An Italian designer and architect. He played an important part in the development of Italian design. He also worked, aside from his artistic career, for Casabella, Modo and Domus magazines. His design has been characterized by his strong interest in mixing different cultures and different forms of expression; he creates graphics, furniture, interiors, paintings and architectures and wrote several articles and books; he is also renowned as an enthusiastic member of jury in architectural competition for young designers, such as the DBEW competition in South Korea or the Braun prize. He also teaches at the University of Milan. Currently he runs his own practice in Milan, the Atelier Mendini, together with his brother Francesco Mendini.
Jonathan Smith worked in the UK ceramics industry for over fifteen years following four years spent studying ceramic design. He established Jonathan Smith Design in 2000 as a means of pursuing his aims to “re-investigate the techniques of the basic craft of ceramic modelling” Jonathan is constantly striving to push the boundaries of what can be achieved in ceramic design and production, but is ever mindful that only some of the results achieved will be viable for mass production. That is why he was so excited to work on the Prouna project, seeing it as a wonderful opportunity to utilise his skills working on something that had a definite “wow” factor. “Plates and cups have a traditional shape imposed by their utilitarian nature, but should still be considered as a sculpted design, where the fine details of curvature and the abutment of various surfaces can make aesthetic contributions in the appeal of the final product”.
Graduating from the Birmingham College of Art, UK, was the first step on a ladder that has seen Roz Tampakakis work for some of the most prestigious names in the ceramic industry. In between positions at both Josiah Wedgewood and Royal Doulton, Roz spent time in Athens, Greece where she studied Greek, Byzantine and Minoan Art. Such a range of experience gave her the ideal background for taking up a position with Johnson Matthey where she spent twenty years as a designer, culminating in her appointment as Design Consultant in 1998. One of her many strengths is to take on the potential of a design brief and see it through to a completed project, realising the thoughts and ambitions of clients into a finished product which encapsulates all their many requirements. Such skills were used to full advantage in the Prouna project. “I believe my design knowledge and ability to translate concepts into useable ideas adds strength to any design service.”
Having completed his training as a ceramic modeller at Wedgewood’s, Andrew spent several years working for some of the world’s most renowned chinaware companies including. In 1987 he established himself as a freelance ceramic modeller, soon after he first came into contact with Pam Greeves, with whom he has been able to develop a close professional relationship. Together they have worked on a number of exciting international projects, each one allowing Andrew to hone his highly individual skills and take them to a higher level. “Pam and I found that the Prouna project has been very rewarding because it has allowed us to combine all our design, artistic and technical skills in order to develop such a creative range - and that is what makes our job so worthwhile”.
Pam has consistently worked in designing both shape and pattern throughout her career.. After completing her Masters Degree in ceramic design, she then went on to set up Pam Greeves Design in 1991. Working as an independent designer, she first came into contact with Andrew Henshall with whom she has collaborated on many projects ever since. She is eager to point out the advantages of working so closely with another skilled artisan, “I have always enjoyed drawing from life and to see Andrew turn my animal shapes into ceramic pieces is always great fun” Pam relishes the fact that it is her designs that go on to give definition to a range as prestigious as Prouna: “To design the shapes and patterns is the best position to be in, especially when no limitations have been placed on the design and all the best materials have been used such as here with Prouna”.
A ceramic pattern designer who has worked in the prestige end of the market for over thirteen years, Irene Inman also acts a consultant to the textile industry and as an artist in her own right. She worked as Senior Designer at Royal Worcester, creating ceramics of distinction for retail outlets around the world. Irene takes her inspiration from the world around her. The beauty and sophistication of nature, the opulence of precious metals, the symmetry of architectural forms, all these have been used to stunning effect in her work on Prouna. “It has been tremendously stimulating to design for such a high quality exclusive product, providing me with the opportunity to produce beautiful patterns for stunning shapes”