Form Finding: Unraveling Industrial Designer Mirei Monticelli

“Oh, Mirei! The Filipina designer with those breathtaking lamps!” my Taiwanese interior design flatmate exclaimed when I mentioned my upcoming interview with Mirei Ong-Monticelli, a Milan-based Filipina industrial designer.

During my ten-day business trip covering Milan Design Week and the Venice Biennale last April, I encountered a chorus of admiration for Mirei. The daughter of celebrated fashion designer Ditta Sandico, Mirei has carved out a distinctive niche in Milan’s vibrant design scene. Her creations, characterized by their diaphanous, multicolored fabrics and sinuous forms, are a vivid expression of her tropical heritage and the technical skills honed through a stint with rattan visionary Kenneth Cobonpue and rigorous studies at Politecnico di Milano. Mirei’s sculptural pieces, seemingly suspended in time and space, are crafted from banaca, a pioneering banana-abaca fiber blend developed by her mother. These designs, which appear to float like delicate clouds or drift like ephemeral currents, conceal the intricate craftsmanship behind each piece. Handmade with meticulous care, each creation is painstakingly put together by Mirei herself, from formwork to circuitry, while her ever-supportive husband and father-in-law handle product documentation and business operations.

Despite numerous attempts to connect amid the whirlwind of design week, I finally seized the opportunity when Mirei invited me to her new studio in Canegrate, a quiet comune 30 kilometers from Milan. I was fortunate to make the trip with Milan-based Filipino architect Jayson Ramirez, a shared acquaintance. What follows is a distilled account of our conversation, where Mirei recounts her design journey and the myriad lessons that have guided the path to her latest milestone, the opening of her own studio.

Buongiorno, Mirei! Hope you’ve had the chance to rest after a busy design week! You are currently at work on your recently purchased showroom studio miles out from Milan, but before we get into that, let’s head back to the very beginnings of your career. Before Mirei Monticelli, the brand, let us in on your industrial design journey.

Mirei Monticelli, Milan-based Filipina industrial designer: Hi there, and welcome to my corner of the world! When I was entering university, I really wanted to go abroad. My first choice was Japan, but it was difficult because I didn’t know the language, and the timing wasn’t right. I was also naturally considering studying in the Philippines, specifically at UP Fine Arts. It was either UP Fine Arts or Japan. Those were the only options I considered.

But did you know exactly what track to pursue?

Yes, I wanted to focus on industrial design na talaga, and I think it had a lot to do with my exposure to what my parents did for a living. My mom is a fashion designer and freewheeling creative, while my dad was a no-nonsense engineer, thriving in numbers and logic. Both sides appealed to me, and industrial design seemed like the perfect marriage of the two.

I see it! So, what happened next in your search for a university?

Unfortunately, I failed to make the cut into UP, so I considered Japanese universities, which also, at the time, was not feasible. I then chanced upon De La Salle—College of Saint Benilde’s industrial design track and got in. After completing the degree, I had this itch to pursue my master’s right away elsewhere. Call it happenstance, but I found a scholarship opportunity here in Milan. And this was the start of my long, ongoing relationship with this city.

What did you need to present for the scholarship?

It was a competition where I had to present a concept for a fashion brand. My proposal involved a lighting brand using my mom’s signature material, banaca, a mixture of banana and abaca fibers. This is actually what I’m doing now. The course I took back then in 2012 was in fashion management, which was somewhat unrelated to my initial focus on industrial design. After the course, I went back to the Philippines to work for Kenneth Cobonpue for a spell and returned to Milan after.

I see. Was this for a second master? A career opportunity?

A second master. I returned to Milan in 2014 and took up Design and Engineering at the Politecnico di Milano, a course more focused on the technical side of design. I realized I needed to improve in that area, especially after working at Cobonpue.

I guess you could also say love played a role in my decision to return to Milan. I met my now-husband Matteo during my first master’s program. We decided it was best for me to come back to Milan. It was either through marriage or further studies, and I chose to continue studying. I saw an opportunity to focus on my perceived pain points and technical weaknesses as a designer.

How long was the program?

It was a two-year program. After finishing, I worked at a tech start-up in Milan, specializing in design innovation with a focus on augment/virtual reality and AI for retail applications.

Wow! And this was…

That was around 2017. The start-up was later acquired by a larger company, and I worked on machinery for shoe manufacturing afterward.

I see. That’s quite different from what you’re doing now. It’s interesting to follow how your career has progressed!

Yes, all these seem somewhat unrelated to my current work at first glance, but there are insights and lessons here and there that prove useful down the road. During the pandemic, with reduced office hours, I used the extra time to finally pursue what I’ve long wanted: my own studio.

I see. So, Studiomirei is a pandemic baby!

