Craftsmanship:
– Can you share any unique elements of EDGA’s construction process? Tailoring techniques, stitching methods, or sewing machines?
We’re a very small company, probably one of the few—if not the only one—of our kind left in the world. Due to the history of our brand, we’re still based inside a 1950s industrial building, and everything about our process reflects that era. There are no computers, aside from mine to receive orders, and no electronic sewing machines. We’ve restored and preserved our original, historic machines and maintained the same traditional industrial layout.
Our real value lies in the hands of our incredibly skilled seamstresses. Each shirt is crafted entirely by hand, with hours of meticulous work going into every piece. The tailoring techniques and stitching methods we use have been passed down through generations—nothing is automated, and nothing is rushed. It’s a living heritage of craftsmanship that defines everything we do.
Materials:
– Are the fabrics you use sourced specifically for each collection, or are they primarily from your extensive fabric archive?
We use both. One of my main goals is to make the most of EDGA’s incredible fabric archive—around 3,000 textiles collected over the years. What was once considered a “purchase mistake” has become, in my eyes, a true treasure trove. As a designer, my mission is to find the perfect match between each fabric’s pattern and weight and the right silhouette—it’s like solving a puzzle.
That said, in recent years, as I’ve seen some archive pieces gradually disappear, I’ve also started seeking out new, unique fabrics. Some I’ve found in the most unexpected corners of Italy, others abroad—in places like the Grand Bazaar in Istanbul or Tokyo’s Shimokitazawa district. The search for fabrics is honestly one of the most fascinating parts of this job, especially when it’s tied to a journey or a lucky discovery.
One of the most interesting aspects is seeing how certain fabrics—once considered out of step with current aesthetics—can suddenly feel relevant again. It’s a powerful reminder of how important it is to preserve rather than waste.
Buttons & Detailing:
– Do you use special buttons or unique details? Are any components like buttons or threads handmade, vintage, or unusual?
I’ve always appreciated simple buttons—ideally white or very light and natural-colored, thin, and when possible, made of mother-of-pearl. For this collection, I had special buttons made with the EDGA logo subtly engraved on them. They’re tone-on-tone, almost invisible—a tiny detail you’ll only notice if you’re really paying attention.
At EDGA, we actually have a great archive of vintage buttons—probably over 60 different models, including mother-of-pearl, wood, and resin. But to be honest, I tend to prefer more understated, practical buttons. I believe they’re important, of course, but secondary to the cut, craftsmanship, and fit of a shirt. In my view, they shouldn’t dominate the design. That’s why I often use a hidden placket to keep them discreetly tucked away.
Patterns & Design:
– What inspires the patterns or colors chosen for your shirts? Is there a particular artistic or cultural influence?
– What makes a shirt “feel” distinctly EDGA?
I’m inspired by everything I see inside Edga—it’s almost like a shirt museum. There are thousands of samples to rediscover and a huge collection of Italian fashion magazines that span from the 1950s to the early 2000s. Just opening a drawer or flipping through a magazine can spark so many ideas.
Usually, I start from our fabric archive—I pick the patterns that speak to me, and from there I build the shirt. Then I choose the stitching threads, the stiffness of the collar and cuffs, and the buttons to match. The process is very intuitive, but also grounded in the materials.
I was born into the world of shirts—quite literally. My grandmother and my parents raised me surrounded by shirts, giving me the chance, whenever production allowed, to bring my own creations to life. That freedom to explore and experiment was invaluable, and it shaped the way I work today.
If I had to define my idea of cultural inspiration, I’d say I hope it can eventually come not just from me and my research, but also from our customers. One of my dreams is to have clients send us fabrics they’ve found on their travels—something meaningful to them—and have us craft it into a shirt using one of our lines.
What makes an Edga shirt stand out is something we’ve believed in from the beginning. It was actually my grandfather’s slogan: “Edga, the shirt that stands out.” Today, beyond the unique lines and shapes, you feel it as soon as you wear it—it’s handmade, and you can sense that right away. It’s hard to explain, but anyone who’s ever worn true artisanal clothing knows exactly what I mean.
Historical & Familial Legacy:
– How has your grandfather Edgardo’s legacy influenced your approach to shirt-making today?
– Are there lessons or traditions from the original 1937 company that you actively preserve?
