Producing decorative glassware and an exquisite range of home fragrance, Aina Kari is reigniting the beauty of Italian craft. We meet its founder Marina Cighir to discuss the creativity behind the brand and its connection to ancient Persian techniques.
Aina Kari celebrates the beauty of Venetian glassmaking and was founded by Marina Cighir in 2020. © Aina Kari
Words by Roddy Clarke
Since setting up Aina Kari amid lockdown in 2020, Marina Cighir has been on a mission to reconnect the contemporary design world with the beauty and heritage of Venetian glassmaking. Launching initially with a range of luxurious candles, the studio has gone on to develop several other accessories for the home such as vases, incense burners and sculptural lighting with a new lighting design coming later this year. “The primary goal of Aina Kari is not just to spread beauty, which is a common pursuit for many, but to foster engagement, curiosity, and awareness among its audience,” she states when discussing the mission behind the brand. “This approach underscores a deeper connection to heritage and a more thoughtful interaction with the objects, encouraging people to appreciate and understand the cultural narratives and craftsmanship behind them.”
Marina Cighir, the founder of Aina Kari. © Aina Kari
With the studio’s name referring to an ancient Persian decoration technique that assembles finely cut mirrors into a variety of configurations on walls, ceilings and even window frames, Cighir explains how it acts as a bridge connecting eras past and present. It also alludes to the origins of ‘Made in Italy’ as a recognised label with elements of the craft being attributed to Venetian glassmakers who were invited to Iran by Shahs in the 17th century.
Cighir’s own creative journey began in the fashion world which subsequently led her into the lifestyle and design sectors. However, with her past experiences and proximity to Italian excellence governing her stylistic sensibilities, it created the foundation on which Aina Kari is based. “After 15 years of experience and travel across Italy and abroad, I decided to give life to my artistic and entrepreneurial idea,” she explains while revealing she currently lives in Treviso with her partner who grew up in Venice. “I wanted it to be a combination of craftsmanship and unexpected materials that must convey the territory, its history or simply everyday life with its repetitive ritual.”
The Tulip Candle by Aina Kari which is presented in a beautifully illustrated gift box. © Aina Kari
With the age-old art form of Aina Kari thought to have also evolved from the repurposing of discarded fragments of imported mirrors, Cighir has similarly adopted this circular mentality within the production of each piece she creates today. Using the quote of Anna Lappe as a guiding motto: “every time you spend money, you are casting a vote for the kind of world you want”, Cighir explains how the studio works with waste while deviating from the conventional paths of trends, seasonality, and the ‘relentless pursuit of novelty’. From using reclaimed offcuts of Palissandro marble deemed as unfit for market, to a commitment to working with local artisans and makers, the studio is the embodiment of sustainable luxury.
True to the brand’s conscious creativity, the fluted glass vessels of the Tulip Candle can be beautifully repurposed as vases or decorative ornaments. © Aina Kari
To fulfil her vision, Cighir also discusses the importance of collaboration. “Aina Kari is a small niche entity in a vast sea of offerings,” she continues. “I value communication with collaborators because transparency builds trust and, importantly, opens up new business opportunities for everyone around the table.” Speaking of the merging of traditional and contemporary techniques, she states how the combination of digital technology and ancient crafts is truly surprising. “In this space, the craftsperson peers through the window of modernity, using new communication methods to engage and intrigue younger generations about the artisanship of the past. This blend of old and new not only preserves traditional skills but also reinvigorates them, ensuring they remain relevant and appreciated.”
The Venice Ballooning Lamp will be on display for the first time at Homo Faber 2024, taking place in September at Fondazione Giorgio Cini in Venice. © Aina Kari
Looking ahead, Cighir is excited to be presenting a new lamp titled ‘Venice Ballooning’ at this year’s Homo Faber – a gallery style exhibition showcasing collectible design and presented by the Michelangelo Foundation for Creativity and Craftsmanship. The lamp plays with the idea of an imaginary glass balloon travelling between artistic and craft-led districts, resulting in a lighting piece handmade from Murano glass and Palissandro marble. “Homo Faber allows the audience to witness how Aina Kari has delved into the craft of Murano’s glassblowing and marble cutting while marking a groundbreaking moment in its artistic exploration,” she says. And, from the skilled artisans she partners with to the suppliers of the beautifully illustrated packaging in which the designs are presented – a signature distinction of the brand – Cighir’s meticulous attention to detail is clear to see. “The closeness to our partners allows for a hands-on approach,” she explains, “helping us to foster strong relationships and ensure the highest quality within each creation while celebrating and supporting local craft. Each material requires distinct know-how, so the final object is always a crossroads of workshops.” It is this open and collaborative approach which is setting the brand apart, allowing the magic of Venetian glassmaking to once again stand out for all the right reasons.
The third edition of Homo Faber, ‘The Journey of Life’, takes place in Venice from 1st-30th September 2024 – tickets can be found here.
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