THE ART OF TRANSFORMING THE PAST INTO THE FUTURE
At a time when design is constantly reinventing itself, Draga & Aurel are redefining the boundaries of creativity through an artistic and experimental approach. Founded in Como in 2007, their multidisciplinary studio has earned international recognition for its ability to transform vintage furniture into contemporary works of art through innovative interventions and a remarkable sensitivity, reshaping the very notion of collectible design. Masters of transformation, alchemists of materials, and architects of singular visual worlds, they create furniture that exists simultaneously as functional object and artwork. In this exclusive interview, we delve into the essence of a vision that turns the object into a sensory experience, exploring their creative process and the ways in which they reinterpret tradition within a contemporary context.
Photography by Anne Timmer, creative Valerie van der Werff
LD: Your work dissolves the boundaries between art, design, and craftsmanship. How would you define your practice, and how has it evolved over time?
D: Our practice is an ongoing conversation—between research and intuition, material and craftsmanship. We have never felt the need to draw rigid boundaries or define ourselves through a single label: we are craftspeople, artists, and creatives. What matters to us is the freedom to explore, to experiment, and to allow each project to develop its own identity. In the beginning, we focused on restoring and reimagining vintage pieces, but over time our language evolved into a more structured approach that is entirely our own: Transparency Matters. Today, we undoubtedly have greater experience and a deeper technical understanding, yet we remain driven by the same curiosity and spirit of discovery that defined us from the very beginning.
Photography by Riccardo Gasperoni
LD: Your partnership is both personal and professional. How do your respective strengths and aesthetic perspectives shape the work you create together? Do your roles evolve naturally from project to project, or is there a clear division between them?
D: I bring a sensitivity to colour and textiles, shaped by my background in fashion. Aurel contributes a more architectural, material-driven perspective, informed by his training in the visual arts. When we work together, there are never fixed roles. We discuss, challenge, and inspire one another. There are moments when one of us takes the lead and the other follows, but it is always a fluid process, built on trust and mutual respect. Ultimately, the pieces we create emerge from this dialogue between contrasting yet complementary perspectives.
LD: The use of materials in your work is both bold and poetic—from epoxy resin, Lucite, and acrylics to reclaimed textiles. How does your choice of materials shape the narrative or uniqueness of the pieces you create?
A: For us, a material is never a purely aesthetic choice—it is an emotional one. It carries memory, texture, transparency, and a sense of time. We are particularly known for our use of translucent and richly coloured materials such as epoxy resin—which is also central to Aurel's artistic practice—and, more recently, Lucite. We are drawn to these materials because they reflect who we are: open, transparent, and honest. Transparency is not merely a visual theme but a philosophical one. It is about looking beyond appearances, going deeper, and uncovering the hidden essence of beauty. Whether transparent or opaque, we choose materials that surprise—through touch, through the way they interact with light, and through the way they respond to space. We enjoy experimenting with materials traditionally regarded as humble, such as resin or concrete, elevating them through ideas that take shape through artisanal processes. It is precisely this transformation that gives our objects their visual and tactile intensity. We love materials that seem to possess a life of their own.
Photography by Riccardo Gasperoni
LD Collectible design encourages a slower, more emotional form of consumption. What does creating collectible pieces mean to you, as opposed to more commercial or purely functional design? And how do you see the future of collectible design?
A. Collectible design is a more intimate, more poetic gesture. It is like writing a poem rather than a manual—it is a way of expressing emotion and creating a profound connection. We have never followed market logic or passing trends. What drives us is the desire to create objects with presence—pieces that bring spaces to life and tell stories. We want our work to possess, of course, both soul and functionality. From our perspective, the future of collectible design lies in its emotional resonance, in its ability to move people and to stand the test of time.
Interview by Andreea Dicianu
Discover the full version of this interview in Volume IV.