[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-de-la-espada-look-book-volume-4":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":379},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":374,"matched_pages":375,"match_count":376,"two_pages":377,"show_text":378},25056,"Look Book Volume 4","de-la-espada-look-book-volume-4","\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F82\u002Fc408556544a84dfc3f32b8da348bcc-28fe2a0bbc.pdf","De La Espada",2084,"de-la-espada","23.3 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,76,80,84,88,92,96,100,104,107,111,114,118,122,125,129,133,137,140,144,148,152,156,160,164,167,171,174,178,182,186,190,194,198,202,206,210,214,218,222,226,230,233,237,240,244,248,252,256,260,264,268,272,276,280,284,288,292,296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,371],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.2.png","Focusing on the key pieces \nof furniture for the home: \na place to eat, rest, sleep \nand work.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.3.png","07  \n12  \n28  \n44  \n60    \n74  \n84  \n96  \n106  \n130  \n138  \n168  \n180  \nDe La Espada\nResidence Lisboa\nPorto Residency\nPalácio do Comércio\n A Conversation with Margarida Adónis  \nof Fabricaal\nPapi: Global Neighbourhood Restaurant\nManuel Aires Mateus Furniture\nAt Home in the World\nProducts at Home in Our Factory\nDesigners\nProduct Index\nTimber\nCredits\nCONTENTS \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.4.png","DE LA ESPADA VOLUME IV 7\n6\nART MEETS CRAFT\nDe La Espada furniture expresses artistry, ex-\nacting engineering, and devotion to function. \nCreated through collaboration between designers, \nengineers, carpenters, tailors and artisans, each \nproduct combines the highest level of skill from \nthe fields of art and craft.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.5.png","DE LA ESPADA VOLUME IV 9\n8\nENGINEERED TO LAST A LIFETIME\nOur dedicated solar-powered factory in Portugal \nis at the heart of our business. Specialising in \nsolid wood and upholstery, our expert craftspeo-\nple combine advanced technology with handcraft \nto create truly unique, meaningful objects that \nappeal to the senses. Each product is meticulous-\nly detailed and engineered to last a lifetime.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.6.png","DE LA ESPADA VOLUME IV 11\n10\nADAPTABILITY AND INNOVATION\nWith a culture of constant improvement, De La \nEspada is continually evolving to ensure every \naspect of our work is the best it can be, with \nconsideration for performance, aesthetics, and \nthe environment. We believe in flexibility and \nadaptability, introspection and collaboration, to \ninnovate and push ever forward.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.7.png","12\nRESIDENCE LISBOA\nOpen over six days in 2019, De La Espada Residence \nLisboa provided a platform for connection through \ndesign and the arts, celebrating the home and the \nmeaningful objects that are physical manifesta-\ntions of the owners’ experiences. \nDe La Espada and Studio Astolfi transformed a \nLisbon apartment designed by rar.studio into a \nstage for activities designed to bring furni-\nture to life: a dramatic performance designed by \nStudio Astolfi entitled Let’s Pretend This Never \nHappened, a recital by the Fournier Cello Group \nled by Annette Costanzi and accompanied by Andrew \nMacmillan on the piano, lectures by Hugo Macdonald \nand Morgwn Rimel, and an open house.\nThe residence was furnished exclusively with De \nLa Espada furniture by designers including Jason \nMiller, Neri&Hu, Luca Nichetto and Matthew Hilton. \nLighting was by Roll & Hill and rugs by Kasthall.\nThe event was part of De La Espada’s efforts \nto foster a movement that values interiors and \nwell-being along with a responsibility to the \nwider world both in terms of culture and the very \npressing needs imposed by climate change.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.8.png","14\n764T SHAKER DINING TABLE\n780 CAPO DINING CHAIR\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.9.png","052F CLASSON SIDEBOARD\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.10.png","DE LA ESPADA VOLUME IV 19\n18\n122 BELLE REEVE SOFA\n053 CLASSON TALL CHEST\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.11.png","DE LA ESPADA VOLUME IV 21\nTHE SETTING\nOur residency took place at Apartment NANA de-\nsigned by rar.studio, an architectural practice \nfounded by Rita Aguiar Rodrigues. Located on the \nfirst floor of a 19th century building in Lisbon, \nthe apartment features expansive rooms with high \nceilings and large windows, offering a feeling of \ngreat spaciousness and an abundance of natural \nlight and fresh air. The design preserves select \nhistoric finishings and decorative features, in-\ncluding the original 19th century tiles in the \nkitchen, and honours and interprets the Lisbon \narchitecture of the time while modernising sensi-\ntively to bring the design into the present. The \napartment’s openness and flow between the rooms \nallowed the dramatic performance Let’s Pretend \nThis Never Happened to unfold across the full \nspace, encouraging movement and exploration. An \nexcellent setting for an imagined De La Espada \nhome, the design reflects a shared passion for \nrobust materials, skilled craft, and understated, \ncomfortable living where luxury is in the details.