BEST PORTUGAL BRANDS
Isabel Maria interview
Toni Grilo's career and vision: from École Boulle to luxury curation
“In times of change, international crisis and instability, it is common to cut investments in culture and innovation. Companies take fewer risks, wait for better times and as a result, there is less work for designers. However, it is precisely in these moments of transition that you need to reinvent, project the future. A simple idea, policy, would be the creation of creativity grants to help companies invest in design.”
Toni Grilo is, undoubtedly, a central figure in the panorama of contemporary Portuguese design, and his career reflects the perfect fusion between artisanal tradition, both national and international, and creative innovation. With solid training in Paris and a close relationship with Portuguese industry, currently living in Porto, has stood out for creating pieces that, in addition to translating a unique aesthetic vision, embody their deep environmental awareness, the future of design and a remarkable pluridisciplinary. Professional with a discreet profile and calm posture, Toni Grilo faces challenges with a calmness that does not hide his determination, keeping your eyes always focused on the path in front of you. Whether or not you appreciate your pieces, recognition for your vast experience and the uniqueness of your vision is undeniable.
The interview we present below is not merely circumstantial; It marks the beginning of a professional relationship that will deepen over the next year, and will be based on the charm of both (designer and Portugal does well) by industry. Shortly, some parts of Blackcork, brand of which Toni Grilo is creative director and which is produced in the cork factory Sofalca, will be present at Museum of Contemporary Art, aligning with the expansion of the Museum and Curatorship Store that we maintain. These pieces will integrate the set of 15 brands already represented, of different generations and experiences, come to increase and enjoy the synergies already created.
Blackcork was founded in 2014 by Sofalca, following an invitation to Toni Grilo to take on the creative direction. This furniture brand, 100% Portuguese, its main objective is the innovative use of expanded cork, specially developed for this purpose. With the designer's unique touch, the brand adds a contemporary take on this centuries-old material, giving it a new relevance that the factory management sought, to project it internationally, using design and designer, as a vehicle to achieve this end.
In this interview, we explore his vision of Portuguese design, his evolution as a creator and his most recent collaborations, including the challenging curation of Topázio's luxury collection, which now celebrates its 150 years of history.
Not everything about Toni will be revealed now. Shortly, we will have a recorded conversation, something that has already been agreed to 2025! Who knows at MNAC :-)…
We read that after your graduation, na Boulle School in Paris, went to Portugal and was enchanted by 2001 with “a rich industrial and craft country”. Still holds the same opinion? What is special about the Portuguese industry? How did you choose the profession of designer??
After so many years, I still have the same opinion. For a product designer like me, it is a gift to have a competent industry and talented craftsmanship on your doorstep.. It's true that twenty years ago it was more difficult to open doors, but today the designer is well accepted.
Choosing the profession of designer was almost self-evident. I knew from a young age that I wanted to pursue a creative path., I later discovered that there were people who drew everything around us, that fascinated me.
The portrait of time through objects, prints an unquestionable truth because it is visible. How do you express your professional development and knowledge, taking into account the pieces created to date?
The curiosity, or the attraction of knowledge, It is the basis of our profession. How to draw an object if we don't know how it is produced? We have to “know how to do it”. Or “do it to know” is also true sometimes.
The evolution of my work? In truth, I have no opinion on this. I don't look back, The idea of taking stock of what has been done to date doesn't cross my mind. Yesterday matters little, tomorrow yes.
Could you describe a specific project that marked your career?, and explain why it was so significant?
Em 2005, the Christofle jewelry store in Paris gave me carte blanche to create a special collection, in limited edition. It was then a success, had a big impact, with several international exhibitions. It was probably a turning point in my career, a good experience for a young creative at the time.
just in case, Christofle currently has a historic exhibition at the Musée des Arts-Décoratifs in Paris, and we can see pieces of this collaboration.
What inspires you in your daily work as a designer? Today, Where do you find fulfillment??
To be honest, I think a creative person can't really find fulfillment. We are eternally dissatisfied and restless, That's why we feel the need to constantly create and recreate.
I don’t believe in the idea of “inspiration”, day-to-day life is about solving problems, we just try to do it in the most poetic and honest way.
Portugal goes back to square one pointing out in various spheres, having enormous difficulty in carrying out continuous institutional work. How do you see the evolution of design in the country in recent years?? There is evolution?
Portuguese design is evolving naturally, slowly, by the continuous efforts of designers, of the industry, of brands (which are few). Unfortunately, there is no relevant institutional support that could encourage the development of design. Design is still not seen as an essential tool for the country's cultural and industrial development. There are many incentives for investing in machines, not for creation: thus the country continues to be only a producer, non-creator.
Could you share your vision on sustainability awareness in Portuguese design? How do you integrate sustainable practices into your designs and pieces?
Sustainability is not an option, It's an obligation. I argue that it should be an integral part of the design process, simply. I have this awareness in all projects, without the need to express them in an obvious way, and I try to advise clients as much as possible.
