Policroma was born from the intersection between my narrative imagery, the result of research in transversal sectors such as design, architecture and fashion, and the history, technological potential and heritage of Cedit. "Cedit's history and savoir-faire were certainly two of the prerogatives that prompted me to test myself and accept Cedit's collaboration," says designer Cristina Celestino. The Italian designer is used to working with coatings but has always worked with artisan manufactures, the leap in scale to industrial and large-format production was certainly a stimulating test for her design method. "For this project, I started with design ideas very dear to me such as the marmorino panels framed by iron sheets, used by Carlo Scarpa in various architectures such as the installations of the Castelvecchio Museum in Verona, the graphic use of marble that Adolf Loos makes in many of his projects and the theme of the boiserie and marble panelling typical of Milanese hallways." she says.

In the collection, marble and marmorino surfaces have been reproduced, both bordered by the theme of the black frame. The marbles are all rare and endangered Italians such as Rosa Valtoce, used for the Milan Cathedral, or Cipollino Ondulato. Finally, the formats chosen that also enhance the peculiarities of Cedit are the large slab, the square format that is suitable for use in boiserie, and the strip divided into small backgrounds, which can become a frame or if used independently become a contemporary mosaic.