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.12.png","22\n364 WELLES TABLE\n770 COMMUNE STOOL\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.13.png","DE LA ESPADA VOLUME IV 25\nRESPONSE\n“The presentation of the furniture and the prod-\nuct design was the most interesting I have ever \nseen - and I have seen many of them! In the end, \nwhen talking to Luis de Oliveira whom I already \nadmired a lot, I noted what he said: ‘De La \nEspada focuses on the quality of its production, \nall made in Portugal, but also on the people \nand on the fundamental idea of sustainability. \nWe want to do it well so it lasts a long time \nand is part of the circular economy.’ It is not, \ntherefore, only in the way they communicate that \nthey set themselves apart, it is also in the way \nthey understand what good design means. Bravo.”\nGuta Moura Guedes, writing for Portugal’s leading \nnewspaper, Expresso.\n784 SOLO DESK\n750 SOLO DINING CHAIR\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.14.png","113 LOW DUBOIS BED\n789 SOLO VITRINE\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.15.png","28\n783 SOLO OBLONG TABLE\n798 PETIT 4 CHAIR\n789T SOLO TALL VITRINE\nPORTO RESIDENCY\nSince 2014, De La Espada Residencies have pro-\nvided an opportunity for visitors to experience \nthe De La Espada lifestyle first hand, not only \nwith design, but with art, music, theatre, and \ndiscussion. For 2021, in response to pandemic-re-\nlated travel restrictions, we hosted a quieter \nresidency designed for virtual exploration, this \ntime in Porto, Portugal.\nPorto is a city close to our hearts; it is the home-\ntown of De La Espada co-founder Luis De Oliveira \nand, less than an hour’s drive from the De La \nEspada factory, is a familiar stomping ground \nfor our team. We chose a very special apartment \nin the Palácio do Comércio, a historic building \nwith a rich history and, through photography and \nvideo, invited guests to experience this remark-\nable piece of architecture and the imagined De La \nEspada home we created within it.\n",15,{"image":74,"text":15,"number":75},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.16.png",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.17.png","32\n 788 SOFA EIGHT\nTHE SETTING\nThe 5th floor apartment home to our residency is \nlocated in the Palácio do Comércio, designed in \nthe mid-twentieth century by Maria José Marques \nda Silva and David Moreira da Silva and renovated \nin 2016 by Atelier in.vitro led by Joana Leandro \nVasconcelos. The apartment showcases the legacy \nof architectural excellence in Portugal, reflect-\ning rigorous engineering and a careful attention \nto every element from subtle interior details \nto how the building fits into the context of the \ncity street. With noble materials, expert design \nand craft, respect for history and modernity, and \nenduring appeal, the apartment is a natural home \nfor De La Espada furniture.\nTHE EXPERIENCE\nThe Porto Residency was furnished entirely with \nDe La Espada furniture designed by Neri&Hu, \nStudioilse, Luca Nichetto and Jason Miller, in-\ncluding product launches from 2020 and 2021. \nAccessories included rugs by Kasthall, lighting \nby Roll & Hill, and artwork by Diogo Barros Pires. \nWe welcome everyone to take a leisurely stroll \nthrough the residency by visiting the De La Espada \nwebsite and Instagram. View the dedicated film \nand still photography, and learn more about the \ndesign and vision with stories and Instagram Live \ndiscussions, still available to view post-event. \n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.18.png","785L SOLO WIDE 4-DOOR CABINET\n101 ELYSIA LOUNGE CHAIR\n456GM SIDEKICKS COFFEE TABLE WITH TERRAZZO\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.19.png","781SZ CAPO LOUNGE ARMCHAIR WITH MANTA ESPINHADA\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.20.png","061 CARLTON BED\n063 CLASSON BEDSIDE CHEST\n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.21.png","DE LA ESPADA VOLUME IV 41\nTHE DISCUSSIONS\nOn IGTV, De La Espada Instagram, listen to De La \nEspada co-founder Luis De Oliveira in conversation \nwith two creatives who played significant roles in \nour Porto Residency.\nJoana Leandro Vasconcelos, principal of Atelier \nin.vitro, the architecture firm that refurbished \nthe 1940s apartment home to the residency, dis-\ncussed the design of the building, its significance \nin Portuguese architecture, and her approach to \nsensitively modernising the apartments. Luis, in \nturn, shared the location’s significance to him, \nand why it was chosen for the residency.