Lorenza Bozzoli, haute couture design

Fringed poufs from the Couture collection

With her daringly imaginative Couture series, Milanese designer Lorenza Bozzoli is making a mark on the design world. This collection consists of elegant and exclusive furnishing accessories, and the care taken in production is distinguished by the use of excellent raw materials, a tailor-made approach and craftsmanship.

Born in Italy, in Milan, Lorenza Bozzoli attended Brera Academy, then moved to New York, beginning her experience in the fashion industry. Back in Milan, she worked with Elio Fiorucci and companies like Basile, Sergio Rossi, Camper and Plein Sud. Her interest then shifted to the world of design, and a vast series of collaborations began with brands such as Alessi, Moooi, Dedon, Tato, Spazio Pontaccio and Slamp. For her own account, the designer presents the Pouf Couture collection, 100% Made in Italy, which sees pouf seats as if they were haute couture dresses. Made with four different geometric patterns, they have in common the handcrafted fringes, made with looms from the early 18^th century.

The richness of workmanship and variety of colors give contemporary designs a touch of 1920s style and an exotic oriental undertone. The colors of the range can be completely personalized according to the taste of the buyers. Subsequently, Bozzoli enriched the seats with superimposed fringes of several lengths, to achieve three-dimensional multi-chromatic levels. They are then available as bar stools and three-seater benches. It also introduces a beautiful novelty, with its suite of mirrors inspired by rationalist architecture. The series is characterized by reflective glasses of various shades, arranged in several levels, creating full and empty spaces, lights and shadows. To emphasize the effect of reflections, brass-plated metal profiles frame them. Finally, the fringes, the designer’s distinctive sign, continue the outline of the mirrors, enriching their contours with sinuous inserts in all lightness.

Through her approach to design, Bozzoli appropriates the attitude of fashion, which places the object in the spirit of its time, and expresses it in everyday life. Every project is conceived not only as a functional line, but as an expression and a way of belonging to its time. Her design method is a mixture of styles, a cooperation between aesthetics and practical approaches to use. In this sense, the treatment of materials emerges as a language capable of translating a current or a trend, in order to lead to the idea that animates the object. This method combines fashion, art and design at the same time as a reflection on forms, for someone who interprets and celebrates her modernity with joy.