Mostly yes, but it was already in its infancy even before the pandemic; I just finally had the time to give it added focus during the lockdowns. Before the pandemic took over the world in 2020, I had already soft-launched my studio in 2019, which was also the year my Nebula lamp was awarded during Milan Design Week’s Salone Satellite.

Right. So, let’s now talk about your early works for Studiomirei. Are they close to your current focus, sinuous marine-like forms rendered in banaca?

Not exactly. My initial work focused on animal-themed products, and I experimented with ceramics and paper before deciding to use my mom’s fabric.

Did you plan to use your mom’s fabric, or did this idea come up after a bout of experimentation?

You could say that it had always been in the back of my head, but I didn’t fully explore it until later. It felt like a natural evolution of my work. I’m material-agnostic, however, and am always open to experimenting with other makes. My current work with ceramics has been challenging due to their messiness. Good thing I now have a dedicated studio!

Right, this merging of workspace and home during the pandemic both had its pros and cons. But let’s leave that in the past. With your new studio, what are you excited to create now that you have a dedicated space?

I’m excited to experiment with materials that weren’t feasible at home. I will definitely continue working with my mom’s material because it’s important to me and the local community that creates it. I may have been displaced in Milan for a while, but I find it important to maintain strong ties to my roots. They are vital and distinct to my identity, which is a must to stand out in a cutthroat design landscape like Milan.

My early exposure to handicrafts and creativity, as well as my childhood visits to Catanduanes, continue to influence my work, and I make it a point to reconnect regularly, especially with the farmers and artisans who work to supply me with banaca.

Can you expound a bit on your relationship with banaca as material; it appears to be your material of the moment and one that many people associate you with.

Yes, but as I mentioned previously, I am open to all materials. As of the moment, banaca is satisfying all the form-finding explorations I want to achieve, and it’s still giving me work that I am proud of. Also, banaca, more than just my mother’s material, is dear to me because it is an extant link to my roots. And I have really come to regard the community helping us produce the material as family. My mom has actually been working with them for 20 years!

I can still remember the happy looks on their faces, that gratefulness for the support the last time we went to Catanduanes—nakakapuno sa puso! These hardworking folks and the materials they’ve been producing are helping me establish my footing here in Milan. I intend to keep this cycle of support and keep nurturing this relationship of continued recognition of skillsets and strengths.

You’ve now given your mom’s material new life beyond fashion. Have you been considering other form explorations, perhaps new product lines beyond lamps, particularly with the success of Nebula?

Haha! Actually, I don’t know yet.

I see, so you’re more of the organic, let’s see what the future brings sort of designer?

Yeah, I’m more like that. Organic, spontaneous, go-with-the-flow…But I guess what I can share now is we are thinking of ways to develop natural dyes for the banaca. So, we’ve been doing some tests with natural dyes. I don’t know how that will go. It’s interesting because we’re really aiming for sustainability. We want our products to be 100% natural.

That’s great! Banaca is already a sustainable material, so why not go all the way?

Yes! Right now, that’s the direction we’re going. However, the natural dyes still need to be made in the Philippines. So, when the banaca fibers get to me, it’s already naturally dyed. It comes with its set of logistical and financial challenges. Selling is a bit hard because the demand for a particular shade becomes a factor since it needs to be shipped, and the shipping aspect itself comes with its own set of considerations. Storage is also an issue but perhaps a little less so with my upcoming studio. We’ll figure it out eventually!

So here we are at your new studio! I understand that it’s still being finished (Editor’s note: the showroom-atelier has since been launched last September 6).

Yes! I think this used to be an elementary school, according to my landlord. It’s in the historical center of the town with a quiet plaza where everyone knows each other. I would love to expand my space in the future. It’s a one-floor 60-square-meter studio, not too big but large enough to be able to hold my work and possibly have a mini showroom space up front. As this space will also be my workplace, it will be strictly by appointment only for visitors.

Locating in Canegrate is a bit of a no-brainer as it’s not too far off from where I live. I used to routinely accompany would-be clients from the train station to my house previously, but with the new studio, I should be easier to find.

Mirei, Jayson, and I encounter two gentlemen hard at work painting walls inside a room within the studio space. “Meet my husband, Matteo, and my father-in-law, Massimo” Mirei introduces as the two beamed in our direction, roller brushes in hand.

I’m curious, though, if you can summarize the things you’ve learned from CSB, Cobonpue, and studying your two masters in Milan—like, what important insights or observations have really helped you develop into who you are now?

One thing I’ve learned is that you have to create opportunities for yourself. You can’t just wait; you have to work really hard for them to happen. Another thing is, in today’s world, everything is saturated. For example, in lighting or working with people, there are so many options. It’s important to have good relationships. Especially here in Milan, there are so many designers. The only reason someone would work with me is because they want to work with me, not just because of my product.

Indeed.