\nSara Nunes, director of Building Pictures, who \nmade the film of the Porto Residency, discussed \nhow Portuguese architecture became the talk of \nthe world, how film is opening new doors for ar-\nchitecture in terms of reaching a wider audience, \nand how community building is an important part \nof giving a higher purpose to our interest in \ndesign and architecture.\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.22.png","060 ELLIOT DESK\n797 PETIT 3 CHAIR\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.23.png","44\nPALÁCIO DO COMÉRCIO\n“I think it’s the characteristics of the building \nitself, the way it was designed and built — very \ngood design, very good materials... we were work-\ning with a very good basis”\nFor our 2021 residency, we chose a very special \napartment in the Palácio do Comércio, a historic \nbuilding that gives the feeling of time travel \nwith its layers of history, creativity and life. \nBuilt in the mid-twentieth century for Delfim \nFerreira, a prominent Portuguese entrepreneur, \nit features spacious luxury apartments originally \ndesigned to accommodate both the inhabitants and \ntheir housekeepers. The building’s architects, \nMaria José Marques da Silva and David Moreira \nda Silva, poured generations of skill and knowl-\nedge into its creation, both through their own \neducation and inherent talents and those passed \nto them from their fathers. Maria José’s father \nwas José Marques da Silva, an architect credited \nwith having shaped the face of Porto in the early \ntwentieth century through his numerous landmark \nworks including the São Bento Railway Station, \nan icon in Porto with its azulejo-tiled story-\ntelling walls, and through his role as director \nof Escola de Belas Artes do Porto (Porto School \nof Fine Arts) where he taught several genera-\ntions of architects. Maria José not only grew up \nin this influential family, but herself attended \nEscola de Belas Artes do Porto where she grew her \nknowledge further, and where she met her husband \nand collaborator, David Moreira da Silva. David \nwas also raised in design and construction as \nthe son of José Moreira da Silva, house builder \nand founder of the Porto Stonemasons´ Cooperative \n(Cooperativa dos Pedreiros Portuenses). \n",23,{"image":105,"text":15,"number":106},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.24.png",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.25.png","DE LA ESPADA VOLUME IV 49\nMaria José Marques da Silva and David Moreira da \nSilva are architects who, from the 1940s onwards, \nprimarily worked in urban planning, and it is \nthe diversity and depth of their expertise that \nmakes their work so exceptional. This is reflected \nin Palácio do Comércio, where every scale was \nconsidered from subtle interior details, such as \ncurved door and window frames, to the intricacies \nof the building’s construction and how it would \nsit on the street, in the neighbourhood and com-\nmunity. The couple, known for their attention to \ndetail and quality of materials and construction, \ncreated a building that is expressive and varied \nyet cohesive and rigorously engineered, now con-\nsidered one of the most exceptional buildings in \nthe city.\nWhen Atelier in.vitro, led by Joana Leandro \nVasconcelos, renovated three of the Palácio do \nComércio apartments on the 5th, 6th, and 7th \nfloors between 2013 and 2016, they did so with sen-\nsitivity for the original design and discovered \nthat many aspects of the apartments exceeded \nexpectations when it came to longevity: “We kept \nthe windows because they are simply marvellous \nand we couldn’t change them, and even the original \nframe wooden doors. Everything was in very good \ncondition and very good woods so we felt no need \nto change it. I think it’s the characteristics of \nthe building itself, the way it was designed and \nbuilt — very good design, very good materials... \nwe were working with a very good basis,” Joana \nexplains.\n",25,{"image":112,"text":15,"number":113},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.26.png",26,{"image":115,"text":116,"number":117},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.27.png","DE LA ESPADA VOLUME IV 53\nIn the 5th floor apartment, home to our Porto \nResidency, the rich materials wrap the visitor \nin a relaxed refinement, from the abundant use of \nwood, to the swathes of marble and the intricate \nbronze detailing. These noble materials from 70 \nyears ago sit beautifully with De La Espada fur-\nniture, more contemporary in form yet mirroring \na similar quality of materials and Portuguese \ncraft. As one explores the apartment, exciting \ndetails reveal themselves including curved door \nframes and, Joana’s favourite, a curved sash win-\ndow with a copper frame in the front bedroom: “I \nlove this window and the details of how it works \nand the fact that it still works perfectly — I \nthink that’s amazing.”