How Kartell Made Plastic Fantastic
Get to the know the Italian company that made cutting-edge plastic furniture mainstream
Rebecca Gross
6 May 2017
Design writer and historian. I write about contemporary architecture and design, and I study cultural history through the lens of architecture, design and visual culture. I have a Masters in the History of Decorative Arts and Design from Parsons The New School for Design, New York. My latest book is called "Ornament is not a crime: Contemporary Interiors with a postmodern twist."
Design writer and historian. I write about contemporary architecture and design,... More
Bursting with colour and playfulness, Kartell furniture, lighting and accessories are synonymous with Italian design. However, beneath that whimsy, the design of Kartell products is underpinned by technological research and a dedication to innovative manufacturing methods. The company injects plastics with personality, transforming them into modern, sophisticated products that border on the luxurious. Engaging and exuberant, Kartell products appeal to the senses. Here’s what you need to know about Kartell and its design icons.
The beginnings
Chemical engineer Giulio Castelli founded Kartell in 1949, making plastic car accessories and then household items. Under Kartell, Castelli continued his experiments with plastics and in 1958 branched into the lighting and laboratory-equipment industry. In 1963 he opened a furniture and interior design division. Castelli, together with his wife architect Anna Castelli Ferrieri, who was also a designer for the company, worked on the premise that they wanted to introduce the revolution of plastics into the home and laboratory, replacing glass and other traditional materials.
In 1972, the Museum of Modern Art (MoMA) in New York invited Kartell to exhibit three prototypes in its exhibition ‘Italy: The New Domestic Landscape’. It proved to be a turning point for Kartell and the springboard for its launch on the international market.
Chemical engineer Giulio Castelli founded Kartell in 1949, making plastic car accessories and then household items. Under Kartell, Castelli continued his experiments with plastics and in 1958 branched into the lighting and laboratory-equipment industry. In 1963 he opened a furniture and interior design division. Castelli, together with his wife architect Anna Castelli Ferrieri, who was also a designer for the company, worked on the premise that they wanted to introduce the revolution of plastics into the home and laboratory, replacing glass and other traditional materials.
In 1972, the Museum of Modern Art (MoMA) in New York invited Kartell to exhibit three prototypes in its exhibition ‘Italy: The New Domestic Landscape’. It proved to be a turning point for Kartell and the springboard for its launch on the international market.
In 1988 Castelli passed the helm to his son-in-law, Claudio Luti, who continued to emphasise design research. In the 1990s he also began to establish collaborations with well-known international designers, such as Philippe Starck and Ron Arad.
With a focus on developing new partnerships, technologies, forms and styles, Kartell has manufactured furniture that appeals to high-style buyers searching for iconic, fun furniture and sophisticated design.
With a focus on developing new partnerships, technologies, forms and styles, Kartell has manufactured furniture that appeals to high-style buyers searching for iconic, fun furniture and sophisticated design.
Style and colour
Kartell’s designs evoke the era in which they were created, be it the 1960s, ’70s or today. Its bright and colourful kitchenware (dustpans, lemon squeezers, colanders and dish racks) designed by Gino Colombini reflected the optimism of the ’50s. The ’60s saw a space-age aesthetic come to the fore, while experimentation ruled in the ’70s. Kartell took on a subversive style in the ’80s, an air of transparency in the ’90s, and a sensorial approach in recent years.
Kartell’s designs evoke the era in which they were created, be it the 1960s, ’70s or today. Its bright and colourful kitchenware (dustpans, lemon squeezers, colanders and dish racks) designed by Gino Colombini reflected the optimism of the ’50s. The ’60s saw a space-age aesthetic come to the fore, while experimentation ruled in the ’70s. Kartell took on a subversive style in the ’80s, an air of transparency in the ’90s, and a sensorial approach in recent years.
Plastic power
Castelli foresaw the innovative and almost-limitless possibilities of plastic when the material emerged on the mass-market scene post-World War II. Durable, scratch-resistant, lightweight, and low cost, plastic was the ‘next big thing’. Driven by his desire to push the limits of the versatile material, Castelli took a fresh approach to plastic, injecting the manipulation of the material, which is otherwise devoid of identity, with personality and functionality.
Kartell’s development of new functional features and aesthetic characteristics focuses on tactility and surface appearance. This has resulted in products with distinctive satin finishes, transparency, flexibility, resistance to atmospheric pollutants, softness and touch.
Castelli foresaw the innovative and almost-limitless possibilities of plastic when the material emerged on the mass-market scene post-World War II. Durable, scratch-resistant, lightweight, and low cost, plastic was the ‘next big thing’. Driven by his desire to push the limits of the versatile material, Castelli took a fresh approach to plastic, injecting the manipulation of the material, which is otherwise devoid of identity, with personality and functionality.
Kartell’s development of new functional features and aesthetic characteristics focuses on tactility and surface appearance. This has resulted in products with distinctive satin finishes, transparency, flexibility, resistance to atmospheric pollutants, softness and touch.
Transparency effects
In 1999, Kartell became the first company in the world to use polycarbonate for the production of furniture items. The La Marie chair (pictured left) by Philippe Starck for Kartell proved to be a revolutionary innovation. It was the world’s first completely transparent chair made from a single polycarbonate mould. Kartell has since continued to develop and explore transparency with a range of see-through and colourful furniture and lighting designs.
