Arizona

Casablanca, designed in 1981 by Ettore Sottsass is a hybrid between a wardrobe and a bookcase, made in wood and decorative laminate with an unusual form.

A tame sea monster, or a set of fishing rods that intersect with colorful geometric forms, Oceanic has undoubtedly been created to light unconventional interiors.

Designed in 1981 by Michele De Lucchi, Kristall is an eccentric service table in lacquered wood, clad in decorative laminate with parts in coated metal.

Created by Michele De Lucchi in 1981, at the time of the first exhibition of the Memphis group, Riviera is a chair that surprises us with its playful form: its base is composed of two blue crossed

Who says the legs of a table have to all be equal? Certainly not Peter Shire, who created Brazil in 1981, in the early days of the Memphis group.

Created by Sottsass in 1981 Tahiti immediately became one of the great Memphis icons, in clear contrast with functionalism.

Carefully crafted in lacquered wood, faced in decorative laminate with chromium-plated metal parts, Ginza, designed by Masanori Umeda in 1982, is a multifunctional object that can be used as a book

A floor lamp in coated metal with a cast iron base, Treetops was designed by Ettore Sottsass in 1981. The lamp is made in colored metal, with a halogen bulb at the end, for adjustable lighting.

The Super lamp - designed by Martine Bedin in 1981 - can be dragged along like a dog on a leash (with an arched back resembling a stegosaurus), embodying the playful spirit of Memphis.

Invented in 1982 by Peter Shire, Bel Air has an asymmetrical profile and vibrant color combinations.

Nathalie Du Pasquier focuses on contrasting colors for Carrot, a cylindrical handpainted blue ceramic vase with two bands relying on decorative decals, sublimated in the kiln.

A project by Michele De Lucchi for Memphis in 1984, the small table Polar reflects the distinctive features of Memphis design.

Created in lacquered wood by George J.

The First chair, composed of a few parts, has been conceived in 1983 by Michele De Lucchi to be easily assembled and replicated: produced in a small series, it reinterprets the perfect combination

Diva, the mirror designed by Ettore Sottsass in 1984, undoubtedly captures the attention of the person reflected, demanding active participation: in a narcissistic way, the viewer becomes part of t

The absolute Memphis icon, Carlton – designed by Ettore Sottsass in 1981 – fully represents the programmatic intentions of the group: the desire to break the rules of good design with an irreverent