It is incredible to see how powerful personal and corporate growth can be when design, art, passion and skills come together in the common goal of creating unique objects.
PROJECT FOR POLTRONA FRAU.
SANLUCA 50+50. CASTIGLIONI. MAX HUBER. MILAN. 03 — 10 — 2018
The aim was to re-edit the Sanluca armchair designed by Achille and Pier Giacomo Castiglioni, with a completely new approach, covering it with a fabric from the unpublished work “Geophysical Waves” by the famous graphic designer Max Huber, a very close friend. The challenge was to transfer a graphic design in its exact proportions to a soft Jacquard fabric in wool and cotton. Everyone, within their respective areas of responsibility, took on with great enthusiasm all that was needed to achieve the goal. The design was scanned and Torri Lana then transformed it into a weaving program that made it possible to create an exclusive fabric.
“Teamwork, passion, research, attention to detail, design culture and reliability.
These values make the experience of product development true, passionate and shared. This is also motivated by the great passion for design and enthusiasm for challenges and new projects.
It was therefore easy to get in touch with Torri Lana to propose the idea of creating a special fabric to cover the Sanluca Limited Edition, which celebrates the Castiglioni brothers and their friendship with Max Huber.”
POLTRONA FRAU STYLE & DESIGN CENTER
PROJECT FOR FENDI CASA.
SIX SHADES OF PALMER. TOAN NGUYEN. MILAN. 04 – 2017
“Maison Fendi asked me to create a unique and iconic piece that could connect the world of fashion to that of furniture, at the Salone del Mobile 2017 in Milan. We had the opportunity to develop a range of six coloured fabrics with Torri Lana. Our goal was to create for the Maison Fendi a composition of the modular sofa Palmer in perfect gradient between a specific shade of red and pink. The idea of a gradient in itself was not particularly innovative, but the application on a structured multiyarn fabric and in perfect harmony was. Although the computer was a fundamental tool to start with, it was the Torri Lana team expert eye, sensitivity and experience that made this project possible.” – Toan Nguyen
PROJECT FOR HELLA JONGERIUS.
LONDON DESIGN MUSEUM. BREATHING COLOUR. LONDON. 28.06.2017-24.09.2017
When Jongeriuslab approached us at the beginning of 2017, we accepted this new challenge with enthusiasm. While Hella and her staff were visiting our company, they had a good look at our archives and machinery. We put our technical know-how to use and immediately created a good personal working environment. We were then asked to collaborate on the development of a new concept for the “fading evening” section, the light that fades in the evening, for the Breathing Colour exhibition. Observing the creation of such a fabric with unusual and completely innovative aspects, was a unique and unforgettable experience for us. We were honoured to participate in this cultural project of great international importance, and to see our fabrics exhibited at the London Design Museum, in June 2017.
“Good mills like Torri Lana – with excellent people who are technically skilled and have a sensibility for the materials they work with – are essential for me as designer. The mill’s translation of my hand woven design samples into industrial products is one of the keys to innovation for me. Together, we push boundaries and Create magic”.
HELLA JONGERIUS
PROJECT FOR 'INVASIONE RUPESTRE'.
A TAPESTRY DESIGNED BY SIX HANDS WOVEN BY TORRI LANA 1885
In the beginning, there was no tapestry and there were only rocks in our heads.
The rock figures are engraved on stone without any apparent hierarchy. On the same rock stand very large and very small figures, in one direction or the opposite, from the east or from the west, in one direction and the opposite, upside down and downside up, obvious or hidden. The rocks now appear as an uninterrupted pattern spanning millennia.
Stone figures happen.
We took them, rewrote them, cut them out, drew them, disassembled and reassembled them, serially reinterpreted them in a thousand different ways. We did it together.
The idea of finding a new sign on the rocks each time stirred the curiosity necessary to return to them again and again. New figures came out of it. And for them we imagined a new space, made of paper, chosen from many and made inhabitable.
There, we triggered clashes and encounters between one figure and the next, ordered constellations of drawings without steps of scale, with the pieces always in our hands and our eyes on them. From the beginning to the end, inside a ten-metre-long paper space, from the end to the beginning.
Textile figures happen.
Elena Turetti, Sara Donati and Sara Galli as illustrators took a year and a half to study the eight archaeological parks in the valley and to bring back on a giant sheet of paper symbols, figures and scenes imprinted in the rocks.
A great deal of precision work subsequently evolved into the production of the tapestry
The tapestry is part of Invasione Rupestre, a collective project conceived and commissioned by the Cooperativa Sociale Il Cardo, Edolo (Bs), to return to the questioning of that heritage of engraved signs that has been, for 10,000 years onwards, right in Valle Camonica, but which has the flavour of the whole of humanity.
Project curator: Marco Milzani, Il Cardo Cooperativa Sociale Onlus
www.ilcardo.itAuthors: Sara Donati, Sara Galli, Elena Turetti
Tapestry weaving: Torri Lana 1885 Gandino (BG)
Size 1.40 x10 m
PROJECT FOR "LINO IN VALGANDINO”.
CERTIFIED COPIES OF THE HOLY SHROUD
April 2020 saw the start of one of the most unusual projects we have ever been involved in.
Selected flax seeds were planted in a field belonging to the Torri family. We followed the entire productive chain, from cultivation to weaving, for the realization of a fabric with a high symbolic value: a linen fabric used to make authenticated copies of the Holy Shroud.
The request came from the Congregation of the Holy Shroud of Turin, which felt the need to make the sacred image visible to a larger number of believers all over the world, while at the same time protecting the precious and delicate original relic, whose display must necessarily be limited.
The realization of the authenticated copies of the Holy Shroud took place entirely between Val Gandino and Bergamo: the productive excellence of our territory made possible the creation of a fabric surprisingly close to the original.
After in-depth studies of the structure of the Shroud and several tests in the company, we created a herringbone on a heavy twill base with the same number of warp and weft threads per square centimetre and the same weight as the original fabric.
This particular structure, woven on a loom that proved to be perfect for the purpose, which we usually use for sampling and experiments for new fabrics, allows us to appreciate on the surface of the fabric the fine and valuable warp linen thread, just like in the Holy Shroud. Great attention has also been paid to the naturalness of the entire process. Just as the cultivation of the linen has been carried out using biological methods, completely excluding the use of chemical products, in the same way for the weaving process we have set ourselves the goal from the beginning of not using any kind of glue or paraffin and the fabric coming off the loom has been subjected to a simple water washing, drying and ironing. The goal that we managed to achieve was to obtain an artefact as natural as possible, without compromising the final effect: a beautiful and natural fabric from the start, with effects of unevenness that are typical of linen fabrics.
The project “Linen in Val Gandino: the fabric, the relic of the world” has been realized thanks to the commitment of several actors: the International Institute of Sindonology Studies of Turin, the Municipality of Gandino, the Municipality of Peia, the Linificio e Canapificio Nazionale, Efi Reggiani and, of course, Torri Lana 1885.
