A turning point came with their entry into the Italian market, which was then less mature than its British counterpart, where collectible design already enjoyed a degree of recognition within art and design circles. Among the most significant differences was the British public’s ability to recognise an object’s value regardless of its brand or the reputation of its designer. This was an almost counterintuitive perspective for the Italian market, historically rooted in a model in which the names of major designers are closely associated with those of manufacturers. Moreover, in markets with a less extensive and deeply rooted manufacturing base, designers and craftspeople are often compelled to explore alternative paths to establish themselves. Among these, independent production and small editions offer an approach particularly suited to a gallery setting rather than an industrial one. Yet Italy also offered uncharted territory in which to experiment with and explore the many facets of collectible design, from design development to manufacturing, and from aesthetic exploration to materials research. In 2025, the opening of their first exhibition space in Milan, on Via Giacosa, marked a further step in establishing their presence in Italy. Central to their approach, however, is a desire to move between different places, cultures and contexts, creating curatorial projects that vary each time but share a bold vision, bringing together and hybridising creative languages and perspectives.

Collectible design is inherently a discipline that exists on the boundary between two worlds: art and design, aesthetics and function. In Italy, where the sector is expanding, that dividing line is even more blurred. Yet Salvatore, Sacha and Lorenzo seem to have a clear idea of how they want to approach this longstanding debate: “Design is also an artistic language, but, at least in our experience and through the lens we have chosen, there is a fundamental difference between it and art in a more abstract sense. The artistic process can emerge from an artist’s sensibility, from intuitions, ideas and stimuli of different kinds, without necessarily having to meet specific needs. Collectible design, on the other hand, always starts from a need: being able to use the object, and therefore from its function. If you look at our curatorial approach and selection, you will notice that it is rare to find pieces that can no longer be used. That is not the kind of collectible design we want to represent. If you like, we could call it functional art, as opposed to a more abstract form of art, to simplify things a little.” Added to this is a strong drive to experiment, expressed through research into materials, creative languages and production techniques, with particular attention to handcrafting. It is precisely this combination that offers added value to clients and collectors, a significant proportion of whom are international.

In its first six years, Movimento has skilfully navigated this ambiguity, from the recent exhibition Fine Comune, presented during the eighth edition of Lake Como Design Festival, to the eclectic Masterpieces (and Tulips), developed jointly with BKV Fine Art during Milan Design Week 2024. On that occasion, designers had the opportunity to enter into dialogue with works by major figures in art history, including exponents of Italian Spatialism, generating a wealth of associations and interpretations. At events with a more pronounced commercial focus, the gallery’s approach remains equally bold, inviting designers to express their identities fully within a small number of clear design guidelines. For its first appearance at a major commercial fair, PAD London 2024, Movimento chose to move away from the conventional “white cube” display, offering visitors an immersive narrative around the exhibited pieces, all linked by the chosen materials. “We asked all the designers involved to work with just two materials: travertine from Ascoli that had been rejected because it was full of imperfections, and a wood-and-resin material we had developed ourselves. We gave each of them complete creative freedom. The result was incredible: despite working with the same materials and tools, they produced entirely different visual interpretations. We chose to present a project that reflected our DNA as closely as possible: the range of creative languages is potentially infinite, and as a gallery, we do more than encourage the artists we work with to explore new possibilities. We actively participate in the process, producing their pieces and works ourselves,” Salvatore explains.

What emerges from speaking to Movimento’s three founders, alongside their deep passion for what they do, is the care they devote to the designers they work with. This goes beyond a commercial relationship: it is a true artistic partnership in which the gallerist acts as a facilitator. Movimento chooses to support designers and artists in developing a fully articulated creative language, rather than focusing on a single piece that might not fully convey their vision or design intentions. This approach proves particularly important when exploring new territory, as in collectible design, where established creative conventions often do not apply and audiences need time to develop the understanding required to appreciate the work. High-quality exhibitions, effective communication and a clear long-term vision are essential tools for building the reputation of artists and, in turn, of the gallery that chooses to represent and accompany them on their journey.

“Journey” is another word Salvatore has carefully chosen to describe Movimento’s path so far. The next stages could include new markets that have so far only been partially explored, as well as participation in increasingly established design fairs. In a world that moves and changes ever faster, however, the right path seems to lead in the opposite direction: “We want to slow down, because we have realised that overproduction does not help. We prefer to do less, but do it better, investing in quality and giving each project the time it needs to develop and mature. Otherwise, we simply risk further saturating the market with work that is not yet mature enough to engage with it.” As in any sector, there is still no magic formula for success, but for Movimento’s founders, the combination of aesthetic research, functionality, time and patience has so far proved a winning one.