On the occasion of the XXI International Exposition, Triennale Design Museum presents its Ninth Edition W. Women in Italian Design. In the meantime we are already working on some new furniture for next year’s Salone del Mobile, which includes: a new store design concept for a sunglasses retailer; a collection of electronic devices and accessories for the young Italian brand Tribe and some 3D-printed jewelry for Maison 203 The opportunity to work on different scales is the thing that we like the most, and gives us energy and curiosity.
A better exchange rate, though, means Italian design will soon arrive in the Southwest, where it works quite nicely. Today the firm has relationships with some 200 external designers, many of whom are much better known for expertise in fields such as architecture than in houseware design. Owners Carol Bell and Tamara Scott-Anderson remodeled 1,000 feet of showroom into a minimalist Italian apartment to illustrate how an Italy-Old Pueblo mashup would look.
Other challenges come from the fact that the industry has changed so much within the last 50 years, says Bestetti, dictated by what technology allows design companies to do. Grapus design collective was founded in 1970 by artist members of the French Communist Party (PCF), Pierre Bernard, Gerard Paris-Clavel and Francois Miehe, who had collaborated during the May 1968 student movement. Their side-brand Something Good — born out of an exhibition during Milan Design Week a couple of years ago — began as a dialogue between designer friends and craftsmen with the goal of investigating the juncture where technology and craft meet.
At the age of fourteen Cassandre and his family resided in Paris, where after a brief attendance at the Ecole des Beaux-Arts in 1918, he enrolled in Lucien Simon’s studio, at the Académie de la Grande Chaumière and at the Académie Julian In the 1920s Cassandre joined the avant-garde circles of Robert Delaunay, Fernand Léger, the poet Guillaume Apollinaire, and the composer Erik Satie, and earned a reputation as the designer of bold, stringently geometric posters in the Art déco style.
In the context of Corporate Identity Programmes the names of Designers and companies became more important. Italy’s always on the cutting edge of everything — fashion, interior design, sports cars — but for years, a prohibitive exchange rate for the euro meant the country’s sleek, modern furniture wasn’t readily available here. Italian women who have contributed significantly to Italian design such as Rossana Orlandi and Nina Yashar are represented with their signature sartorial codes; in this case, an unmistakable set of eyewear and turban, respectfully. One side is the classical way of working with designers: to have them come to the company for a new product briefing. Italian Design also uses Häefele and ESSETRE accessories for all kitchen inserts.
