian craftsmanship and a reverence for natural materials.
He is part of a new wave of Italian independent designers reshaping the global conversation around collectible furniture and sustainable design. In this interview, he shares his design journey, materials of choice, and why he believes Italian home decor must remain both authentic and emotionally resonant.
"To remain true to the inspiration behind each project and express it in the best way possible, I seek out authentic materials."
How did your journey into design and craftsmanship begin?
My design path started in Paris when I was 15, and continued through Lyon, New Orleans, and Mauritius. I studied under Odile Decq at the École Spéciale d'Architecture, followed by a master’s in Urban Planning at the Confluence Institute. My travels taught me that design can preserve memory. Each city shaped my relationship with materials and aesthetics. That’s when I understood I wanted to create pieces that speak of nature, history, and innovation.
What materials define your work?
I work with rare natural materials: lava stone, fossilized wood, alabaster, and marble. These ancient elements carry deep geological and emotional histories. For me, each material has a soul. Through contemporary Italian design, I try to awaken that soul, merging earthly strength with refined artistic expression.
Is there a philosophy guiding your creative process?
Yes. I prioritize respect—for nature, for time, and for tradition. My pieces are never about transformation for its own sake. Instead, I seek to honor the inherent beauty of the material. Collections like Glacies and Re-plastic explore the tension between ecological responsibility and aesthetic refinement.
Tell us about a piece you're especially connected to.
The Plinio collection holds a special place for me. It was inspired by the eruption of Mount Vesuvius in 79 AD. The Pyrite cabinet, in particular, is a functional sculpture that blends monumental marble and pyrite with the fragility of human memory. It's a symbol of the emotional depth in Italian collectible furniture.
What does it mean to work in small batches and limited editions?
For me, it’s about preserving authenticity. Limited editions allow for a high level of craftsmanship, and ensure that each piece tells a unique story. This approach reflects a broader philosophy of slow design and emotional sustainability.
How do you choose production techniques?
Every technique is chosen based on the material’s nature and the story I want the piece to convey. I collaborate with master artisans in Tuscany, blending heritage methods with contemporary ideas. This balance of old and new is central to Italian artisanal design.
What role does tradition play in your design process?
A vital one. My roots are in Tuscan craftsmanship, even though I trained internationally. Collaborating with local artisans allows me to preserve regional knowledge and keep traditional Italian craftsmanship alive in a modern context.
What message do you hope to share through your work?
Emotion, memory, and connection to nature. Every object I design is a bridge between the past and the future, inviting reflection on what we value as humans. It’s about using design as cultural storytelling—with beauty, honesty, and intention.
Have you collaborated with other designers or makers?
Yes, especially through the co-founding of Cypraea in Mauritius. Collaborating with artisans and designers from different cultures has enriched my work. It taught me that design is a universal language, especially when rooted in material truth and emotional depth.
How has your aesthetic evolved over time?
I’ve moved from formal beauty toward deeper conceptual storytelling. My latest collections—Glacies, Fossilia, Plinio—all use materials to explore identity, time, and transformation. For me, aesthetics are a tool for emotional discovery, not just decoration.
