Silla Alky de Bouclé verde oscuro de Giancarlo Piretti para Artifort, años 80

Italian interior and industrial designer Giancarlo Piretti was born in 1940 in Bologna. He obtained his teaching degree in drawing at the Art Institute of Bologna (dates unknown), and continued his studies at the Academy of Fine Arts in Bologna in 1960. From 1963 until 1970, he taught interior design at the Art Institute of Bologna.

Sometime in the 1960s, Piretti also joined Italian design company Castelli as an interior designer, creating home furniture and office furnishings. During his twelve years at Castelli, Piretti obtained numerous industrial patents for his designs, which were mostly chairs. Piretti’s work for Castelli garnered the company an international reputation in furniture design. His most well-known design is the plastic folding Plia Chair (1968), which has sold over seven million copies since 1969 and is still in production. It won the BIO 5 distinction and the SMAU prize at the Ljubljana Biennial in 1971, Germany’s Gute Form prize in 1973, and can be found in permanent collections in various museums world-wide, including Austria, Czech Republic, Slovenia and the United States. In 1969 the complementary Plia Table was equally well-received in design circles, these revolutionary designs measured just 5 cm in depth when folded, a marvel in the 1960s.

In the late-1970s, Piretti worked with Argentine architect-designer Emilio Ambasz (b. 1943) on several award-winning designs, including the two ergonomic seating systems Vertebra (1975, winner of the Smau Industrial Design Award in 1979) and Dorsal (1981). From 1984 to 1986 Piretti worked for Castilia, a firm that was part of the Castelli group, that specialized in the production of home furniture characterized by functional and aesthetic systems.

In 1988, Piretti revealed The Piretti Collection in Chicago, which included over 50 different office chairs and seating styles. It is still manufactured by various licensees around the world. The collection, which has won several prizes including the UBD, the ASID, the Compasso d'Oro and the G-Mark, was designed to respond to the specific needs of each individual user. In 1997, the collection reached the milestone of one million chairs sold. Today, they have sold more than two-and-a-half million pieces from the collection.

Other well-known design include the DCS 106 Stacking Chair (1965); Plona Lounge Chair (1969); Alky Chair (1970s); Plantone Folding Desk (1970); Plano (1971, Gold Medal IBD); Planto Coat Rack (1972); the System 61 modular sofa system (1973); Xylon Chair (1992, two G Mark Awards 1994); and the Torsion Seating Collection (1995-6, G Mark Award 1997).

Today, Piretti lives and works in Bologna with his son, designer Alessandro Piretti.

Wallpaper hanger and upholsterer Jules Wagemans (1866-1943) laid the foundation for Dutch manufacturing brand Artifort when he opened his bespoke furnishings atelier, H. Wagemans & Van Tuinen, in Maastricht in 1890. In 1920, his son Henricus Wagemans (1892-1948) took the helm and re-focused the company on the production of solid, well crafted, upholstered armchairs and other seating in traditional styles. In 1927, Henricus changed the company name to Artifort, which he derived from the Latin words, “ars,” meaning “art,” and “fortis,” meaning “strength.” Moving on a trajectory toward an ever-more progressive design approach, in the early 1930s, Artifort acquired a patent for “Epeda” single-steel-wire springs, which had already been used in mattresses and car seats, but never before in domestic furniture. This innovation allowed Artifort to produce more comfortable chairs and sofas in less time and with fewer materials. 

In 1939, Dutch designer Theo Ruth (1915-1971) became head of design and development—a position he maintained until his death in 1971—and proved instrumental in establishing Artifort as one of the most design-conscious companies of the 20^th century. After World War II, under the directorship of Henricus’s son H. J. J. (Harry) Wagemans (b. 1921), Artifort acquired a high-pressure molding machine, which allowed for much more minimalist yet cushioned designs. Early examples of this reduced style include Ruth’s Congo Chair (1952) and Penguin Chair (1953).

Artifort’s signature vibrant and biomorphic aesthetic fully blossomed when Dutch designer Kho Liang Ie (1927-1975) agreed to consult for the company, starting in 1958. In addition to designing a number of iconic pieces for Artifort, Kho instigated important collaborations with foreign designers, most notably French designer Pierre Paulin (1927-2009) and British designer Geoffrey Harcourt (b. 1935). As tastes for space-age designs peaked in the 1960s and 1970s, Artifort found international success, especially with Paulin’s colorful, jersey-covered “seat sculptures,” like Orange Slice Chair (1960), Model 560 Mushroom Chair (1963), Model 582 Ribbon Chair (1966), and Model 577 Tongue Chair (1966-7). Since the 1970s, a variety of standout designers have collaborated with Artifort, including Gijs Bakker, Jasper Morrison, René Holten, Patrick Norguet, and Khodi Feiz.

Artifort pieces are included in the Museum of Modern Art in New York, the Victoria & Albert Museum in London, the Musée des Arts Décoratifs and Centre Pompidou in Paris, and Vitra Design Museum in Weil am Rhein. 

In 1998, the Lande Group in Schijndel purchased Artifort from the Wagemans family, opening new factories in Schijndel and Lanaken in Belgium. The company celebrated its 125^th anniversary in 2015. 

* All images courtesy of Artifort.