One-offs rarely find a proper home online. Most digital marketplaces are built for volume rather than uniqueness. That’s what makes ARCA Galerie, the new concept from GRISORO Studio founder Gabriela Gargano so novel.
ARCA reflects the way designers actually work: accumulating, obsessing, editing. With ARCA, Gargano has built a framework around those instincts, offering a tightly curated selection of collectible vintage, rare artworks and sculptural finds that were too good to pass up, even if they weren’t quite right for one of their firm’s design projects.
In conversation with DNN, Gargano opens up about her process, how she balances emotional response with commercial viability and why she believes the future of digital retail in the design world may look a lot more curated—and a lot more personal.
Strength in sourcing
DNN: You’ve described sourcing as one of your strengths as a designer. Can you take us inside your process—where do you find these pieces, and what makes something an instant “yes” for ARCA?
GG: Truly I am almost always “sourcing” because you never know when you will happen upon something amazing. I typically source at auctions, during my travels (whether that’s in Paris or in upstate NY), and at small local shops. In terms of an instant “yes” – I wouldn’t say it’s a single thing, but rather an organic double take as I scan a room, then feeling the item for details, material and weight, and finally some research to understand the history.
I believe our eye, as designers, strengthens over time due to the ongoing opportunity to see and feel beautiful things. I’ve learned to trust my instinct when I see something “special” that no one else has noticed.
For some personal history, there was a large antique center in my hometown of Red Bank, NJ, and I remember the excitement of searching the booths for a magical treasure. That is still the same feeling I have today when I source.
Selling one-offs online
DNN: In a world where digital retail is often driven by mass production, ARCA Galerie feels like the antithesis. How do you see the role of curated online galleries evolving in the design industry?
GG: I think both options serve the diversity of needs that exist and there’s space for everyone. As a person that treasures unique pieces with a history, I love having the opportunity to curate an online gallery. With the overabundance of information and options, I believe online galleries will serve a significant role for customers to search a curated (i.e. manageable) collection by a favorite designer.
DNN: Many of the pieces you collect weren’t a fit for specific projects but were too good to pass up. How do you balance intuition with strategy when selecting pieces for ARCA?
GG: Because we’re located in Manhattan (and have limited storage), we are forced to be extra discerning about our purchases and really consider how “sellable” we feel something will be. As designers, we know what items “every home” needs. The easiest example is ceramics and small objects. These items may be smaller in size, but they have the power to elevate and complete a space.
Before purchasing, we carefully consider the quality, history, rarity and dimensions to ensure it’s something that will have a reasonably broad appeal and provides a new feel to the rest of our inventory, as we want to keep the site interesting for buyers. Having come from a career in finance with a focus on margin and profitability, I think I’m able to differentiate between things I love, and things that are great for the gallery. They often overlap, but when they don’t, I am able to walk away.
Collectible design and rare artworks
DNN: ARCA will feature everything from collectible vintage to unnamed works of art. What are some of the most exciting finds in your debut collection?
GG: I think Table 01 (a brass drinks table in the style of JMF) is one of the easiest pieces to use and a perfect piece to add to a collection. The patina is also perfect. Other favorites are Seating 07 – truly one of the most unusual chairs I’ve seen and perfectly petite as an accent in an entry or bathroom. Finally, Vessel 09 is a personal favorite – the shape has a tulip-like quality and the glaze has a lovely mix of brown and steel tones.
DNN: Bringing vintage into the digital age requires a strong visual and narrative presence. How are you ensuring that ARCA Galerie captures the tactile allure of these pieces in an online format?
GG: This is certainly one of the most difficult aspects to convey with photography. Though we do have high quality photography, we also offer video meetings with customers so they can see the piece in a more alive state. Additionally, we are careful to note and photograph any irregularities or signs of wear – while we don’t see them as a negative, we want to ensure clear information to a buyer.
DNN: The world of collectible design is often defined by provenance and name recognition, but ARCA embraces the unnamed and undiscovered. Do you see this as a challenge to the way we traditionally assign value in design?
GG: I think we can all agree the meteoric rise of cult vintage items has been astounding over the last ten years (and then the replicas by major retail brands). While I am thrilled to see the high value being placed on vintage, it’s also caused prices to go parabolic for designers like Pierre Jeanneret, Jean Royere, Jacques Adnet, Charlotte Perriand, Axel Einar Hjorth, etc.
For many, these pieces are unattainable and therefore, I believe there’s room for the unnamed, or lesser known, vintage designer to rise. I love to discover pieces that are simply beautiful, interesting, and well priced. More and more, we see clients open to purchasing these items, regardless of being unnamed, as they are more of a conversation piece.
DNN: After the initial launch, you plan to introduce Grisoro Studio’s bespoke furniture designs. What can we expect from this expansion, and how do you see the dialogue between vintage and contemporary design unfolding?
GG: Yes, we are so excited about this. Our hope is to launch in the next 12-18 months. For us this is a very natural expansion, as we are designing bespoke furnishings for our clients on a frequent basis. Many of those designs are ones we feel could have a broader appeal and bring in a new point of view.
Additionally, we’d like to offer the ability to customize these pieces for clients so that it can be tailored to their needs. In terms of mixing vintage and contemporary – it’s candidly the only way I can imagine designing. All vintage can feel heavy and of a bygone era, whereas all contemporary oftentimes feels staged and flat. The two together are simply the perfect marriage.
Taking it offline
DNN: What advice would you give to collectors or design enthusiasts looking to develop their own eye for sourcing truly special pieces?
GG: Shop in person as much as possible! Touch, feel, and examine the things you’re drawn to, and then see if you can find themes. This will allow you to then research the item or era to learn more in a broad sense, but also about prominent designers and aesthetic details popular of that time.
I think this is so helpful so that one can have confidence in purchasing when they see something they love. It’s much like buying a first home – you might think you know what you like, but after going to several open houses you might realize the things you truly prioritize. When the right property comes along, you’re then confident to invest.
