Milan Preview | Luca Nichetto - Design Bureau

Luca Nichetto_photo by Markus Moström

Luca Nichetto, portrait by Markus Moström

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Casamania’s Lepel collection, designed by Nichetto

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Nichetto’s Affetto collection for Globo

Wolfgang_011_photo by Alberto Parise

Nichetto’s Wolfgang chair for Fornasarig

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Nichetto’s red glass bench for Established & Sons

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Nichetto’s Paffuta chair for Discipline

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Nichetto’s La Mise sofa for Cassina

Arillo 02_Venini_photo by Archivio Venini

Nichetto’s Arillo vase for Venini

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Nichetto’s Float Table for La Chance

Milan Preview | Luca Nichetto

Wednesday, March 13th, 2013

Portrait by Markus Moström
Product photos courtesy of Luca Nichetto Design Studio

Luca Nichetto
Designer, Luca Nichetto Design Studio

Location: Venice, Italy
Brands: La Chance, FoscariniCassina, Discipline, Tacchini, and more
Products: Furniture, lighting, tableware, glassware

When you’re born in Murano, the small island near Venice world famous for its glass, design is in your blood. By age 23, Luca Nichetto was working with Salviati and Foscarini and earning a reputation as a rebel, the herald of a new generation of Italian designers. A dozen years later, the acclaimed designer was helping another new generation score a big hit at its debut in Milan in 2012. “When Louise Breguet and Jean-Baptiste Souletie asked me to collaborate in this new brand that they opened, La Chance, I said yes immediately,” says Nichetto. “The design world needs a new brand with young owners.”

DB: What was it like to see a new brand you’re involved in gain success at Milan?
Luca Nichetto: I am really so happy and proud to be part of this big success of La Chance. I think for a new brand like La Chance, Milan is an excellent showcase. It’s still the most important design week in the world and almost everyone related to design goes to Milan during that week. For now there is no other event that can make your new company known like Milan.

DB: Anything you dislike about the Salone?
LN: Milan has become the place ‘you need to be’ in any case, and showing something without care about the quality of the products. This means that there’s too much ‘stuff’ to see, and not enough time to see the real good things to see. I would like to see maybe less products but more real design and good design.

DB: You recently designed a concept house that calls for live greenery to be incorporated into architecture. Is sustainable design a sign of where your work is headed?
LN: I believe that as a designer, you can help people change the world by using good products to give them a good feeling and a reason to smile. But it isn’t the products that change the world. In its current form, our civilization, which defines itself via consumption, is gradually nearing its end. The solution can only be to produce fewer and better things and not lose sight of the bigger picture—the materials, production, lifespan, tradition, living culture, architecture, and natural surroundings. That is a challenge for any designer who concerns himself with this topic. But ultimately, that is precisely what constitutes ambitious design.

Also check out our interview with Ronan Bouroullec and a look back at Salone artwork as part of our preview to the Salone Internazionale del Mobile in Milan, April 9-14.

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