I recall talking with a real estate agent for an exhibit in Milan. She said, “I’m a real estate agent, but there are 20 other real estate agents here. There are so many choices.” So, the only thing that sets you apart is your relationship with people. Maintaining good relationships is crucial.

Right, and now that we’re on the subject of relationships. How’s your relationship with the city you now call home? Would you say there are qualities to this city or country that particularly support creatives or designers like yourself? And, of course, if you can let us in on the support systems that sustained you in this city.

Oh, I must say that I got really lucky because my husband’s family has been super supportive. My mother and father-in-law are very kind to me; it’s not normal (laughs). I feel super blessed in that department. Without their support, I don’t think I would have been able to do all of this. Talent and grit are important in this business, but the value of a support system is not as talked about.

It would have been much harder alone, for sure!

Yes, especially in a foreign country! You really need all the support you can get. Also, to thrive in Milan, learning the language is crucial. A grasp of Italian is essential. You can work in consulting or other fields, but setting up your own business is challenging without knowing the language.

Really happy to hear all this and see how far you’ve come, Mirei. Can you pinpoint that moment or break that had you going, “Okay, I’ve made it”?

Haha! That moment was when I finally found this studio. I got the place at the end of November last year (2023). It felt like a big decision to buy a place and commit to staying here for the foreseeable future. It’s not a decision to be taken lightly.

Oh, for sure. Investing in real estate is significant. It is a physical presence!

Yes, you are right; it’s a permanent step. When I saw this place and the town, I felt like I finally found a place where I belonged. It’s quiet and small, and you are surrounded by really nice people. Even though I’m probably one of the younger ones here, and this town isn’t exactly a haven for artists, I’ve never been made to feel like an outsider. Feeling welcomed is a significant part of my decision to set my base here. It was a bit challenging to find this place; it took me around two years. But I’m happy now.

Would you say Milan was the right place for you to flourish, or did you feel that you could have succeeded elsewhere?

Milan was a good fit because it had the right mix of everything. It’s close to the design scene, and I’m around other Filipinos who studied and worked here; there is, in fact, a sizable Filipino community here. As mentioned, I’ve found the support system I need here. It might have been harder in other places.

What I appreciate about your story is the element of love and support; this is usually the part of a designer’s profile that gets left out. Often, it’s the support system that truly makes a difference. We just need someone to believe in us where we are.

Definitely. It wasn’t just me; I had support. My success is a collective one.

We’ve talked about Italian support, but let’s now talk about your support system back in the Philippines. I’m sure your mom is ecstatic to hear about all these developments.

She’s very happy. She was recently interviewed, and there was a segment where she just talked about me. My mom has long been a supporter of what I do. I think she had an inkling of how I wanted my career to be and knew it related to hers, so I guess there were subtle ways she prodded me on to move forward, subtly to a creative career, subtly to make the most of banaca…

I see, so there was no directive to pursue this or that career track. I’m glad to hear that your parents were fully on board with your creative career, as there’s a prevailing notion that artists and designers struggle financially and don’t make as much money as, say, doctors or lawyers.

I’m lucky that both of my parents supported my career and understood that industrial design truly was my passion…My mom, in particular, went through difficulties because her parents weren’t supportive of her artistic career. They wanted her to pursue a more traditional path, like business. She didn’t want that for me and believed that one could live as an artist or designer. My parents also emphasized that being an artist involves more than just creating art. You also need to learn how to market or set yourself apart. (And do a lot of business!)

That’s often the hardest part. Many artists think that being good at drawing or sculpture is enough, but it’s only half the equation.

True. Some artists naman are very good at self-promotion but lack artistic skills.

Let’s lean in on that. How did you teach yourself to market your work? It’s a crucial skill, especially in product and industrial design, sometimes even more than the actual product.

It was a learning process and, at times, even harder than creating my products. I’m naturally shy, so overcoming that was a challenge. I had to work hard on it. For example, if asked to do a TV interview, I’d feel overwhelmed, but I need to do it! Not everyone gets this opportunity or media mileage, so why waste it? I’m also fortunate that my husband helps with that. He has a full-time job but assists me with the business aspects of Studiomirei when he gets home.

So, he’s your manager, in a sense?

Yes, exactly. He helps with business tasks, while my father-in-law helps with the studio setup. My father-in-law is really passionate about this, which caught me by surprise; he’s always enthusiastic and supportive whenever he helps out. Let’s not forget my mother-in-law who is always there for moral support as well!

Does he assist with the pieces themselves?

No, I do all the manual labor, like making the lamps and putting them together, along with the circuitry. My husband handles accounting and financial matters, which is his forte. In the Philippines, I work with my mom’s team, who makes the fabric. Once it arrives here, I manage everything. I also handle the electrical parts of the lamp but outsource some tasks, like metal structures, to external suppliers because I can’t weld here.