\nWhen Joana and her team set out to renovate the \napartments, their starting point was “studying \nthe building, the story of the building, the \nconstruction system, materials... and we also \ntried to understand how it works and the state \nof conservation.” They needed to maintain the \napartments’ function of private housing while \nensuring they were suitable as rentable holiday \naccommodation. With deep respect for the origi-\nnal architects and the importance of the design \nin the history of Portuguese architecture, the \naward-winning Atelier in.vitro refreshed and em-\nbraced as much of the original as possible, while \nquietly introducing new elements that seem as \nif they were always there. Most of the materials \nwere rehabilitated rather than replaced, with the \nwooden floors in the rooms and living rooms, the \nmarble tiles, the mosaics and the ceramic ele-\nments in the bathrooms all original.\n",27,{"image":119,"text":120,"number":121},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.28.png","54\nThe apartments are long rectangular spaces with \ntwo fronts: the service compartments oriented \ntoward the courtyard and the more noble rooms \nfacing the street. This hierarchy is reflected in \nthe materials palette, where premium woods were \nused in the street-facing rooms while painted \nwoods were used in the service quarters. The \nrenovation respected this separation, with every \nintroduction of new materials taking this hier-\narchy into consideration. \nSmall changes were also made to the layout of \nthe apartment to make it more suitable for modern \nliving. “Now few people have [in-home staff] so \nwe wanted to transform that bedroom and that area \nof the bathroom into a more noble bedroom that \ncould be used by tourists,” Joana explains. This \nchange allowed the bedrooms to include ensuite \nbathrooms.\n",28,{"image":123,"text":15,"number":124},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.29.png",29,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.30.png","DE LA ESPADA VOLUME IV 59\nPalácio do Comércio remains one of the most well-\nknown buildings in Porto and lives as a shining \nexample of the best of Portuguese architecture \nand craftsmanship. It bears not only the history \nof its celebrated architects but the architects \nwho influenced them, and the architecture firm \nthat gently ushered the apartments into the 21st \ncentury with the depth of their history firmly \nintact. With its celebration of natural, robust \nmaterials and excellence in design and craft, it \nis the perfect backdrop for De La Espada furni-\nture, a fitting element in the De La Espada life-\nstyle embracing the local and international, the \nhistoric and modern, the timeless and enduring. \n",30,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.31.png","60\nA CONVERSATION WITH MARGARIDA ADÓNIS \nOF FABRICAAL\n“We’ve been creating new patterns using new col-\nours but we are creating on a base that is already \nvery rich and has a patrimony and heritage that \nthe looms pass to us.”\n",31,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.32.png","DE LA ESPADA VOLUME IV 63\nMantas Alentejanas, traditional blankets from the \nAlentejo region of Portugal, carry layers of his-\ntory, personal experiences, local materials, hand \ncraft, and an ever-evolving story. The forms these \nblankets take — cloaks, rugs, bedding, furniture \nand accessories — and the patterns and colours \nthey contain, illustrate their journey through \ntime, at once embracing their heritage and the \nchanging demands of the modern world. Pivotal in \ntheir story is the Fabricaal factory in Reguengos \nde Monsaraz that is the sole producer of Mantas \nReguengnos, Alentejo blankets specific to the city, \nwhere the tradition remains untouched, using the \nsame traditional weaving techniques and manu-\nal wooden looms used in the blankets’ earliest \ncreation.\nThe story of the blankets begins over one hundred \nyears ago, in the cold winters of Alentejo. Located \nin the centre of Portugal between the Algarve and \nLisbon, Alentejo is known for its unparalleled \nbeauty and rich agriculture. It is home to cattle, \nolive trees, and merino sheep who give their \nwool to the creation of Mantas Alentejanas. The \nearliest mantas, tightly woven and waterproofed \nwith olive oil, were made as blankets and cloaks \nfor the shoulders of shepherds to keep them warm \nduring the harsh Alentejo winters. They featured \nsimple patterns, such as stripes and a local \nespiga weed motif, and the natural colours of the \nwool: five different tones including white, greys, \nblack and beige.