Italian Design Book

INTRODUCING ITALIAN DESIGN IN NAIROBI

2 | Introducing Italian Design in Nairobi


Introducing Italian Design in Nairobi | 3

Project and catalogue curated byKaribu Italy

Editorial coordinationAlberto Ghirardello

Graphic design ad art directionArianna Pierri Gian Luigi MinoggioIncentive Power & Events

TranslationsGiulia Buffa

Thanks toAndrea SacchiArch. Claudio Narisoni

Elena BazzicaValentina CislacchiTwins International (Kenya Ngo)

Printed in the month of june 2012by Grafi cadueprint

All trademarks are property of their respective owners

50’s 60’s 70’s2000now80’s 90’s

30’s40’s30s30sINTRODUCING THE ITALIAN DESIGN STORY

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KARIBU TO ITALIAN DESIGN

The craftsmanship slowly fl owing to Africa will be as well enriched by the natural and innovative local knowledge. We are proud of our choice and this small book is dedicated to those who want to start comprehending the strength of Italian ele-gance, quality and taste. One more thing. Karibu Italy also comes from our love for Kenya and its people. For years we have organized two orphanages for 150 children in Utawala and Kariobangi's slum and we have supported a primary school of 850 children in Korogocho with our NGO Twins Inter-national (Italy and Kenya) and the support of a local NGO, Gra-pesyard Organization. A considerable part of the profi ts of Karibu Italy is going to cover the costs for these initiatives which my wife and I have given birth.

Diego MasiChairman Karibu Italy

Italian Design arrives in Nairobi today. With the opening of the Karibu Italy’s Show Room in Thigiri Ridge, Italian design gets offi cially in East Africa.

Karibu Italy imports today some of the most important Italian de-sign brands for home furnishing. Furnitures and items created by famous Italian designers and pro-ducts from the world's leading companies in the fi eld such as Alessi, Kartell, Poliform and Teuco. Companies working on global scale in more than 100 countries as real Italian Design Factories. In order to celebrate its arrival in Nairobi Karibu provided a small book of the history of Italian Design, which means global design. A design that comes from the hands and the genius of few artisans, inventors of new shapes of the modern home comfort.

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creative perspective, not linked to manu-facturing constraints.

Initially the Italian design was almost exclusively tied to the world of domestic furnishing or to the decorative ceramics and glass, but soon it became clear that the potential of a good design project was huge, so the next step was to use the same me-thod with other types of manufactures and it worked.

When plastic made its entrance on stage, the fi rst housewares companies started to come up, as ambassadors of a good and “democratic” design , for it was now acces-sible to all and not just for an élite.

If Italy is the coutry of design, the univer-sally recognized world's capital for design is Milan.

It was in this very city, in the background of the post-war reconstruction, where the social and cultural melting-pot, fed by a fervent optimism, gave birth to initiatives and movements which laid the foundations for the “design-system” as we know it.

The fi rst and most important of all these initiatives was the institution of the “Com-passo d'Oro” award: the “Oscar Award for Design”, from an idea of architect Gio Pon-ti, was established in 1954 and held every

three years with the main objective of awar-ding the design of products.

This prize, still considered as a most pre-stigious honour in the world for design, goes beyond the simple gratifi cation for the winning designer and company. It has the social and cultural duty of indicating the direction that the design systems has to take by awarding the symbol-products of good design's values.

Another extremely important step, also clo-sely related to the “Compasso d'Oro”, was the establishing of ADI (Association for the Industrial Design) in 1956, from an initia-tive of a group of architects, designers and business people engaged in revolutioning the industrial aesthetics of modern times.

ADI's objectives and purposes, equally to the scopes of “Compasso d'Oro”from which it took inspiration,aim to preserve and en-hance italian design: the unique characte-ristic of the association consists in, rather than being a mere association of designers, being considered as an institution that pro-motes industrial design in all its forms and expressions: not only designers and compa-nies take part in this main project, but also museums, schools, universities and other institutions.

As far as it concerns the consecration of Mi-lan as capital of design, another important

I taly has always been considered the homecountry of design and nowadays nothing seems to change: about the 70%

of the world’s design companies are in Italy.

It is not a coincidence that the beautiful country is the birthplace of design: as a matter of fact Italy has always been rich in resources and prosperous with its many productive regions, each one of them spe-cialized in processing different and specifi c materials: with the passage of time all the-se know-how initially provided by artisans have evolved and moving from workshop to companies was very natural and very easy.

