Co-founder and Partner, Giò Forma.
Giò Forma Partners (from left to right): Florian Boje, Cristiana Picco and Claudio Santucci.
It has always been difficult to define my work in a few words because it spans several sectors, but they all have one term in common: design.
The studio that I co-own with Florian Boje and Cristiana Picco is called Gio’ Forma. It is unique in that we are able to work equally well in architecture, events, exhibitions, fashion, theatre and music. As far as we know, there is no other design studio in Europe with these multi-skills. Some of our most notable projects include the Maraya Concert Hall in Al Ula, Saudi Arabia – the world’s largest mirrored building – the Tree of Life for the Expo 2015 in Milan, the recently inaugurated FAO Museum in Rome, and four premieres at La Scala. In the music business, we have provided artistic direction for concerts by renowned Italian artists such as Vasco Rossi, Tiziano Ferro, Cesare Cremonini, Negramaro, and Jovanotti, among others. I would also like to mention our work providing artistic direction for music performances by artists on television shows such as Eurovision and the Sanremo Festival. We curated Maneskin’s winning performance at Eurovision 2021 in Rotterdam, and I was Head of Show for the following edition in Turin. I am currently in Sanremo curating Tiziano Ferro’s performance.
Maraya Concert Hal (Giò Forma & Black Engineering), Al Ula, Saudi Arabia.
Credit: Giò Forma.
Tree of Life (Giò Forma & Marco Balich), Milan, Expo 2015.
Credit: Giò Forma.
FAO Museum, Rome.
Credit: Giò Forma.
Don Carlo, Première at the Teatro alla Scala, Milano.
Credit: Giò Forma.
Tosca, Première at the Teatro alla Scala, Milano.
Credit: Giò Forma.
Vasco Rossi, San Siro Stadium, 2024.
Credit: Giò Forma.
Cesare Cremonini, Stadium Tour, 2025.
Credit: Giò Forma.
Negramaro, Stadium Tour, 2025.
Credit: Giò Forma.
Maneskin, Eurovision, 2021.
Credit: Giò Forma.
Although I have a degree in architecture, it was only during my final years at university that I realised I wanted to pursue a career in design. I was also a musician at the time – I play the bass – and going to concerts in the 1990s made me realise that I could combine my two passions: music and design. Even though they seem to have nothing in common at first glance, they actually have many overlapping points, especially today.
Our motto is “Everything is a stage” because we believe that anything, be it an object, a building, a singer or a dancer, should adopt the mindset of someone taking to the stage to perform in front of an audience, telling their story and expressing themselves. My partners share the same passions. With this attitude, originating in stage design and concerts, we have gained ground in fields and sectors where we were apparently not wanted, because we did not conform to “classical” standards. In short, we invented our own work, or at least found our own niche, which has led to considerable success.
To be precise, we do not organise events: we only take care of the creative and/or design aspects.
Our clients are often the agencies that organise the events. For example, for the closing ceremony of the Olympic Games in Verona, we were commissioned by Filmmaster to design the stage. The opening ceremony of the Paralympics will take place on the same stage in a few days. We are very happy and honoured to have been part of this important event. Apparently, the ceremony broadcast a few days ago was very well received, which makes us proud, as it’s a bit like putting on the national team shirt with the whole world watching, and feeling responsible for representing your country in the best possible way.
The stage design emerged from a desire to interact with and blend into the elliptical shape of the Verona arena. Although we were not responsible for defining and developing the show itself, we aimed to create a versatile, surprising and technologically modern stage space to give the show’s directors more options for storytelling.
Closing ceremony of the Olympic Games in Verona, 2026 (render).
Credit: Giò Forma.
The arena was built an astonishing 2,000 years ago. I don’t think anyone involved in its construction could have imagined that an event like this would take place in 2026! This is why designing and building a stage like this presented enormous challenges.
No two steps in the amphitheatre are the same. Due to space constraints, the possibilities for bringing stage machinery onto the stage are extremely limited, although it should be remembered that many musical and operatic performances take place during the summer season. We also created a workspace underneath the stage, complete with a “garage” for storing large props, which could then be lifted onto the stage by a central lift or by a flying system with steel cables crossing the stage at a height of 15 meters. The execution process was very long and difficult, but I believe that, in the end, we found the best possible compromise between the ancient arena, the available budget, and our own requirements.
I believe the most important thing is to leave your ego at home and equip yourself with empathy and active listening skills. You need to understand the context, the story of who or what is being presented, and the project’s inherent limitations. Then, using your creativity, preparation, and experience, you can find the right starting point for development.
This initial concept is crucial and what really matters and makes the difference. While it may seem straightforward initially, finding a concept that is simultaneously emotional, spectacular and beautiful, while also being feasible and within budget, can be extremely challenging and is the core focus of our profession.