\n",32,{"image":138,"text":15,"number":139},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.33.png",33,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.34.png","DE LA ESPADA VOLUME IV 67\n66\nhave always collected fabrics from wherever I go; \nI always regret when I cannot purchase a fabric. \nAnd I thought, ‘Interesting! Me, having a fabric \nmill! That’s like a dream come true. Wow! This \ncould be really interesting.’ ”\nMizette was careful to sell the business to people \nwho would maintain the tradition and continue the \nevolution of the mantas, and Margarida, António \nand Luís were the perfect choice. The partners \ncare deeply about the heritage and quality of the \nmantas they produce, and they all made a pact \nto live and work near the factory, to be more \nintimately connected with the business and to \ncommunicate directly with the weavers. They are \nalso adamant about maintaining the more complex, \nlabour-intensive weaves, even if they are less \ncommercially viable on a large scale, to honour \nthe tradition: “We want to show a work that is \nrich and that is difficult because that’s the DNA \nof those looms. And so we’ve been doing really \nbeautiful stuff, and premium.”\nPart of the passion for the craft comes from \npersonal experience, both collective and individ-\nual: “I have those blankets here at home because \nhaving a house in Alentejo and not having a blan-\nket or a rug at home is like being Italian and \nnot liking pasta. But the funny thing, yes, my \nfirst Christmas present from my husband 16 years \nago was a Manta Alentejana number 28 from our \nfactory. So 16 years ago my husband knew I would \nlove these blankets and so he bought me a 180 \npiece that we actually use and we’ve been using \nmuch before owning the factory. We have always \nused [it] in our bed here in Alentejo. And so it’s \nfunny that 16 years afterwards, I am producing \nthe pattern 28 in many different colours because \nI love it so much.”\nThe Fabricaal factory, for over 90 years, has been \nevolving the story of these mantas. In the 1930s, \nit began as a workshop focused on wool craft under \nAntónio Durão, then in the 1950s, the workshop \nbecame Fabrica Alentejana de Lanificios under José \nRosa who turned the focus to the production of \nmantas and created the Mantas de Reguengos brand \nimage. When interest in the blankets waned in the \n1970s, Dutch artisan Mizette Nielsen took owner-\nship of the business, and worked to maintain the \ntradition and quality of the Reguengos fabrics \nwhile introducing innovations that responded to \nmodern times. In January 2020, the baton passed \nto three new owners, António Carreteiro, Luís \nPeixe and Margarida Adónis, and the factory was \nrebranded as Fabricaal. Under their ownership, \nthe factory continues to innovate while holding \nfirmly to its heritage. We sat down with Margarida \nAdónis to learn more about the story of the fac-\ntory, this iconic Portuguese craft, and the way \nher own personal story intertwines with it. \nMargarida Adónis hasn’t always been a producer \nof textiles. For 22 years she was an advertising \nproducer, running her own production company in \nLisbon. The fast pace and long hours of the job \nkept her away from her young family for long \nperiods of time, so in 2019 she moved full time \nto what had been her holiday home in Alentejo, in \nsearch of a “more humble and more grounded and \nless hectic and not so much consumerist and not so \nmuch materialist life.” With her passion for tex-\ntiles and friendly nature, she quickly befriended \nMizette Nielsen and enjoyed weekly chats with her \nat the Fabricaal factory. When Mizette told her \nthat she wanted to sell the factory, Margarida was \nexcited by the possibilities: “I’ve always been a \nproducer but my passion, and my secret passion, \nhas always been interior decoration and fabrics. \nI have a room full of fabrics until the roof. I \n",34,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.35.png","68\nThe Fabricaal approach is more about offering a \nvariety of products than trying to quickly sell \nblankets. It is an approach informed by history. \nMantas Alentejanas, as they became more refined \nover time, became iconic bedding made for special \ngifts, such as for a wedding. But with Portugal’s \nentrance into the EU and the arrival of the open \nmarket, tastes changed, and people became more \ninterested in polyester bedding. “We had to find \na way to keep the manta alive, so the factory \nstarted doing Mantas Alentejanas to put on the \nfloor, as rugs. And they were used as rugs, also \nto survive, in a way. But they [lost] popularity; \nit was very difficult to keep the big factories \nopen. So more or less in the ‘70s, before the \nrevolution, Mizette Nielsen, she gathered all the \nlooms of Reguengos de Monsaraz under one single \nroof and bought the Fábrica Alentejana and put \nall the looms that were used at homes, not at \nreally factories, and put all the people under \nthe same roof and that became Fábrica Alentejana \nde Lantificios. So they gathered to survive. And \nthat’s the heritage that we manage now. Over \nthe last 25 years there was only one factory, \nonly 4 weavers that have been doing every Manta \nAlentejana we know.”