The issue of ecology is very important. I am aware that the design, which can be considered a tool of capitalism, contributes in a certain way to producing more, which is not good for the planet. It is a reality that worries me and I question my profession. I don't want to be alarmist and radical, we have to use our position that gives rise to the product to try to change the system a little, help improve the production process and choice of materials, in order to avoid negative consequences.
CUT CHAIR e CUT LOUNGE CHAIR. Blackcork
Believes that Portuguese design has its own style or identity? If so, How would you describe this identity?, and if it is what arouses interest in the international community today?
There is always a relationship between culture and creativity. Our way of living obviously influences design. That being said, I don't believe that there really is a single and common identity in Portuguese design, a typical style. It would be limiting for me. We can't put all designers in the same box: each individual has their own identity, Creativity is not limited to borders.
What are your expectations for the future of design in Portugal, taking into account that the second edition of design week in Lisbon exceeded expectations, and appeared vibrant?
Portugal opened up to the world, the international community visits the country and even, many people decide to live in our land. The good side is cultural enrichment. We live in a time where outsiders look at us, in what we do, and they tell us we are good. Finally there is Portuguese pride.
Lisbon Design Week is the perfect example of the growing passion for Portugal and Portuguese design. But nothing is acquired, you always have to fight harder.
How do you describe your relationship with Portuguese industry and production?? How did this relationship influence your work??
I have a good relationship with the industry. I am a very technical person, passionate about processes and materials, I speak the same language with a manufacturer and this allowed me to develop good partnerships. I love being in a factory environment, is an important source of inspiration for me.
MANY WORLDS SOFA, LINE CHAIR, BIDENDUM CHAIR. Back
What are the advantages and challenges of collaborating with Brazilian industry in terms of production and innovation?
Working with industry in Portugal is a constant challenge. Deadlines are always urgent, limited costs. I'm talking about the furniture sector. On the one hand, it is a defect, but also a gift, because the “national development” works miracles. Unfortunately there is no time, no means for experimentation. And consequently, little is said about innovation.
What are your expectations for the future of design in Portugal? Is there any aspect that reveals urgency, that needs to be developed immediately?
Design interests me little. Os designers, the people, sim.
In times of change, international crisis and instability, it is common to cut investments in culture and innovation. Companies take fewer risks, wait for better times and as a result, there is less work for designers. However, it is precisely in these moments of transition that you need to reinvent, project the future. A simple idea, policy, would be the creation of creativity grants to help companies invest in design. We have quality human capital, good minds, it is urgent to create the conditions to make designers write the future of Portugal.
What advice would you give to young designers starting their careers now?, and would also like to be invited by State Presidents one day :-)?
I have no advice to give anyone, I don't even want to be in this position, I'm not an example. Each person has their own motivations and path to follow. There are no recipes, especially in a creative profession. I just say be genuine and have confidence in the future.
Do you have any future projects or collaborations that you can share with us?? What can we expect in the coming years?
I have several projects in progress and new collaborations. I don't dare mention anyone in particular., you never know what could happen.
SYMBIOSIS JUG, Topázio
He was recently curator and creator of the art pieces in the luxury collection commemorating the 150 Topázio years? We can know a little about the success of the creations of 15 chosen designers?
The pieces are ready and fabulous, I'm proud of the work of Topázio's designers and artisans. There was a lot of effort for over a year, It was a human adventure. We opened the exhibition on the day 28 November at MUDE in Lisbon, where will it stay until 6 of January, then continue to other stops.
How is acceptance of parts going??
The inauguration had a strong impact, The pieces are receiving acceptance that exceeds expectations. My goal was to have a diverse collection, very creative, with jars that are very different from each other, unique to each invited creative. I am pleased to receive comments from the public highlighting different pieces that are always different., depending on people's tastes.
How the project added value to the brand?
Topázio is a brand that already has a lot of value, has lasted for a century and a half!
My goal was to create a project outside of the current collection, capable of placing a brand in the future, in a contemporary position, and value traditional crafts that allow the ideas of today's designers to be realized.
Throughout the project what was most difficult and what made you tick? I would do it again?
In general, What moves me in my daily work is the human adventure. This project in particular brings together very interesting people, both in the creative and production fields, at Topázio. It is a pleasure to create moments of communion, I like to provoke ideas, and so out of nowhere projects are born. I repeat for sure.
Lifting the veil a little of what brings us 2025, how he welcomed the idea of having pieces in a contemporary art museum café, and thus start a relationship with a store that, by promoting Portuguese design and production to national and international visitors,, achieved something in the field of innovation?
It's an excellent idea. It makes perfect sense for a national museum to collaborate with companies or designers, exhibit relevant pieces made in the country today, what is done well in Portugal for the international public. After all, a tourist who enters a museum seeks to learn more about the country's culture.