A volume, edited by Virginio Briatore, retraces the Lavazza design of the last twenty-five years. A solid design, strong in character and light in the heart, modern and with a human touch

There is Segno Lavazza, the collection with the famous white porcelain cup signed in 1996 by Claudio Caramel and which takes up, by reversing it, the geometry of the "A" in the logo of the Turin company. There is the lanceolate and empty spoon inside, perfect for mixing the sugar of the coffee in the cup without breaking the creamy surface, developed by starred chef Davide Oldani together with the Lavazza Training Center led by Marcello Arcangeli: a clear example to really explain a anyone what the expression coffee design means. There are also espresso machines for the home and office with which millions of people around the world can enjoy a coffee like at the bar since the end of the last century.

But, above all, there are the names and faces of the forty designers who, in the last twenty-five years, have given shape, body and energy to a long theory of products, graphics and patterns that have become widespread heritage of Made in Italy throughout the world. Yes, the faces of creatives: because “designers come first. Products come next. Whether you are more or less aware of it, a significant part of the historical, intangible and reputational heritage of a company consists in the quality and variety of the designers with whom the company has worked ", explains Virginio Briatore, design philosopher, historical signature of Interni and, under the terms of “Lavazza consultant for design, architecture and aesthetics”, the driving force behind this happy story.


Briatore's idea is to retrace Lavazza design - that of the last twenty-five years, when the effort for greater uniformity of language grows, without going to the detriment of variety - with a book that, even before the products, shows the faces of who is at the origin of a daily success. "All the designers who have worked with Lavazza, even those we may have forgotten about, are part of the company's current and historical heritage and everyone goes the little big thank you that this book expresses".

Not surprisingly, the book is titled Lavazza Design People, because the human factor is the common denominator of the stories of care, dedication and beauty behind every single cup, spoon or gear. And in the volume there are as many faces as enough to make them a sort of compendium of the best Italian industrial design of this turn of the century. From the Lavazza-Smeg coffee machine by DeepDesign to the Aladina coffee maker by Cino Zucchi, the story becomes a choral one, accompanied by photographs, maps and drawings that allow you to get to the heart of the individual projects.

The volume is also an opportunity to discover that design does not only mean form, function, aesthetics, but also consistency. "We are creating Italian product design, in the best sense of the term" explains Florian Seidl, since 2015 at the head of the Lavazza Design Office, a structure created that year to bring greater uniformity of style without penalizing variety and authorship. “It was a real challenge to create this office from scratch. Because although Lavazza has always been open to design and other creative disciplines, in the past it did not have a dedicated internal structure. Thanks to external partners, the projects were valid and stimulating, but perhaps there was sometimes a lack of consistency in the execution and experience of the brand identity.

But this identity can be created over time. We find ourselves in the tradition of important names such as Olivetti, Brionvega, perhaps Piaggio or Fiat. Lavazza Design takes these heroes of Italian industrial design of the 1950s and 1960s as points of reference and proudly follows in their footsteps. We love our products and passionately design them with our hands, minds and hearts. Ergonomic and functional, never too technical. The result is a solid design, strong in character and light in the heart, modern and with a human touch ". Design People, in fact.