H G INSIDER
70 | AUSTRALIAN HOUSE & GARDEN
Photography from Fornasetti.F
orever seeking fresh ideas, Milanese
painter, sculptor and interior decorator
Piero Fornasetti was leafing through
a 19th-century magazine in 1951 when an
image stopped him in his tracks. Staring at
him in sepia was an Italian opera singer, Lina
Cavalieri. As enigmatic as the Mona Lisa, the
diva, with her cool impassivity and flawless
complexion, captivated him – especially the
eyes. Thus began a love affair with Cavalieri,
who became the face that launched 1000
plates (and much more besides).
Fornasetti went on to become one of the
most prolific artists of the 20th century,
producing some 13,000 works, typically in
graphic black and white but also in bold
colour, with wacky humour, intrigue and
a sprinkling of magic – trompe l’oeil was a
favourite device. His astounding output
straddled furniture, including chairs,
cabinets and screens, and accessories,
including candles, cushions and umbrellaA fondness for whimsy and an eye for style helped etch
this designer’s place in history, writes Chris Pearson.stands, realised in glass, fabric, porcelain
and timber. Recurrent themes, apart from
Cavalieri, included classical architecture, the
sun, playing cards, harlequins, the human
body and self-portraits.
He saw himself as a storyteller, weaving
whimsical tales. “In each piece,” he said,
“I place a message, a small story, sometimes
ironic, obviously without words but audible
by those who believe in poetry.”
Fornasetti was born in Milan in 1913. His
accountant father wanted his son to follow
in his footsteps, but young Piero had his
sights set on being an artist. In 1930, he
joined Milan’s Brera Art Academy but
was expelled for insubordination.
He then enrolled at night
school, but it was
constant foraging
that really kindled
his imagination.
“No one in theworkshops I went to could teach me.
I learned from books, lithography and
etching,” he said. He won an academic grant
and explored northern Africa, absorbing all
he saw and later using it for inspiration. On
his return, he designed a series of scarves
that caught the eye of designer Gio Ponti.
In 1950, they began a celebrated and prolific
partnership, working on furniture designs for
Cassina and even outfitting an ocean liner.
The sense of wonder and discovery never
left him. “I will never forget the excitement
I felt as a boy,” he said, “when for the first time
my pen started to trace the outline of a leg,
then the body, then a face. I was amazed,
ecstatic and appreciative of this miracle.”WHAT IT MEANS TO US
Fornasetti’s son, Barnaba Fornasetti,
continues his father’s legacy.Asthis
year’s Salone del MobileinMilanproved,
the appeal is undimmed,witha newrang
of 11 rugs, some with theu
roving eyes, attesting to
his vision. “My father
taught me to fight for
independence of thought
and to resist conformism,”he
fluidity of movement, hisagilet
from one discipline to another,h
inextinguishable thirst forknowle
absence of preconceptionsallowed
create an enduring and universallanguage.”
Designers such as Greg Natale,who
decorated a home in Sydney’s innerwest
with a nod to Fornasetti, would agree.
Sixteen Fornasetti plates amassed by the
owner were the starting point – they grace
the living room wall, while graphic Cole &
Son wallpaper and Architettura kitchen tiles
with classical references celebrate the
designer in all his glory. “He’s timeless and
makes a decor playful. And there’s
that quirk factor,” says Natale.
When it comes to
Fornasetti’s place in the
design pantheon, it
seems the eyes really
do have it. #PIERO
FORNASETTI
Design moment
CLOCKWISE FROM
MAIN Piero Fornasetti
in front of a gallery
of his iconic plates.
Architettura hand-
lacquered cabinet.
Architettura Celeste
table. Re-sole wool rug.
Trumeau Architettura
desk. Cylindrical
Pompeiana lamp.ange
itoussaid.“His
ransition
his
e andthe
dhimto