Italian Coat Racks in Wood and Metal Hooks by Ettore Sottsass for Poltonova, 1950s

Born in Innsbruck, Austria in 1917, architect-designer Ettore Sottsass grew up in Milan. He studied architecture at the Polytechnic of Turin, graduating in 1939. As a member of the Italian army, Sottsass spent most of World War II in a Yugoslavian concentration camp. After the war, he returned to Milan and opened his first studio in 1947. Like most Italian designers in these years, he focused on activities to help the postwar reconstruction efforts, including exhibition design.

In 1958, he began working with Olivetti, for whom he designed multiple landmark objects—including Valentine, the brand’s iconic 1969 red plastic typewriter—and transformed the large, cold electronics and office machinery of the day into playful, accessible objects of desire.

During the 1960s, Sottsass spent time in both India, where he was deeply affected by the country’s vibrant colors and mythologies, and the U.S., where he embraced pop art culture. These influences can be seen in Sottsass's ceramic designs through the rest of his life.

In 1973, he cofounded Global Tools, an experimental design collective, alongside Gaetano Pesce, Alessandro Mendini, and others. During the ’70s, he collaborated with Alessi, Baccarat, and Knoll, designing everyday items like condiment sets and decanters. Other manufacturers that Sottsass designed for include Artemide, Bitossi, O-Luce, Poltronova, Skipper, Stilnovo, and Zanotta.

In 1980, he formed the architecture/design firm Sottsass Associati. In 1981, he founded the Memphis Group, an influential, flamboyant design firm known for its brightly colored post-modern furniture, ceramics, and lighting. He remained with the Group until 1985, at which point he turned his attentions again to architecture. He died at the age of 90.

Italian furniture manufacturing company Poltronova was founded just north of Florence by Sergio Cammilli in 1957. Cammili had a background in art, and many believe it was the founder’s remarkable openness to bold creative expression that led the company to become one of the most daring in 20th-century Italian design.

Soon after launching, Cammilli was introduced to young designer Ettore Sottsass, who was at the time designing ceramics for Bitossi, also located in the region around Florence. By 1958, Sottsass was hired to be Poltronova’s artistic director.

In the early years, Poltronova concentrated on producing stylish, modernist furniture, often made in wood and sharing many features in common with midcentury designs from Scandinavia. Both Cammilli and Sottsass, however, had ambitions to do something more experimental.

In 1966, Cammilli and Sottsass visited the Superarchitettura exhibition, presented at Galleria Jolly 2 in Pistoia. This era-defining project was organized by Superstudio and Archizoom—two counterculture student groups from the University of Florence’s Faculty of Architect; it’s now seen to be a landmark moment in the development of Radical Design movement. Cammilli and Sottsass immediately changed the direction of the Poltronova, began working with young, iconoclastic designers, and helped to usher in the postmodern era in design.

Notably, Archizoom designed the company’s new factory in the 1960s and programed events at the headquarters, which included a poetry reading and meditation workshop led by poet Allen Ginsberg.

Poltronova produced a number of iconic designs, such as Mario Cerruli’s Mobili Nella Valle Series (1966); Archizoom’s Superonda Sofa (1967) and Mies Lounge  (1969); Superstudio’s Guerpe Lamp (1967); Ettore Sottsass’s Ultrafragola (1970); and De Pas D’Urbino & Lomazzi’s Joe Chair (1970), to name a few. Other major designers who have designed for Poltronova include Gae Aulenti, Angelo Mangiarotti, Giovanni Michelucci, Paolo Portoghesi, and Massimo Vignelli. Many Poltronova works were included in MoMA’s landmark 1972 exhibition Italy: The New Domestic Landscape.

After Cammilli and Sottsass left Poltronova in the 1970s, the company’s management changed hands a number of times, and the focus switched to producing more commercial collections. By the mid-1980s, Poltronova was struggling to survive. Thankfully Roberta Meloni, trained architect, stepped in to advocate for the preservation of the Poltronova archive. She acquired a managing interest in the 1990s, and in the new millennium she was named CEO. Today Poltronova’s legacy has been secured through Meloni’s company Centro Studi Poltronova, a multifaceted organization that manages archives, promotes study and public exhibitions, and produces iconic Poltronova designs on a made-to-order basis.

You can find our interview with Ms. Meloni here.

 * All images courtesy of Centro Studi Poltronova