Sogno e Colore


Arazzi di Missoni


These tapestries by Missoni are the best example of how today – as always – art can be interpreted with the first thing that comes to hand, with any material at one’s disposal and that one knows well; the important thing being an inborn need to express, to communicate, plus desire ( the delight which becomes an all-important need) to do it.
(Isa Vercelloni, 1981)

Studi di Missoni


Two essential components, colour and material (which are after all the two essential components of every pictorial statement), are the basis of all the endless range of knitwear products which emerge from the laboratory-factory-studio of Ottavio and Rosita Missoni. However, whilst on printed fabric colour plays the part of a normal decorative element transferred from paper to fabric, in the case of knitwear colour affords a wider but less absolute freedom. We could call it «conditioned» freedom. Conditioned by the type of yarn, by the type of machine weave, by the formality of the model. This makes the products created by Missoni more similar to objects planned along the lines of industrial design whilst managing to retain a typical handmade appearance.
(Gillo Dorfles, 1981)

Qadri tessili di Missoni

Textile paintings

Missoni is a designer who realized thousands of sketches, textures and chromatic harmonies of his fabrics, first imagined and then executed by machine. Nevertheless this was done with imaginative foresight which makes you feel the value of the knitted fabric, as if it was done by hand.
The palette, and also the sketches in black, recall the fabrics of Mackintosh, Klimt and the Viennese School, but also certainly Klee and Kandinsky of the Blue Knight of Monaco. At the beginning of his activities he had not yet a cultural conscience as clear as today but for years in the Milanese environment Missoni attended artists and exhibitions studying the relationships with sources that stimulated in him affinities of sympathies.
(Guido Ballo, 1975)

Manhattan di Missoni


The urban landscape, a frequent subject of Missoni’s work, is the theme of this etching. The rigorous use of black and white and an alphabet which dissipates any desire for mimesis almost to the poin of abstraction, actually results in a complex and varied range of tones and forms which can be seen in the angular outlines of the zigzags, darting like syncopated blades of light.
(From the catalogue Missoni. Opere grafiche 2002-2003. Edizioni d'Arte La Spirale 2000)


La Notte della Follia