Close your eyes for a moment and try to think: they were the nineties?
If you do not think of anything, it is not (only?) Why, good for you, you were born in those years, after or just before. No, the fact is that to think, at least from an aesthetic point of view, the 90s have left no great sign of self, and compared to previous decades, that identity will have to be sold, in a decade effects seem a bit ‘colorless.
The boom of low cost design of Ikea and surroundings that broke out afterwards and the Internet of things which if you want to go shopping in the morning at breakfast have definitely changed the paradigm of design and how it is offered and received.
Moreover, for myself, the nineties were the years of high school and early university years: I was not putting up the house and I had no money to spend on purchases compulsive morning, even if I’d had the Internet at home. The “design” was a world of iconic products and objects of desire, often look but not touch. And some are certainly gone down in history.
For example Juicy Salif, the juicer designed by Philippe Starck for Alessi in 1990.
The Rose Chair designed by Masanori Umeda for Edra in 1990 instead, the famous rose-shaped seat.
The Bookworm bookcase, designed by Ron Arad for Kartell in 1993 was as simple as it is innovative.
In 1994 comes the corkscrew Anna G, known best seller Alessi.
The plastic spring is definitely one of the unforgettable games for those who were children in the 90’s.
In the retro table lamps designed by Enrico Baleri and Denis Santachiara between 1995 and 1997 for the Italian Baleri Tato sessions, Tatino and Tatone are sparkling, fanciful shapes. affectionate messages written on pieces of paper, hung apparently without order so as to pass the light: it is the idea behind Zettel’z 6, the lamp created in 1998 by Ingo Maurer and I thought that I had in my house “when I grow up”.
Well, thankfully tastes change.