The Theatre of Wonders

Step onto the stage with the Nutcracker and enter the enchanted Land of Sweets, where dreams reign and fairytales come true.

Set up specifically for the Christmas period, The Theatre of Wonders is a window display inspired by the iconic Nutcracker story.

With its carefully crafted scenery and props, modern colour palette and vibrant vibes, the installation captures the magic and
timeless sense of wonder of the festive season, exploring it with a modern twist.

Vittoria CMP is a multimedia illustrator specialised in telling stories through bold, whimsical visuals with a playful edge. Her work blends strategy with a handcrafted touch, creating illustrations that feel pertinent, engaging, but most importantly human. She completed the MA Illustration course at UAL’s Camberwell College of Arts, where she developed a passion for miniature paper craft and toy theatres. We caught up with her to learn more about her first large-scale paper project.

Hi Vittoria! Thank you so much for taking the time to chat with us. Let’s start with what the inspiration behind your artwork and display?

I chose the “The Nutcracker” because it is such a famous Christmas story that could be understood and enjoyed by any passer-by. However it still strongly hold its “Western Victorian Age” patina in the collective imagination, so I was determined to modernise it and give it a “pop” twist.

I looked deeply into Mary Blair’s concept art and her mid-century illustrations she made for Disney. I just love how she created such whimsical sceneries with minimalist geometric shapes and bright colours.

This inspired me a lot when it came to designing my own Theatre of Wonders, especially considering that it had to be kept neat and simple because of material and time constraints.

How did you go about the design process for your display?

Firstly, I explored topics associated with Christmas that weren’t too traditional but still recognisable by a wide audience. I then sketched the ideas to scale using a 1:20 grid, which was fundamental when upscaling them later on.

After being notified my proposal won the competition, I researched the materials more in depth, with a particular consideration on sustainability and practicality. I then drew the props on 2.40 metres cardboard sheets, cut and painted them; firstly in white and then in various colours so that they’d appear bright and intense. This was the longest part of the process, it took me about 20 hours! On installation days, I focused on mounting the curtains, decorating the window with markers and hanging the props onto the ceiling.

It was a really complex and articulated process but I’m incredibly happy with the result.

What did you find most challenging?

Because I had no previous experience with designing a window display, the whole research and preparation before the physical production was surely the hardest part.

Looking for materials, finding matching colour palettes amongst different suppliers, learning how to make the props stand, watching tutorials on how to hang brackets (and hoping they would hold the curtains!). Everything was an empirical online research, so I was really anxious that something could’ve gone wrong, haha!

Also, painting indoors with the infamous gloomy British weather.

How does your window display differ or indeed correlate with your previous work?

When I was studying MA Illustration at Camberwell, I became interested in miniatures and paper toy theatres. These were a type of souvenir that was really popular in Britain back in the 19th century. I eventually focused my thesis on this, creating a paper theatre on modern London.

Carnival in London. Learn more about Vittoria’s final year project here.

Since graduating, I’ve kept practicing this craft whenever I’ve had the chance, but only on a small scale, using postcard-size paper sheets. This project was the first time I could expand my skills on a bigger 3D scale; setting up an ideal real-life theatre that involved different types of materials too.

How would you describe your artistic style?

My language as a visual creative mostly relies on simplicity, impact and handmade feeling. I come from a background as a collagist, so even now that I mainly use digital tools, I look for essential shapes, heavy use of textures and 2-dimensional arrangements.

Having said that, the illustrations I usually produce are whimsical, colourful and light-hearted; a sort of positive escapism from reality.

Humour also plays a considerable role in my work. It’s something that emerges here and there, and allows me to give an unexpected twist to my projects. I feel so accomplished when I get people to smile and say “Ha, good one!”.

What would you like the viewers to take away from your work?

I would like to remind the viewers about the beauty of handmade, human craft. We’re currently living in a time where artificial intelligence is progressively detaching the art process from the artist. This pushes designers more and more into the role of pure thinkers, making them forget about their historical origins as crafts-persons.

With this work, I want to show that an alternative is still possible, that we can reconnect with our artistry, create with our own hands, and be in full control of our outcomes.

Images by Pietro Fanti (@pietro.raw)

Visit us in store to see Vittoria CMP’s The Theatre of Wonders, displayed until the New Year.