The role of the designer has been exerci-sed in the past by architects who have more and more often been requested to project the interiors and the furniture of public and private builings, as well as the façade.Almost every time these designs were cu-stomized and tightly linked to the construc-tion's shape, design's philosophy and mate-rials' language.

Sensing the creative potential the fi rst colla-borations between companies and designer-architects represented the perfect occasions in which the companies, in order to offer distinguishing products on a competitive scale, put independent designers in charge of the production for their wider and more

INTRODUCING THE ITALIAN DESIGN STORY

Above all It is important to clarify that the following book has to be considered as an introduction to Italian Design, a timeline that goes from the 30’s to the present and marking only few notches, approxima-tely one per year, representing the items that constituted Italian history, hoping the observers will be fascinated by and ap-preciate the history of italian design and, perhaps, go deeper and autonomously insi-de its evolution process.

All the listed products, from the most de-mocratic to the more elitist one, are extre-mely well known and present all over the peninsula, some of them left a mark on the collective imagination, like “Vespa” or the Nuova 500, others revolutioned the mar-ket with new materials and technologies, for example the “Lady armchair” or the “Tizio lamp”, some have literally created a whole new typology of objects like the “Arco lamp”,while others were able to an-ticipate and defi ne a future lifestyle, such as the “Valentine typewriter” or the “Sacco armchair”.

It is quite evident that almost every single listed product is extremely fresh and con-temporary, they do not show their age at all and many of them are still produced exactly as in the past, except for a few changes in materials or production techniques.

Italian Design is also this: a fi ght against obsolescence.

It became messenger of a series of values aiming to offer a longlasting manufacture in terms of high standard materials and perfect manufacturing, but also in terms of a formal research not infl uenced by mo-mentary fashion, willing to offer new sha-ped, colored and appealing items, also este-emed outside of the contest in which they were generated: these are the requirements for a product to become a “best-seller” and to mantain this status for decades.

Now to conclude, the main objective of this “bite” of italian design is to give a fra-me of its history through its most famous manufactures and to involve going deeper and autonomously inside its vastness and complexity. Italian design constituted by an infi nity of more or less popular products which deserve to be discovered and appre-ciated: as previously mentioned every sin-gle item tells a different story, each one of them has a unique creative process within itself and it is well worthwhile to know it in order to have a more complete picture of the italian design-system.

Alberto GhirardelloDesigner

element has to be considered, the “Salone del Mobile” furniture fair, event established in 1961: from an intuition of a small group of furniture makers willing to promote Ita-lian furniture export, it has become since then the most awaited international event in the furnishing sector and whose importance has increased year after year turning it into a landmark in the fi eld.

But what makes Italian design so unique and enviable?

The secret of Italian designing method is that, surprisingly, there is no method at all: a project follows an idea, an inspiration, an event that starts a series of thoughts and rea-soning inside a designer's head which fi nally materialise itself into a product.

That is the reason why Italian design is dif-fi cult if not impossible to be explained with words, for it can only be told through images.

And that's why we decided to publish this small book: who better than the products themselves can tell the story of Italian de-sign? Let the products do the talking, let them testify all the concepts and values which made Italian design so famous all over the globe.

This small volume contains a collection of some of the products that literally made the ‘Made in Italy design’.


CAMPARI SODA BOTTLE 1932CompanyCampariDesignerFortunato Depero

A real breaking point for the aesthetic canons of that time: the bottle was redesigned in the shape of an upside-down stem glass. From then on it has always remained the same and in 2012 it celebrated its 80th birthday.

30’s40’s30s30sVELIERO BOOKCASE1939CompanyPoggiDesignerFranco Albini

Masterpiece of static equilibrium, it reminds both for its shape and structure of a sailing boat. Two poles made of ash sustain the shelves of glass with a system of steel tie rods: the ethereal structure created makes it possible for the books to literally fl oat on air.

MOKA EXPRESS COFFEE MAKER1933CompanyBialettiDesignerAlfonso Bialetti

The fi rst coffee machine made in aluminium using the in-shell fusion technology. The roughness of the materials absorb the aroma and for that the more frequent usage of the machine enriches the fl avour of the coffee.


SASSO FLOOR LAMP1948CompanyLampertiDesignerRoberto Menghi

Functionality and decoration coexist in this unexpected and innovative alternative to the traditional base for lamp substituted by a real polished river stone.