That’s impressive! But do you envision building a team in the future to help you out with the fabrication?

I’m taking it step by step. Expanding my team is challenging because Italian bureaucracy is tricky.

Is it tough to hire people here?

Yes, it is. Hiring is difficult, and I’ve heard similar challenges from others in the industry.

Okay, so how do people typically find out about your work? What platforms do you use or have you joined that helped you get noticed?

These days, when I ask people how they discovered my work, they often say it’s through Pinterest and not Instagram. Pinterest is effective for me because my work is featured on multiple online platforms like First Dibs, which, in turn, share my work on Pinterest. There are also events, of course; I know I said I’m introverted, but events or event appearances really work to put your name and work out there.

I’m starting to find that out for myself as well haha! I also noticed how well documented your pieces are, and see the amount of effort you put into photoshoots.

Haha, thank you! But would you believe that the first time I hired a photographer was for an event I had last week?

So, you did your own photography?

Yes, I usually do it at home, in the garage. When I was younger, I really wanted to be a photographer, but it didn’t work out. I realized I didn’t like carrying a lot of equipment (laughs). My dad gave me this really big camera when I was younger, and carrying it around made me realize that photography wasn’t for me. I still enjoy taking photos, though.’

Yes, and in this business, photography is crucial for showcasing your work. It’s the first touchpoint for potential clients.

Indeed, and since I don’t have a large space at home, I have to edit out the background most of the time. But no longer! Here, I’ve set up a dedicated area for photoshoots. We put up a drywall for a clean backdrop and kept the old walls for the rest.

Fantastic. Now can you remember the most memorable feedback you’ve received from a client or friend about your work?

Right now, I remember a recent client who sent me a photo of herself with one of my pieces. She looked very happy with it. You know how you can sometimes tell genuine happiness from a fabricated one in an image? I felt her happiness there, and it was infectious.

On to the reverse side of the client coin. Have you ever had to say no to a client’s brief because it didn’t align with your ethos and ethics?

Yes, there were definitely times like that. For instance, a client asked me to replicate a famous Venetian lamp; naturally, I declined because it was already widely available. All my designs and creations are truly my own.

Right. Let’s end our conversation with a discussion of culture and identity, which you probably saw coming from a mile away. I get a sense that you are particularly proud of your identity as a Pinoy, one that you make a point to subtly celebrate in your work.

Yes, and there’s a lot to celebrate about it. From my exhibit last week, I gained a deeper appreciation for the Filipino community. I was genuinely touched by how many people came to support me. At the end of the day, what keeps me going is not just my desire to be better at what I do but also to show the world what I can do and that I have a community that supports me. That my being Filipino is not at all a constraint but an asset, and that I can be just as good as anyone else.

I’m sorry I missed it. I was still on the plane getting here but it’s wonderful to hear about the support you received in your show!

It was quite an experience! And I made sure I worked with an entirely Pinoy team. Leslie, the photographer I hired, is Filipino. She’s fantastic, not just in how she captures moments but in the soulful way she tells her stories in pictures. The caterer was also Filipino. Jayson was also there to help. Help eat (laughs).

That’s great to hear. And I liked how this all-Pinoy cast list reinforces the fact that skill and talent know no race and address.

Yes, and it’s all natural. I do not explicitly brand myself as a Filipina designer, but my Filipino identity makes itself known naturally through the formal expressions, subjects, and materials of my designs. It just naturally and subtly comes out. I can’t hide that I’m Filipino and have no intention of ever doing so just to ‘make it.’

Fantastic! Authenticity is always a good thing for an artistic brand. You know you are connecting with a person who believes in what they do and isn’t doing it for the clout or trends.

Indeed! I mentioned before that there’s a sizable Filipino diaspora here in Milan. I just remembered that there’salso a group of Filipino architects and students who were born and raised in Milan working on a project to showcase Philippine culture through architecture. They’re presenting at the Triennale di Milano (last June 2024). It’s going to be the first time Philippine culture is showcased there.

That’s exciting!

What’s interesting is these Filipinos grew up here and may not have experienced life in the Philippines as we did, but there’s an urge, a desire to want to reconnect with their roots and highlight what we have, to be acquainted with their Filipino identity even though they are technically Italians. It’s not all roses here, of course. We may be one of the largest diasporas here, but we are still largely invisible. The usual stereotypes still apply to Pinoys here, that we are all service workers.

Yes, but so what? These are worthy, respectful jobs. And also, thanks to people like you, you may not be explicitly crusading to show that Filipinos can go beyond service roles, but you are, by just embracing who you are, what you can do, and what you still want to do, saying that race is never a constraint but an asset and a different lens through which to express creativity, beauty, and diversity.

Thanks for saying this! Ultimately, we are all just after expression and contentment and there’s no single way towards that but millions, billions of ways… •