An enduring legacy comes from a deep commitment to tradition. Molteni&C celebrates their heritage and Italian craftsmanship in their latest collection, presented at Milan Design Week. Taking inspiration from the 70s and 80s, the collection reimagines Molteni&C’s archival pieces in the modern era. Scape met with Giulia Molteni, Chief Marketing Officer at the Molteni Group and grand-daughter of the founder, Angelo Molteni, to learn more about the family legacy.
Later on, we spoke to Giovanni Pivetta, the director of Peerutin Karol Architects, to discuss his perspective on great design.
Molteni&C has been around for nearly a century and has solidified its place in Italian design. What, in your view, defines the brand?
To give some background, for those who might not know, Molteni&C was founded 90 years ago in 1934. We started as a small company, created by my grandparents, and the focus was on craftsmanship: reproducing high-quality, classical furniture. In 1968, we had this big shift to the design sector. We were one of the first companies in Italy to found the Salone del Mobile and turn production from classic to modern contemporary with the best architects who were outside of the family and outside of the company.
Today, we are the biggest privately-owned Italian group in furniture and design, and we are still family-run. So, we have big values in our DNA like tradition, family, and innovation. Innovation at Molteni is very important. We have a huge research and development department where we can explore new processes, new products, and new materials.
As a family business that’s been able to grow as a global leader in luxury de- sign is a huge feat. What do you think is the secret in maintaining your reputation of being a family-led company while still having a huge presence in the commercial industry?
Yes, we’ve grown a lot. What started as a small family is now a much bigger ‘work’ family. We have 130 mono-branded stores in five continents, and we have 12 subsidiary companies.
We’re still family owned though there’s a mix of external management and it being family-run. The family is the centre of the company, but we also have a big structure and an external CEO that has helped us a lot with the growth of Molteni&C. I think the secret is maintaining a balance between innovation and tradition. For example, every year, we include a new addition to our offerings. Like today, we launched a new chair by Tobis Scarpa, which is from a past collection from 1973. But, with that, we also add new contributors to enlarge the collection. We collaborate with many designers such as GamFratesi and Christophe Delcourt, along with Vincent Van Duysen who is our creative director. These additional perspectives allow us to innovate with new materials and new sustainable production processes.
“I would say what makes Italian design special is our heritage.”
As the brand continues to grow, what is your vision for the future of Molteni&C?
A lot of our focus going forward will be on expansion. There are a few countries where we don’t have a presence and where there’s a growing interest in Italian design. So, the aim there is to make Molteni more accessible to a wider audience. To highlight great Italian design and Italian heritage and share that story with the rest of the world. Through this, we uphold the memory of my grandfather, the founder of Molteni, and the values the company: innovation, fine craftsmanship, and great design. We’re also looking to open up to other disciplines and to work through cultural collaborations to explore the different faces of Italian culture.
“We have big values in our DNA like tradition, family, and innovation.”
Architect and director of Peerutin Karol Architects, Giovanni Pivetta, joined the conversation. As an Italian designer now living and working in South Africa, Scape spoke to Giovanni to understand the intricacies of his design process and what defines robust, timeless design.
As an Italian living in South Africa, what makes Italian design so special and alluring to South African clientele?
I would say it’s our heritage. It goes back many centuries, and interestingly, it’s very multi-cultural though people may not realise it. We have influences from the Arab world, from Nordic and European countries. We’re also surrounded by water, so there was a lot of movement through- out history. That cross-cultural exchange is reflective in Italian architecture, and that’s what makes it so incredible. I find contemporary Italian design can be a bit sterile sometimes. I prefer the warmer styles, and, in particular, Italian Rationalism, which is minimal without being bland. This is exactly what I try to bring into my work at Peerutin Karol.
Milan is a kind of hub of creativity and craftsmanship. What do you think makes the city the perfect backdrop for celebrating this event?
You said it right; it is the hub. Milan is famous for being a very industrial city and evolving new ideas, especially nowadays where that comes along with technology. It’s cosmopoli- tan. It’s both old and new. It’s a blend of tradition and innovation. And that encompasses a lot of what Italian design is.
It’s interesting that you speak of technology and design. Is that a big interest of yours?
It is. It has to be. Technology is design. Especial- nowadays because you evolve with design. Every single piece that you look at is about technology. It’s easy to be resistant to this change, to want to stick to convention, but technology isn’t an auxiliary to the industry – it informs and structures our practice.
This is a bit of a tricky question, but what inspires you to push the boundaries of design?
It’s actually not really tricky. I believe in simplicity. To quote one of my favourite artists: Bruno Munari says, ‘To complicate is easy; to simplify is difficult.’ I think about that a lot in my designs – focusing on simplicity and really allowing elements such as materiality and structure to shine on their own. It’s odd that the word simplicity, or simple, can sometimes be associated with ‘cheap’ or ‘in budget’. This perception is far from true: the entire thought process behind a minimalist design is not visible. As I said earlier, to simplify is not easy.
“To complicate is easy; to simplify is difficult.”
What do you think will define the next movement in residential design? You were talking about how every decade has its mark. What do you think will be the next mark for, say, the 2030s?
The next movement will depend on the new lifestyle. Our lifestyle evolves so quickly that you can’t really know what’s going to happen. You have to let it take its course. I would say open spaces will still be the main element. And environment will probably take a big step, especially in South Africa, and it has to be because that’s the evolution. You have to work with nature and protect nature. We’re heading there already.
Peerutin Karol has a unique collaborative approach. How do you work together to create meaningful and memorable designs?
At the end of the day, it’s really about the clients. We tailor every project, each with a unique design to meet our clients’ needs. We have four core partners: one of the founders, David [Peerutin], and I are on the design side, Tarryn [Cohen] is the managing director, and Henning [Van As] is the technical director. We have a very strong, balanced team. But for all of us, our focus is on good, simple, and functional designs, and of course, making our clients happy.