Unfortunately, I never had the chance to meet my grandfather Edgardo. I’ve only heard bits and pieces about him over the years, and I found a few photos tucked away in drawers at home. I pieced them together and started studying the shirts he designed—he was a true visionary. He built a company from nothing, with 70 seamstresses, and was already exporting outside of Europe in the 1950s. One of the first industrial shirtmakers. He really seemed like the kind of person who knew exactly what he was doing.
By coincidence—I also started with seven shirt designs, just like he did. And today I still use his machines and the same building he set up. I think the environment he created at Edga continues to influence me in a subtle, constant way. And every time I look at his photos, I find myself trying to arrange the shirt-making space the way he envisioned it—rational yet elegant, with that unmistakable Italian sense of order and style from the 1950s.
The incredible people who work with us have inherited many of the practices and values passed down from my grandfather. There’s a deep sense of discipline when it comes to quality—our shirts are still cut entirely by hand, and there’s a shared standard: nothing leaves EDGA unless the people who made it are truly happy with it.
There’s a strong sense of pride and dedication in everything we do. It feels more like home than a workplace, and that spirit, I believe, is part of what he built—and what we’re still carrying forward today.
Longevity:
– What measures do you take to ensure your shirts have exceptional longevity?
– How do you guide customers to care for their shirts properly?
Exceptional longevity—often over ten years—is one of our key strengths. It comes down to the quality of our stitching, the durability of our fabrics, and the use of non-deformable materials in the collars and cuffs. These details make a real difference over time.
Proper care is essential, too. We always recommend natural washing and air drying. And when shirts show signs of wear or accidental damage, we encourage our customers to send them back to us for repair. We carefully store fabric remnants for years precisely for this purpose. For us, that’s what circularity truly means—taking care of what already exists.
But ultimately, it’s up to the customer to care for their EDGA shirt, to wear it and maintain it. That personal attention becomes part of what sets it apart from any industrial garment. Owning an Edga isn’t for everyone (not because of status, but simply because our production is limited)—it’s something special.
Vision:
– If you had to articulate what EDGA offers that no other shirt-maker can, what would that be?
– What kind of experience or emotional connection do you hope customers have when they wear an EDGA shirt?
I believe that, for a number of historical reasons that shaped Edga into what it is today, owning an Edga shirt is like owning a piece of wearable art. It’s a one-of-a-kind, entirely handmade Italian creation—crafted without a single computer, entirely in-house, using fabrics that often no longer exist. Every Edga shirt is a concentration of history. I don’t know how many other shirt-makers can truly say the same, but I can confidently speak for ours.
When someone wears an Edga shirt, I hope they feel they’re wearing something complete—something born from a deep, distinctly Italian family story of style and craftsmanship. It’s a sophisticated garment, made to stand out to those with a sharp eye—people who can still recognize the enormous difference between mass-produced fashion and careful, artisanal work.
And most of all, I hope they understand that keeping this kind of production alive today is an intentional, demanding act of resistance—our way of going against the grain, in the name of quality, integrity, and heritage
Future:
– What are your future goals or upcoming plans for EDGA?
My main goal for the future is to find young artisans who can carry on EDGA’s fascinating story—people willing to learn from our traditions and preserve them with passion and care. It’s essential to pass on this know-how, not just as a technique, but as a way of thinking and living the craft.
I’m also working on bringing more of the creative world into the company by organizing workshops in fabric painting and ceramics. I’d love to see Edga increasingly influenced by the world of art, with the ultimate goal of creating truly artistic, certified shirt pieces—shirts that are not just garments, but expressions of artistic identity.
On a more personal note, as someone who’s always been passionate about the mountains and the outdoors, I’ve started developing a line of quilted outdoor shirts and vests—versatile pieces designed to adapt to changing temperatures. The idea is to maintain the same level of craftsmanship, while offering functional garments. Every year, I organize a small gathering in the mountains to celebrate and promote an old and elegant skiing discipline: telemark. It’s during this event that I present a new collection of ski mountain shirts—designed specifically to, blend tradition, sport, and Edga’s signature artisanal quality.
We only produce based on orders, never for stock, because I deeply believe in circularity and responsible creation. At the heart of it all is a commitment to making products that are not only beautiful, but also genuinely useful—and built to last.
