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Marino · Roma · IT

Dal 1981 / Creation Art 2000

Advertising · TV commercial · Lavazza coffee

Lavazza commercial.

For the Lavazza commercial we built a dreamlike world: suspended golden bells, giant cookies, white trees with coffee beans hanging like grapes, oversize tagliatelle.

Story
Giant cookies sculpted in polystyrene and fiberglass in the Creation Art workshop for the Lavazza commercial: stacks of round cookies with scalloped shortcrust edges, central orange/red circle simulating jam, a set designer painting them by hand in the background
The giant cookies in the workshop
Giant tagliatelle plates sculpted for the Lavazza commercial: four large white plates topped with oversize yellow tagliatelle nests, each ribbon hand-modelled; blue cyclorama backdrop in the background
Oversize tagliatelle on the set
Two large golden bells suspended above a white inverted-C-shaped table on the Lavazza set; bells sculpted with small side wings, night-blue cyclorama in the background; a technician at work in the foreground in front of the table, other crew on the right
The suspended golden bells
View of the Lavazza set from a different angle: a golden bell at the top, suspended decorations, white scenography with decorative details
The set under construction, suspended details
Lavazza set: stylised white tree with liberty curves and clusters of coloured coffee beans (green, orange, yellow) hanging like grapes; vintage yellow penny-farthing in the foreground; multicolour folding parasol; night-blue cyclorama backdrop, white snow on the ground, green and pink butterfly benches
The tree with coffee beans and the vintage bicycle

The official set

The commercial on cyclorama:
stills from the set.

The four official photos from the Lavazza photographic set — the liberty tree with coffee beans, the snow floor, the green and pink butterfly benches, the penny-farthing.

The Lavazza set: large white liberty tree sculpted into sinuous curves with clusters of coloured coffee beans hanging from the branches like grapes, under an intense night-blue cyclorama, white snowy floor; in the foreground a gilded vintage penny-farthing, parasols and coloured pinwheels
The liberty tree with coffee beans
Another angle of the Lavazza installation: composition of bean-clusters on the blue cyclorama, white snow floor, various stage objects
Lavazza set, alternative view
Detail of the Lavazza set with dreamlike elements on the blue cyclorama: composition of coloured coffee beans, white scenographic snow, professional photographic-set lighting
Detail of the dreamlike elements
Fourth photo of the same Lavazza set: panoramic view with all objects spread across the snow floor, deep blue cyclorama, frontal set lighting
Set panorama, frontal lighting

Behind the scenes

Giant food is sculpture,
not a blow-up.

The challenge of giant food on TV isn't the size: it's tactile credibility centimetres from the camera. If the cookie looks like painted polystyrene in close-up, the commercial is dead. Three techniques held together: sculpture, fiberglass, layered patina.

Hand sculpting

The cookies start from high-density expanded polystyrene blocks rough-cut with a hot wire. The scalloped shortcrust edge, the central crater where the "jam" will go, the slightly uneven surface of the bake — it's all sculpted by hand with scraper, half-moon knife and sandpaper. Each cookie is a unique piece because real pastry is never exactly the same twice.

The fiberglass skin

On top of the polystyrene, a fiberglass skin with glass mat and polyester resin seals the piece: it gives it rigidity for the crew's hands, protects it from knocks, lets it hold thick layers of paint without the colour "drinking" the polystyrene. Under the skin the piece stays hollow and very light — a forty-centimetre cookie weighs less than five kilos.

The layered patina

The paint is laid in three or four coats of colour: first the pastry-yellow base, then the gilded bake-tone on the edge, then the jam red at the centre in two successive glazes — the first for the matte material, the second for the gloss highlight that makes the cookie look fresh out of the oven. The camera light reads it as caramelised sugar.

~40 cm

diameter of the cookies, sculpted one by one

~2 m

height of the golden bells suspended above the table

3-4

coats of paint per cookie, one for the final gloss

Second life

The food stays in the workshop.

The commercial runs for thirty seconds. The shoot, two or three days in the studio. And yet the cookies, the tagliatelle, the golden bells are still all here, kept in our workshops: the fiberglass makes them impervious to time, and every few seasons they come back into use for photographic shoots, trade fairs, special installations.

The techniques of sculpted giant food have entered our workshop vocabulary alongside the polychrome patina of TV show sets and the fake stones of Ancient Rome sets: three different ways of lying to the camera, each with its own rules.

The suspended bells — the iconic piece of the commercial — often come back into our portfolio when clients ask us for "something that works as a single photograph": objects recognisable at first glance, that stamp themselves into memory in thirty seconds of TV exposure.

Tech sheet

All production data
Type
Scenographic set for a television commercial
Brand
Lavazza
Scenographic theme
Dreamlike/surreal world · oversize giant food · Alice in Wonderland style with liberty details
Elements built
Golden bells almost 2 m tall, suspended, with side wings · giant cookies, round with central jam, sculpted in polystyrene + fiberglass and hand-patinated · oversize tagliatelle plates with each ribbon worked individually · white tree stylised into liberty curves with clusters of coloured coffee beans · vintage gilded penny-farthing · multicolour parasol · butterfly benches · polyester snow
Techniques
Hand-sculpted expanded polystyrene · fiberglass stiffening · hand polychrome patina (three to four coats of colour on the cookies) · gold-leaf finish on the bells · trompe-l'œil food
Backdrop
Night-blue cyclorama · photographic-set lighting optimised for close-ups
Our role
Full build of the scenographic set — all the dreamlike objects, the giant food, the suspended elements came out of our workshops and were installed in the studio for the shoot
Legacy
Giant food, cookies, golden bells, liberty tree kept in our rental catalogue for later shoots