\nThe new Fabricaal owners are innovating while \nholding strong to the heritage of the blankets \n“And now we are bringing it out of the floor and \nwe are doing other stuff: we are doing beds, we \nare doing ottomans, we are doing … mattress for \noutside or for inside, we are doing tapestry wall \ntextile art...we are doing a lot of stuff because \nwe thought that could be interesting that the \nManta Alentejana gets other formats.”\n",35,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.36.png","DE LA ESPADA VOLUME IV 71\n70\n“We’ve been creating new patterns using new col-\nours but we are creating on a base that is already \nvery rich and has a patrimony and heritage that \nthe looms pass to us. We are taking out of the \nlooms incredible work, new work, original work, \nand people really appreciate the work that we’ve \nbeen doing and they really buy the new patterns.”\nThe textile used on De La Espada furniture, \nEspinhada, is an early pattern from the Fabricaal \nfactory from the days of Mizette Nielsen’s own-\nership, with colours chosen by Margarida — one \nof the first rugs she designed when she became \nowner. The colour choice is based on the archi-\ntecture of Conceição Silva, “a beautiful, very \ntalented architect from the ‘60s. And he built \nan impressive resort between ‘64 and ‘75, totally \nfrom the ‘60s — it’s like the purity of the ‘60s, \nin Portugal, in Tróia. And I own one apartment \nfrom Conceição Silva which is like a diamond. \nAnd I have decorated that apartment with all the \noriginal colours and furniture from the ‘60s from \nConceição Silva. And he used a lot the wood, the \noranges, and that’s why I made that Espinhada. I \nmade that Espinhada thinking that if Conceição \nSilva was alive, he would choose that Espinhada \nto decorate one of his apartments or one of his \nresorts in Tróia.”\n",36,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.37.png","72\nThe Espinhada can be made with natural weaving \nor premium weaving. De La Espada furniture fea-\ntures the premium weave, as it is more intricate \nand durable. It takes approximately 30 hours to \nweave the Espinhada for one Capo Lounge Armchair. \nThere is no finish on the textile, just the natu-\nral resilience of the merino wool fibres and the \nweave. The textile, like every textile made at \nthe Fabricaal factory, is made completely by hand \non manual wooden looms and the dyeing is done in \naccordance with the sustainability rules of the \nEuropean Community.\nThere is something about the passage of time and \nthe way meaning wraps around it, both personal-\nly and collectively. The traditions of our home \ncountry are often a part of us, even without our \nconscious participation, and the traditions of \neven far away countries carry with them a depth \nthat resonates across cultures. Mantas Alentejanas \ncarry the imprint of time, culture, memory and \nexperience. Fabricaal continues this tradition, \nholding firmly to heritage while sensitively mod-\nernising, furthering the story of the mantas for \nall of us to enjoy, as we further our own personal \nstories.\n“We are taking care of the factory to actually \nperpetuate this heritage but we are having a lot \nof fun because we are creating really new stuff.”\n",37,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.38.png","74\nPAPI: GLOBAL NEIGHBOURHOOD \nRESTAURANT\n“Papi is a fairly hybrid restaurant: its offering \nis unique. It was therefore very important to \ndesign a space that reflected the concept: differ-\nent, unique, relaxed and refined.”\nIf there’s one thing we have learned during the \npandemic, it’s how interconnected we all are. \nWith travel restricted, it has come into sharp-\ner focus how none of us are merely citizens of \nour hometown or country; we are citizens of the \nworld, sharing cultures, ideas, and experiences. \nSo when restaurateur Etienne Ryckeboer opened \nPapi restaurant in Paris late 2020, in the middle \nof the pandemic, it was not only a welcome note \nof optimism, but a rather fitting ode to the \ncloseness of our shared world. \n",38,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.39.png","DE LA ESPADA VOLUME IV 77\n76\nThe design of the restaurant mirrors the philos-\nophy of the food. As Ryckeboer explains, “Papi \nis a fairly hybrid restaurant: its offering is \nunique. It was therefore very important to design \na space that reflected the concept: different, \nunique, relaxed and refined. It is in this way \nthat the design of the space serves the culinary \nconcept, and vice versa.” He chose to work with \nNeri&Hu because “a unique project needs a unique \narchitect: it was obvious that we needed to work \nwith a strong, differentiating architect, prefer-\nably one who did not yet have a project here in \nParis. The choice of Neri&Hu was a natural one, \nbecause we recognised ourselves in some of their \nprojects, which are very well done, yet raw, min-\nimalist, natural and refined.”