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Egizia, the art of the object, but also the object of art. The study, the re-examination and the proposal of decorations drawn from the works of master painters, architects and decorators are the theme of the precious collections that Egizia proposes in these pages.
A cultural itinerary that drives its roots into the signs of the artisan weavers of Kilims, to reach the refined cashmere embroidery of Antoine Berrus that passes through the Vienna Secession of Klimt and Moser; an itinerary inspired by the architectural decorations of Mackintosh, Gaudì and Wright, that re-examines the fantastic world of the Middle Ages from a contemporary point of view.
The homage paid by Egizia adds value to the blown glass objects, enriched by a measured, but precious graphic significance.


The name Egizia is synonymous with quality, elegance and refinement since more than half a century.
Since the distant 1949, thanks to the almost pioneer initiative of its founders, and then in the course of years, by virtue of the managerial and professional skills of all those who became part of its team, the Company EGIZIA has travelled a long road. It has grown, it has acquired technologically advanced production systems, and has increasingly captured the attention of the domestic and foreign markets. Its bond with tradition has nevertheless remained intact. The tradition of a work that is the sum of artistic inspiration and artisanal skill.
Today, the Company is no longer located in the place selected by its founders. Since 1991, we transferred to a modern factory of approx. 4500 sq.m. to meet the legitimate need for growth and technological modernization without penalizing the artistic and manual aspects of the workmanship. What we take most pride in. So, we keep on decorating our gift articles, household wares and furnishing complements like we did in the past, using a totally manual silkscreening process. Our products are distinguished by: artisanal care, shapes and decorations that denote refinement, and the quality and absolute indelibility of decorations, printed and vitrified after one or more bakings at a temperature higher than 550 degrees.


Each article produced by Egizia has its history. It was first planned and designed, then decorated and followed with care during each processing step, up to packaging.
The initial step is the selection and design of the object's shape and the creation of the decoration. Our artistic staff, designers and art director have the task of conceiving an idea capable of combining originality and elegance, with one eye set on the trends of taste and the other intent on interpreting and following its developments. The idea immediately gives way to the accurate execution of the graphic project, which is the basis of the success of the decoration and of the quality of the final result. In fact, the decoration has to be resolved into a series of drawings, one for each colour, with utmost precision. Drawings are executed on transparent film and enlarged or reduced as required. Superimposed, the single films will reproduce the whole decoration: margins, contours and colours will have to match perfectly.


Now, each film can be used to prepare the cliché, or the matrix for the printing. Printmaking will require a series of clichés comprising all the colours of the decoration, and a different series for each different shape, as each cliché will have to adapt perfectly to the surface of each object.
Silkscreens are adopted, with different types of silks to meet each technical requirement. The screen is covered with a special gelatine and with the drawn film, which now serves as printing plate. A pneumatic vacuum press will make everything adhere and finally a very powerful punctiform lamp will print the drawing and create the cliché, blocking out with solidified gelatine the areas that are not to be printed. This very complex and delicate operation is entirely carried out in our photomechanics laboratory by highly specialized personnel.


Once the screens are ready, we pass on to printing. This is where the skill and expertise of our decorators come into play. It is not by mere chance that printmaking is "manual": executed step by step, one piece after the other, with the help of an implement that must be set and adjusted each time.
Once the screen is placed on the implement, the right quantity of colour is applied on it; under it, in direct contact, the object is rotated. So, the colour is deposited on the object directly, passing through the pores of the silk.
The complexity of the process lies in making all the foreseen printmaking steps coincide with each other. In other words, there must be no smears, nor unpleasant overlays of more than one colour. This is difficult to achieve, because most of our articles are mouth-blown or, at any rate, they are handmade. Even if they are made with a mould, and we may thus be led to believe they are all equal, in reality they all differ from each other. Slight differences in their surfaces make each piece unique, and each one needs to be treated differently from all others.
This is why our work keeps on being a craft of bygone days, because no technological innovation will ever manage to leave out of consideration the wisdom and patience of so many skilled manual gestures. This is our wealth.
Before printing each new colour, the object must be left to rest, to allow the previous colour to dry. Just think: decorations with seven colours impose seven subsequent printings, that must be made to match with each other with utmost skill, and six drying steps. Therefore, even time acquires the taste of antiquity with us. And our time is made up of rythms that cannot be modified, of cadences from which we cannot deviate.
So, to optimize the time required for the production cycle, we intervened elsewhere, realizing an automatic handling installation controlled by special software and guided by small robots, photoelectric cells and long motorized courses. We thus relieved our skilled workers from certain activities, allowing more space, time and attention to the artisanal and manual aspects of the workmanship.
This successful combination of tradition and innovation is exemplified by the "drying process", now controlled by a computer. This fully automatic process withdraws the objects to be dried and then returns them into the hands of our master decorators for the following steps.


Once printmaking is completed, the articles are ready for baking. A temperature between 540 and 570 degrees makes the colours vitrify, rendering the decorations indelible. But not all colours vitrify at the same temperature.
Furthermore, we use 24 kt gold, 980/1000 silver or crystal to lend our decorations more preciousness with thickening effects. Two or three successive bakings at different temperatures may therefore be required for each article. Also in this case, the unloading of ovens and the automatic conveyance of the objects to the subsequent processing steps is supervised by a robot. It is nevertheless necessary to wait for the pieces to cool slowly once they are removed from the ovens, and to verify their integrity and quality before the Egizia article is ready for packaging. Considering it pleases us to please you, and knowing how important it is to present ourselves to our Clients with class, we also pay great attention to the packaging of our products. We do not dress our articles with simple boxes, but with "gowns" that anticipate and enhance their elegance and originality. So that Egizia may be recognized, right from the start.