The pots of the Mami collection, created by Stefano Giovannoni, are a hymn to the soft and pot-bellied shapes of the traditional Italian utensils from which the delicious aromas of Sunday lunch spread throughout the house. The Mami cookware set is made of 18/10 stainless steel, with a polished finish.
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For the Girotondo tray the two King-Kong designers – Stefano Giovannoni and Guido Venturini – chose an extremely basic shape, wanting to work exclusively on the decoration. So they pierced the edge of the steel tray with a motif of little men, like the ones children make with scissors, a cheerful and playful design that continues to be a great success.
Diameter cm 40
The Girotondo perforated basket is an icon of the Alessi catalogue. The creative duo King-Kong, Stefano Giovannoni and Guido Venturini, created the motif of the little men chasing each other in a merry-go-round, hence the name of the collection: a fretwork with an immediate and evocative language, which finds space on everyday objects.
Diameter cm 18
An ironic tribute to a real woman, Anna G.’s smiling face has become a cult figure over the years, a true “design portrait”. With the Color Tales collection, his unmistakable smile returns with a small series of new color versions, a tribute to the chromatic research of its author, Alessandro Mendini.
The 9093 kettle with bird-shaped whistle is one of the best-selling Alessi objects in the world. The design of this kettle, created by Michael Graves in 1985, blends cultured influences from European art, American Pop and references to pre-Columbian cultures. The extraordinary success that the kettle has achieved since the year of its production is due to this very personal visual language of Graves. A cultured and elegant object, but at the same time playful and fun: when the water boils the bird sings, inevitably raising a smile. Kettle in 18\/10 stainless steel and thermoplastic resin. Magnetic steel bottom suitable for induction cooking
The soft lines of this juicer, made almost entirely of stainless steel, clearly reveal Stefano Giovannoni’s search for a sort of new classicism, of harmony, for the domestic landscape of this century.