Formafantasma or analytical design
Unanimously acclaimed by both the industry and museums, this duo has invited us since their debut to ask the tough questions in design, while providing elaborate answers that never sacrifice visual appeal.
The Italian duo of Andrea Trimarchi and Simone Farresin needs no introduction. Graduates of the Design Academy Eindhoven, they have applied the famous academy’s experimental approach to their work more effectively than ever. Since their start in 2009, the studio has carved out a unique path, simultaneously pursuing product design for manufacturers and more personal, avant-garde research—each feeding into the other. This explains the global interest in their work, which has led to a wide variety of collaborations, from product manufacturing and scenography to brand consulting and exhibitions. Everyone wants the Formafantasma seal of approval: the perfect blend of analytical spirit and aesthetic desirability.
Early collaborations
With her keen eye, gallerist Libby Sellers discovered them and showcased their work in London, exhibiting their project *Moulding Tradition*, which challenged the relationship between Sicilian ceramics—specifically traditional Moor’s heads—and local identity. That was in 2010. Since then, Fendi followed suit, this time with leather, as did the ultra-chic Viennese crystal maker J. & L. Lobmeyr, who produced their *Still* tableware project, a charcoal-based system for filtering tap water. Flos, Bitossi, Artek, and many others soon followed, while more experimental projects pushed the duo to deepen their thoughtful, innovative approach, blending in-depth research, material exploration, and a commitment to environmental and social issues. Formafantasma engages in a broader questioning of culture, consumption, and sustainability, where the product becomes a form of visual and analytical storytelling, all while remaining firmly rooted in the issues of our time.
The importance of materials
In 2010, their *Autarchy* series explored sustainable materials and self-sufficiency in production. In this project, Formafantasma investigated the use of local, renewable natural materials, focusing particularly on terracotta and the artisanal processes associated with it. Later, in 2017 at the NGV Triennial in Melbourne and in 2018 at the Milan Triennale, *Ore Streams* illustrated their interest in recycled materials and the circular economy. Collaborating with chemistry experts, Formafantasma studied metals extracted from electronic waste to create various objects, while raising questions about mining and electronics manufacturing processes. By repurposing these materials as a creative source, the duo continued their journey, seeking to raise public awareness about the environmental impacts of modern industries. But the duo’s field of investigation knows no bounds, as proven last year by the furniture collection *La Casa Dentro*, produced by Roman gallerists Giustini Stagetti and exhibited at the Fondazione ICA in Milan. Here, the clichés of gendered domesticity were dissected and subverted, playing on the contrast between the tubular aesthetics of modernism and the unmistakable flourishes of a painted flower or hand-stitched embroidery. It was an opportunity for Formafantasma to challenge the sober, rigorous masculinity championed by figures like Adolf Loos, in opposition to the "criminal" ornamentation of decorative art movements seen earlier in history. Yet another design trope that could not escape the Formafantasma lens. What will be next?
Latest news
In June 2025, the duo reached a new milestone with their first American exhibition in New York at the Friedman Benda gallery. Titled *Formation*, it presented a collection of 11 wooden pieces, where the board is used as a primary form to unfold across products ranging from sofas and chairs to tables and lamps. It was a notable project, which was showcased again in March 2026 at the TEFAF fair in Maastricht, resulting in a display of perfect balance, true to the duo’s style.
.svg)
.svg){kind=small}