In 1979 the Italian industrialist and designer Cleto Munari commissioned Michele De Lucchi to design an object for his distinguished silver collection.¹ The resulting carafe, composed of basic architectonic forms enlivened with bright colors, exemplifies De Lucchi’s design aesthetic. Made in a limited addition of ninety-nine, De Lucchi’s carafe appears friendly and inviting, as its colorful plastic feet and handles evoke associations with children’s toys. De Lucchi rejects rational, functionalist design as cold and unfeeling, preferring to create objects that feel familiar and joyful. The incorporation of plastic is unusual among the objects in Munari’s silver collection and speaks to the importance of the material to De Lucchi as a product designer. The carafe is closely related to the models for home appliances that De Lucchi made for the Italian company Girmi, including a vacuum, iron, electric heater, and toaster, which use the same color palette and formal vocabulary. The toaster, in particular, features strikingly similar design elements, such as the conical yellow feet and curved, light-blue handles.²

De Lucchi designed this carafe during his time working with the Radical Italian design group Studio Alchimia. Founded in 1976, Alchimia challenged the functionalist aesthetics promulgated by the Bauhaus, encouraging members to explore color, surface pattern, and unconventional forms. Alchimia operated as an experimental workshop capable of producing small runs or one-off objects and provided De Lucchi with the means to translate his ideas into real, functional designs. His involvement with Alchimia also led De Lucchi to become acquainted with Alessandro Mendini, Andrea Branzi, and Ettore Sottsass, who were all key members of the group. In 1980 De Lucchi and Sottsass left Alchimia and cofounded the Memphis design group.³ —Sarah Marie Horne