ZENITH 548STAPLER1948CompanyBalma, Capoduri & C.DesignerAldo Balma

Pure functionality embodied by an object of extremely sober and clean shapes, so timeless to be still the sewing machine most used in Italy and to be almost unchanged over the time.

INVISIBILE SANDAL1947CompanyFerragamoDesignerSalvatore Ferragamo

with the innovative and surprising conception of a continous thread upper made of a stringy transparent element of nylon, Ferragamo gave birth to an “invisible” sandal with which he won the Neiman Marcus Award, the Oscar of fashion. This item is one of the most famous post-war shoe.

VESPA SCOOTER1946CompanyPiaggioDesignerCorradino D’Ascanio

The scooter that has made generations dream is still beloved. The fi rst two-wheeler that even women could ride (it was impossible for women to climb any other vehicle with skirts), symbol of the beautiful Italy and probably the world's famous product made in Italy.


50’s

FERRARI 166 INTERCAR1948CompanyFerrariDesignerAurelio Lampredi

The fi rst automobile produced by Ferrari: it comes directly from the racing models of that time, and after sixty years it continues to amaze for its being contemporary and the attention to details.

PIATTO DECORATO DECORATED PLATE1950CompanyFornasettiDesignerPiero Fornasetti

Fornasetti has created one of the vast production of objects and furniture of the 20th century, not only for the single objects' circulation but also for the different decorations (more than 11,000 decorations were attributed to him). Leitmotiv of his creations is the famous and enigmatic dotted face of woman, presented in many versions.


LADY ARMCHAIR1951CompanyArfl exDesignerMarco Zanuso

Lady is the symbol of an absolute stylistic material and technological innovation in the after war Italian design. In fact it was the fi rst armchair to use foam rubber as stuffi ng system and it was characterized by soft covering and reassuring curves.

CICOGNINO TABLE1952CompanyPoggiDesignerFranco Albini

Masterpiece of the 50's, this small table had a handle to move it and a separable top that could be used as a tray or as a shelf, with a timeless design and balanced proportions.

P40ARMCHAIR1954CompanyTecnoDesignerOsvaldo Borsani

Relaxed chair seat with mobile elements, comes from the revision of the deckchair, reviewed to become a most prestigious reclining armchair for working environments. Largely stuffed and jointed in four points, this armchair can adopt different positions to become in the end a chaise longue.

EGGSWINGING CHAIR1957CompanyPierantonio BonacinaDesignerNanna Jørgen Ditzel

Original and unconventional for its symbolcal egg-shape, this armchair had a light wicker structure, hung with a chain to the ceiling: a brand new type of “to be hung” seat was born.


16 ANIMALI PUZZLE TOY1957CompanyDaneseDesignerEnzo Mari

A toy for children consisting in a sort of tangram composed by sixteen stylized but still recognizable animal shapes, obtained with the help of the continuous design of a pantograph on a rectangular wooden block.

NUOVA 500 CAR1957CompanyFiatDesignerDante Giacosa

Dante Giacosa, father of the prewar 500 “Topolino” (Mickey Mouse), created in 1957 the most beloved utility car of the after war, inaugurating the modern fashion trend for popular cars in Italy, highly contributing to the mass motorization.

SUPERLEGGERA CHAIR1957CompanyCassinaDesignerGio Ponti

Not a casual name: this “superlight” chair weighs only 1.7kg, It can be lifted up with a fi nger and it took almost 8 years to achieve this excellent result: with its original style this chair has become an everlasting symbol of the perfect and still contemporary italian design.


ARCO FLOOR LAMP1962CompanyFlosDesignerAchille & Pier Giacomo Castiglioni

Arco is the revolution of the living room and the kitchen. This lamp, icon of the italian design, substituted the hanging lamp and made it possible for the spotlight to be movable, creating a new typology of product, the fl oor lamp.

60’sSACCO ARMCHAIR1967CompanyZanottaDesignerPiero Gatti, Cesare Paolini, Franco Teodoro

The basic idea is simple: a sack fi lled with small balls of polystyrene, light, easy to transport and can adapt to any seated position. Non conformist sitting became the symbol of Italian design.