I think this is the basis of success for professionals in all fields.
The entire journey is always an amazing adventure, but you’ve highlighted the two most intriguing aspects of it.
When the phone rings and we’re offered an interesting project, we immediately start thinking about it and discuss our initial ideas with the whole team. Sometimes these ideas are exactly right from the outset, but at other times it takes time to find the right one, which often comes when you least expect it. Inspiration can come from anyone, anywhere, or anything: a person, a place, an image, a book, a film. This is why a multidisciplinary approach is fundamental to us.
Everything is a source of inspiration and everything is a stage. Of course, seeing what you imagined come to fruition is extremely satisfying, and it rewards a career path that is often hard and filled with sleepless nights spent thinking and full of doubt. Our curse is that we almost always have a set date when, for better or worse and whether we are ready or not, we have to go on air. There is no second chance or opportunity to rectify a mistake in judgement. It’s the good and the bad that make it all very exciting and real.
Many of them are confidential, so we cannot disclose them due to confidentiality agreements. However, I can tell you that we are building hotels in Saudi Arabia, organising events in Vietnam and some of Italy’s most important summer tours, featuring artists such as Vasco Rossi, Cesare Cremonini, Tiziano Ferro and Negramaro. Our stage at the Verona arena will be back in action on 6 March for the opening ceremony of the Paralympic Games, which promises to be just as spectacular as the closing ceremony of the Olympic Games.
My passion began when I was a child. Back then, lots of children dreamed of becoming astronauts. I really wanted to be one! I then realised that I didn’t have the necessary skills, but I still love following space adventures.
In my opinion, the race to conquer the Moon is the greatest feat ever achieved by humankind, in terms of both creativity and science. It was the most courageous and innovative endeavour. It was a historic moment that we have not experienced again, alas. This is both good and bad because mistakes were made that cost people their lives.
I find it fascinating that the only truly earthly object to accompany these brave men was a cutting-edge, highly technological watch. For me, wearing a Speedmaster every day is a reminder that innovation requires daring and perseverance in the face of what seems impossible. The Speedmaster is a symbol, and every model from that era serves as a reminder of this. I am not interested in other watches. The Moonwatch has so much to tell, and for me it is unrivalled.
And don’t talk to me about conspiracies, or I’ll get angry!
Apart from various “toys”, my first proper watch could only be a Speedmaster.
I was 19 in 1989, and I bought my first Moonwatch with the first money I earned doing odd jobs. I still remember the price: 1,400,000 lire. Unfortunately, I then made the mistake of selling it, as when you’re young, you don’t have much money and have to make sacrifices to fund your projects. However, when I graduated in architecture, my parents, knowing how passionate I was about this watch, gave me a Speedmaster Albino, which I still have for obvious sentimental reasons. I think it cost less than 4 million lire when it was released in 1997.
Omega Speedmaster, ref. 345.0818 “Albino”.
This is the most difficult question to answer.
For me, the par excellence Speedmaster is the Ed White 105.003 for aesthetic, technological and symbolic reasons: it was the first watch to be tested by NASA. The models worn by Armstrong and Aldrin on the Moon are also among the most important and popular, precisely because of their symbolism. However, I also love the 2998 because it was the first watch in the Speedmaster space lineage. I am also very proud of my 145.022-69 Straight Writing, which has an amazing and rare tropical dial that makes the watch appear softer, warmer and more vintage despite its technological nature. Lastly, I would like to mention the gold BA145.022, which, although I don’t wear it often, holds enormous symbolic value for me due to the celebratory reason behind it.
Omega Speedmaster, ref. CK 2998-62.
Omega Speedmaster, ref. ST 105.003-64 “Tropical”.
Omega Speedmaster, ref. ST 145.022-69 “Straight Writing Tropical”.
Omega Speedmaster, ref. BA 145.022-69 “Tribute to Astronauts”.
It has always been my dream to own a watch that belonged to an astronaut who took part in the space race in the 1960s. However, auctions are too expensive for me.
Coming back down to earth, aesthetically, I am very attracted to the black dial Racing 145.012, which is a little more affordable and which I may be able to acquire one day.
One thing is certain though: I won’t have any other watches apart from the Moonwatch!
Omega Speedmaster, ref. 145.012-67 “Racing Dial”.
I hate to tell you this, but I have a MoonSwatch!
I often travel for work and prefer to play it safe in unfamiliar surroundings to avoid any unpleasant incidents. However, I usually wear a Moonwatch every day, and I rotate my entire collection of vintage and modern watches, which I continue to buy. Apart from a few very valuable ones that I reserve for special occasions, I wear them all without exception.
In short, I’m not a collector who keeps his watches in a safe all the time. I buy them to wear them, not as precious objects, but as symbols of courage, innovation, technology, and design.
