Through her studio, THiRTYONE Design + Management, Claudia Campone collaborates closely with leading brands, interpreting their identity and visual language through architecture. In her work, art is never treated as ornamentation, but as a starting point for exploration and a constant source of creative energy.
Could you tell us how THiRTYONE came to life?
THiRTYONE was founded in 2015, at a particularly significant moment in my life—I was, in fact, thirty-one years old at the time. The name also draws from an Italian saying that later became something of our motto: once you’ve done thirty, do thirty-one. For us, it means always going a little further, making that extra effort in every project, regardless of the client or the scale of the commission. We are constantly driven to take things one step beyond, to go the extra mile in pursuit of results that are often unexpected. At the core of our work lie practicality, theoretical research, and a strong sense of enthusiasm for design.
How is the studio structured today?
Today, the studio is made up of around twenty people. I wanted to bring into the team the experience I gained in the early years of my career, when I worked in store planning for Fendi, designing and delivering retail spaces around the world. THiRTYONE is built on an approach that combines design with management: not only creative vision, but also the practical handling of timelines and budgets.
The team is composed primarily of designers, architects, and technical specialists, supported by project managers. I always like to point out how differently these two roles operate: the designer’s work tends to be slower, more reflective, and deeply focused, while the project manager moves at a faster pace—dynamic, responsive, and in step with the accelerated rhythms of both project delivery and the construction site.
What kinds of projects do you work on, and in which sectors?
Around 60% of our work is focused on retail design. We collaborate with a wide range of brands, from luxury houses such as Dior, Loro Piana and Etro, to premium names like Uniqlo and Stroili.
In some cases, we develop the original creative concept, which is then rolled out internationally. We define the overall format, material palette and design guidelines, and oversee the first pilot stores. Once the concept is approved, we adapt it to different locations, from flagship stores to smaller formats such as corners and shop-in-shop spaces.
Alongside retail, roughly 40% of our projects involve exhibitions, installations and bespoke spatial set-ups. During Milan Design Week, for example, we created an installation for Uniqlo in the courtyard of Università Statale di Milano. We are also working increasingly in hospitality, a sector experiencing strong growth, particularly in Italy, designing hotels and spaces where fashion brands stage takeovers—transforming existing venues through the strength and identity of their brand presence.
What role does art play in your work?
Art plays a fundamental role in everything we do. In recent years it has often been reduced or oversimplified, treated as a decorative layer rather than something essential. For us, however, it is first and foremost a tool for research, study, and continuous inspiration.
We have launched an art residency program within the studio itself, conceived not as a production space in the traditional sense, but as an open environment for exchange and dialogue. We regularly invite artists to work alongside us: they engage with the team, and at the end of their residency they develop a site-specific piece. At the moment we are collaborating with Cecilia Sammarco, who is creating a work that will remain installed within our spaces.
Our studio is located in a particularly evocative setting overlooking the Circo Massimo, in the historic area once known as the Lupercalia. It is a site rich in history and meaning, and this context naturally contributes to making the residency experience even more stimulating and layered.
What do you think of Cinquerosso Arte?
When I first came across Cinquerosso Arte, I immediately found it very compelling. It is an important initiative that gives visibility to artists who do not always have access to privileged cultural contexts or established support systems.
I am also particularly interested in how the project is evolving, especially the idea of a gallery that exists both physically and online, moving fluidly between a tangible and an intangible dimension. I’m curious to see where it will lead.
