Born into the craft, Daniele Mingardo is a young yet established master of metalworking who, at a very early age, transformed his family’s successful business into a thoroughly contemporary project. Passionate about design and naturally drawn to challenges, at just 25 Daniele shifted the perspective of the metalworking company founded in 1970 in Monselice (Padua) by his father Ilario. Alongside commissioned work, he introduced a collection of handcrafted objects with an elegant, minimal style, designed by a network of international designers under the guidance of an art director and produced in limited editions. A successful idea that did not sacrifice but instead enhanced Mingardo’s artisanal soul, giving rise to a new brand that embodies the essence of contemporary craftsmanship.

At only twenty-five, you began transforming the family business. How did you manage that?

My father Ilario founded Mingardo Metal Carpentry in 1970 in Monselice, in the province of Padua. He dedicated his life to it, working with extraordinary commitment and passion, every day from 7 a.m. to 8 p.m., always taking on the challenges posed by clients and trying, as a true craftsman, to deliver whatever was asked of him. I joined the workshop at just 18, eager to learn but also to contribute. I had a passion for design and a different mindset—more assertive and more inclined to take on challenges. Within a few years, I proposed a new perspective alongside traditional commissioned work: I wanted us to be at the center of the creative process, deciding what to produce and how. So, in 2012–2013 we presented our first furniture pieces, developed with Aldo Parisotto as Creative Director and a first group of designers called on to interpret our style. From there, several collections followed, involving both emerging and established designers, and sometimes even collaborations with professionals from outside the design world, such as photographers and stylists.

Within a few years, I proposed a new perspective alongside traditional commissioned work: I wanted us to be at the center of the creative process, deciding what to produce and how. 

My advice to artisans is to dare, to embrace the new, to keep learning, to share their secrets and know-how without being protective. The right mindset is: it can be done—you just have to find a way.

How did the market react?

The most surprising outcome was the strategic benefit we saw in terms of communication and the company’s image. Our product catalog showcased the range of processes we were capable of, opening us up to new and unexpected opportunities not only in product design but also in custom services. Today, we operate in both areas. Mingardo products embody our elegant, minimal style and serve as a ground for cross-pollination and dialogue with the various designers we invite to collaborate, all within a clear artistic direction. Custom work, on the other hand, spans a wide spectrum—from bespoke kitchens to sculptures, depending on clients’ requests—and finds in our products the best possible catalog: a guarantee for the client that we can deliver whatever they ask.

What is the goal behind the recent opening of the Mingardo Gallery in Milan?

We wanted a place to bring clients and architects, to show that we can not only create objects but also design entire environments with great flexibility. When we are entrusted with an interior project, we act as the lead for the entire process: we can select the most suitable architect from our network and manage collaborations with other artisans for additional work—glass, wood, etc. Initially, we thought about opening the Gallery in Monselice, but it would have quickly become a chaotic extension of the workshop, overwhelmed by the creative frenzy. So we chose Milan, the perfect city to engage in dialogue with the thousands of architects and designers who live and work there, or who visit during major events.

Does manual skill remain central even in a craft activity that makes wide use of tools and technology?

We’ve moved past the traditional image of the blacksmith hammering iron. Today, certain processes require not only manual expertise but also advanced machines and technologies. That said, in craftsmanship what truly makes the difference is still the hand—the human touch—even in the use of machines and tools. I believe this is the right vision of contemporary craftsmanship.

What advice would you give to artisans seeking a more contemporary approach to their craft?

I’ll give you an example. Some time ago, if asked to weld brass with a TIG welder—a tool that ensures an especially clean, residue-free finish—my father would have said it was impossible: brass requires a blowtorch. That’s it. Artisans often say “it can’t be done.” They rely on their great experience—and rightly so—but they close themselves off to new possibilities. I, on the other hand, gave it a try. I spent nights experimenting until I succeeded. Now I can weld all metals with TIG. My advice to artisans is to dare, to embrace the new, to keep learning, to share their secrets and know-how without being protective. The right mindset is: it can be done—you just have to find a way.

In 2020 you received the title of Master of Arts and Crafts. What does this recognition mean to you?

In Italy, when it comes to craftsmanship, we have many extraordinary excellences that, unfortunately, are at risk of disappearing. I feel enormous gratitude toward those who, like the Cologni Foundation for the Métiers d’Art, have long been defending and promoting this immense heritage with great dedication. And I am honored to have received the title of Master of Arts and Crafts.

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