Well dear readers, with today comes a new chapter of the blog, the one dedicated to telling the stories of companies and designers who have made and are making the history of design.
My idea is to focus on companies and famous names, but that are not the great classics that have already been told in a thousand different ways. This is to open your eyes and introduce you to the realities, often contemporary, that are leaving a mark in the history of design.
We begin this new chapter of the blog by analyzing one of the most beautiful and elegant companies “of our time”.
I’m talking about Edra, sit back and read the story of this magnificent company.
Edra is an all-Italian reality, a symbol of class and style Made in Italy. The company was founded in Tuscany in 1987 and is currently one of the most sought-after brands of excellent quality that can be found. Its peculiarity lies in the fact that the company welcomes the ideas of designers who can also be defined as artists at the same time: it is precisely for this reason that the pieces of the brand are very often true works of art, unique pieces or difficult to repeat.
Although its history is quite recent compared to many other good design companies in our country, Edra has managed to impose itself in a very strong and overbearing way and to find a niche of customers who are fascinated by this mix of elegance, uniqueness and quality.
The company creates pieces with a strong personality, but its real strength is that it knows how to give them also an extreme refinement, able to conquer the heart of the greatest and most attentive design enthusiasts.
Particular and avant-garde techniques, uncommon or recycled materials are the basis of Edra’s research, which makes sure that every single piece can amaze the public, creating the WOW effect. One of the examples is Gellyfoam, a material patented by the company, able to combine softness and support in a single substance.
Ella 
Getsuen Diamond
Another aspect that the brand promotes very strongly is the connection with nature. Many pieces are made precisely by taking inspiration from the natural world that surrounds us or are particularly careful not to damage it.
The difficulty often lies in being able to create what the great designers who collaborate with the company think: the problems in the realization of some parts of these beautiful objects go far beyond the classic and conventional. But Edra’s strong point is that it is able to solve them perfectly.
But let’s move on to the names that have made the Edra brand great: among those who have designed pieces for the Tuscan company are the Campana brothers, Zaha Hadid, Masanori Umeda, Jacopo Foggini, Ross Lovegrove and Francesco Binfarè. Rather artistic characters with a great attention to uniqueness and eco-design, chosen precisely for their ability to amaze and enchant.
Edra can also boast of exhibiting its products in some of the largest and most important design museums around the world, including MoMA, the Centre Pompidou, the Musée d’Orsay and the Vitra Design Museum.
Having a product of the Tuscan company in the house gives an extraordinary feeling of being on the borderline between reality and dream, because every single product is designed to amaze as well as for its pure function as a piece of furniture.
A strong character combined with a desire to excel on all fronts ensure that Edra wins, day after day, the sympathy and consent of many lovers of design and refinement.
Edra’s catalog is composed of many pieces, all spectacular. Among the most important we can mention the sofas Flap, Cipria and Tatlin, the armchairs Vermelha, Favela and Getsuen, the chair Gina and the bed Corallo.
Edra is probably one of the youngest companies to enjoy all this success, and the credit clearly goes to its ability to excel and differentiate itself from the competition. The attention to detail, the quality of materials and the artistic aspect make it a must in the current panorama of Italian and international design.
CURIOSITY:
Edra Vice President Monica Mazzei said:
“We never indicate the year our furniture was produced. We cultivate a timeless approach to furniture, because we are all placed within a single flow in which, in fact, the distinction between old and new pieces makes no sense”