In this day and age, where almost everything changes in a matter of seconds, staying in the workforce for 25 years is considered a luxury, especially in the fashion industry, one of the most variable sectors.
Making a place in it is not easy, but not impossible, above all if passion is put into what one does. Marco Tomasetta has done so throughout his career, and proof of that is his impeccable CV, which includes stints at some of the most important fashion houses in the world such as Fendi, Prada, or Gucci; or his current position as artistic director of the emblematic German luxury firm specialising in accessories, Montblanc.
2021 was the year he joined Montblanc, and from that moment on, the company experienced a phoenix-like rebirth, where the Italian’s vision, the advertising campaigns, and the new communication strategy carried out, focused on connecting with all kinds of generations and in particular with the younger one, had a lot to do with it.
About all of the mentioned and more, we talked to him when we met in Milan during fashion week. Read on and find out everything he told us:
Buongiorno Marco, thank you for welcoming us to the showroom in Milan during fashion week. How are you experiencing it? Have you had the opportunity to attend any fashion shows?
It’s a pleasure to have you here! Milan Fashion Week is always an exciting time to celebrate Italian fashion. I am experiencing it in a relaxed but nervous way, as I am presenting my new collection for Montblanc.
Some of my friends are just like me, presenting their new work, and although I’ve been invited to several shows, I didn’t attend any of them, instead, I’ve preferred to be lovingly attending to all the journalists and people who have come here to discover the new line. When all this is over I will take a look at them at home.
As you said, Montblanc, the firm you work for as artistic director, is presenting a new collection. What is the main idea behind it?
The main idea of this collection is to celebrate Italian savoir-faire, the excellence of the company, and craftsmanship. Something I have kept in mind when developing this line is the desk. On this occasion, I have designed a desk, which I conceive as a place to focus on creation, design, and writing, of course using the iconic Montblanc Meisterstück.
Do you follow any kind of process to get inspiration? Or do you let it come organically?
That’s right, I follow a process when it comes to getting inspiration, which I have refined over the years. The first thing I do is to understand the markets and their needs. Once that part is done I start thinking about what we want to offer our customers. I spend a lot of time looking at the archives of the firm. They inspire me a lot to design. Also, I spend a lot of time with the people who make our products because I want to see how my ideas become reality. I love that part.
Can you tell us what a day in the studio is like?
Days in the studio can vary, but for example, when I am in my studio in Paris, I like to start the day off well by having flowers, pleasant perfumes, and things like that on my desk to help set my mood. The desk is an expression of our personality. Once the day has started, I communicate with my team, in the best possible way, to explain my ideas. The main thing is to explain clearly what is on my mind and to be as precise as possible so that they can then turn those ideas into an object.
Of all the items you designed for that collection, which is your favorite and why?
I can’t choose just one. There are many that I like. One of my favorites is the travel bag that converts into a desk. I think it’s quite an interesting piece that connects well the concept of men and women who are full of rituals. You can carry everything from your laptop to writing instruments, even your headphones. Everything can fit in here and is meant to be taken on the plane, boat, or train.
Montblanc is a luxury company that tends to be more oriented towards the classic style. Is it difficult to find the right balance between classic and modern?
If we take a look at the Montblanc logo, which by the way is a hundred years old, we can see how modern it is. There’s something about it that makes it timeless and doesn’t look obsolete. So, when we look at archives or vintage things, we imagine how young people would use them. That’s how we get the balance between shapes and lines that are pure and essential, and then we add some details that make them fit with the timeless aesthetic.
When a customer comes to Montblanc to buy a product, what do you think they are looking for?
I think what they are looking for is to buy a product that they can keep for a long time and not replace with another, which makes them feel confident, and can be combined with something fashionable at the moment.
Changing the subject, surely the citizens of Milan and visitors, along with the firm’s clients, will have been surprised to see live the latest campaign in collaboration with Wes Anderson. Have you had the chance to see it? How did you feel?
Yes! The first time I saw it live was here in Milan, at Porta Venezia. Honestly, I was very impressed. It made me realize how big an impact the company I work for has and how able it is to communicate with all kinds of generations. So, yes, as I say, I was impressed and excited at the same time.
In my opinion, Wes Anderson’s campaign is perfect because he understood the Montblanc codes perfectly and the final result represents the connection that creative minds like him and I can have.
How was it working with such a legend as Wes Anderson?
Working with a film director like Wes Anderson was a unique experience and a real luxury to be close to his world and dimension. It was a trip I would repeat in a heartbeat. We understood each other very well.
Sir Anderson is one of the last people you have worked with since you joined Montblanc. About the latter, what surprised you the most when you started working at the company?
What surprised me most when I joined the company was the interest of our old customers in the new Montblanc era. Also, I was struck by the fact that we have been able to attract younger generations with whom perhaps a few years ago it would have been more difficult to connect.
I loved how well you were able to communicate the new change. As you know, Montblanc is an uncompromising and well-positioned firm to talk about culture and writing, something others are now trying and doing. The difference is that Montblanc has a heritage in it.
Before Montblanc, you worked for other renowned fashion houses such as Fendi, Prada or Gucci. How do you remember your time there? Any special memories you would like to share?
After 25 years working in the industry, it is impossible to keep just one. For example, from the time I was working at Prada, I learned a lot from Mrs. Prada. I have very good memories of her and I could even write an encyclopedia (laughs).
Perhaps preparing for a fashion show is the most exciting thing for one, especially because of all the energy that goes into it.
And what do all the fashion houses you worked for and Montblanc have in common?
The archive. All the fashion houses I worked for have a great story behind them. I am very lucky to have been part of that.
To conclude the interview, with which three words would you define Montblanc?
Cultural, iconic, and transmissive (generationally speaking).
