Pop Missoni Sofa 3 Seats by Piero Lissoni

In 1953, Ottavio “Tai” Missoni (1921–2013) and Rosita Missoni (b. 1931) opened a small knitwear shop in Gallarate, Italy, paving the way for what would become an iconic style of colorful chevron knit.

Missoni began with a tracksuit, which featured zippers down the legs because, as Rosita recalls it, “Tai was too lazy to take off his shoes when putting them on.” The couple’s fashion really took off, though, once they discovered the Raschel knitting machine on a trip to a shawl factory. The machine enabled the Missonis to knit multiple colors in a zigzag pattern, a motif that would go on to become synonymous with the Missoni brand across everything from its alluring vintage day dresses and sweaters to its purses, seating and rugs.

Missoni held its first fashion show in Florence in 1967 and caused a bit of a sensation when the models’ Lurex dresses proved translucent under the lights at the Pitti Palace. Scandal aside, the show went down in history as a hit, and the Missonis soon made their debut in the United States with the help of legendary fashion editor Diana Vreeland, who gave the variegated Missoni stripe the Vogue seal of approval, saying, “Who says a rainbow has seven colors? It has many shades.” (It was also Vreeland who reportedly introduced the Missonis to Neiman Marcus president Stanley Marcus, effectively shepherding the brand to the American market.)

Missoni’s many-shaded rainbow would soon become an emblem of the 1970s fashion scene, earning the brand a permanent place in the fashion canon. In 1973, the New York Times proclaimed: “Missoni’s weaved garments have ended up universal materialistic trifles, as Vuitton sacks and Gucci shoes.”

The brand branched into the home market in 1983, with Rosita overseeing this new venture, Missoni Home, which included furniture, textiles and accessories. Daughter Angela succeeded her mother at the helm of the brand, where she served as creative director until 2021 and is currently president; her brother Luca is CEO, while her daughter Margherita was creative director of M Missoni, a modestly priced offshoot that was discontinued in 2021.

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The Italian design giant Kartell transformed plastic from the stuff of humble household goods into a staple of luxury design in the 1960s. Founded in Milan by Italian chemical engineer Giulio Castelli (1920–2006) and his wife Anna Ferrieri (1918–2006), Kartell began as an industrial design firm, producing useful items like ski racks for automobiles and laboratory equipment designed to replace breakable glass with sturdy plastic. Even as companies like Olivetti and Vespa were making Italian design popular in the 1950s, typewriters and scooters were relatively costly, and Castelli and Ferrieri wanted to provide Italian consumers with affordable, stylish goods.

They launched a housewares division of Kartell in 1953, making lighting fixtures and kitchen tools and accessories from colorful molded plastic. Consumers in the postwar era were initially skeptical of plastic goods, but their affordability and infinite range of styles and hues eventually won devotees. Tupperware parties in the United States made plastic storage containers ubiquitous in postwar homes, and Kartell’s ingenious designs for juicers, dustpans, and dish racks conquered Europe. Kartell designer Gino Colombini was responsible for many of these early products, and his design for the KS 1146 Bucket won the Compasso d’Oro prize in 1955.

Buoyed by its success in the home goods market, Kartell introduced its Habitat division in 1963. Designers Marco Zanuso and Richard Sapper created the K1340 (later called the K 4999) children’s chair that year, and families enjoyed their bright colors and light weight, which made them easy for kids to pick up and move. In 1965, Joe Colombo (1924–78) created one of Kartell’s few pieces of non-plastic furniture, the 4801 chair, which sits low to the ground and comprised of just three curved pieces of plywood. (In 2012, Kartell reissued the chair in plastic.) Colombo followed up on the success of the 4801 with the iconic 4867 Universal Chair in 1967, which, like Verner Panton’s S chair, is made from a single piece of plastic. The colorful, stackable injection-molded chair was an instant classic. That same year, Kartell introduced Colombo’s KD27 table lamp. Ferrierei’s cylindrical 4966 Componibili storage module debuted in 1969.

Kartell achieved international recognition for its innovative work in 1972, when a landmark exhibition curated by Emilio Ambasz called “Italy: The New Domestic Landscape” opened at New York’s Museum of Modern Art. That show introduced American audiences to the work of designers such as Gaetano Pesce; Ettore Sottsass, founder of the Memphis Group; and the firms Archizoom and Superstudio (both firms were among Italy's Radical design groups) — all of whom were using wit, humor and unorthodox materials to create a bracingly original interior aesthetic.

Castelli and Ferrieri sold Kartell to Claudio Luti, their son-in-law, in 1988, and since then, Luti has expanded the company’s roster of designers.

Kartell produced Ron Arad’s Bookworm wall shelf in 1994, and Philippe Starck’s La Marie chair in 1998. More recently, Kartell has collaborated with the Japanese collective Nendo, Spanish architect Patricia Urquiola and glass designer Tokujin Yoshioka, among many others. Kartell classics can be found in museums around the world, including MoMA, the Victoria and Albert Museum and the Cooper Hewitt, Smithsonian Design Museum. In 1999, Claudio Luti established the Museo Kartell to tell the company’s story, through key objects from its innovative and colorful history.

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