Massimo Lela Vignelli Pair of "Intervista" Chairs in Vermillion Leather, 1989

Massimo Vignelli and Lella Vignelli’s legacy can be seen everywhere in the logos of Bloomingdale’s, Ford and American Airlines, among others. In addition to their work in branding, they were prolific creators of modernist home furnishings, products and interiors, and the duo’s collaborations, which span 50 years, have left a profound mark on design and wider visual culture.

After meeting in Italy, Lella (1934–2016) and Massimo (1931–2014) began working together in 1961 and a decade later formed Vignelli Associates in New York. A self-described “information architect,” Massimo was committed to streamlining complex ideas into clear, visually arresting forms. (Witness the graphic identity that he cocreated with Bob Noorda for the New York City Transit Authority as well as his influential 1972 subway map.) The Vignellis’ most recognizable piece, for example, may be the Handkerchief chair, a stackable office chair made of compression-molded plastic that has the look of a cloth floating in air. It was created for Knoll in 1983 after they designed the brand’s logo.

Evidence of the couple’s influence can also be found in their Saratoga line (1964), the first collection of lacquered furniture, which helped herald in the trendy “glossy” look of the decade (and beyond). When the Vignellis created the Poltrona Frau Interview chair in 1988 for an Italian television station, it became widely sought after, “which goes to show you the power of the TV media,” the couple once said. Much like their elemental graphic designs, the Kono (1984) and Pisa tables (1985) — both created for Casigliani — cull the form of the table down to geometric shapes.

Vignelli furniture is often labeled as Massimo Vignelli’s alone, though he fought to have Lella recognized for her work, even throwing away magazines that neglected to give her due credit. As he wrote of their lifelong collaboration in his book Designed By: Lella Vignelli: “It is not holding a pencil with four hands that makes a partnership; it is sharing the creative act and exercising creative criticism which is reflected in the end result.”

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If an Italian soldier named Renzo Frau had never traveled to Great Britain and set eyes on a Chesterfield armchair, it is unlikely that legendary handcrafted furniture maker Poltrona Frau and its classic sofas, armchairs and vanities would exist today.

Upon completing his service in the Italian army during the early 1900s, the Sardinian-born Frau worked for faux leather manufacturing company Dermoide Patent in Turin. While at the firm, he was sent to England, where he became enamored with leather Chesterfield armchairs. Intrigued and inspired by their rolled arms and tall, imposing profile, Frau returned to Turin, where he started his own leather-upholstered furniture company, Poltrona Frau, in 1912. He began to import the sumptuous Edwardian seating for the high-end domestic market. 

Frau made slight modifications to the English seat that he’d so admired, and among Poltrona Frau’s first successful designs was an iconic armchair in 1919 appropriately called the Chester. Believed to have been custom-made for Filiberto Ludovico of Savoy, Duke of Pistoia, the Chester reflected the era’s emerging Art Deco style. Frau’s chair was comfortable and functional, and he implemented the traditional upholstery technique capitonné, which refers to stuffing that is buttoned. The Chester featured a pouf and an arm that was possibly included to hold the Duke’s ashtray. The seat’s high-quality craftsmanship and integration of exquisite full-grain leather made it covetable among Italy’s elite.

When Renzo Frau died in 1926, Poltrona Frau was appointed furniture supplier to Italy’s royal family. The company furnished grand hotels, designed the interiors for Expo Turin 1928 and outfitted an Italian transatlantic ocean liner. 

For more than a century, Poltrona Frau has collaborated with hundreds of leading architects and designers from around the world. It issued such iconic mid-century modern pieces as Gio Ponti’s Dezza armchair, the 1960s-era Dilly Dally vanity by Italian designer Luigi Massoni, stackable tubular steel Movie armchairs by Italian architect Mario Marenco and French architect Jean-Marie Massaud’s sleek, angular Kennedee office sofa.

Poltrona Frau has established showrooms all over the world and creates interiors for Italian automotive brands Maserati and Ferrari. The company is owned by Haworth and continues to introduce innovative, handmade home furnishings while occasionally gazing back into time — its Chester line, a modular seating system by Poltrona Frau CEO Nicola Coropulis and Roberto Lazzeroni, is a contemporary interpretation of the founder’s original Chesterfield-style seating.

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