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 GUESTS OF THE ARRIVABENES

The Arrivabene Valenti Gonzaga dynasty embodies Venetian aristocracy like few others. The family reached true "rock star" status in the 19th century as owners of the magnificent Palazzo Papadopoli, which today houses the luxury hotel "Aman Venice." An exclusive LIVING interview with Count Giberto Arrivabene—renowned glass designer and icon of the Italian lifestyle.

THE ESSENCE OF VENETIAN STYLE

If one could encapsulate Venice's stylistic DNA in a single location, there would likely be no better place than Giberto Arrivabene’s Palazzo Papadopoli. Located just a few minutes by boat from the Rialto Bridge, this white 16th-century palazzo—where iconic painters like Cesare Rotta and Giambattista Tiepolo left their mark—breathes the very history of La Serenissima. Count Arrivabene Valenti Gonzaga, 58, a direct descendant of the Papadopoli family, is as intertwined with this urban jewel as St. Mark’s Basilica is with its namesake square.

"I spent my childhood here and would never leave this house," says the man with the expressive eyes, who benevolently acknowledges our infatuation with his family seat. Certamente, this place is a treasure trove: acquired by the Papadopolis in 1864, shaped by five centuries of art and culture, and—since the arrival of the international luxury hotel chain Aman in 2013—effortlessly showcased through modern, spacious interior design.

We are invited to the Count’s family home for the current LIVING cover shoot. They still reside on the top floor of the palazzo, featuring tasteful salons, plenty of Italian flair, and an "ordered chaos" of sculptures, antiques, paintings, family photos, and charming childhood mementos. Not least, it is the legendary view of the Grand Canal that fascinates, alongside a multifaceted, colorful glass collection—Giberto’s great pride. About fifteen years ago, the charismatic Count with the well-groomed white beard dedicated himself to the art of glass, producing creative designs for international luxury brands like Dior and Artemest.

The Count hands us an espresso from the machine—he makes it himself; there is no room for class snobbery in the Arrivabene household. "La Famiglia" appears straight out of a storybook—indeed, the royal Italian lifestyle could not be better presented. His wife, Princess Bianca di Savoia Aosta, has given the Count five children and manages more than just the family—at home in the world of art, the elegant Principessa chairs Christie’s Italy and also runs a refined event agency.

And unlike their more reserved British counterparts, the youngest members of this noble line are permitted to showcase their fabulous lives on Instagram and enjoy the spotlight. The family's "It-girls" (the Venetian versions of William and Harry) are named Viola and Vera Arrivabene. In addition to their inherited rank at the highest level of Italian society, the stunning sisters have established themselves as independent fashionistas and founded the trendy shoe label ViBi Venezia—naturally, in the spirit of their father.

The LIVING talk on glass aesthetics, the love of design, childhood memories, and why Europe must help Venice.

"Venice itself is history. Every single corner is full of it. Even though I live here, I am constantly discovering something new." — GIBERTO ARRIVABENE on his love for Venice

LIVING: Palazzo Papadopoli, a magnificent 16th-century palace, has been in your family since 1864. Seven years ago, Italy’s first "Aman" hotel opened there. How did that come about?

GIBERTO ARRIVABENE: It was actually a very beautiful development in the history of our palazzo. There were too few of us to occupy this "house," and we didn't know what to do. I then had the idea to build apartments here, but thanks to a stroke of luck, I was contacted by Adrian Zecha, the founder of Aman hotels worldwide. We met, hit it off immediately, and he proposed opening an Aman in our palazzo.

So, did you want to sell after all?

GIBERTO ARRIVABENE: No, never. We agreed that he would lease the palazzo from us—a thirty-year lease, in fact—and that I would continue to live on the top floor with my family. Thus, we live in our palace and, at the same time, in one of the most beautiful hotels in the world. Nothing better could have happened to us!

A place full of history that tells many stories. How has this place influenced your life?

GIBERTO ARRIVABENE: When you grow up here, this place becomes part of your life and you get used to it. Venice itself is history; every single corner is full of it. Even though I’ve lived here for so long, there are still spots I discover anew—it enlivens the spirit for work and is the perfect motivator for inspiration.

Well, it’s not every day that a six-year-old eats breakfast under Giambattista Tiepolo’s frescoes...

GIBERTO ARRIVABENE: Certamente (laughs). As I said, as a child, you don't really notice these privileges. Tiepolo's most beautiful ceiling painting was the one in my mother’s bedroom. I used to jump around on her bed while staring at Tiepolo's art. Naturally, his works still inspire me today, as does everything in Venice.

