In Conversation with Giusi Tacchini

Established in 1967, Tacchini is emblematic of sophisticated furniture pieces with impeccable design credentials. The legacy Italian brand has released Life & Other Stories, a collection that encapsulates Tacchini’s firm belief that the home is a statement of the life experience and stories of its inhabitants.

To celebrate the latest collection, our Editor and Founder, Dana Tomić Hughes, had the pleasure of sitting down with Giusi Tacchini, CEO and Creative Director of the iconic brand, for a series of Stylecraft events held in Sydney and Melbourne. Seated on the Le Mura, a hero piece of the latest collection designed by Mario Bellini in 1972, the pair chat about all things past, present and future for the brand.

Consisting of a catalogue of reissued design classics and new releases, Life & Other Stories features contemporary designs by young guns David/Nicolas and Studiopepe alongside reissues of work by icons like the Castiglioni brothers, Tobia Scarpa and Mario Bellini.

Read on for the snippet of the in-depth conversation below—we hope you enjoy!

This Yellowtrace Promotion is supported by Stylecraft. Like everything we do, our partner content is carefully curated to maintain the utmost relevance to our audience. Thank you for supporting the brands that support Yellowtrace.

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Sesann lounge by Gianfranco Frattini, 1970, reissued in 2015
Cage table by Gordon Guillaumier, 2010
Venus vase by Studiopepe, 2020
Lina armchair by Gianfranco Frattini, 1955, reissued in 2018
Nello Spazio rug by Umberto Riva, 2018
A.D.A. lamp by Umberto Riva, 2020
Photo by Andrea Ferrari

A.D.A. lamp by Umberto Riva, 2020
Cage table by Gordon Guillaumier in 2010
Venus vase by Studiopepe in 2020
Photo by Andrea Ferrari

Pablo & Dora vase by Studiopepe, 2020
Photo by Andrea Ferrari

Le Mura by Mario Bellini, 1972 reissued in 2022
Photo by Andrea Ferrari

Victoria Lounge by David/Nicolas 2021
Photo by Andrea Ferrari

DANA: Can you tell me a bit about the history of Tacchini? What are some of your early memories and family stories you can share?

GIUSI: Tacchini was founded by my father, Antonio Tacchini, in 1967 and has remained a family-run business until today. In the beginning, it was a small carpentry shop in Seveso, in the heart of Brianza, in a period of great turmoil in the history of Italian design. Since we were children, my brother Maurizio and I grew up in the company, and we were able to see, touch and be inspired by the beauty of the world of Italian design. I remember that our father always tried to convey to us the importance of making objects that were able to tell a story and, above all, the value of Italian craftsmanship, which was a strong point of the company at the beginning and continues to be today. Taking over the family business represents an opportunity when one’s peculiarities and interests become an added value. The company’s vision should take into account the historicity of the brand, but at the same time find new lifeblood also thanks to our approach and the experiences we bring here day after day.

DANA: What was it like growing up in a family business? Did you ever consider a different career path for yourself—was that even an option?

GIUSI: As a young woman, I wanted to pursue a career as an archaeologist, a path I later abandoned to devote myself to the family business. But I still found a way to carry on my passion for research and rediscovery thanks to the Design Classics project, the catalogue that interprets the great icons of design through a contemporary production process and high-quality materials.

Celebrating Giusi Tacchini’s first visit to Australia, Stylecraft hosted a series of lunch and dinner events in Sydney and Melbourne this February, hosted by Yellowtrace editor Dana Tomić Hughes (standing). Giusi Tacchini, CEO & Art Director of Tacchini is seated on the Le Mura by Mario Bellini. Photo by Fiona Susanto.

The arrival at the two Sydney events, held at Beta Events. Seen here are the Le Mura by Mario Bellini, 1972, reissued in 2022; Anni rug by Studiopepe, 2022; Mill table by Monica Förster, 2022; Kanji tables by Monica Förster, 2022; Reversível armchair by Martin Eisler, 1955, reissued in 2019; Julep lounge by Jonas Wagell, 2018; Cage table by Gordon Guillaumier, 2010. Photo by Fiona Susanto.

