In Micaela Tuffano’s chandeliers we behold the pearls of an enduring tale of a family of persevering women who, from one generation to the next, have upheld their familial antiquarian legacy.  Micaela’s story begins in another age, at another time; in lands distant for some and familiar to others; but clearly during an epoch, remote and increasingly foreign to us all with the passage of time.  To tell the tale of Tuffano Chandeliers and that of Micaela Tuffano, we must take a step back in time into the realm of her great-grandmother.

Maria Elena Rafaela de las Mercedes Popolizio was Marchioness of the Pica in Flanders and lived much of her life between France and Spain. Her husband, Adan Dhiel, established the very exclusive Formentor Hotel on the Spanish island of Majorca. The Formentor hosted many renowned personas of the era: artists, poets, philosophers, and intellectuals, even the Prince of Wales on occasion.  When towards the end of the1930’s it was decided they would settle in Argentina, the Formentor provided a treasure trove of antiques, paintings, and decorative objects that formed the collection which, in 1946, served as foundation for the family antique shop in Buenos Aires. In this shop the very first chandeliers were weaved in antique crystals.  Artists were hired to draw out new designs under the Marchioness’ strict direction and workers were trained in crystal weaving techniques.

Thus began the tradition that would be kept alive by the women in the family over three generations. The stage had been set where Micaela’s apprenticeship with the Marchioness’ daughter, Maria Elena Minujin, would emerge. Micaela’s grandmother continued and expanded chandelier production at the family antique shop “Rambo.”

Intrigued by her well-travelled, and erudite grandmother, whose stories would captivate her as a child, Micaela spent much of her youth by her side.  Between her parents’ home, the antique shop, great-grandmother and grandmother’s house, summers at the country cottage, and family trips across the sea in search of additions to their collection, Micaela’s childhood universe abounded with art, and artifacts from the past. Micaela recalls: “…it was like playing in a museum, happily surrounded by furniture, paintings, manuscripts, and heaps of objects brimming with history.”

Maria Elena Minujin created a special “artisan” model for a chandelier entirely laced with crystals. Despite a team of trained workers to weave her design, grandmother Maria Elena’s foresight incited her to teach the craft to a family member who would become custodian of the technique.  As Micaela affirms: “ Since we shared a great relationship I think we mutually chose each other: her, as mentor and me, as disciple.”

Micaela began learning her craft at about 14 while still in school. Reticent, at first, about the chore to which she had committed, but enticed by the platter of scrumptious cakes, sandwiches, and tea that would await her; and the prospect of hearing one of her grandmother’s stories; she would head straight over to her grandparent’s house after classes let out. Required to painstakingly assemble and disassemble innumerable times a single chandelier, Micaela unabashedly says today: “I hated it! But, I did like very much the crystals and their colors!”  And so it was, practicing over and over again on thrifty old chandeliers acquired at a bargain here and there in the flea markets that, as the Argentine saying goes: between cake and chit-chat, Micaela learned not only her technique, but also how to combine crystals to accentuate their luster and showcase their drama.

Years later, upon the demise of her grandmother, Micaela cherished the craft passed down to her as never before; for the significance of her grandmother’s foresight suddenly became evident. Thereafter, stretching the limits of her creativity, her chandeliers blossomed into bigger, more colorful and baroque creations.

While continuing to develop her designs, Micaela studied art history, and interior design at the University of Palermo in Buenos Aires.  At 18, her first piece was sold in an antique shop in New York City. It was a chandelier inspired by one of her great-grandmother’s original models, weaved in green and clear crystals to reference the 18th century Venetian style. Since then, Micaela’s unique line of chandeliers, sconces, and other objects has been exported to antique dealers and design stores across the world. In 2009 the Auction House Sotheby’s, in New York, sold one of her pieces.

In Micaela’s designs, the flicker of the past, the echo of tradition, and the flair of modern innovation unite to reinvent the artisanal craft of crystal weaving into a mode of art and self-expression. Imbued with fantasy and wit, her designs transcend our expectations. Each unique and exclusive piece originates with a main concept, but what ensues, unbeknownst to the artist herself, can only be discovered upon its completion. Micaela explains: “ When I set out to work on a piece I detach from everything, and abandon the notion of time…I am alone with my chandelier, in a process of discovery, not knowing where we will end up. I love making chandeliers: it moves me and gives meaning to everything. I believe my chandeliers are a summary of myself, my story and all I yearn to be; a world of fantasy and history in constant evolution; light and darkness all at once, with moments of conflict and clarity.”

For each commission, Micaela works closely with her clients to fully grasp what each one desires, habitually working with architects and interior decorators to produce a model suitable to the space it will occupy and to the personal taste of her client. Micaela also restores precious and rare chandelier antiques and continually experiments with new materials and diverse styles in anticipation of new methods of creation and expression.