The designer Guido Venturini was inspired by the fine structure of lace fabric when he created the filigree design of the centrepiece Opus. The perforation of the stainless steel bowl adds a special noble appearance to the Opus plate.
„My mother was a doctor, a paediatric specialist, the only one in the area and took care of about 2,700 children. Still today, I meet people who tell me how my mother saved their lives. She was passionate about crochet and knitting, always working on something in her spare time. Whether at home on the couch in evenings or when she went for a chat at a friend’s home, she would always have her bag of “work” with her, pull it out and immediately pick up where she’d left off. Doilies, fringes, lace and also colourful bed spreads, which my wife and I still use for our children. As a child, sitting beside her on the couch, I learned the rudiments of crochet. Not much, and I probably don’t even remember it any more. Then, as a teenager, I left this kind of lacework behind. It didn’t seem very up-to-date. Only later did I start to appreciate decoration, embroidery and mouldings: primitive ones, folk art, or mediaeval and classical styles. These are all things that go very well with the rich curlicues of the soul. When Alessi asked me to work on patterns for perforated metal using laser technology, I immediately began drawing and experimenting freely with inks and brushes and many different kinds of paper, from common stock to more exotic varieties, like rice paper. Giving free reign to my hand, I saw embroidery patterns emerge along with other forms, some more frequently than others. Following this natural inclination, I let the brush flow and while Jarrett improvised, my head too would become less cluttered with outside thoughts. There are great works and minor works. But all of them contribute to the final and natural work that is life itself, the realisation of one’s inner self, what the alchemists called Opus.“ Guido Venturini