Bitossi—
The Next Era of Italian Ceramics

(Ceramics) What thread runs through the work of designers and architects like Patricia Urquiola, Karim Rashid, Matteo Thun, Formafantasma, Dimore Studio, Faye Toogood, and Max Lamb? Their creative journeys converge at Bitossi Ceramiche.

Just a short drive from Florence, nestled in the Tuscan countryside, this family-owned company has brought some of the greatest names in design together under one roof. The list begins with the iconic Ettore Sottsass—an icon in his own right and who was known for his anti-design approach, bold use of color, and for being a founding member of the Memphis Group, a 1980s collective of postmodern furniture, textile, and ceramic designers.

Within Montelupo, the historic heart of Italian ceramic craft, the Bitossi family has been an integral part of the community; its forebears date back to the 15th century. In 1921, Guido Bitossi founded the Manifattura Maioliche Artistiche Guido Bitossi, laying the foundations of a company where tradition would soon blend with artistic research. A major turning point came in the 1950s under the artistic direction of Aldo Londi, who ushered Bitossi into a new era. Together with Ettore Sottsass, he transformed ceramic-making into an expressive medium of post-war Italian design.

Today, this legacy continues not only in the company’s workshops, but also through the Fondazione Vittoriano Bitossi and its Archive Museum. This last is a living resource where designers are invited to engage with more than a century of forms, colors, and experimentation. Leading the Bitossi ecosystem, Ginevra Bitossi continues to foster a close dialogue between heritage and contemporary design.

MAISON Ë You represent the fourth generation of the Bitossi family, after your mother, at the helm of this century-old manufactory. How did you step into this role, and how have you shaped the company’s contemporary and international dimensions?

GINEVRA BITOSSI I grew up surrounded by the colors, materials, and stories of Montelupo Fiorentino. After studying at Marangoni in Milan and Central Saint Martins in London, I joined the company in 2014, starting with Bitossi Home. A few years later, I took over artistic direction at Bitossi Ceramiche and, more recently, the role of CEO. Bitossi is a multifaceted ecosystem that coexists organically: the manufactory preserves artisanal savoir-faire, the brand translates this identity into contemporary design, and the foundation safeguards our historical archive while supporting research for the new generation.

M. Ë Bitossi’s historic collections range from the Rimini Blu Line designed by Aldo Londi to Ettore Sottsass’s iconic totems, and include later collaborations with other founders of the legendary Memphis Group. How have these designs shaped the company’s creative trajectory?

G. B. Born in Montelupo Fiorentino, Aldo Londi was a painter, sculptor, and ceramicist who worked with Bitossi for over 50 years, first as artistic director and later as a contributor. His technical mastery and artistic sensitivity, combined with a natural curiosity, defined an expressive language, notably through the collaboration with Ettore Sottsass: bold colors, sculptural forms, and a constant drive to experiment. They remain cornerstones of our identity and, more broadly, of Italian design. Their spirit still guides us today, not as references to imitate but as an attitude of freedom and research that we infuse in every new collection.

M.Ë At a time when collectible design blurs the boundaries between functional and sculptural objects, what informs the collections you develop with leading contemporary designers?

G.B. Inspired by the relationship between Aldo Londi and Ettore Sottsass, my mother, Cinzia Bitossi, developed and strengthened our relationships with contemporary designers. When I took the lead at Bitossi Ceramiche, I naturally continued along this path, seeking new voices. This diversity enables us to develop ceramics and a narrative rich in contrasting perspectives, which we find especially meaningful to explore.

I favor designers with curiosity and respect for expressive potential. Every collaboration begins with a private visit to our foundation and historical archive, where each artist studies our forms, colors, and artisanal techniques before reinterpreting them through their own contemporary lens. This shared experimentation creates a common language and ensures each project feels authentic to Bitossi and to the designer.

M.Ë Bitossi collaborates with brands such as Gucci, Supreme, and Fornasetti, as well as with galleries and institutions, developing limited collections from prototyping to production. How do you balance the creation of exclusive pieces with the design of more accessible tableware and household accessories for Bitossi Home?