\nWithin the compact 52-square-metre space, Neri&Hu \ncreated an arena-like enclosure that integrates \nall the functional needs of seating, display, \nchef’s preparation counter, privacy screen, and \nwood-burning oven. Neri&Hu’s design concept cele-\nbrates the layered material heritage of the late \n19th century Haussmann building, revealing the \nbeauty of the bare materials and honouring the \nimprint of time upon each surface. Different pe-\nriods in Paris’ history are represented through \npreserved materials including portions of the old \nlimestone and brick walls in the interior and, on \nthe façade, a steel I-beam lintel and a segment \nof the old stone moulding. These are met by a \nglass façade that maintains a visual connection \nbetween the public realm and the interior and \nallows the space to be awash in fresh air. Petit \nChair, designed by Neri&Hu specifically for Papi \nRestaurant to fit the compact interior, and craft-\ned by De La Espada, provides seating throughout \nthe restaurant. \nLocated in Paris’ 9th arrondissement, Papi is a \nneighbourhood restaurant with an international \nview, offering Italian cuisine fused with Japanese \nand French influences. Simultaneously rooted in \nculinary traditions and breaking free of them, \nPapi’s entire concept is based around seemingly \nconflicting ideas that work beautifully together: \nlocal yet global, relaxed yet refined, traditional \nyet modern. There is a painstaking attention to \ndetail, from the menus to the interior design. \nAll ingredients are locally sourced and of the \nhighest quality, and the flavours are internation-\nally inspired and skilfully created. The space is \nthoughtfully designed and expertly crafted, yet \nthe atmosphere is relaxed and welcoming.\nJapanese chef Akira Sugiura infuses the simple \nItalian pizza-and-pasta offering of Papi with an \nartful complexity by thoughtfully incorporating \nelements of Japanese cuisine and French food tra-\nditions. The menu, which changes according to \nthe seasons and the availability of locally-grown \nproduce, is simultaneously loyal to cooking tra-\nditions and experimental, fusing flavours across \ncultures to create a taste palette grounded in the \nfamiliar yet entirely new. A traditional Bolognese \nbeef and pork pasta dish offers a twist with udon \nused in place of tagliatelle and garnish includ-\ning both basil and bonito flakes. An innovative \ntake on the classic Italian tiramisu sees the \ndessert made with kinako (roasted soybean flour) \nand an Okinawan black sugar caramel. A starter of  \ncauliflower velouté with truffle cream and hazelnut \noil turns the lens toward local food traditions. \n",39,{"image":165,"text":15,"number":166},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.40.png",40,{"image":168,"text":169,"number":170},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.41.png","80\nWhile Papi has now established itself as a desti-\nnation restaurant as well as a beloved local, it \nwas no small feat opening in the middle of a pan-\ndemic. But in a laid-back style that reflects the \nethos of the restaurant, Ryckeboer explains “The \nPapi project was validated a few weeks before the \npandemic. We were just about to start work when \nthe pandemic broke out. There was no question of \ngoing backwards, even if the situation was a bit \ndestabilising!”\nPerhaps it was the success of his first restaurant, \nBulot Bulot, that gave Ryckeboer the confidence \nto open under less than optimal circumstances. \nBut this perseverance and optimism during the \ndifficult days of the pandemic was appreciated by \nco-founder of De La Espada Luis De Oliveira, after \nbeing brought on to craft the restaurant’s dining \nchairs: “When Lyndon and Rosanna [Neri&Hu] came \nto us in the middle of the first lockdown here in \nLondon, to work on a chair for a small restaurant \nserving pizza and red wine, we simply couldn’t \nrefuse. It was a beam of shining light, showing \nus that there was optimism in the world that lays \nahead even in an industry that has been severely \naffected like hospitality. And we love pizza and \nred wine, so we can’t wait to visit Paris.”\nIt is a sentiment echoed by many of us at a time \nwhen we are spending more time close to home. \nFor now, Papi is welcoming their neighbours for \na friendly meal that reminds them of the wider \nworld; later we will all join them for a meal and \nshared stories.\n",41,{"image":172,"text":15,"number":173},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.42.png",42,{"image":175,"text":176,"number":177},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.43.png","84\nMANUEL AIRES MATEUS \nFURNITURE \nDe La Espada’s partnership with Manuel Aires \nMateus, our first with a Portuguese designer, show-\ncases the superb design and craft of our shared \nhome country. The product line harnesses De La \nEspada’s expertise in wood craft and communi-\ncates Aires Mateus’ approach to design across all \ndisciplines: honest materiality and pure lines \ncommunicating time, memory, and the physical and \ncultural worlds.