Chiara
Andreatti

Product designer

Born in Veneto not far from Venice Chiara Andreatti moved to Milan where she graduated in Industrial Design at IED in 2003 and attended a master at Domus Academy. She collaborated with designers studios such as Raffaella Mangiarotti, Renato Montagner and studio Lissoni Associati (MI) where she has worked for more than ten years. She designs for companies such as Glas Italia, Non-Sans Raison, CC-tapis, Mingardo and Atipico, currently she is the art director of Bottega Nove, Karpeta and Texturae.

In 2018 she was called to represent the tenth edition of Fendi's anniversary at Design Miami. Chiara combines the craft culture of her Venetian roots with design and industrial with a continuous aesthetic research, believing that a craft and poetic touch on everyday objects can improve the quality of life. Her work has been published in the most important national and international magazines (Domus, Interni, Surface, Rum, Living, Wallpaper, Elle Decor, Living, Icon, Ddn, etc.)

When travelling I like to look for new aesthetics and methods

— Chiara Andreatti

What are your sources of inspirations and how do you stay updated in your job?
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I pay close attention to what surrounds me and I do a lot of research on contemporary art, architecture, craftsmanship. When travelling I like to look for new aesthetics and methods. I have always felt attracted and curious about what is “new”, about the “diversity” of any objects, manufacturing techniques or finishes, trying to materialise and file every input in a collection of images started in 2002 but never finished, a collection that puts everything together and is essential for my projects.

You work with several materials: glass, brass, wool, ceramic, wood. Do you always have the same approach to every project?
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I try to interact with the project and material I work with keeping the combination of craftsmanship and industrial process as a constant. I strongly believe in the power of craftsmanship, both pure and revisited with a modern twist. A touch of poetry can also be found in a technique that is disappearing, in a material of the past decontextualised in the present, or in an imperfect detail that makes you smile.