Some of her pieces like pottery and glass bottles, vases and home decor accessories are now part of the exhibition W-Women in Italian Design on view until February 19th at La Triennale di Milano, design museum: a show about the development and the impact of female designers in Italy. Chiara Andreatti is a young, talented and eclectic designer whose production goes from a portable bookshelf for Atipico, to a wallpaper series for Texture, to a coffee table for Glass Italia, to a rug collection for cc-tapis. As a promoter of diversity in all of its aspects, art, architecture, culture and life in general, she is able to infuse her design with her passion for everything that is different from her. You can see it from the variety of objects she creates: they are all a result of an intersection between genre. A pattern for a collection of pottery can be inspired by a graphic design motif, a shape of a vase can come from a silhouette of a dress. In the creative process everything is connected and there is no space and time for separation, because the right idea or the right path to follow can come from something unexpected.
As they are rich of poetry, raw adventure and folk tradition, we decided to focus this interview on her rug collections, to discover her ability to transfer her broad experience on the design of a textile.
D: What do you like about rugs?
CA: I have always wanted to design carpets, as I am really passionate about them, most of all the Iranians ones, Caucasians years ’40s ‘50s, knotted from Anatolia. I have always brought some rugs home from my trips and I always had a very strong connection with the world of textiles and textures, through trimmings and embroideries. Rugs are real pieces of art and are like storytellers because they reveal the history of a tradition. Moreover they add a sense of warmth to any house and with their decorations they highlight a certain type of style bringing a sort of exotic touch in any domestic interiors.
D: Who were or still are your role modes? Those who have been crucial in your training?
CA: Lately, I have been focused on women, looking to discover their lives and their worlds through their trademark design, analyze their artistic skills, their feelings and their personalities. Louise Bourgeois, French-American artist, with her textile work, Hella Jongerius, Dutch industrial designer, for the originality with which she has been able to combine industry and handicrafts, Nathalie du Pasquier, French textile designer and painter, whose works transpire African travels. I have always been attracted to free spirits, most of all women from the past, travelers, controversial women characters.
D: How did you come up with the idea of Primitive Wave series for cc-tapis?
CA: When I was doing some research for Primitive, my imagination traveled to Morocco exploring typical Beni Ourani handmade rug, the African symbolism and the textiles of Agda Österberg, Swedish artist, and Anni Albers, German-American textile artist, from Weimar School. Primitive Weave is the result of the mixture of these worlds. The inspiration started from the classic Berber carpet but revisited with the addition of graphic elements and the geometries of the early '900. The typical works of Kilim melted into a higher knotting is going to create an unexpected three-dimensionality. I was inspired by the interiors of 1900 by Walter Gropius, German architect and founder of the Bauhaus School and Josef Hoffman, Austrian architect and designer, and his Art Deco carpet collection.
D: When you have to start a project, what do you do?
CA: It depends on the project. Usually I begin with something that I saw or I found in my archive. I pay a lot of attention to my surroundings and I do a lot of research on contemporary art, architecture, craftsmanship. When I travel, I enjoy the search of new aesthetic and methods. If a project starts from a brief it is certainly more difficult because, at first, it can be less instinctive. Then, when I begin to dig into it, everything becomes clearer. I am able to give the shape that I want by putting all my experience and my visual language in a unique object.
D: What's design for you?
CA: Being able to create an object that express poetry and conceal the intimate and personal process that's been behind. It can arise from a specific search, then enlightened by a process, or a reference to a historic period. Everything starts from the way you look at things, your ability to discover something that has been hidden to others and only you can see. Once you have found this secret you have to keep it and work on it in the most authentic and honest way. If just a small part of this process transpires in the project, in my opinion, it means that the development of it was well managed, and the result is a perfect mix of good aesthetic and attention to proportions.
D: What does inspire you? Where do you find your inspiration?
CA: I love diversity. I am interested in mixing two different ways of working such as handcraft and industrial process. I like also to think outside the box and get inspired by fashion or graphic design industries. I don’t consider myself as a real industrial designer. I am attracted to the emotions that emerge from an object, the feelings that you can perceive when you look at it.