November 26, 2025 | DESIGN & INTERIORS
LIVING TRADITIONS, QUIET REVOLUTIONS
words Alp Tekin
Mustras was born out of a desire to reconnect—with land, memory, and the quiet poetry of handmade things. Founded in 2019 by Fabrizio Felici and Martina Carcangiu, the project moves between design and craft, tradition and renewal. Each object begins with a story, shaped slowly by local artisans using age-old techniques and raw materials chosen with care.
Emerging in response to a disappearing heritage and the silent retreat of rural communities, Mustras offers something rare: a contemporary vision rooted in slowness, meaning, and place.
How did the two of you come together?
MARTINA - Our personal and professional journey together has been shaped by complementary experiences and a shared vision. Although we come from different backgrounds, our paths kept crossing—eventually leading to the project we’re working on today.
Fabrizio studied architecture at the Polytechnic University of Turin and spent sixteen years living and working there. In 2015, he made the bold move to return to Sardinia and open his own studio. That decision marked the beginning of his path in experimental design, merging traditional craftsmanship with contemporary aesthetics.
My background, on the other hand, has always been rooted in the arts. I studied Visual Arts at the Academy of Fine Arts in Florence and later earned a master’s in Cultural and Artistic Event Management at Palazzo Spinelli. I then worked as gallery manager at Cartavetra, a contemporary art gallery. It was through that vibrant art scene that I met Fabrizio.
We first met in Tuscany, then again in Sardinia, and immediately realized we shared a common vision at the intersection of design, art, and architecture. Despite our different trajectories, we had overlapping references—one of which is Bimbia Fresu, an extraordinary architect and sculptor whose work unites Sardinian craft traditions with design innovation.
Though I loved living in Florence, I always longed to return to my homeland. As often happens with those from islands, I dreamed of reconnecting with my roots professionally. So I joined Fabrizio in Sardinia. Since then, we’ve been combining our experiences and ideas through Mustras.
THE BIRTH OF MUSTRAS
Tell us how Mustras began.
FABRIZIO - After moving back to Sardinia, I focused my architectural practice on projects that allowed me to explore the island’s vernacular roots. I sought out remote and peripheral areas, diving into the history of these places and the materials and techniques they held. Architecture is often a slow, constraint-driven process, whereas design offers more flexibility and immediacy. That’s how the idea of Mustras took shape.
What began as a research initiative eventually evolved into a brand. My aim was to understand the full potential of materials and techniques, while delving into traditional culture and the symbolic language embedded within it. I also wanted to invite external designers into the conversation, creating a dialogue between Sardinian identity and diverse cultural perspectives.
Meeting Martina was a turning point. Her contribution shifted Mustras into a new phase. Together, we began exploring the transformative threshold where design and architecture become art through craftsmanship. That journey led us to the overarching theme of “inhabiting”—a concept that transcends physical space and speaks to memory, presence, and emotion.
Mustras is adaptable to any context. Our goal is to find the extraordinary within the everyday—to uncover what is rare and meaningful. That means taking something ancient and singular and merging it with contemporary needs and sensibilities. Every piece in our collections is the result of both theoretical inquiry and hands-on experimentation. These are objects created slowly and thoughtfully, as an act of resistance to the speed of modern life.
To bring this philosophy into production, we work with high-quality local materials and artisanal methods. Natural dyes, skilled craftspeople, ethical sourcing, and the selection of the finest raw materials are all essential to our process. As a result, our pieces are typically produced in limited, numbered editions.
PRESERVING CRAFT, CULTIVATING CULTURE
Mustras draws heavily on traditional crafts. How do you support and sustain this heritage?
MARTINA - To treat craftsmanship as a resource means embracing a long-term vision rooted in slow and meaningful growth. Intergenerational dialogue is central to this process—we believe in creating opportunities for traditional knowledge to be shared with younger generations, allowing it to evolve consciously rather than merely be preserved.
Many of the techniques we work with are intricate and require highly specialized skills. That makes them even more valuable. We collaborate with artisans across more than 15 different communities in Sardinia, many based in remote areas that are home to deeply rooted craft traditions.
