Mimosa

Bay, designed by Ettore Sottsass in 1983, concretely sums up the Memphis philosophy: it is bold, iconic and elegant.

With a yellow dominant and contrasting colors, the Cavalieri lamp designed in 1981 by Ettore Sottsass stands out for its emphatic image based on the stacking of simple geometric forms. 

Designed in 1981 by Michele De Lucchi, Kristall is an eccentric service table in lacquered wood, clad in decorative laminate with parts in coated metal.

The quality of the craftsmanship, together with the bright colors and extravagant forms, are the distinctive features of Arizona, designed by Nathalie du Pasquier in 1983.

Cucumber is an eccentric ceramic vase designed by Martine Bedin in 1985.

Carefully crafted in lacquered wood, faced in decorative laminate with chromium-plated metal parts, Ginza, designed by Masanori Umeda in 1982, is a multifunctional object that can be used as a book

Created in lacquered wood by George J.

A project by Michele De Lucchi for Memphis in 1984, the small table Polar reflects the distinctive features of Memphis design.

The Super lamp - designed by Martine Bedin in 1981 - can be dragged along like a dog on a leash (with an arched back resembling a stegosaurus), embodying the playful spirit of Memphis.

A tame sea monster, or a set of fishing rods that intersect with colorful geometric forms, Oceanic has undoubtedly been created to light unconventional interiors.

Created by Sottsass in 1981 Tahiti immediately became one of the great Memphis icons, in clear contrast with functionalism.

A bookcase in wood faced with decorative laminate, designed by Ettore Sottsass in 1981, Suvretta has unique shelves, because the angles of all the rows are different.

Roma, with its massive, solid and squared form, created by Marco Zanini in 1986, is an armchair produced in reinforced fiberglass and polyester with an iridescent finish, available in green or blac

Who says the legs of a table have to all be equal? Certainly not Peter Shire, who created Brazil in 1981, in the early days of the Memphis group.

The absolute Memphis icon, Carlton – designed by Ettore Sottsass in 1981 – fully represents the programmatic intentions of the group: the desire to break the rules of good design with an irreverent