The visionary position of Alessi that has made the art of the table and small everyday objects popular tools of culture and pleasure, starting from the famous oil mill by Ettore Sottsass, is once again a forerunner in the numerous collaborations with female designers. Founded in 1921 (one hundred years ago!) it opened its museum in 1998, where objects, projects and documents converge, making its very original story, always avant-garde. Today it also celebrates with this collection of 18/10 steel objects created by eleven famous designers and not: they tell the attention, irony, the quality reserved for everything, that if signed by Alessi, it is never already seen or banal...

The visionary position of Alessi that has made the art of the table and small everyday objects popular tools of culture and pleasure, starting from the famous oil mill by Ettore Sottsass, is once again a forerunner in the numerous collaborations with female designers. Founded in 1921 (one hundred years ago!) it opened its museum in 1998, where objects, projects and documents converge, making its very original story, always avant-garde. Today it also celebrates with this collection of 18/10 steel objects created by eleven famous designers and not: they tell the attention, irony, the quality reserved for everything, that if signed by Alessi, it is never already seen or banal.

• Odile Decq works on movement, tension and lightness. The fruitbowl “Twist Again” extends dynamically from its center to the periphery, sinuously cutting space. On a small scale, it recalls the architectural elements of its designer, with their contrasts and the unstoppable expressive force. (Twist Again, 2014) • Elena Manferdini has been able to model steel with the skillful compositional play of folds and curves, giving it unexpected textures and materiality. In the fluid and light play of their geometries, these fruit orchards assume the value of real sculptural works inspired by peach blossoms. (Fruttiere, 2005)   . The design sophistication of Susan Cohn is expressed in an object with an almost sartorial workmanship. The overlapping of two metal nets produces a sophisticated moiré effect that constantly changes the object at each change of perspective, playing elegantly with the light that crosses it. (Cohncave, 1992) • Abi Alice uses traditional sheet steel processing - based on simple cutting, bending and bending operations - to give life to a project in which her personal interest in mathematics and music comes to produce a sculptural form, synthesis of his polyhedral culture. (Resonance, 2006). In the simplicity of its shape the container "Ellipse" expresses its function. A sign that circumscribes a space synthetically, with an austere and refined line. The sheet of brass is worked with a procedure of the Etruscan goldsmith tradition. (Ellipse, 2017) • Like all the objects of the "A Tempo" collection, this project by Pauline Deltour is summarized in a few essential signs. A pure metal line moves in space, creating different densities and topographies, in a continuous movement that plays with the observer’s gaze. (Dish rack A tempo, 2011) • With an amused and fun look, Miriam Mirri faces even the most trivial objects, even the clothes peg to lay the laundry. For Alessi she draws several of them: "Acacia" develops like a beehive around a composition of hexagonal profiles that, assembling themselves as a sphere, allow to effectively accommodate honey of different textures. (Acacia, 2014). "Tigrito" is part of a playful and refined project, designed around the needs of our four-legged friends. Here the shape of the small cat in thermoplastic resin dialogues by contrast with the stainless steel cups, constituting at the same time a detail of great practicality. (Tigrito, 2009). Light as a lace or a pierced jewel, the "You" combines aesthetics and functionality in a perfect synthesis. Decorum as a function or the function of decorum? Miriam Mirri’s Moon Bar projects, in an unsettling counterpoint of different textures and shapes, express an essential design question on the design object and the role of its different components. (Ice bucket and refresher Moon Bar 2014) • Naoko Shintani’s metal origami is capable of a play of reflections that exponentially multiplies its expressive abilities. Its function, that of containing, therefore becomes a pretext for a theatrical staging where the content is constantly deconstructed under the eyes of the observer. (Kaleidos, 2015) • Patricia Urquiola softens an industrial production project with a series of details, such as handles that remind of ribbons pinned to a dress. The pots "Edo" are born from variety of formal and cultural references that evoke the essence of cooking: different ingredients create delicious dishes. (Kettle and Pot for Edo Asparagus, 2018/2020) • The cup by Francesca Amfitheatrof, through a precise game of metal perforation, reveals the entire design culture of the author. Refined jewelry designer, Amfitheatrof has created an object in which the expressive capacity of stainless steel is highly exalted. (Amfitheatrof Cup, 2000) • An object, that designed by Adachi Sakura, that defines itself in its movement in space and that, in kinetic potentialities, expresses at the same time its own function and its deepest character: a rocking container that constantly dances and changes, as caressed by an invisible breeze. (Lovely Breeze, 2017) • For Claudia Raimondo a texture that recalls the digital world and reinterprets steel playing on the indeterminacy of design, a fluid crystallized in solid matter. In a triumph of bright reflections, the memory of hand-crafted objects made of precious metals is evoked. (Joy n, 1, 2013)