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Connect, Create, Re-vive.

Posted on: 21 Sep 2016

Natuzzi Italia unveil their most recent adaptations of the classic Re-vive recliner chair, collaborating with some of the hottest designers of the moment.

This limited edition chair is the world’s first recliner to have no lever mechanisms. Instead, it relies on the motion of movement from the body. Turn to the side and it turns with you, stretch backwards and it stretches back with you. No stiff movement, no hassle, just a simple concept allowing the user to enjoy the comfort of relaxing.

Camille Walala, Eley Kishimoto and Patternity have all had the pleasure of seeing their iconic prints reinvent Natuzzi’s famous performance recliner. The heritage of Natuzzi plays an important factor in these collaborations where natural and traditional elements from Apulia, a native region, are key factors in the inspiration of their designs. Olive trees, leaves and the sun, as well as, classic motifs play an important role in the design process.

Taking inspiration from her Mediterranean roots, with the symbols of the sun and trees, Camille Walala uses her vinyl stencils to create lively geometric patterns giving the recliner a vibrant and upbeat personality. Meanwhile, Eley Kishimoto have used their classic graphic design prints, inspired by the roots of the Natuzzi brand,
to create a striking finish to the chair.

Finally, Patternity have taken inspiration from the olive trees to create their ‘Flow + Form’ marble-like pattern. Their concept allows for the exploration of design and the uplifting impact it has on relaxing.

These collaborations have brought a new edge to classic interiors. The Natuzzi recliner portrays how it is possible to take a unique masterpiece, like no other, and continue to reimagine it for a new generation. These adaptions of the Re-vive also illustrate the beauty of what can be achieved through creative collaborations.

Admire the comfort and beauty of the Re-vive recliner at the Natuzzi Flagship Store, 80-81 Tottenham Court Road, W1T 4TE.

Written by Heena Moosa.
Edited by Rosie Howe

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