MOROSO 1952-1960

1987-1991

MOROSO:

refound identity

The Dinamic collection was developed as part of Moroso’s reflections on its own identity. Designed by Massimo Iosa Ghini, it was launched at the Milan Salone del Mobile in 1986. The objects were complex, both in terms of construction and because the various models comprised many different types of materials. The catalogue announced the “curve devised as an element that can be controlled thanks to electronic manufacturing management systems”, but in reality it posed a great challenge to all Moroso’s know-how. Moroso’s new spirit was also due to the arrival of new additions to the Company management.

The Dinamic collection was developed as part of Moroso’s reflections on its own identity. Designed by Massimo Iosa Ghini, it was launched at the Milan Salone del Mobile in 1986.

Below, an armchair from the Dinamic line, designer Iosa Ghini, 1986.

It was not easy to manufacture articles as complex as the Dinamic products, both due to their construction and the fact that they comprised many different types of materials. The frame was made of tubing and polished chrome-plated steel sections, or wood covered with polyurethane, depending on the model. The catalogue announced the “curve devised as an element that can be controlled thanks to electronic manufacturing management systems”, but in reality it posed a great challenge to all Moroso’s know-how.

In this photo, Patrizia Moroso with Massimo Iosa Ghini and Alberto Gortani, General Manager.

Dinamic was soon followed by other products that were innovative both in terms of design and technology. The collaboration with the Memphis group in 1989 led to the creation of the Design Gallery collection. In 1989 Michele De Lucchi designed a number of different products for Moroso including the Joyce and Ulisse sofas, photographed by Miro Zagnoli, which were featured in the Moroso 1991 advertising campaign.

Above, Antonio Citterio and Kita with the Fido chair (1989); to the left Saruyama (1990).

The years around 1990 were intense. Many new designers accepted Patrizia Moroso’s invitation to envision new design narratives for upholstered furniture. Here at the top, Agostino Moroso with Toshiyuchi Kita observes the Fido chair, which went into production in 1989. This too was composed of different types of materials: steel for the internal frame, polyurethane foam padding, polished cast aluminium rear feet, beech wood front feet. Again by Toshiyuchi Kita, the Saruyama sofa, dated 1990, evokes the natural shapes of rock. Initially hand shaped, today it is produced from cold-moulded polyurethane. Its red cloth fabric covering, which perfectly follows the irregularities of the shape, is emblematic of the quality of Moroso’s upholstery.