Issue link: https://read.dmtmag.com/i/48690
P M For Patrizia Moroso—the passionate creative director of the beloved, Udine-based Italian furniture company, Moroso—collaboration is a critical ingredient in innovative and enduring design. To wit, Mo- roso has initiated projects and partnerships with Ron Arad, Marcel Wanders, Marc Newson, Patricia Urquiola and many others throughout her 28 years at the company's helm. "This is a cultural way of working and these are warm relationships," she says. "They have to be—we're not just trying to produce an object. We're trying to make something new." At any given moment, Moroso has projects brewing with a dozen or so different artists and de- signers from all over the world (recent editions include the ethereal "Moon" chair by Tokujin Yoshioka; Urquiola's chic but durable "Gentry" line of sofas; and Karmelina Martina's "Buba," a hulking bright- orange monolith of a bench inspired by an Hermès riding saddle). The creation of sustainable materials of the highest quality has been a major initiative over the past few years as well—in addition to up- holding the artisan-like ethos of the company itself. Founded by her father in 1952 when such family-owned boutique design operations were entering their heyday, Moroso has remained staunchly independent, unlike much of the competition, which has been bought out by bigger companies. "Things are changing," she says. "But we're trying to maintain the spirit of the beginning." And the way Moroso sees it, clinging to very high standards in both design and production is the only way to survive. As for her personal assent up the ranks of the family business, "I had to fight in the past," Moroso says. She spent much of her childhood playing and doing schoolwork at the company's headquarters. It was difficult to get her parents colleagues and customers to see her as anything besides a little girl. But Moroso had a formidable role model in her mother, who persevered in the male-dominated field herself and long ran the business side of the company. "You can fight for this and fight for the life you want," she adds. "And one day you realize that you don't have to fight anymore. In the end, I was the winner. And I am still here." The Tripod, 1949, also known as the Chistera, is considered one of Motte's masterpieces. CULTURED 83 a trizia O R O S O PHOTO BY ANNA BUSSOLOTTO