Five to Nine daybed by Studiopepe, 2020
Cage table by Gordon Guillaumier, 2010
A.D.A. lamp by Umberto Riva, 2020
Photo by Fiona Susanto

Le Mura by Mario Bellini, 1972, reissued in 2022
Anni rug by Studiopepe, 2022
Cage table by Gordon Guillaumier, 2010
Photo by Fiona Susanto

Julep lounge by Jonas Wagell, 2018
Dolem tables by Noé Duchaufour-Lawrance, 2022
Linea rug by Maria Gabriella Zecca, 2017
Bubble vase by Alvino Bagni, 2018
Photo by Fiona Susanto

DANA: I love how you’ve managed to incorporate your interest in archaeology into the family business. This idea of Design Archaeology as a new discipline has resulted in Tacchini’s incredibly rich catalogue of design classics. Can you talk a little bit about how this came about?

GIUSI: Yes, Design Classics was created to give space to my personal interests and passions. In fact, thanks to this project, I rediscovered the pleasure of discovering and enhancing the past. The Design Classic catalogue was born in 2010 with the re-editions of the San Carlo and Babela armchairs by Achille and Pier Giacomo Castiglioni. The heirs of the Castiglioni family opened their historical archive in Tacchini, and from that moment I understood that it would become the way forward to guide the company toward the future. After them, other Italian and international design masters believed in the project, including Mario Bellini, Tobia Scarpa, Gianfranco Frattini, Martin Eisler. Thanks to the re-editions we are able to give shape to a timeless and very classic aesthetic, and it is the direction we also follow for products developed with contemporary designers

DANA: What is it like working with design legends like Tobia Scarpa or Mario Bellini? How have these relationships developed over the years?

GIUSI: Meeting legends of this calibre is a privilege, for sure, as well as a continuous stimulus. I like establishing a real relationship with them that goes beyond mere collaboration. This way I have the possibility to understand the vision that has guided them to become cornerstones of design. For me, there is something to learn, which is why I want the work to be done jointly in a synergistic way. We are very attentive to the designer’s feedback and work with them so they are fully satisfied with the project, that they recognize each other and that it is representative of their work.

In Conversation with Giusi Tacchini in Melbourne, held at the Immigration Museum. Seen here are the Togrul table by Gordon Guillaumier, 2021; Pigreco chair by Tobia Scarpa, 1959, reissued 2021; Mantiqueira vase by Domingos Tótora, 2019; Victoria Lounge by David/Nicolas, 2021; Cage table by Gordon Guillaumier, 2010; Venus vase by Studiopepe, 2020; Aqua Regis vase by Studiopepe, 2020; Photo by Kim Landy

Dinner event in Melbourne, held at the Immigration Museum. Photo by Kim Landy

Linea rug by Maria Gabriella Zecca, 2017
Bubble vase by Alvino Bagni, 2018
Costela armchair by Martin Eisler, 1952, reissued IN 2019
Photo by Kim Landy

Photo by Kim Landy

Campo rug by Claesson Koivisto Rune, 2016
Gunta screen by Studiopepe, 2022
Victoria Lounge by David/Nicolas, 2021
Photo by Kim Landy

Photo by Kim Landy

Kanji tables by Monica Förster, 2022
Five to Nine daybed by Studiopepe, 2020
Umbra rug by Maria Gabriella Zecca, 2017
Photo by Kim Landy

DANA: In parallel to the classics, Tacchini works with some of the brightest minds and the finest talents in contemporary design — some of them are quite well known, while others less so. You don’t always go with “obvious choices”, which I love. How do you go about choosing who you work with?

GIUSI: I personally take care of selecting the designers to collaborate with. Sometimes the desire to work together arises from a profound esteem and only after the first contact do we identify the piece to work on together. In other cases I already have a design in mind I think will find the right place within the Tacchini catalogue, and then I contact the designer who created it.

I like to create a heterogeneous catalogue, which includes the works of the great masters but also of lesser-known designers who nonetheless reflect Tacchini’s values and who can therefore make their contribution to the history of the brand. When they start a new collaboration, we always try to bring new designers into this trend of timelessness and great classics to create an encounter between their signature and the aesthetics of the brand.

Dinner event in Melbourne. Photo by Kim Landy

Photo by Kim Landy

Anthony Collins, Managing Director of Stylecraft. Photo by Kim Landy

Giusi Tacchini seated next to Valentina Marzella from Stylecraft, who was the interpreter at all the events. Photo by Kim Landy

DANA: What does the design process look like with designers—do you issue-specific briefs on what you’re after in your collections or is it more organic than that? What is your main priority when starting projects and is there something that is fundamental to the Tacchini brand and its philosophy?

GIUSI: We try to leave creatives free to express themselves, so that they can elevate our designs, create products that reflect the distinctive traits of both parties involved, building an interesting catalogue that is representative of the soul of the brand.