Then you surely have fond memories of the song "Santa Lucia"—sung by a gondolier...

GIBERTO ARRIVABENE: It was a particularly hot day in Venice. I was a young boy, and the heat was almost unbearable even inside the palace. It didn't get any better at night, either. I woke up several times, and that was the first time I heard a gondolier singing "Santa Lucia." This song is a wonderful childhood memory; I feel comforted and at home whenever I hear it.

How did you get into glass art? You are actually a broker at the insurance company Aon...

GIBERTO ARRIVABENE: It all began as a game. I inherited wonderful 18th-century glass collections from my family. Eventually, these old glasses broke or developed cracks. I went to Murano and tried to have the glasses restored in the glass manufactories. When my friends noticed what I was doing, I started repairing glasses for them too, and [making them] helped them with it. Then I developed a desire to occupy myself more and more with glass design. That was the starting signal for a hobby that, alongside my work for Aon, has also become my profession.

"It all began as a game. I tried to repair broken glasses. Then I founded my company." — GIBERTO ARRIVABENE on the start of his business

What do glasses mean to you personally?

GIBERTO ARRIVABENE: Beautiful glasses convey pure aesthetics; they are elementary components of elegant table culture and imply the joy of social gatherings. It is always interesting to see what stories can be told through glass design. I love preserving old forms and giving them a certain modern twist. But above all: beautiful glasses naturally belong to Venice, just like the Rialto Bridge or "Harry’s Bar"!

You create many different glass objects. What do you enjoy designing the most?

GIBERTO ARRIVABENE: It varies. When you create a new glass design that hasn't been seen anywhere before, it’s a joy. I also like my picture frames; they are very special because I use a mix of different materials for the frame, including fabrics. I like our letter openers, too—for these, I use heavy materials like crystals or agate, combined with glass, wood, or velvet. They are very simple and elegant objects, yet difficult to produce.

"Beautiful glasses convey pure aesthetics and are elementary components of elegant table culture." — GIBERTO ARRIVABENE on the fascination of glass

Where do you draw inspiration for these diverse objects?

GIBERTO ARRIVABENE: From everywhere. From the alleys of Venice, from conversations, walks, and of course, from travels. I have a favorite glass that the "Aman" hotel uses in its restaurants. It has a particularly beautiful engraving. I came up with this design in Marrakech. We were served tea in these small, colorful, decorated glasses. That is how the "Palazzo" glasses were born.

It is a fact that Murano glass is famous all over the world. What makes it so special and unique?

GIBERTO ARRIVABENE: Glass is a material that is never the same and constantly changes over time. Eventually, cracks appear; it "works" or has slight color changes. In contrast to crystal glass, Murano glass is a "warm" glass—the precisely defined mixture of the finest quartz sand, lime, and soda results in its particularly pure appearance and high quality. Only the families of the glass artists know the exact composition. Once the mixture is ready, it is melted for several hours at 1200 degrees Celsius; only then is the raw material ready for processing.

Murano glass is also among the most expensive glass in the world. Not surprising, when one knows the production costs...

GIBERTO ARRIVABENE: Indeed. Production costs have risen immensely, especially recently. The gas for the kilns has become more expensive, and the glassblowers also demand very high hourly rates—in one hour, about thirteen pieces are produced, with costs amounting to 500 euros. Not to mention those pieces that are flawed and must therefore be discarded. This leaves perhaps seventy percent of a production run that can actually be used.

Do you have a favorite piece?

GIBERTO ARRIVABENE: That would be the glass sculpture of the unique Paolina Borghese, originally in Carrara marble—one of Antonio Canova’s most famous works. It was created in 1805 and can be seen today in the Galleria Borghese in Rome. This project, in cooperation with Factum Arte, took nearly two years, as we first had to obtain permission from the government in Rome to replicate Paolina in glass. Using 3D scanning, we were able to reproduce the sculpture perfectly. We first made a plaster cast, then came the wax model, and finally the glass. This production was incredibly intense and lasted six months. I made three pieces of her—one of which is exhibited in the Cast Courts of the Victoria and Albert Museum in London, which makes me very proud.

Do you have any special projects that you want to realize in the coming years?

GIBERTO ARRIVABENE: I am currently working on two extraordinary projects that I would like to finalize by the next Glass Biennale. On one hand, there is Alberto Giacometti's "The Walking Man," and furthermore, Giacomo Manzù's "The Cardinal." I couldn't imagine producing these objects anywhere else but in Murano itself.

A Venetian once told me that it is a gift to be allowed to grow up in Venice and that one will always be connected to this city in a special way. Is it the same for you?

