Created and Sold by Bartoli Design

Bartoli Design
Chairs by Bartoli Design seen at Private Residence - 1085 Edition
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1085 Edition

Item details

The 1085 Edition chair is manufactured in natural leather hide, with visible stitching and stainless steel tie-rods, supported by a steel frame and four solid oak legs. Developed by Bartoli Design, with the collaboration of the Presot tannery, the chair has been introduced by Italian company Kristalia.

The 1085 edition chair values time: its main material, a thick natural hide leather, will eventually change with time in color and texture, making the chair a witness of this transition, preserving its functionality for years to come.
The processing of this material goes back to the legacy of the Pietro Presot tannery that, starting in 1933, manufactures shoe soles for the best Italian fashion brands and that during its history has been able to adapt to technology evolution without losing its authenticity.

For this project Bartoli Design successfully took inspiration from many worlds: from high fashion came the visible stitching and from boating the use of tie-rods. Expression of a typical Italian heritage, high-level craftsmanship has been added to that, together with the development of a sustainable manufacturing process.
The 1085 edition chair is therefore the successful meeting of the entrepreneur’s exploration spirit, the designer’s talent and the competency of a refined craftsman.

With these words, Bartoli Design, talks about the birth and development of the project: «The 1085 edition chair was born out of a challenge set out by Kristalia: to make a chair with a material which had never been used before in furnishing, the high-thickness hide by Pietro Presot, an historic Italian tannery. Now in use by Italian top brands for shoe manufacturing and, in the past, used to manufacture the boots chosen by Ardito Desio’s team to climb the K2: a really fascinating material of high quality but very difficult to work with for a chair.
Exactly its seven millimeters thickness, compared to the three commonly used in furniture, was the problem. The new opportunity and the idea to cooperate with a high-level craftsman immediately engaged us. The development, from concept to realization, took two years.
We thought our design had to be simple: cutting a flat shape from the hide and trying to wrap it around a metal frame. We really had to “tame” this quite not pliant material. Its high thickness wrapped around the tubular frame, tended to keep it flat and, anyway, gave to the curves a noticeable roundness, which we made a distinctive feature of the chair. The hide endings tended to distort: we rounded them.
We needed a concavity on the seat and the back, for comfort, so we proposed to hot-press the two parts. After making some prototypes with cardboard, we were already focused on dividing the seat from the back and sewing them together by a distinctive zig-zag stitching. The zig-zag stitching permits to avoid the overlapping of two thicknesses but rather juxtapose them, and it is very strong.
Even after moulding, the hide has to be firmly held in place, as the two flaps (behind the backrest and below the seat) push to open apart. We made some stitching tests but they were not satisfying. Eventually, we decided to use nautical tie-rods that clearly express the strength needed to keep the hide in place, giving also the possibility of adjusting the tensioning over time.
Since we started the design, everyone agreed to have the hide with a natural finish: beautiful as it is without any coat, it will age in a noble way for sure.
The hide’s back is usually hidden: the 1085 edition chair is designed to leave it in sight. The early idea was to dye it in black color, contrasting with the external side, then we were convinced that both sides had to remain in their natural colour and texture.
The chair is made of three materials and three components that are formally kept autonomous: metal frame, hide mantle and solid oak legs. The legs are joined to the metal frame on their sides, in a overtly visible way.
It has been a complex design and we’re satisfied we achieved a result that appears simple, outright yet unique».

Context & Credits

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Bartoli Design

Meet the Creator

Anna, Paolo and Carlo Bartoli, after more than a decade of collaboration characterized by the design of quality objects meant to last over time, consolidated their path by founding the associated studio Bartoli Design in 2007.
The team, strengthened by the experience started by Carlo Bartoli in the 1960s, has given life to numerous and long-lasting collaborations with companies in the furniture industry.
The precious cultural heritage of Carlo Bartoli, who passed away in August 2020, celebrated in particular for the Gaia armchair by Arflex, exhibited at the MoMA in New York and at the Triennale Milano, and the 4875 chair for Kartell, the first in the world ever produced in polypropylene, at the Center Pompidou in Paris, keeps itself alive in the studio where his sons Anna and Paolo continue the research and development work that was born with the company and for the company, combining the industrial and artisan world.

The Studio is based in Monza: two bright floors immersed in a vast park, divided into several rooms, different from each other in style and purpose of use, where you can breathe an air of design history and continuous innovation.
In this place full of inspirations, a poetics based on essentiality and balance is developed, where every phase of the design is taken care of, from research to the creation of models, from the sketch to the prototype, up to the finished product.

Over time, projects were created as the result of a sophisticated process of exploration, design and synthesis of skills, such as the 1085 Edition chair for Kristalia, introduced in 2015. An example of how an object so exploited in the world of design can still give new reasons for research and development.
That study also exemplifies the philosophy of the studio under which the durability of the product has to be designed both in physical terms and on a psychological and emotional level.

Products that can go beyond fashions, with an approach that, as Anna and Paolo say, is summed up in the motto "fewer products and better designed" to be filled with emotions and memories: they mark themselves, age, change colour, transform like a living being, carrying within them the trace of time, and this is their great charm opposing the disposable.

Bartoli Design also prefers the use of natural materials such as wool, stone, solid wood, elements that bring well-being to the body and mind. Furnishing items inspired by the desire to connect with nature. Also thanks to this choice, more and more space is being taken within the Studio for design research towards sustainable products, in an attempt to minimize the environmental impact.
Today, the firm's vision is oriented towards sustainability, with particular attention to materials and production processes used to create products that last over time, with a reduced environmental impact.

Numerous products also seek to exploit the Italian tradition and craftsmanship, such as those for Laurameroni.
Bartoli Design appreciates trying its hand at niche objects, such as the recent collection of handles, knobs and accessories designed for the Danish company Vonsild: small sculptures representing a happy combination of design, craftsmanship and research.