The future of the Italian-style sofa

Suzenne, Gebrüder Thonet Vienna

Suzenne, sofa designed by Chiara Andreatti for Gebrüder Thonet Vienna 

There’s room for more than just the masters: 5 designers under 45 tackle the lord of the sitting room - a furnishing piece that has built the story of Made in Italy and its companies, and which continues to set the pace for the sector.

“1) a beautiful and hedonistic-looking sofa  2) really comfy 3) appealing  4) expensive 5) stylish 6) designed by a star 7) somewhat innovative 8) technically advanced 9) virtuously ecological 10) with wonderful fabrics or leathers.” This was Alessandro Mendini’s (1931-2019) Italian design canon, handed down to his successors in the Design Anatomy lessons published in Abitare in 2009. His model took off and flourished, thanks to the companies who have written the story of Made in Italy around the sitting room’s most dominant piece, helping to launch the careers of a group of designers we now refer to as masters. Have they left any room for others, though, in terms of Italian-style sofas? A range of projects presented by designers who, not just anagraphically, represent something new, shows that they absolutely have.

Federica Biasi

Federica Biasi

Federica Biasi

Federica Biasi (1989) came up with the small Sophie sofa for Gallotti e Radice (2019), its generous proportions contained by the frame. It was an evolution of the armchair of the same name exhibited in the Paris edition of  Maison & Objet, in 2018, which saw the designer affirmed as one of the Italian Rising Talents. “I wanted to  showcase a new product,” she remembers. “But I didn’t have a company to back me: I took my self-produced Sophie armchair along, which Gallotti e Radice later asked me to industrialise. I produced a more sober version and then the small sofa, which is more representative of my own style” - soft shapes, elegant, natural finishes, a piece that slots easily into everyday living.” Sophie is covered in an orange bouclé fabric and has a 25mm metal frame with a galvanised finish. This is not the only upholstered piece taken on by the Milanese designer. She designed the Livre (2020) armchair, again for Gallotti e Radice, the Kokoro system of sofa room dividers (2020) for Manerba, and the modular Noa sofa for Novamobili. “They are all products with simple shapes, elegant and timeless, which draw on classism while retaining contemporary, more organic and voluminous forms,” she said. “I’m not interested in making a splash, it’s the details that render a product new.”

Sophie Sofa, Gallotti e Radice

Sophie, sofa designed by Federica Biasi for Gallotti e Radice

Federico Peri

Federico Peri

Federico Peri

The Maison & Objet 2018 cohort of Rising Talents also included Federico Peri (1983). He designed the Belt sofa for Baxter (2019), covered with Kashmir Vin leather,  with its satin-finished bronze-painted frame and  rear belt, the central part of which is covered in Polish Grape leather with satin-finished brass terminals. This too is a generously-shaped piece, “cinched in” by a distinctive formal element: the belt “which ideally ties the whole structure together,” said Peri. “The intention of the design was for a comfy seat, formally and visually.” Inspiration that exceeds the boundaries of the discipline – also a marker of contemporaneity – with an eye to fashion.  

Belt, Baxter

Belt, sofa designed by Federico Peri for Baxter

David Lopez Quincoces

David Lopez Quincoces

David Lopez Quincoces

The concept of containment also applies to the Greene sofa (2019) by David Lopez Quincoces (1980) for Living Divani, which reworks the backrest at the centre of the project - “deserving of 360-degree appraisal,” he suggests. “The idea behind this product was to try and set up a dialogue between the base and the padding, focusing not just on the soft part but also on the covering around the padding. We created these delicate curves on the armrests and on the backrests, which embrace the sofa cushioning and confer a rhythm, making for a linear, light design. We also thought about two types of covering, Cuoietto leather and natural leather, to bring out all Living Divani’s savoir faire in the details, which owe no little to saddlery,” added Quincoces.

Greene, Living Divani

Greene sofa designed by David Lopez Quincoces for Living Divani

Chiara Andreatti

Chiara Andreatti

Chiara Andreatti

Respecting and valorising the traditional processes of a company one is working with underpins the work of every designer, especially that of a new generation that has been flirting with craftsmanship since they were at school. A good example of this is the Suzenne sofa (2020), a two-seater designed by Chiara Andreatti (1981) for Gebrüder Thonet Vienna. “Designing for an old-established company like GTV is an extremely satisfying process. I’ve been working with them for three years now, and on the very first day I realised instantly that quality and tailoring were the keywords for their success. We’re talking about an industrial product but one with an extremely high artisan value, achieved by the processing and curvature of the wood,” says the Veneto-based designer. “The seat of the Suzenne sofa is distinguished by its lightweight curved solid beechwood frame, and the juxtaposed straight and curved lines that support the Vienna cane backrest, defined by the wood frame. The soft, enveloping cushions of the seat and the generous backrest make for an even comfier seating experience.”

Suzenne Sofa, Gebrüder Thonet Vienna

Suzenne sofa designed by Chiara Andreatti for Gebrüder Thonet Vienna 

Marcantonio

Marcantonio

Marcantonio - Photo by Marco Onofri

The architectural construction of a sofa is given a new spin in Infinito (2020), designed by Marcantonio (1976) for Natuzzi. It was inspired by a symbol – “the symbol for infinity, in fact,” he says. “As I was designing I realised that it could be used to accommodate two seats. We tried to maintain the sinuous quality of the curved forms, resolving the point at which it slips over itself, the crossover, while the execution phase was  purely sculptural: sculpting an abstract form.” The elastic polyurethane padding of different densities, more rigid in the part that acts as a backrest, was applied to the tubular metal frame: “We tried to make it as comfy as possible. If it had been too soft it would have collapsed,” he added. The sofa is available in the Water covering, designed by the Dutch studio Byborre, a yarn that combines very high quality wood and recycled PES. The path of contemporaneity crosses over here, too.

Infinito, Natuzzi Italia

Infinito di Marcantonio per Natuzzi Italia

29 June 2021
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