GIBERTO ARRIVABENE: Every year over Christmas, we go to South America for a few weeks—it's a wonderful time. But what can I say: in the last week, I already get quite restless because I already miss Venice. It goes so far that I don't even want to do without the terrible smell of the canals, because that scent, like all the beautiful things of this city, is anchored in my Venetian heart.

Tell me about the current situation in Venice. The problems of global warming are advancing—the floods... will [Venice] still exist in [100] years?

GIBERTO ARRIVABENE: It is unfortunately very sad and difficult. For decades, work has been ongoing here on the recurring flood problem—the so-called MO.S.E. project should have been completed a few years ago. This system consists of giant mobile dike modules intended to block the entrance to the lagoon when flooding threatens. I am optimistic about this project, yet one doesn't know exactly what will come of it. The risk is that with this system, the city would be cut off from fresh water almost constantly during flood months and could quickly turn into a cesspool.

What do you wish for Venice?

GIBERTO ARRIVABENE: I would wish for Europe to take care of Venice, which is unfortunately impossible. To make Venice attractive for young people again, only low  perilous procedure and shape glass objects daily with effortless ease. Signs of fatigue? Not a chance! Because the beautiful result is all that matters.

Giberto Arrivabene explains: "Usually, several men work together on a single piece. They use metal rods to pick up the molten glass so that it can be shaped immediately. One must keep in mind that the glass pieces consist of a multitude of layers into which various colors can be integrated. With each layer of glass, the sculpture is brought a little more into shape. Crucially, the glass must be repeatedly reheated, shaped, and cooled. As soon as it comes out of the furnace, the glass artists have only a few seconds to work on the piece."

A LONG ROAD TO THE MASTERPIECE

However, we discover that even this does not mean the final result has been reached. Arrivabene continues: "The glass is heated in the furnace to over 1,000 degrees Celsius. Before it can achieve its final form, it must first cool down." Yet, there are additional rules to observe: the precious Murano glass risks breaking if the temperature drops too quickly. Therefore, the artworks are placed in a cooling kiln for two days.

And voilà – the end result can finally be admired. We continue to browse the small workshop, and it is astonishing how much patience this work requires. In every nook and cranny, countless broken figures are piled up—pieces that didn't make it to sale. The enchanted little manufactory buildings, which seem almost at risk of sinking into the dust, have a tranquil air. Many furnaces are no longer in operation; only the best are still being used. Finally, we are shown the in-house store, where figures of all kinds, colors, and sizes are displayed and sold. To achieve this, Giuman and his sons toil for hours every day to fulfill the many orders on time.

GIACOMETTI FOR THE 2021 GLASS BIENNALE

Arrivabene has set a similar goal for himself with two new projects. Just in time for the 2021 Glass Biennale, he wants to finalize Giacometti’s "The Walking Man" and Manzù’s "The Cardinal," which are also being crafted in Giuman’s furnaces. The Cardinal figure is first modeled in plasticine before the next steps are taken. "Creating such an extraordinary project takes time," says the Count 

the experienced glass designer says, his expression turning pensive. "I am only satisfied when the figure is perfect. It takes weeks before I decide on the right path for myself."

In this business, perfection is the fundamental prerequisite for success—making it all the more frustrating that many self-proclaimed artists do not play by the rules of the lagoon. "Good design," says Giberto, "is copied, copied, and copied. I see so many designs of my glasses and know exactly that they have simply been ripped off." LIVING wants to know what can be done about it. Apparently, not much.

"As soon as a piece has just one additional dot or line, that object is declared a new design and thus exclusive," Arrivabene rightly complains. "And no, unfortunately, there is nothing you can do. These are situations here that you simply cannot fight."

Yet, looking at Arrivabene’s beautiful design creations, it quickly becomes clear that these are the true originals. His small but refined company has a great wealth of facets in its repertoire. From glasses of all types and colors to vases and carafes, as well as picture frames, letter openers, and magnificent sculptures—glass lovers can draw from a vast selection here.

The commissioning of individually created collections with custom engraving is just as much a part of the business model as the "favorite pieces" that customers choose as collector's items. The playground for new objects in Venice seems almost infinite; there are no limits to the ideas.

SMALL AND UNIQUE IS THE GOAL

Whether one might be able to visit a shop with Giberto’s glass objects in the future remains to be seen. "We are currently doing very well with our business model. Owning a store also means having to produce in larger quantities, but I want to stay small and unique." We want that, too!

taxes should be charged, and apartments would have to be made available. The city is dying successively, and Venice can only survive with young families who found their businesses and companies here. And my hope dies last.