Mustras itself was born in a small village in the heart of Sardinia. Our goal from the start was to build something anchored in local values and techniques while also welcoming artistic research and design-led thinking. We aim to create a network of craft excellence—one that moves beyond consumer logic and creates a positive impact on local communities by reinforcing both identity and economy.
We see craftsmanship as a cultural and economic resource—particularly vital to the future of small towns. Techniques such as hand-weaving, basketry, and the use of natural pigments are part of a legacy that must evolve sustainably. Every object we produce is more than a product—it’s the outcome of a vision shaped with intention and care.
IN A FAST-PACED WORLD, SLOW CRAFTMANSHIP OFFERS A DEEPER RESPONSE: A WAY OF LIVING SHAPED BY BEAUTY AND MEANING. WE BELIEVE IN THE LASTING GRACE OF OBJECTS THAT AGE WITH DIGNITY —ALWAYS RETAINING RELEVANCE
Globally, craftsmanship faces shared challenges. What are your thoughts on the future of handmade work?
FABRIZIO - The Mustras model is one that can be adapted to various geographies facing similar questions. When we think about the future of handmade work, we believe the key lies in balancing preservation with innovation, and local identity with intercultural dialogue.
Maintaining that balance isn’t easy. Without thoughtful direction, the result can either be a nostalgic repetition of the past or a generic standardization that erases meaningful roots. Contemporary architecture, for instance, has blurred boundaries due to globalization and the cross-pollination of disciplines—craft now finds itself in a similar position.
One of the most urgent aspects for craft’s future is generational continuity. It’s essential not only to keep traditional skills alive, but to enrich them with new perspectives. We also believe in rediscovering slowness as a form of resistance—a way to promote ethical, mindful production.
In a fast-paced world, slow craftsmanship offers a deeper response: a way of living shaped by beauty and meaning. We believe in the lasting grace of objects that age with dignity—always retaining relevance.
A MATERIAL LANGUAGE
Your collection includes a wide range of materials. What kinds of pieces are currently part of Mustras?
FABRIZIO - Right now, our collection includes handwoven objects in rush and raffia inspired by traditional Sardinian basketry; naturally dyed table linens and wall textiles using local plants; wool and cotton rugs and tapestries hand-loomed with symbolic motifs from Sardinian culture; and ceramics shaped from island clay that explore daily rituals and gestures.
MARTINA - Our embroidered textiles—such as tablecloths and wall hangings—are deeply tied to the island. We use only native Sardinian plants to dye our linen. Wool weaving is another area of exploration. We draw on archaic symbols that may feel distant from contemporary life, and instead of bridging that gap, we acknowledge it—treating it as fertile ground for thought.
Our work in ceramics starts with traditional forms that we transform into contemporary reflections on living. Even when these pieces transcend the geographic borders of Sardinia, they remain rooted in its identity through the use of local materials.
As we explore history and tradition, we often find surprising points of connection with other cultural legacies. Artists from outside the island, such as Raffaele Di Vaia, have found resonance in Sardinian symbology. His sculpture "Una volta di notte" interweaves his own artistic research with local symbols, creating forms that seem to float between languages, times, and dimensions.
SARDINIA IS A RUGGED AND LAYERED LAND, FULL OF MEMORY
For someone visiting Sardinia for the first time—beyond the typical tourist routes—what places would you recommend in terms of design and gastronomy?
MARTINA - Sardinia is a rugged and layered land, full of memory. Its identity is expressed not only through its landscapes but through its symbolic and cultural heritage. Take ceremonial breads, for example—more than sustenance, they are linked to religious rituals and life cycles. This symbolic language is written across the island. The Domus de Janas, prehistoric rock-cut tombs, speak of a deep and archaic relationship with the sacred.
That primal energy still resonates today, shaping the work of artists like Costantino Nivola. His museum in Orani is a wonderful place to experience that legacy. Many symbols survive through generational rituals—such as the Sant’Efisio festival, when the streets are carpeted in petals and traditional garments bring ancestral memory to life.
Sardinia is where time and gesture intertwine. While there are many wonderful places we could suggest, our most heartfelt advice is this: explore the island slowly. Let your curiosity guide you. Often, the most meaningful moments arise from the simplest encounters—a greeting from a woman outside her home, a song drifting from a village square, or an unexpected flavor.
