The brand’s plentiful collection can also be identified with a series of leading names in the history of design past and present, including Carlo Scarpa, Gio Ponti, Fulvio Bianconi, Tapio Wirkkala, Laura De Santillana, Tobia Scarpa, Gae Aulenti, Ettore Sottsass, Mimmo Rotella, Alessandro Mendini and contemporary designers such as Emmanuel Babled, Doriana e Massimiliano Fuksas, Cini Boeri, Rodolfo Dordoni, Giorgio Vigna, Tadao Ando, Fernando and Humberto Campana, Flo Perkins, Fabio Novembre, Michela Cattai, Mario Bellini, Studio Job, Barber & Osgerby, Hani Rashid and Lise Anne Couture, Ron Arad and Peter Marino.
Past, present and future continually intersect in the work of a company that has revolutionised the art of glassmaking. This is true of the Veronese vase, the most iconic object in its collections, reissued in a limited edition of 100 to mark this major anniversary, and in a new shade of powder pink with oxblood details, one of the company’s historic colours, recently rediscovered during experimentation and research into combinations of minerals and pigments. It’s also a homage to the identity and history of Venice, crucible of the foundry’s success. It’s a colour reminiscent of the reds and browns in paintings made during the Renaissance, that sumptuous era during which the Serenissima controlled the routes East. The piece is, in fact, actually inspired by a work by Veronese, and was blown for the first time in 1921 by Vittorio Zecchin, the company’s painter and artistic director until 1925, who was fascinated by a detail in the Annunciation – a transparent, amphora-shaped vessel containing a sprig of bramble bearing berries, shot through with a ray of light.