THE MAGIC OF MURANO GLASS

Since the 14th century, Venice’s small neighboring island of Murano has been the birthplace of significant glass grandezza. LIVING was able to take a close look at the creative process behind Giberto Arrivabene’s glass art.

TEXT: ANGELIKA ROSAM 

The elegant Riva boat stops at the pier with a gurgling engine. Giberto Arrivabene tightens the rope and welcomes us once more. We are on our way to Murano, that small island north of Venice where the world's finest glass has been crafted since the 14th century. The "Glass Count," as we have come to call him, also works there with several glass artists on his creations. For his special projects—such as the glass replica of the ancient beauty Paolina Borghese—Murano’s eccentric artist Giorgio Giuman was commissioned.

The Count has been working with him for years as a well-coordinated team—two strong personalities who complement each other. Arrivabene provides the design, while Giuman executes it. Around a hundred small businesses in Murano are currently entrusted with the artisanal secrets of Murano glass production. Originally, these were passed down from father to son over centuries; a ten-year apprenticeship was a prerequisite, and only the best made it to the end.

The physical exertion required before one can be titled a glass artist is immense, and breathing in the toxic fumes from the kilns can be particularly harmful to one's health. In Giuman’s case, too, his two sons are already involved in the 

his two sons are already involved in the life-threatening procedure, shaping glass objects every day with an ease that comes from deep familiarity. Signs of fatigue? None whatsoever. For the beautiful result is all that matters.

Giberto Arrivabene explains: «Several men usually work on a single piece together. They use metal rods to gather the molten glass so that it can be shaped immediately. One must bear in mind that the glass pieces are made up of a multitude of layers, into which different colours can be integrated. With each layer of glass, the sculpture is brought a little closer to its final form. Crucially, the glass must be repeatedly reheated, shaped and cooled. The moment it comes out of the furnace, the glass artists have only a matter of seconds to work the piece.»

The long road to a work of art

With that, we discover, the final result has still not been reached. Arrivabene continues: «The glass is heated in the furnace to over 1,000 degrees Celsius. Before it can achieve its final form, it must first cool down.» And there are additional rules to observe: precious Murano glass risks shattering should the temperature drop too quickly. The works are therefore placed in an annealing oven for two full days. And then — voilà — the finished result can finally be admired.

We continue exploring the small workshop, and it is astonishing how much patience this work demands. In every corner and every nook, broken figures pile up — pieces that never made it to the shop floor. The enchanted little manufactory buildings, seemingly on the verge of sinking into the dust, have an almost contemplative quality. Many of the furnaces are no longer in use; only the finest are still fired up. We are eventually shown the in-house store, where figures of every kind, colour and size are displayed and sold. To reach this point, Giuman and his sons toil for hours each day to fulfil the many orders on time.

Giacometti for the Glass Biennale 2021

That same ambition drives two new projects Arrivabene has set his sights on. In time for the Glass Biennale 2021, he aims to complete Giacometti's The Walking Man and Manzù's The Cardinal, both to be crafted in Giuman's furnaces. The Cardinal figure is first modelled in plasticine before the next steps are undertaken. «Creating such an extraordinary project takes time», the glass designer says from experience, his expression turning thoughtful. «I am only satisfied when the figure is perfect. It takes weeks before I find the right path for myself.»

Perfection is the fundamental prerequisite for success in this business — which makes it all the more frustrating that many self-proclaimed artists do not abide by the rules of the lagoon. «Good design», says Giberto, «gets copied, copied and copied. I see so many designs of my glasses and know perfectly well that they have simply been imitated.» What can be done about it, LIVING wants to know. Apparently not much. «As soon as a piece has just one extra dot or line, that object is declared a new design and therefore exclusive», Arrivabene rightly complains. «And unfortunately, there is nothing one can do. These are situations here that cannot be fought.»

And yet, looking at Arrivabene's strikingly beautiful design creations, it quickly becomes clear that these are genuine one-of-a-kind pieces. His small but refined enterprise boasts a rich and multifaceted repertoire. From glasses of every kind and colour, to vases and carafes, picture frames, letter openers and extraordinary sculptures — glass lovers can truly indulge here. The commissioning of individually created collections with chosen engravings is as much part of the business model as favourite pieces chosen by clients as collector's items. The playground for new objects in Venice seems virtually endless; there are no limits to the imagination.

Small and unique is the goal

Whether one will be able to visit a dedicated shop for Giberto's glass objects in the future remains to be decided. «We are currently managing very well with our business model. Owning a store also means having to produce in larger quantities, but I want to stay small and unique.» And so do we.