Back to table of contents of "Figurines"

25 February 2016

Non ti scordar di me

Cristina Morozzi

by

The Bosa ceramics laboratory, located in the Venetian hills of Borsa del Grappa, was founded in 1976. In 2016, they released a collection of “souvenirs”, created by 12 new and returning designers. Named ““Non ti scordar di me” (Don’t you forget me), the series features 12 small gift items intended for special occasions. Bosa, who is known for its large-scale pieces, has revisited small-scale objects resembling good-luck charms or amulets. The designers were asked to conjure up symbolic keepsake objects. The final products reflect the personality of the designers, who gave free reign to their imaginations while bringing porcelain figures back in vogue. Even in this day, small, useless objects are destined to become contemporary, domestic fetishes.

Furlo, Bosa, design by Elena Salmistraro
Carmelo, Bosa, design by Elena Salmistraro
Carmelo, Bosa, design by Elena Salmistraro
Furlo, Bosa, design by Elena Salmistraro
Bird, Bosa, Ionna Vautrin
Alpa, Bosa, Ionna Vautrin
Bosa mascotte design by Ionna Vautrin

WHERE: Via Molini, 44, Borso del Grappa, Treviso

The Bosa ceramics laboratory, located in the Venetian hills of Borsa del Grappa, was founded in 1976. In 2016, they released a collection of “souvenirs”, created by 12 new and returning designers. Named “Non ti scordar di me” (Don’t you forget me), the series features 12 small gift items intended for special occasions. Bosa, who is known for its large-scale pieces, has revisited small-scale objects resembling good-luck charms or amulets. The designers were asked to conjure up symbolic keepsake objects. The final products reflect the personality of the designers, who gave free reign to their imaginations while bringing porcelain figures back in vogue. Even in this day, small, useless objects are destined to become contemporary, domestic fetishes.

Back to table of contents of "Figurines"

You might also like

Close
Go top

The Moodboarders is a glance into the design world, which, in all of its facets, captures the extraordinary even within the routine. It is a measure of the times. It is an antenna sensitive enough to pick-up on budding trends, emerging talents and neglected aesthetics. Instead of essays, we use brief tales to tune into the rhythm of our world. We travelled for a year without stopping, and seeing as the memory of this journey has not faded, we have chosen to edit a printed copy. We eliminated anything episodic, ephemeral or fading, maintaining a variety of articles that flow, without losing the element of surprise, the events caught taking place, and the creations having just bloomed.