G.B. Bitossi Ceramiche engages mainly with designers, emphasizing research and experimentation in the realm of collectible design. Bitossi Home involves a wider range of creatives—graphic designers, fashion designers, illustrators—who reinterpret the brand’s aesthetic for a lifestyle audience. Production also differs: one follows the rhythms of artisanal ceramic making, the other scales for international distribution. Yet both share the same core values: authenticity, a strong aesthetic sensibility, and deep respect for craftsmanship.

M.Ë What are Bitossi’s most emblematic artisanal skills—your core materials and favorite finishes?

G.B. We work with clay in all its forms—white, red, refractory, or liquid. Our clays and colors come from Colorificio Colorobbia, founded by my grandfather, Cav. Vittoriano Bitossi, within the same manufacture in the late 1940s. Rooted in Montelupo, Colorobbia has grown into an international company, still run by my family today. From this same earth, our artisans shape, carve, engrave, pierce, dry, paint, and fire each piece once or several times. Over the decades, we have developed highly specific know-how in engobes, colored glazes, and textured finishes. Color has always fascinated me—for its endless nuances and emotional power. I explore it differently within Bitossi Ceramiche and Bitossi Home, but with the same curiosity. I am not afraid to play with color—it brings me joy.

M.Ë You have introduced technical innovations, such as 3D printing—but are there specific manufacturing techniques that you refuse to lose?

G.B. Yes, hand-throwing on the wheel, certain methods of engraving and glazing, and the tactile finishes developed under Aldo Londi. These techniques cannot be replicated industrially. Preserving them means preserving the soul of the company.

M.Ë What initiatives have you taken to train the next generation of artisans in Montelupo?

G.B. My grandfather deeply cared about this mission, and I am committed to carrying it forward. We collaborate with other local workshops, Colorobbia, and the commune of Montelupo Fiorentino to safeguard and promote the district’s unique ceramic culture. This led to the opening of a ceramics training and innovation center now housed in our historic premises. Many of the young artisans working at our manufactory come from this school, and some of the teachers are former Bitossi master artisans who, upon retiring, chose to pass on their expertise.

M.Ë Your foundation is named after your grandfather Vittoriano Bitossi. What is its role, and what meaning do you assign to it?

G.B. The foundation preserves our historical archive—over 7,000 ceramics, documents, prototypes, and molds—and makes it accessible for research. It also hosts exhibitions, publishes studies, and develops cultural partnerships. For me, it is both the memory of Bitossi and a dynamic tool for generating new ideas. All our collaborations with designers begin here, with a private tour of the archive to draw inspiration from the company’s heritage. For instance, Formafantasma was inspired by Aldo Londi’s Lastra project: the tears along the edges of the vases and the thickness of the material are directly drawn from Londi’s original designs.

M.Ë Ettore Sottsass’s pieces are now highly sought after by collectors. Could you tell us how you source and rebuild your archival collection worldwide, and have you ever rediscovered Bitossi pieces you didn’t know existed?

G.B. The foundation team is in daily contact with major auction houses, collectors, and galleries worldwide to trace and acquire historical pieces. Sometimes extraordinary objects emerge—unique prototypes, forgotten collaborations, or early Sottsass works. Thanks to the relationships we have built over time, these pieces are often presented to us in advance. For example, a Milan-based auction house showed us some Aldo Londi–Bitossi pieces even before including them in their catalog. We purchased them, and later discovered that these works had been produced as unique works for a special exhibition at the Triennale curated by Ettore Sottsass. This makes us incredibly proud as it demonstrates the cultural and historical value of the Foundation and the Vittoriano Bitossi Archive-Museum.

Thanks to the historical documents preserved in our archive—including Aldo Londi’s working notebooks—we are able to verify the authenticity of such pieces. Until the 1970s, the mark on the underside of a ceramic item was agreed upon with the client: it could be an alphanumeric code, a series abbreviation, or a “B” indicating Bitossi. In addition to these various marks, the country of origin—Italy—was always included.

M.Ë Who are today’s biggest enthusiasts of Bitossi?

G.B. Collectors, design galleries, and institutions remain essential, particularly for our historical pieces and collaborations with contemporary designers. At the same time, a new generation of design enthusiasts is discovering Bitossi through exhibitions, archives, and the story of Italian craft. A striking example is our collaboration with Supreme: the fact that a streetwear brand approached us to reinterpret Rimini Blu—one of our most iconic collections—shows how these enthusiasts want to engage with brands that embody local craftsmanship and authentic production, while remaining bold and contemporary.