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[1] ORO MUTO
The Anti-Gold
Born in 1995, Oro Muto came into being in opposition to the traditional image of gold — shiny, showy, and ostentatious. Antonio Piluso transforms its surface, through thermal and galvanic treatments, into a matte, rough, spongy matter, closer to cement, sand, and volcanic rock.
Gold loses its loud appearance and becomes silent, raw, deeply material. The Anti-Gold.
[2] INCLUSIONI
Coexistence of materials
The Inclusioni collection is born from a research on materials and their coexistence. The metal is treated as a plastic, porous substance, capable of drawing close to cement and lava and of incorporating heterogeneous materials: brick fragments, raw stones, iron slag, pieces of lava, and other metals.
In this coexistence, each element retains its own nature and its own way of reacting. Through use, and in constant contact with the skin, the surfaces do not remain stable. pH, air, friction, and time activate gradual transformations: shifts in tone, patinas, oxidation, micro-changes in texture.
[3] FERRO-ORO
Iron and Gold
The Ferro-Oro collection was born in 1986 from the encounter between two opposite metals. Iron, poor, raw, and prone to oxidation, carries with it a rough and profound aesthetic force. Gold, the noble metal par excellence, introduces instead a precious and elegant dimension.
The collection brings these two natures into relation without erasing their contrast. Iron retains its hard presence, its irregular surfaces, and its resistance to working, while Gold accompanies and ennobles it.
From this balance is born one of the most iconic materials in the Pilgiò language.
[4] TITANIO
Raw titanium
A technical metal, light and resistant, is brought into an artisanal dimension of research.
Titanium places technical innovation in dialogue with craftsmanship, combining strength, lightness, and chromatic transformation. Technical matter and artisanal gesture coexist in a research on surface, color, and the metal's transformation over time.
[5] ARGENTAMENTO
Silver and Concrete
Argentamento brings into Pilgiò a dialogue with the city and its urban materials. Concrete, usually associated with an idea of coldness, stasis, and rigidity, is taken out of its original function and transfigured into a more organic matter.
The collection makes room for grotesque forms, irregular surfaces, and elegant contrasts, transforming concrete into a living presence within the Pilgiò language.
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COLLECTIONS
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