The decorative returns
to the center of the scene

Not as nostalgia. Not as a reassuring
echo of the past. But as a deliberate contemporary act

In a time that has elevated function to doctrine and reduction to aesthetic virtue, ornament re-emerges as a critical gesture. Not an addition, but a statement. Not a surface, but a position. The object is no longer a secondary accessory: it becomes a threshold, a space where use and narrative intersect, where daily ritual meets imagination.

The object becomes dialogue.
Here, the decorative does not fill space,
it activates it.

Magic Objects, designed by Lara Caffi, embodies this shift with quiet intensity. Made of concrete and available in three colors, yellow, dove grey, and brown,  it reinterprets the classic silhouette of antique silver candelabras through a contemporary material and a restrained finish. Its deliberately asymmetrical structure and flat back are not incidental details. They define its logic. Placed alone, Magic Objects appears enigmatic, almost sculptural, a fragment suspended in space. Placed beside a second piece, it reveals a new formal reading: the two elements complete each other, generating a balanced and unified figure. 

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MAGIC OBJECTS:
WHERE MEANING
EMERGES IN RELATIONS

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What appears simple conceals structural complexity.
The form is never self-referential; it is always carrying something beyond itself. Across these objects, the decorative is no longer excess. It is intention. It is the reintroduction of narrative into function, of imagination into utility. In a cultural landscape saturated by speed and hyper-production, these pieces propose another rhythm, one that acknowledges absence, relation, and the silent force of form.

Equally resonant is Lady Anne, the coffee maker that fuses tradition with refinement. Its aluminum body, offered in stone-washed and total black finishes, draws a silhouette that holds historical memory and contemporary clarity in tension. Compatible with gas, ceramic glass, and electric stovetops, and now available in an induction version, Lady Anne responds to present-day needs without surrendering formal depth.

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LADY ANNE:
THE COFFEE MAKER
THAT FUSES TRADITION
WITH REFINEMENT

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The most contemporary gesture today is not subtraction, but conscious presence. Not neutrality, but meaning. Not ornament as surface, but as thought made visible.

A similar tension animates Outline, also designed by Lara Caffi. The new tray in matte lacquered wood is defined by a continuous, soft profile that unites practicality with iconic presence. Available in two sizes (40×33 cm and 50×25 cm) and four finishes, white, black, orange, and eucalyptus-stained, Outline exists in a state of poised restraint. Its essential form does not impose itself on what it carries. Instead, it frames. It establishes a boundary that is never rigid, a contour that allows what it contains to remain central. Whether used individually or combined with other pieces, it becomes a quiet axis around which the domestic landscape reorganizes itself.

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OUTLINE:
THE LINE IS BOTH
LIMIT AND POSSIBILITY

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