Chiara Andreatti: Materials, Memory, and Design

13 May 2026

In Chiara Andreatti‘s work, memory, materials, and a profound sense of everyday gesture coexist. Her design approach moves between formal research and artisanal sensitivity, creating objects capable of establishing an authentic dialogue with those who experience them. At the Salone del Mobile, a key moment for observing and interpreting the evolution of contemporary design, Andreatti shares her perspective on identity and experimentation. From collaborations with Cassina, Ethimo, Paola C., and Potocco, a coherent vision emerges, balancing innovation, tradition, and attention to detail.

Interview conducted in Italian – English translation and editorial adaptation.

Salone del Mobile has always been a key event for the world of design. What goals do you set for yourself each year by participating in this event, both in your role as a designer and as a keen observer of the evolution of the sector?

Every year, my goal as a designer is to present projects that have a strong identity but are also capable of engaging with people. I’m interested in creating objects that tell a story, that have an emotional as well as functional component, and the Salone is the ideal place to understand if this message is truly resonating.
At the same time, as an observer, I try to capture the subtlest changes in the industry: not just formal trends, but above all new needs, emerging materials, and the growing focus on sustainability and craftsmanship. I’m interested in seeing how companies interpret these themes and how collaborations between designers and brands evolve.

It’s also a valuable opportunity to nourish curiosity: walking, observing, and being surprised. Often, the most interesting insights arise from unexpected details, from fusions between different worlds.
Ultimately, participating in the Salone means constantly questioning yourself, maintaining an open mind, and continuing to build a personal language that remains contemporary without losing its authenticity.

Regarding the collaboration with Cassina: can you tell us how your approach engages with the history, identity, and design heritage of such an iconic brand?

In my dialogue with Cassina, I always begin with respect for its identity, understood as the foundation upon which to build something contemporary. This year, I’m presenting a Plintea padded dining chair, with a sculptural single leg and rigorous lines: a welcoming yet essential object. It has completely removable covers and is made from a single mold: the backrest is constructed from a single piece, seamless in the fabric version and with only two joints in the leather version, thus combining formal purity and functionality. The project reflects precisely this balance, typical of Cassina: technical innovation and aesthetic rigor. My goal was to create something new yet familiar, capable of fitting naturally into the brand’s heritage while maintaining a contemporary language.

The collaboration with Ethimo fits into the world of outdoor furniture, an increasingly central area of contemporary design. What is your vision for this space, and how does it translate concretely into the work we’ve developed together?

In our collaboration with Ethimo, the outdoors are increasingly fluid, seamlessly integrated with the indoors, no longer separate but an integral part of everyday life. My vision is a welcoming and sophisticated environment, where aesthetics and durability coexist naturally. This is why I designed a die-cast aluminum dining chair with a woven backrest and seat: an object designed to last, but also to convey lightness and attention to detail. The work focused precisely on the balance between technology and craftsmanship: the industrial structure interacts with the weave, creating a recognizable yet discreet signature. It’s a way to bring the same attention to design we dedicate to interiors to the outdoors, maintaining consistency and quality.

Paola C. has built her identity around the beauty of daily rituals and the objects that accompany them. How did this collaboration come about, and what aspects of your design language did you want to bring to this universe?

The collaboration with Paola C. came about naturally, from a shared sensitivity to the world of tableware and conviviality, which has always been part of my design journey. I worked on two very different glass collections, united by research into materials, particularly Caulis and Sinus, the printed cast glass. The first is a line of glasses with a prominent, solid glass stem, more sculptural and decisive; the second includes wine water glasses with more feminine details, characterized by pleats at the corners, which lend a softness, almost as if they were fabric. What I wanted to bring is precisely this attention to gesture and perception: objects that accompany the daily ritual of the table, but at the same time make it special, through material, light, and detail

Over the years, with Potocco, you have built a recognizable and coherent design path, made of collections capable of combining formal research and material sensitivity. What will you present this year at the Salone, and how does this new project fit into the dialogue you have been pursuing for some time?

With Potocco, we have been pursuing an ongoing dialogue for about five years, which has also been built over time through my role as art director. This year, too, I will be leading the stand together with architect Lorenzo Bini, working on the display as an integral part of the design narrative. At the product level, we present Orlea, a collection of coffee tables in Carrara and Nero Marquina marble, Kira, a dining table with sculptural shapes, and Tressa, an outdoor teak armchair.

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