To celebrate the beginning of the new jubilee year, we have created a dedicated liturgical set.
The project was developed taking as reference two elements of the Basilica of San Pietro, Rome:
The geometry of the marble floor, and the 16 scenes of the Holy Door.
In the crypt of the Episcopal Seminary of Faenza, the altar has an enameled ceramic coating characterized by reliefs, frames and regular scans that build a precise visual rhythm.From this structure comes the project of the new liturgical parade, developed from the direct observation of the space and its decorative proportions.
The stolon takes up the vertical language of the altar through a succession of geometric modules that translate the architectural composition of the crypt into the fabric.The golden surfaces dialogue with the blue tones of ceramics, creating a bright and solemn presence, designed to fit into the space with continuity and harmony.
For the Basilica of Santa Maria degli Angeli in Porziuncola, in Assisi, we created a liturgical project conceived to engage in dialogue with one of the most significant places of Franciscan spirituality. The intervention originates from a study of the decorative surfaces and the iconographic heritage preserved within the Porziuncola.
The primary source of inspiration comes from the frescoes of the altarpiece, from which the main scenes dedicated to the life of Saint Francis of Assisi have been redrawn and reinterpreted. Each episode has been translated into a brass panel, integrated into the overall design of the vestment as an ordered and harmonious narrative element.
For the geometric motifs, the project instead draws on the decorative rhythms found in the ceilings of the Basilica’s side chapels, transforming them into a measured textile pattern capable of uniting architectural memory with a contemporary language.
It all began with the ceiling.
Not with the fabric.
In the Cathedral of San Gerlando, in Agrigento, the ceiling creates a rhythm of geometries and floral motifs.
We chose to begin there.
The flowers were not simply reproduced.
They were observed, deconstructed, and redrawn.
From decorative elements, they became structure.
Each module was translated into embroidery, preserving the original proportions and chromatic balance.
This is how the orphrey was born:
an ordered sequence of forms that retains the memory of the ceiling, returning it in textile form.
The chasuble does not imitate the architecture.
It interprets it.
The Basilica of San Petronio, one of the major expressions of Italian Gothic architecture, features a decorative scheme in which the geometry of the floor interacts with the vertical structure of the altarpieces and polyptychs.
The project originates from an analysis of the hexagonal elements of the floor, built on regular, repeated modules, and from the architectural articulation of the polyptych, which establishes rhythm and direction within the composition.
The central stole translates this relationship into textile form: the geometry develops along the vertical axis through a modular sequence, interrupted by elements that recall the openings and structural features of the polyptych.
The Abbey of San Pietro in Assisi represents one of the most significant examples of Umbrian Romanesque architecture, characterized by clear lines, balanced proportions, and a use of material free from excessive ornamentation.
The project originates from a reinterpretation of the rose windows on the façade, understood as a geometric structure even before being considered a decorative element. The design is not replicated, but reworked to maintain coherence with the original architectural language.
The textile intervention develops through harmony: the circular motif is adapted to the surfaces of the stole and the altar furnishings, preserving compositional continuity among the different elements of the vestment.
The project created for the Lower Basilica of Saint Francis in Assisi originates from a careful observation of the wooden choir, an architectural element that guided the entire compositional development.
The geometries, the rhythm of the inlays, and the material depth of the wood have been translated into a measured textile design, capable of integrating discreetly into the context of the Basilica, respecting its visual and luminous density.
The San Rocco Church in Avezzano, rebuilt in 1958 based on a design by Giuseppe Zander after the 1915 earthquake, stands on the site of a 15th-century religious building. The structure, modern and minimalist, features a single nave, a square apse, a Pinchi organ from 1971, and a travertine façade with a cruciform rose window and a bell tower with single-lancet windows. Among the liturgical furnishings, the ambo stands out, positioned on the left side of the presbytery and slightly elevated above the nave. It is made of concrete and stone and follows the sober style of the entire building, designed to ensure visibility and functionality during liturgical readings. The church also hosts the historic Confraternity of San Rocco and the well-attended “Men’s Feast” in honor of Saint Joseph.
The Cathedral of Saints Peter and Paul in Sessa Aurunca, built in the 12th century over Roman remains, is a significant example of Romanesque architecture. Renowned for its mosaic floor and intricately carved ambo, it blends medieval and Baroque art within a liturgical setting of great historical importance.
Saint Leo IX, the city’s patron saint, is especially venerated in Sessa Aurunca, remembered for his miraculous visit in 1053. During the traditional Easter Monday procession (Lunedì in Albis), his statue is carried alongside that of Our Lady of the People, accompanied by children dressed in liturgical garments.
The project originates from the painting by Luigi Tagliaferri dated 1896, which depicts the Virgin Mary Assumption in Heaven above the high altar. The scene is surrounded by decorative frames whose geometries have been reproduced inside the chasuble.
One of the reasons why the Cathedral of Otranto is famous is for its floor. Entirely made in mosaic by the monk Pantaleone between 1163 and 1165, it extends in all three naves of the church and each section has a different meaning.
Among the many figures in the medieval mosaic, there is also Atlas, the Greek titan who seems to hold a globe, and it is precisely this last element that was used inside the chasuble.
The Basilica of the Sacred Heart of Jesus in Rome is today one of the most important centers for the Salesians, since its construction was completed thanks to Saint Giovanni Bosco. Among the most important elements of the Basilica is the coffered ceiling, with its paintings and the carved Sacred Heart.