Our hands were the first tool we learned to use, and we continue to use them to discern the quality and value of materials. Doing things by hand means establishing a relationship between the object and whoever creates it. All the hands and minds involved in the process give their contribution and the quality of our products is the result of a collective effort.

We always look to the future and allow us to focus on the great innovations of our time, both in terms of aesthetics and design.

Sesann lounge by Gianfranco Frattini, 1970, reissued in 2015
Five to Nine daybed by Studiopepe, 2020
Pluto table by Studiopepe, 2020
Bubble vase by Alvino Bagni, 2018
Reversível armchair by Martin Eisler, 1955, reissued in 2019
Photo by Andrea Ferrari

Roma lounge by Jonas Wagel, 2017
Photo by Andrea Ferrari

Le Mura by Mario Bellini, 1972, reissued in 2022
Photo by Andrea Ferrari

DANA: Can you talk a little bit about some of Tacchini’s sustainability initiatives and your approach to materials and methods of production?

GIUSI: From the very beginning in 1967, Tacchini has supported the “zero kilometre” policy. Tacchini furnishings are made in the Brianza area: all materials and semi-finished products come from an area of about 50 km radius from the factory. This ensures pollution and energy consumption deriving from material transportation is reduced to a minimum. Our goal is to be able to reduce the consumption of non-renewable resources, minimise waste and create durable products.

I firmly believe that Tacchini’s future lies in raising environmental awareness through the transformation of the artisan supply chain in a sustainable perspective, without taking shortcuts that compromise the quality of the products, to build a solid and valuable identity. Upholstered furniture, for example, which represents the majority of our catalogue, has always been considered a product that is difficult to make ecological, because it involves the use of synthetic materials.

However, a company like Tacchini, which already has an artisan production approach, can experiment, rethinking the organic materials that were historically used in the production of upholstered furniture. Since 2012, we have implemented a certified system of quality assurance and environmental protection certified according to the UNI EN ISO 14001 law. Tacchini’s Quality Management System guarantees rigorous tests at every stage of the process, the involvement of staff at all levels, and total transparency towards suppliers and customers.

Scenes from the Melbourne event held at the Immigration Museum museum
Orsola lounge by Gastone Rinaldi, 2021
Linea rug by Maria Gabriella Zecca, 2017
Pi-dou vase by Alvino Bagni, 2018
Joaquim table by Giorgio Bonauguro, 2019
Photo by Kim Land

An incredible turnout at the lunchtime event in Melbourne. Photo by Kim Landy

Dinner event in Melbourne. Photo by Kim Landy

Photo by Kim Landy

DANA: Let’s talk a little bit about the evolution of spaces in the last few years – the merging of residential, hospitality and commercial typologies, in response to our increasing need for flexibility. How does Tacchini’s collection respond to this?

GIUSI: We started with and continue to work a lot with the contract sector, but above all—in recent years—we have distinguished ourselves and gained a market for domestic solutions with upholstered furniture, seating and tables signed by the most important names in Italian and international design. This says a lot about our thinking regarding the fusion of spaces, precisely because it is an issue that we identified among the first and which led us to this choice in a natural way. In fact, our catalogue is aimed at both spaces because it tells of a style and an aesthetic that transcends the single place and manages to give character to the different possible scenarios.

DANA: Simone Ferrasin, one half of the brilliant design duo Formafantasma, once said that Tacchini make “conversation” sofas, rather than larger sofas for watching TV, which I think is a really cool and accurate observation that speaks to your brand philosophy.

GIUSI: We love designing sofas that become aggregators of people and Le Mura is perhaps the maximum expression of this intention of ours. I believe that there is always a big distinction between the signed and design sofa that combines aesthetics, character and comfort compared to what may be less sought-after solutions. This is precisely what makes Tacchini desirable, the union between a recognisable shape and great comfort.

Togrul table by Gordon Guillaumier, 2021
Pigreco chair by Tobia Scarpa, 1959, reissued in 2021
Pablo & Dora vase by Studiopepe, 2020
Orsola armchair by Gastone Rinaldi, 2021
Photo by Andrea Ferrari

Reversível armchair by Martin Eisler, 1955, reissued in 2019
Photo by Andrea Ferrari

Pastilles armchair by Studiopepe, 2018
Photo by Andrea Ferrari

Togrul table by Gordon Guillaumier, 2021
Pigreco chair by Tobia Scarpa, 1959, reissued in 2021
Mantiqueira vase by Domingos Tótora, 2019
Photo by Andrea Ferrari

Costela armchair by Martin Eisler, 1952 reissued in 2019
Photo by Andrea Ferrari

Julep island by Jonas Wagell, 2008
Julep ottoman by Jonas Wagell, 2018
Pastilles table by Studiopepe, 2018
Campo rug by Claesson Koivisto Rune, 2016
Photo by Andrea Ferrari

DANA: How do you define good design? What does good design look like and feel like to you?