TS502 RADIO1964CompanyBrionvegaDesigner Richard Sapper & Marco Zanuso

Defi ned by history as one of the eternal and the “must-have” design objects for the fans and not only, the “cube radio” brought a breeze of freshness in typology of objects fi rmly uniformed and defi ned until then, it could be closed and be transported with its practical handle.


ECLISSE TABLE LAMP1967Company ArtemideDesigner Vico Magistretti

Inspired by the blind lanterns of the minors, Eclisse (eclipse) is the result of a simple technology, not exacerbate, of an aesthestics based on primary and functional forms: the internal hemisphere, can control the light emission by rotating on its axis.

GA 45 - POP PORTABLE RECORD PLAYER1968Company MinervaDesigner Mario Bellini

This portable record player, characterised for being a one compact unit, is a real cult object of the 60’s: equipped with a handle to transport it, this record player became a messenger of an informal and nontraditional lifestyle.

VALENTINE TYPEWRITER1968Company OlivettiDesigner Perry A. King & Ettore Sottsass

One of the most famous projects by Sottsass, a vivid red portable machine, absolutely innovative. The body, containing the real typing machine, could be fi xed to the case in case of transportation.


UP 5 - UP 6 ARMCHAIR AND OTTOMAN1969Company B&B ItaliaDesigner Gaetano Pesce

The Up5 armchair ratifi es the delightful meeting of art and design: combined with the up6 pouff, and conceived as a metaphor of the “woman with a ball and chain”, a real cult piece that represented one of the most sensational expressions of the still contemporary and comfortable radical design.

COMPONIBILI STORAGE UNITS1969Company KartellDesigner Anna Castelli Ferrieri

A cult series, appreciated for the quality of the design and its practicality. The concept was simple: assembling a vertical series of elements to compose furniture-cases easily convertible and adaptable to all the uses and to all the different environments of the house.

70’s

JOEARMCHAIR1970Company PoltronovaDesigner Jonathan De Pas, Donato D’Urbino, Paolo Lomazzi

With the shape of a giant baseball glove (the name is a tribute to the american baseball champion Joe Di Maggio), Joe was an armchair made to relax and characterized by the joyful “out of scale” irony typical for those years.

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BOBY MULTIPURPOSE CONTAINER1970CompanyBieffeplastDesignerJoe Colombo

Boby was the everlasting excellent cart-container. For its versatility, the vertical composibility and its high capacity, it became an everyday product for several uses at home, in the offi ces, in a laboratory, in shops and so on.

DOCCIA TONDASHOWER1972CompanyTeucoDesignerFabio Lenci

In a world where a standard shower consisted in a squared ceramic plate or polished white iron with a curtain, Teuco ventured with a very colored and futuristic shower, with a round base made of colored acrylic slabs. A vision that went beyond the future.

PRATONE ARMCHAIR1971CompanyGuframDesignerGruppo Strum

With a special regard for a maximum creative liberty to the detriment of functional needs, this decorative element wanted to represent an artifi cial lawn in which anybody could comfortably lie-down in a totally informal way: a funny alternative to the common relaxing armchairs.



TIZIOTABLE LAMP1972CompanyArtemideDesignerRichard Sapper

One of the most famous objects of Italian design. Under an apparent simplicity of form Tizio hides a great technical innovation: this lamp is characterised by a system of joints balanced with counterweights in whichthe arms also provide electricity.

CACTUS CLOTHES HANGER1972CompanyGuframDesignerGuido Drocco, Franco Mello

Pop décor par excellence, Cactus is an example of the perfectly ironic and criative climate of the design made in Italy during the 70's. A coat stand where functionality comes after the hilarious and surreal designing factor.

SCIANGAICLOTHES HANGER1973CompanyZanottaDesignerJonathan De Pas, Donato D’Urbino, Paolo Lomazzi

An idea simple and functional at the same time: eight wooden poles centrally hinged forming a strong clothes hanger that can be closed with a simple gesture.

9090 COFFEE MAKER1979CompanyAlessiDesignerRichard Sapper

The fi rst coffee machine with a click, the fi rst Alessi's item to enter in the Permanent Design Collection of the MOMA in New York. A smart product that absorbed the spirit ot the time, as a result of the union between functionality and original aesthetics.


80’s

TAVOLINO CON RUOTE COFFEE TABLE1980CompanyFontanaArteDesignerGae Aulenti

A famous product that overturned the schemes, introducing an industrial element such as wheels into a domestic environment, by using them as an element of a small coffee table.

