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D o i t a g a i n

‘Reissues’ are a growing phenomenon presenting itself in different ways and for different reasons. We discuss three, which were seen at the latest Salone, designed by Bellini, Prouvé and Superstudio

by Porzia Bergamasco

Le Mura sofa system by Mario Bellini designed in 1972, recently reissued by Tacchini and presented with Kvadrat fabric upholstery at the Fuorisalone 2022 installation ‘Cinema Tacchini’, in Spazio Maiocchi, a project by Formafantasma.

A chair designed 70 years ago is relevant again. With new finishes and textile coverings. When design is timeless

Fauteuil Kangourou, Jean Prouvé 1948, Vitra 2022 — “We always try to keep new products as close as possible to the originals. Whether it’s the materials, the production processes, the colours, we want to stay true to Prouvé’s originality and philosophy”, says Christian Grosen, Chief Design Officer at Vitra. For over 20 years the Swiss company has been collaborating with Catherine, the daughter of French designer Jean Prouvé, to transform the designs in her father’s archive into new products, which were mostly created for specific projects that didn’t always end up as series for mass production, despite Prouvé having pioneered them. Such is the case for the Fauteuil Kangourou armchair, named after the proportions of the rear legs that resemble a kangaroo’s. The second version, in a limited edition of only 100 units, launched in September, combines a dark oak frame with metal legs and bouclé upholstered cushions in the colour Blanc Colombe. The first version of 150 units, launched in June, combined the natural oak frame with legs and upholstery in bouclé Bleu Marcoule. The armchair was created based on the historic Antony chair, the first piece in the collection of Vitra’s Emeritus President, Rolf Fehlbaum, and a constant reference in the development of Prouvé’s collections.

Many Made in Italy companies are attentive to the phenomenon of reissues. The offerings are refined, celebratory and decidedly current

Quaderna Scrittoio / Quaderna 2750, Superstudio 1969–1972, Zanotta 2022 — “The Quaderna collection by Superstudio has featured in Zanotta’s catalogue since 1972 and has never been out of production. We wanted to reconsider two pieces that were never produced and introduce a fresh tribute in celebration of the series’ 50th anniversary”, says Giuliano Mosconi, Tecno/Zanotta group’s President. For the enthusiasts, the ‘architectural forms’ linking the group of architects’ history to the company now add up to eight. The chequered, notebook-style laminate and the bridge-like frame are ageless, even on the ‘new’ desk with drawer. The production combines a highly industrialised process with patient craftsmanship employing the inlay technique (it takes about eight hours to make a single piece). Today as yesterday, only replacing the screen printing with digital printing.

For collectors, original modern design pieces have always been highly sought after; however, interest has spread to the wider market and companies have made this a new area of research and development. Thus, “the trend of ‘reissues’, the search for the great masters of the past, has grown into a real phenomenon”, agree Roberto Giustini and Stefano Stagetti from the Roman gallery Giustini/Stagetti, known for its sophisticated research into 20th century Italian design and its stake in current, up-and-coming creatives. What are the reasons? “Some designer’s names and their stories” — they answer – “guarantee financial rewards capable of legitimising a brand, define its individual traits, and at the same time provide a less risky product. A perfect marketing recipe...” Giusi Tacchini, CEO and Art Director of the family business founded by her father Antonio in 1967, responds remotely. As a sort of archaeologist, in 2010 she launched the Design Classic catalogue: “We retain the original integrity of the projects, but we review the details and above all, the materials and finishes, making them more contemporary, adapting them to today’s production processes. Among the main reasons driving us to choose a reissue, I believe lies the rediscovery of past avant-garde traits that have now become desirable. The purpose is not to stumble upon fleeting styles, but to own a piece of design history that withstands the concept of time, transforming into an icon”. Giuliano Mosconi, President of the group uniting two brands, Tecno and Zanotta founded in the 1950s, the latter acquired in 2017, admits, “the public has rediscovered the value of certain objects for the home. Interior design, which today defines every single major brand, has shifted attention to a complex idea of decor. What captures and drives the choices isn’t novelty, but the style that each company manages to express. That is how products are rediscovered and reissued”. Dutchman Etienne Feijns echoes these ideas. With the innate flair of a vintage collector, in 2007 he founded MidMood-Design, which in 2011 merged into the current Mass Modern in Roosendaal, with a showroom of about 5,000 square meters. Its premise doesn’t betray the environmental aspect: “Used goods help us build a better future, there’s so much beauty around”. But also the romantic one: “Personally, I’m not a fan of reproductions. For me, vintage is something personal with a story, it’s the special thing that you looked for or found by chance and it attracted you. Not a brand-new piece available manifold. However, the demand for modern antiques is growing, as is the interest of younger generations. Companies may realise that it’s worth making what seemed too costly and in low demand again. For better or worse, this affects us too. Some previously unknown pieces gain more attention and thus become desirable. Others lose value because too visible”. Christian Grosen, Chief Design Officer at Vitra and creator of two versions of the limited edition, Fauteuil Kangourou armchair by Jean Prouvé, anticipates collector’s fears and delights enthusiasts: “We thought it would be interesting to present it in two variations, with light and dark wood, and with different textile combinations, because they imbue each with a truly unique and individual look. Kangourou was originally produced only for a few private customers, which is why we liked the idea of reissuing a limited number of pieces”. —

Le Mura, Mario Bellini, Cassina 1972, Tacchini 2022 — “Reissues focus on reclaiming the attraction of timeless design, demonstrating its iconicity through new finishes and materials”. The words of Art Director and Tacchini’s CEO, Giusi Tacchini, explain why reissuing a modular sofa created in 1972. Besides enhancing the company’s artisan manufacturing capabilities, today the sofa is recreated with the involvement of Mario Bellini’s himself, who originally was inspired by the imposing Roman walls in creating simple modular blocks. Fifty years on, he faces the latest aesthetic and ergonomic demands for informal comfort, which comes back as an essential furniture style, for small and large spaces, adapting to contemporary living’s concept of relaxation and entertainment.