GIUSI: For me, good design is an object that can tell a story, because behind every product there are always people. Tacchini’s DNA is built around the artisan value of production, attention to sustainability and collaborations with designers that bring added value to the brand.

In my role as Art Director, what guides me in choosing the products to be included in our offer is to create a varied catalogue with a distinctive and recognisable trait, always mixing between needs and creative points of view.

I don’t feel like saying what good design is, I feel like saying what it is for us—and for us, they are those products which, despite the year in which they were designed, remain always up-to-date.

DANA: What do you feel is the most challenging part of steering a brand and being in business today? If you could change one thing about our industry, what would it be?

GIUSI: As much as we seek artistic and business direction in our choices, and we try to follow our instincts, there is always a moment in which doubt makes us uncertain, but it is precisely the confirmation that we continue to receive and which is guiding the great growth in recent years—the best and most satisfying moment.

Scenes from the Sydney event set up at Beta Events
Cage table by Gordon Guillaumier, 2010
Venus vase by Studiopepe, 2020
Aqua Regis vase by Studiopepe, 2020
Campo rug by Claesson Koivisto Rune, 2016
Gunta screen by Studiopepe, 2022
Photo by Fiona Susanto

Dinner event in Sydney. Photo by Fiona Susanto

Giusi Tacchini. Photo by Fiona Susanto

Dana Tomić Hughes. Photo by Fiona Susanto

DANA: What has been Tacchini’s most successful piece of furniture (or a collection) so far? And how do you define success in your collection?

GIUSI: For Tacchini, success is measured on various levels. The appreciation of the critics, the press and the public is certainly important to us, but the success of each product is also measured through the success of the collaboration with the designers. For us it is essential that they feel represented by the final product, that there is a relationship between the object and whoever creates it.

In this sense, the products that we can say have been recognised as icons of the brand, not by choosing us but by letting the public choose—Sesann by Gianfranco Frattini, Julep by Jonas Wagell, Victoria by David/Nicolas, Le Mura by Mario Bellini and Five To Nine by Studiopepe.

DANA: Your accessory collection — The Art of Staging — feels like it speaks to Tacchini’s desire to execute a complete vision. There are screens, rugs, lamps (which I especially love), mirrors, vases, trays etc. Is this something you’re looking to expand in the future?

GIUSI: What Tacchini tries to propose is a vision of snapshots of real life, imaginary but familiar roles in which to imagine yourself living. For this reason the supplies are an important aspect but it is the accessories that manage to convey that significant detail that manages to give a different and personal light to the entire setting. And yes, we are always looking to expand our accessory collection.

Valentina, Giusi & Dana at the Sydney lunchtime event. Photo by Fiona Susanto.

Sydney lunchtime event. Photo by Fiona Susanto

DANA: Do you have a favourite piece in the collection?

GIUSI: I can’t choose just one because every piece has a way that represents an important step in my journey as Art Director and in the evolution of the brand.

But I’m particularly fond of re-editions because that’s when I spend the most time with the great designers of our generation. During these moments of exchange, I manage to establish a solid and lasting relationship with them, and it is something for which I am very grateful. And it is precisely during these moments that I discover anecdotes and amusing stories behind the most iconic pieces of design, such as when Tobia Scarpa spoke to me for the first time about the Pigreco chair, a chair that is familiar yet dynamic at the same time, which we then re-edited. It was his graduation project, and when he presented the project to his professor at the time, since it was a prototype, he could not handle the weight, making it fall to the ground.

DANA: What’s next — can you share some of your current and future projects?

GIUSI: The theme of reissues will continue to be of central importance in the near future. As I said before when I think of new products I like to imagine them as elements that build real settings in which people can imagine themselves living, which is why the idea of extending the Tacchini house by designing a new room came very naturally.

I don’t want to reveal too much what will be the novelties for 2023 and what will be in this new place we will furnish, but the anticipation I like to give is that it is a room that has conviviality in its heart and in its origins, a continuous theme we find in Tacchini.