In the vibrant tapestry of post-war Italy, where design became a powerful medium for cultural expression and innovation, one name stands out among a list of men – Cini Boeri. Renowned as one of the most successful female designers to emerge after World War II, Cini not only left an unfading mark on the Italian Modern movement but also became a leading female figure in the realm of architecture and design. Her creations transcend aesthetics; they embody a profound philosophy of functionality and usefulness – what she believed were the building blocks of creating something beautiful. Cini expressed that design “must be able to relate to the society in which he or she lives, or rather, the society in which he or she would like to live.” As we strive to reflect society’s desire to move towards a less consumptive, more thoughtful future, we take inspiration from the iconic Cini Boeri.
Background
Born in 1924 in Milan, Italy, Cini grew up during a distinctive time in the country’s history. At 18, Cini couriered documents across Italy for the opposition, following in the footsteps of her parents' strongly anti-fascist footsteps. She attended Politecnico di Milano and graduated in 1951 as one of three women in her class (later in her career, Cini returned as a professor at the school). Throughout her studies, Cini was encouraged to take the path to interior design, rather than architecture. Despite these suggestions, she became one of the first and most successful post-war female Italian architects.
After graduating, Cini became an apprentice for the prominent Gio Ponti, a master of Italian design and architecture, and then worked with Marco Zanuso, another highly praised architect and designer in the country. During her time with Zanuso, Cini honed her skills in practical design and creating harmony with people and their environment. One of her most famous collaborations with Zanuso was designing the interior of a shelter for single mothers in the Lorenteggio neighborhood of Milan, where she focused on maximizing the efficiency and privacy of space for the women.
Above: Italian architects Gio Ponti and Marco Zanuso.
In 1963, Cini finally opened her own studio in Milan: Cini Boeri Architetti. With a new independence, she designed homes, shops, and offices, and then began to create smaller products like furniture and fixtures. In a field dominated by men, Cini shined as a youthful, innovative, and optimistic designer that represented the spirit of the second wave of modernism throughout the 1960s and 1970s. She continued to produce functional yet exciting pieces throughout her career and passed away in 2020 at the age of 96. Cini is survived by her three sons.
Design Inspiration
During the formative years of Cini’s youth, industrial design flourished as World War II raged on. The influence of her surroundings condensed into one clear focus that carried throughout her career: functionality. Cini brought this core motivation to her work in school and beyond, and it was never lost even as she gained further inspiration from Gio Ponti and Marco Zanuso. Simplification, practicality, and harmony were all elements of functionality that Cini believed improved people’s lives and their psychological relationship to their environment. The logic of her innovations went hand in hand with emotional inspiration; she designed with optimism and humanity in mind, always seeing the potential for “joy through design”. Her pieces are clearly inspired by her desire to meet a customer’s needs, with adaptability and modularity often key components of her designs. Her adjustable seating systems can adapt to both the physical needs and lifestyle needs of a customer, resulting in a longer lifespan of the piece.
Influence on the Industry
Cini's genius for functionality led her to create furniture with high versatility, quality materials, and long-lasting design – all of which influenced other designers at the time and continue to inspire designers today. Her 1967 “Bobo” series inspired Joe Colombo’s 1969 “Tube Chair” in its playful, circular shape and experimental design. Years later, in 1987, Cini’s “Ghost Chair” was a feat of technological sophistication, made of a single, continuous piece of glass that beautifully disappeared into its surroundings. This untraditional idea of a see-through chair inspired Philippe Starck’s “Louis Ghost”, designed in 2002 for Kartell.
With many of her pieces still in production, Cini Boeri stands as a timeless designer whose emphasis on functionality and innovation in modularity has significantly contributed to her past, present, and future success.
Our Top Picks
1972 – Strips Sofa, for Arflex
Designed by Cini in 1972, the Strips sofa is a modular seating system that seamlessly blends simplified aesthetics with functional technology - a clear example of her design ethic. Its innovative design features foam bricks that can be arranged to create various configurations to meet the owner’s needs, providing both versatility and comfort. Interestingly, the fabric covering is not just decorative; it is fully removable and can even be transformed into a cozy blanket. Recognized for its outstanding design, the couch was awarded the prestigious Compasso D’Oro in 1979. The Strips sofa not only inspires us as a classic Cini piece, but also as an example of how furniture can and does shape the ways in which we socialize.
1967 – Boborelax, for Arflex
Five years earlier, Cini released the Bobo series, including one of her most iconic pieces, the Boborelax. This was one of the first times that a monobloc (made in a single piece) seat was made with exclusively polyurethane foam, with no internal frame to support its structure. Always innovating with the technology of the time, Cini wowed the market with this refreshing and modern take on a chaise. The joy that Cini embodies in her designs shines through in the Boborelax - it’s fun, playful, and seems like the perfect place for a photoshoot.
1973 – Botolo and “Botolino”, for Arflex
These chairs couldn’t not be included in our top picks - they’re customizable, adaptable, and an adorable example of Cini’s design mindset. Again, the design for this chair satisfies customers with different functional needs. The taller version, the Botolo, is perfect for a dining table or desk area, especially if you’re looking for a small footprint. The stubby “Botolino” is a unique piece that plays with “living at a low level” – a modern design for the time that we still see toyed with in today’s furniture – and can also be used in children’s spaces. What’s more, the chairs have wheels inside the legs so that they can be easily moved to transform the energy of a home. While they weren’t exactly designed for animals, can’t you just imagine sitting on a Botolo while your dog rests on a Botolino?
Other Pieces You Should Know
1968 – 602 Table Lamp, for Arteluce
1970 – Lunario Table Series, for Knoll
1971 – Serpentone Sofa, for Arflex
1987 – Ghost Chair, for Fiam Italia (with Tomu Katayanagi)