In 1999, Kartell became the first company in the world to use polycarbonate for the production of furniture items. The La Marie chair (pictured left) by Philippe Starck for Kartell proved to be a revolutionary innovation. It was the world’s first completely transparent chair made from a single polycarbonate mould. Kartell has since continued to develop and explore transparency with a range of see-through and colourful furniture and lighting designs.
Conceptual irony
The concept of irony plays a role in much of Kartell’s work by way of moulding a cheap material into forms that speak of wealth and status. In pieces such as Ferruccio Laviani’s Bourgie lamp (pictured) and Philippe Starck’s Ghost series, cheap material meets high style as plastic is moulded to reference the luxury styles of the 1700s and 1800s.
The concept of irony plays a role in much of Kartell’s work by way of moulding a cheap material into forms that speak of wealth and status. In pieces such as Ferruccio Laviani’s Bourgie lamp (pictured) and Philippe Starck’s Ghost series, cheap material meets high style as plastic is moulded to reference the luxury styles of the 1700s and 1800s.
Kartell Collaborations
FL/Y Suspension lamp
Kartell’s recent catalogue is marked by collaborations with renowned designers who have produced best-selling chairs, lamps, tables and home accessories, including the FL/Y Suspension lamp (pictured) by Ferruccio Laviani.
FL/Y Suspension lamp
Kartell’s recent catalogue is marked by collaborations with renowned designers who have produced best-selling chairs, lamps, tables and home accessories, including the FL/Y Suspension lamp (pictured) by Ferruccio Laviani.
Componibili side table
The Componibili module, designed by Anna Castelli Ferrieri, is probably Kartell’s most recognisable piece, available in a rainbow of colours and variety of sizes. In production for more than 30 years, the Componibili has received many an accolade and is housed in the collections of the MoMA and Centre Pompidou.
The Componibili module, designed by Anna Castelli Ferrieri, is probably Kartell’s most recognisable piece, available in a rainbow of colours and variety of sizes. In production for more than 30 years, the Componibili has received many an accolade and is housed in the collections of the MoMA and Centre Pompidou.
Louis Ghost chair
Philippe Starck’s Ghost Family is a collection of transparent furniture made from clear and coloured polycarbonate formed in a single injection mould, and designed to combine technical innovation with historical style. In transparent plastic, the Louis Ghost chair still captures the quintessence of the Baroque era, which was intended to dazzle and amaze.
Master of surprise: Philippe Starck
Philippe Starck’s Ghost Family is a collection of transparent furniture made from clear and coloured polycarbonate formed in a single injection mould, and designed to combine technical innovation with historical style. In transparent plastic, the Louis Ghost chair still captures the quintessence of the Baroque era, which was intended to dazzle and amaze.
Master of surprise: Philippe Starck
Attila stool/ side table
Starck also designed a humorous series of stools/ side tables for Kartell, each in the shape of a gnome and given the name of a charismatic personality: Attila, Napoleon and Saint-Esprit on account of their originality and non-conformism.
Starck also designed a humorous series of stools/ side tables for Kartell, each in the shape of a gnome and given the name of a charismatic personality: Attila, Napoleon and Saint-Esprit on account of their originality and non-conformism.
Masters Chair
Starck collaborated with Eugeni Quitllet to design the Masters chair, a powerful tribute to three famous chairs: Arne Jacobsen’s Series 7; Eero Saarinen’s Tulip Armchair; and Charles and Ray Eames’ Eiffel Chair. Each is interwoven into a linear and sculptural hybrid that is light, practical and stackable. The Masters chair received the Chicago Athenaeum Museum of Architecture and Design’s prestigious 2010 Good Design Award.
Starck collaborated with Eugeni Quitllet to design the Masters chair, a powerful tribute to three famous chairs: Arne Jacobsen’s Series 7; Eero Saarinen’s Tulip Armchair; and Charles and Ray Eames’ Eiffel Chair. Each is interwoven into a linear and sculptural hybrid that is light, practical and stackable. The Masters chair received the Chicago Athenaeum Museum of Architecture and Design’s prestigious 2010 Good Design Award.
Comback chair
Inspired by the Windsor chair, Patricia Urquiola’s Comback is a combination of plastic and wood, and a contemporary interpretation of the centuries-old classic. Fashioned from batch-dyed thermoplastic technopolymer, the chair features bright colours and new geometry.
More designs from Patricia Urquiola
Inspired by the Windsor chair, Patricia Urquiola’s Comback is a combination of plastic and wood, and a contemporary interpretation of the centuries-old classic. Fashioned from batch-dyed thermoplastic technopolymer, the chair features bright colours and new geometry.
More designs from Patricia Urquiola
Bookworm bookshelf
Ron Arad’s careful analysis of extrusion technology has resulted in the creation of a sculptural and stylish bookshelf without compromising functionality. Named Bookworm, it can be attached to the wall in a spiral, gentle curve or numerous other shapes, meaning the designer hands over the final look of the shelf to the homeowner.
TELL US
Do you have Kartell in your home? Upload a picture to the Comments section below.
MORE
See more Kartell products
Ron Arad’s careful analysis of extrusion technology has resulted in the creation of a sculptural and stylish bookshelf without compromising functionality. Named Bookworm, it can be attached to the wall in a spiral, gentle curve or numerous other shapes, meaning the designer hands over the final look of the shelf to the homeowner.
TELL US
Do you have Kartell in your home? Upload a picture to the Comments section below.
MORE
See more Kartell products
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Your stool and lounge room look gorgeous!
Our Kartell magazine rack adds just the pop you want in a WC
My Componibili side table accompanies me to sleep every night.