Millim Studio


Millim is a multidisciplinary creative studio.
Founded in Rome by Chiara Pellicano and Edoardo Giammarioli. Their gaze is aimed at the research and construction of new forms of expression that create stable connections between culture, art, design and communication. The studio works in the fields of creative consultancy, art direction, product design and collectible design.
In 2024 Millim Studio was selected among the 20 Talents by AD Germany. In 2019 the studio won the Wallpaper* Design Award in the “Best Dream Design Factory” category.


2023__Marbelicious__O bench
2023__Marbelicious__S bench
2022__Cutout__Table Collection
2022__Cutout__Vase Collection
2022__Miscellaneous__Side Table
2018__Re&Regina__Oil Lamps


2021__Alter__Studio F
2019__Twins__Coffee Tables
2019__Fusion__Secondome Gallery
2018__Glitch__Secondome Gallery


2024__Thema__Baranzate Ateliers 2024__Metalique__Label201
2024__HKDI Gallery__Hong Kong
2023__Venice Design Biennial
2023__ADI Design Museum
2023__Piazza di Siena__Villa Borghese
2023__Fuori Contesto
2023__Contemporary Cluster
2022__EDIT Napoli
2022__In Search of Lost Time
2022__Villa Borghese
2022__Collectible Fair
2021__Lake Como Design Festival
2019__Still Moving
2019__Lake Como Design Festival
2019__Maison & Objet
2018__Twiner #6
2018__Ventura Future
2017__Ladies & Gentlemen

2023__Venice Design Biennial__Venice, Italy                               


Fondamenta San Biagio 800R
Giudecca Island
ph: ©Giacomo Gandola

Auto-Exotic is the theme of the fourth edition of the Venice Design Biennial, whose
programme of exhibitions returns to Venice from 19 May to 18 June, in parallel with
the first month of the Architecture Biennale.

The curatorial theme of this edition, proposed by the curators and founders of the project, Luca Berta and Francesca Giubilei, is Auto-Exotic.

The exotic is dead - long live the exotic. They stole from us elsewhere! What is to be done? There will be a self-elsewhere somewhere else. Designers from all over the world unite, self-colonize, self-appropriate!

In his seminal essay Orientalism (1978), Edward Said showed how since the eighteenth century the cultural investigation of the East, understood as the physical and mental space of exoticism, revealed conceptual connections with colonialist practices. Elsewhere, populated by odalisques and caliphs, full of mysteries and sensuality, exercised a fascination in Europe that was intertwined with the practices of political, military and commercial hegemony.
Exciting passivity, femininity, indolent sensuality-sexuality, immobility, traditionalism, irrationality: all distinctive traits projected on the East to obtain in negative the mold where to pour the incandescent material - virile, progressive, rational - of Western identity.

In recent years, two interrelated phenomena have emerged, which have radically altered this scenario. On the one hand, “exotic” cultures and civilizations have spectacularly reversed the cliché of immobile traditionalism. The great emerging powers are located outside the West. It is the West that shows signs of declining immobility. Elsewhere has found its voice - and it is different from what we expected.

The other phenomenon is the correlative decline of globalization as we have known it, that is, as a perpetual expansive motion of Western capitalism. In all likelihood, capitalist dominance remains, what is wavering is its western declination, with the corollary of social and political aspects, whose export value has turned out to be modest to say the least. In the meantime, globalization has done its job, and everything that in the past manifested itself in an aura of unattainable distance now appears to be at hand anytime, anywhere, without delay.

The consequence is that the search for the exotic, for the exciting and mysterious elsewhere, slides towards a horizon that no longer extends geographically, but rather collects itself in the more or less hidden folds of our own culture of belonging, and in its own offshoots both in the sense of marginality and avant-garde.

The challenge for designers today is how to investigate this otherness, near and far, in a way purified of stale prejudices, but not without the radicalism of those who want to break down prejudices. The Venice Design Biennial wants to invite them to present their vision in a city that is the cradle of the concept of the exotic, a hinge between West and East, where the account of Marco Polo’s legendary journey for the first time opened new horizons to th gaze and to the imagination applied to an elsewhere beyond the limits of known experience.