Wo­ven in his­tory


Italy’s lead­ing tex­tile man­u­fac­turer re­cently re­vealed its pre­mier fur­ni­ture col­lec­tion, Rubelli Casa, de­light­ing de­sign afi­ciona­dos

Hav­ing en­joyed stand­ing ova­tions for its renowned prod­ucts for more than a cen­tury, Italy’s lead­ing tex­tile man­u­fac­turer Rubelli, re­cently re­vealed its de­but fur­ni­ture col­lec­tion, Rubelli Casa, much to the de­light of con­tem­po­rary de­sign afi­ciona­dos.

From its head­quar­ters on Venice’s Grand Canal, Rubelli cre­ates so­phis­ti­cated and in­no­va­tive high-tech fab­rics that adorn the in­te­ri­ors of the world’s con­tem­po­rary state-of-the-art build­ings, and recre­ates cen­turies-old fab­rics to re­store iconic in­te­ri­ors.

How­ever, dur­ing the 2017 edi­tion of the Salone Del Mo­bile in Mi­lan – the most im­por­tant fur­ni­ture fair in the world – Rubelli Casa made its el­e­gant de­but, with the firm’s first fur­ni­ture col­lec­tion.

With de­signs from Luca Scac­chetti and Nava+Nava De­sign Stu­dio, the new col­lec­tion has been de­scribed as be­ing a rein­ven­tion of the mid-cen­tury style that is cur­rently in fash­ion, the new col­lec­tion in­cludes the Clin­ton chair and Palazzo sofa with a dis­tinct vin­tage look.

Still lo­cated at Venice’s Palazzo Cor­ner Spinelli, Rubelli is di­rected by Ni­colò Favaretto Rubelli, the fifth gen­er­a­tion of the renowned tex­tile fam­ily, who as CEO or­ches­trates a global em­pire along with his fa­ther Avvo­cato Alessan­dro Favaretto Rubelli, Chair­man of the com­pany and his brother An­drea Favaretto Rubelli, Chair­man of Donghia, that in­cludes fab­rics, fur­nish­ings, wall­pa­pers and ac­ces­sories.

Year af­ter year, Ni­colò and the de­sign team, tech­ni­cians and his­to­ri­ans delve into the com­pany archives and draw in­spi­ra­tion for new col­lec­tions from many of their his­toric pro­jects.

The core of the com­pany’s de­sign depart­ment is a rare li­brary of some 6000 tex­tiles – of which al­most half were pro­duced by Rubelli. The archive also in­cludes books, draw­ings and pat­terns that cre­ate an in­valu­able his­tory of tex­tile man­u­fac­tur­ing and de­sign.

“We are con­stantly re­view­ing the de­signs in the archives; they are a con­stant source of our in­spi­ra­tion and an in­deli­ble part of our suc­cess,” re­veals Ni­colò.

“It is from th­ese old de­signs that we gen­er­ate fresh ideas, and we con­stantly see how we can ap­ply new man­u­fac­tur­ing tech­niques to gen­er­ate a com­pletely new de­sign that con­tem­po­rary de­sign­ers and ar­chi­tects seek.”

In ad­di­tion to be­ing an in­valu­able com­po­nent in the de­vel­op­ment of new de­signs, the archives are a rich source of in­for­ma­tion for the re­cre­ation of old de­signs, such as those used to cre­ate fab­rics for the re­fur­bish­ment of the iconic Bol­shoi Theatre in Moscow, of Mi­lan’s La Scala or of the Gritti Palace Ho­tel on the Grand Canal, which has been en­tirely de­signed by Stu­dio Rubelli.

Palazzo sofa, Clin­ton chair, Bauta side ta­bles, Calle Stella side ta­ble and Sc­ho­leta Oro con­sole

Dom ino cha ir

Clin­ton chair

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