Opos was created in 1991 from the desire to explore another field of design. From Alberto Zanone’s love of architecture and design, and the chance discovery with a friend who teaches urban planning at the University of Florence, of an industrial space on the outskirts of Milan ready for conversion.

“I have always been interested in the outskirts, I have always liked the industrial archaeology …” explains Alberto.”I found this place, a big place and the idea came about of doing something with it. Starting in architecture was not easy, I didn’t have the contacts. We began with design. There was a desire to make comparisons with a different world from that of fashion. In terms of approach I moved, on a design level, towards that of product design, products which don’t have a season. Where as paradoxically the approach now of product designers is more akin to fashion, to create trends: take the Alessi range for example…”

Interruttorevolante loose switch, designed by Donata Paruccini for Opos, 2001

“Discovering the world of product design broadened my horizons: I detail some of my products as if I were designing a table, a chair or any other object. An approach which is not easy to follow in the world of fashion because I work more on the product, I invest in something which lasts, with research into materials, certain characteristics, in something with a longer life”.

The Opos experiment has certainly reaped rewards, also because at the end of the eighties the city didn’t pay much attention to young talent and the Opos exhibition space therefore covered certain gaps.

As the response of young designers demonstrates. “It has been exceptional since the first Under 35 competition, with proposals which highlight new design directions touching aspects such as use of materials with a low environmental impact, recycling, reuse, irony, the idea of emotion even in small things… I have to say also that industry has only in a few cases picked up these signals and still today at a distance of over ten years, there are few producers who look into the research and proposals at Opos”.

“The world of the furniture industry is not so careful and tends to trust in well known names, taking few risks. Structures are being created which have their own design team which is then backed up with a famous name”.

Divatrona armchair by Paola Bonfante and Filippo Fantini for Opos, 1992

Ten years have passed and the picture has changed. The young have now other opportunities where they can present their work, other outlets, first and foremost the Salone Satellite at the Milan Furniture Fair and the space offered by the Comune di Milano at Arengario. And perhaps also the production world as reached saturation point in a certain young style of design.

What does Alberto Zanone see in the world of design, in terms of design and production? “I see less outlets for a young designer. Technology is prevailing therefore it is more difficult to work on materials… the idea is not enough. And the use of new materials and technology is not available to young designers, at least not in Italy. And to think that in countries such as Holland, Droog Design have access to materials of aerospace research to work with” “Italy in fact is at a standstill whereas the joint forces of industry, private initiatives and institutions is reinforcing the positions of single European countries such as Holland, Britian, Switzerland and Portugal”.

A general lowering in the level of design that you have “recorded” also in the entries to the Opos competition? “Unfortunately yes: they are less captivating compared to those of the first years, less surprising. Now the young are less stimulating. It is a difficult job though. It’s enough to ask oneself, how many of those manage to really make it?