Tacchini.

Antonio Tacchini founded the company in 1967 in Seveso, in the Brianza furniture district. It began as a carpentry workshop before developing into an international furniture brand. Its origins remain important to understanding the collection: construction, material knowledge and the ability to turn a drawn idea into a tangible object sit at the centre of the business.

Brianza, between Milan and Como, gives that story a particular setting. Tacchini’s account of its own history emphasises the skills of local makers, built through experience and passed between generations. The workshop is a place where a material is handled, evaluated and transformed; design depends on that practical intelligence.

Antonio’s children, Giusi and Maurizio, form part of the next generation of this family history. The company’s public narrative places Giusi at the centre of its creative direction, while preserving the connection to its founder and to the craft culture in which she grew up.

The re-editions programme began around 2010. Babela, originally designed in 1958 by Achille and Pier Giacomo Castiglioni, was an early marker of the company’s interest in bringing overlooked or less accessible designs back into use. Today, the programme includes work by Mario Bellini, Gianfranco Frattini, Tobia Scarpa, Joe Colombo, Gastone Rinaldi and other significant figures.

A re-edition is a newly produced piece based on a historic design. It is distinct from buying a vintage example: the underlying idea comes from an earlier moment, while the current production, finishes and construction belong to the manufacturer’s present collection. The details differ by product and should be considered individually.

For us, the most interesting consequence is freedom from period styling. These pieces can be used in contemporary rooms because their proportions and underlying ideas still have force. A chair’s structural clarity, a sofa’s modular logic or a lamp’s control of light can remain relevant long after the circumstances of its first appearance.

Quality is a sequence of decisions.

Tacchini describes its craft tradition through the knowledge of Brianza’s makers: the handling of materials, the care of construction and the repetition of skilled gestures. That perspective helps explain why the furniture should be considered close up as well as from across a room.

Our attention goes to the junction between a chair’s back and its frame, the way a seam travels around a curve and the point where upholstery meets metal or wood. These details are part of the visual result. They determine whether a generous form feels resolved, whether a thin edge feels deliberate and whether a piece remains convincing when viewed from behind.

Materials also change how the same outline is read. A textured wool can emphasise a sofa’s volume; a smoother cover may make its seams and curves more apparent. Wood gives structure a different visual temperature from lacquer, while polished metal introduces reflections. The right specification begins with the room and the way the piece will be used.

Casa Tacchini in Milan occupies an apartment of nearly 300 square metres in Brera, at Largo Claudio Treves 5. The original residential layout is retained, placing the collection within a sequence of rooms rather than a conventional open showroom floor.

Studiopepe’s contribution emphasises material, light and colour, bringing refined and raw surfaces into dialogue. The setting gives historic re-editions and contemporary pieces a shared domestic context. Each room allows the objects to interact with architecture and with one another.

For us, this is an especially useful way to understand the brand. A collection becomes more convincing when it can sustain a complete room: foreground and background, a place to sit and a place to set something down, a striking object and a quieter supporting piece. Tacchini’s strength lies in the relationships between those elements.