Always protecting the modern Always philosophy, Knoll uniquely blends the brand's values, timeless style and Knoll comfort with new collaborations.
Piero Lissoni began collaborating with Knoll in 2007 with an experimental project dedicated to offices: WA, a modular system inspired by the simplicity of Japan, but with an underlying sophisticated technology. The collaboration then intensified with the development of other products: sofas, chairs, small armchairs, containers, and tables, like Avio and Matrioska, Red Baron and Grasshopper. Over the years, Lissoni’s sensitivity has made him a spokesperson for Knoll style and values. With the elegance and aesthetics that distinguish his work, he has most recently succeeded in discretely expressing his own brand of contemporaneity in the design of his KN Collection, a family of chairs, or Gould, a sofa with a modernist flair that recalls 1950s Americana and its architectures.
Born and raised in Milan, Piero Lissoni is one of today’s more notable architects and contemporary interior designers. Lissoni is known for his nuanced sense of proportion in his minimal designs – from his Alessi expresso maker to his furniture Collections for Knoll. Lissoni’s characteristic refined details and extreme comfort elevate a range of interiors and harmoniously complement furniture across every period and style.
For 2020 Knoll presents Matic, an innovative system of sofa components created by Piero Lissoni and conceived as a platform suspended in space, somewhere between an island and a work of architecture.
The distinctive characteristics, here again, are aesthetics and technology. Low, linear seats, enhanced by capitonné details, are joined by armrests and backs that can be shaped thanks to an internal mechanism offering structural support and comfort.
The new offerings also include KN06, a seating collection based on understated design and stylistic refinement, as an expansion of the KN Collection family presented by Piero Lissoni in 2018.
To describe the creative process behind his collections, Piero Lissoni says:
“The visible form is the synthesis, the transparency; the invisible part, the work that makes it possible for the visible to come to life. The success of a sofa, of a chair, of an arm-chair depends on the way in which the visible and invisible speak to each other."