FIRST CHAIR1983CompanyMemphisDesignerMichele De Lucchi

The sculpture-seat that became a symbol of the whole production of the Memphis group. The bright colours are typical of the group and the postmodernist movement, in the same way of a deep formal impact to a detriment of any effective functionality.


9093KETTLE1985CompanyAlessiDesignerMichael Graves

Original mix of postmodern and pop language with a pipe whistle shaped like a characterizing colored bird, a real cult product that opened the door to the recreational design of the 80's Alessi's production.

GHOST ARMCHAIR1987Company FiamDesigner Cini Boeri

One sheet of glass that folded and cut forms at the same time the seat, the arms and the backrest. Invisible and inconsistent, but in the meantime comfortable and resistant. Ghost is a real icon of working with curved glass

TOLOMEO TABLE LAMP1987Company ArtemideDesigner Michele De Lucchi & Giancarlo Fassina

Tolomeo is a modern reinterpretation of the lamp of the past: the lighting device is sustained ba a light aluminum compass branch that hides the spring linked to the the visible rods. This has been the most popular and sold item ever made.

ETP 55 ELECTRONIC TYPEWRITER1987CompanyOlivettiDesignerMario Bellini

The elegant Design wanted to differentiate Olivetti from the others to attract a new public, in fact the ETP 55 has a complete innovative character: Elaborate shapes and colors underline the most advanced technology used, which gaves the machine a sort of “casual look”.



MISS SISSITABLE LAMP1991Company FlosDesigner Philippe Starck

Inspired by a classic abat-jour with lampshade, it is although extremely innovative. Made out of plastic material, it combines designing irony and the most sophisticated executive and constructive quality: in fact the body of the diffuser lights up for the effect of the opaline material.

EMBRYO CHAIR1988CompanyCappelliniDesignerMarc Newson

Armchair with three legs completely unexpected and shaped in an unusual and strongly characterizing way, a mix of technology, a bit of avant-garde and an organic and detailed design.

90’sI FELTRI ARMCHAIR1987Company CassinaDesigner Gaetano Pesce

I Feltri is one of the armchairs that gave a contribution to the Italian Design's renewal. Characterised for its snug back, the seat ironically recalls the royal chairs combined with axperimentation, a bit of avant-garde and majesty, without losing sight of the comfort.


S-CHAIRCHAIR1992CompanyCappelliniDesignerTom Dixon

Unmistakable thanks to its fl exible silhouette, the S-Chair has elegance and dynamism for its vertical development on a reduced circular base. The fl uid and soft shapes are the focal point of this chair covered with straw.

VERMELHA CHAIR1994CompanyEdraDesignerFernando & Humberto Campana

Best Seller of the company, this seat combines good design and precision manual production: the comfortable seat is in fact realized by weaving manually about fi ve hundred meters of special rope with an acrylic heart and covered in cotton.

BOOKWORM BOOKSHELF1994CompanyKartellDesignerRon Arad

Flexible and resistant bookcase. The fl exibility is provided by the extrusion, a working technology that guarantees a greater load resistance if fi xed with curved shapes. It is possible to set up the bookcase in total freedom.

ANNA G. CORKSCREW1994CompanyAlessiDesignerAlessandro Mendini

Who has never noticed the resemblance between a corkscrew and a human body? Mendini gets its inspiration from the looks of artist Anna Gili, creating one of Alessi's best-sellers: it has been produce in many variants for color, shape and in many limited editions.


HYDROSONIC WHIRLPOOL BATH1995CompanyTeucoDesignerTeuco R&D

Long before the avant-garde technologies and patents, the revolutionary ultrasound whirlpool bath by Teuco comes from an accurate study about the principles of hydrotherapy. For this reason Teuco's bath tubs are ergonomic and nothing is left to chance.

BOMBO STOOL1996CompanyMagisDesignerStefano Giovannoni

One of the company's best sellers, Bombo has curvy and inviting forms: the ergonomic seat is a fl uid continuation af the base, characterizing it as an element that can be used in any kind of environment.

SINTESI BOOKSHELF SYSTEM1998CompanyPoliformDesignerCarlo Colombo

Day system offering the liberty of composition. Its logic is based on the horizontal planes: bench, shelves, drawers that can be combines with containers and broken up elements, each one of them having a specifi c function.

2000nowMOSCARDINO DISPOSABLE SPOON/FORK2001CompanyPandora DesignDesignerGiulio Iacchetti & Matteo Ragni

On one side fork and on the other one spoon, Moscardino is a small disposable kitchenware for appetizers. Realized in Mater-Bi, a plastic made out of corn, it is completely biodegradable and compostable.

LOUIS GHOST CHAIR2002Company KartellDesigner Philippe Starck

This chair, revisited and modernized both for the materials and the formal tidiness, recalls a baroque's classic: a mix of materials and language that made it a best seller.

CHAIR_ONE CHAIR2003CompanyMagisDesignerKonstantin Grcic

The symetrical composition of irregular triangles that constitute the chair is the evident result of a compositive logic of subtraction and it is technically conceived using the potentials of die-cast alluminium.


TWIGGY FLOOR LAMP2006CompanyFoscariniDesignerMarc Sadler

Sophisticated and fl exible, weightless and discreet: Twiggy is a perfect balance between a good design and cleverness: with its simple contro-weight system, the diffuser can be freely positioned in its height for more possible uses.

BOURGIE TABLE LAMP2004CompanyKartellDesignerFerruccio Laviani

Bourgie combines with intelligence and irony the classical bourgeois' shapes with contemporary and versatile material such as polycarbonate. A best-selling product made elegant and contemporary by baroque volutes and transparent folds.

SNAKE ARMCHAIR2007CompanyPoliformDesignerRoberto Lazzeroni

The captivating S shape, seen from the side clearly shows why its name is absolutely appropriate. It evokes the smooth and thin profi le of a snake. Along with the continuous line of the armchair goes a coordinated pouf, curved in a fl at C.



RE-TROUVÉOUTDOOR CHAIR2008CompanyEmuDesignerPatricia Urquiola

The tecnology melts with the vintage stylistic research: revisited in its colour, it preserves in the formal features, the traditional working method, distinguished for the complex patterns and the repetitive lozenges, evoking forms of the past in an ironic and cheerful way.

PAPER WHIRLPOOL BATH2009CompanyTeucoDesignerGiovanna Talocci

A bath tub that uses Hydroline, an exclusive patented technology in which the classical bottles are substituted by thin and invisible cracks for a new concept of hydromassage, totally invisible and fascinating that rewards the design without any repercussion on the effectiveness ot the massage.

DODO KIDS CHAIR2009CompanyMagis DesignerOiva Toikka

A swing seat with the compact and voluminous shape of a bird, realized in rotattional printed polyethylene. Simple and reassuring forms for the furnishing's little users.



In a perfect aesthetic equilibrium from all angles, it breaks the idea of a sofa “with the back on the wall”. Unusual and contemporary lines balance ethnic details in a perfect combination of the two worlds, the Indian and the European one.

MY BEAUTIFUL BACKSIDE SOFA2009CompanyMorosoDesignerNipa Doshi & Jonathan Levien

Innovative forms and materials for the sitting, Wallace is an armchair exploring original creative possibilities, the result of a formal research depending on functionality.

WALLACE CHAISE LONGUE2009CompanyPoliformDesignerJean-Marie Massaud


COMPANY PROFILE

Karibu Italy is an Italian Company concept incorporated in Nairobi, Kenya, with the sole purpose of supplying top Ita-lian design brands.

We aim to bring the elegance, quality and excellence of Italian luxu-rious lifestyle into Kenya and wider East Africa. With carefully se-lected top Italian brands i.e Alessi, Kartell, Poliform and Teuco.

Karibu Italy's main business area is composed by Italian household brands, the very Italian lifestyle: living rooms, bedrooms, kitchens, bathroom fi ttings, lighting & household accessories .

For the latest styles in Design, visit our shop situated in the New Mu-thaiga shopping mall on Thigiri Ridge off Peponi, Westlands.

Karibu Italy will take you on a journey into the Italian design.

We are going to be operative from the end of the fi rst quarter of 2012 and the Inauguration is set for October. We hope that our services will be of the highest value, for your home, your family and we also hope that they will reach your aesthetic needs.

In the meantime visit us and take a piece of Italian Design's history with you.

Karibu Italy like any other Corporate body has a CSR program, tar-geting Alice for Children and where our presence is focused on the sole purpose of assisting the needy and give the orphan children of Utawala, Kariobangi and Korogocho's slums an education and a so-cial welfare.

Italian Design Book

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