\n",43,{"image":179,"text":180,"number":181},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.44.png","DE LA ESPADA VOLUME IV 87\nThe Lisbon-based architect’s work is sensitive \nto time and place, embracing nature and heritage \nwhile offering a thoughtful purity of form in pro-\njects that are at once functional and awe-inspir-\ning. His architectural projects have earned him \nnumerous accolades including the Valmor Prize, \nPessoa Prize, and a nomination for the Mies van \nder Rohe Award. Images and discussions of his ar-\nchitecture can be found in the first three volumes \nof the De La Espada Lookbook.\nAires Mateus’ approach to his furniture collec-\ntion is in line with his approach to his archi-\ntectural projects: “Our central point in all of \nthe projects is the way that people are going to \nlive. It’s always about this idea of how people \ncould feel in these spaces more than, let’s say, \nimage. So it’s also the way you touch, the colour, \nthe smell, the memories that you can achieve and \nthe common memories that we all have about this \nmaterial,” he explains. With an emphasis on func-\ntion and the sensory response, the product line \nreflects a universal heritage that is fixed without \ntime or place. The furniture is designed to be \npassed from generation to generation, earning the \nvalue of time and marks of memories past.\n",44,{"image":183,"text":184,"number":185},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.45.png","501 TABLE ONE\n",45,{"image":187,"text":188,"number":189},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.46.png","500 BED ONE\n",46,{"image":191,"text":192,"number":193},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.47.png","92\nThe designer specified Douglas Fir for his prod-\nucts to take advantage of the spectacular propor-\ntions and consistent quality this timber offers. \nThe use of this expressive wood adds an extra \ndimension and intensity to the materiality of the \ncollection. Table One, at one meter wide and up \nto almost 4 meters long, has a tabletop made from \njust two planks of timber of outstanding propor-\ntions. Bed One features a headboard made from \njust five wide planks, the wood grain a continuous \nflow to the platform base. \nWe use European Douglas fir grown in France. Due to \nits strength, durability, and attractive straight \ngrain, this softwood has long been used for join-\nery and flooring. Douglas fir trees can grow to \nvery large sizes which, when regularly pruned, \nresults in impressively wide and long planks of \ntimber with consistent grain patterns. Planks of \nthe size and quality required for Manuel Aires \nMateus products are rare, and must be harvested \nand prepared specially for us. Knots are natural-\nly present in this timber, lending character to \neach plank. Finished with white oil and wax, the \nnatural pale colour, beauty, and tactility of the \ntimber is preserved.\n",47,{"image":195,"text":196,"number":197},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.48.png","DE LA ESPADA VOLUME IV 95\n“To design on any scale, including the scale of \nthe furniture, it is central to draw “life”, to \nunderstand the real, physical and cultural result \nof our sensory perception, echoing our memory and \nknowledge,” Manuel Aires Mateus.\n",48,{"image":199,"text":200,"number":201},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.49.png","96\nAT HOME IN THE WORLD\nIn the summer of 2021, after a year of limited \nmovement, we had a newfound freedom; an opportu-\nnity to explore the world around us once again. \nIn honour of summer, of freedom, of home, and \nof familiar territory left unexplored, we asked \ntwo of our friends, creatives Rodrigo Sousa and \nDiogo Barros Pires, to embark on a road trip to \nexplore the beauty of Portugal and to reimagine \nthe concept of home. Placing our furniture in \nunexpected and lesser-known locations, with vi-\ngnettes at once domestic and wild, crafted and \nfound, they took us on a journey around our home \ncountry, and explored what it means to be At Home \nin the World.\nEnjoy a taster of their journey here and discov-\ner more, including further imagery and engaging \njournal entries charting the experience, in the \nJournal on the De La Espada website.\n",49,{"image":203,"text":204,"number":205},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.50.png","751 SOLO LOUNGE CHAIR\nNot suitable for outdoor use.\nVALE DAS BURACAS\n060 ELLIOT DESK \nNot suitable for outdoor use.\nVALE DAS BURACAS\n",50,{"image":207,"text":208,"number":209},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.51.png","407 SAIA LOUNGE CHAIR\nNot suitable for outdoor use.\nMATA DO BUÇACO\nSERRA DA ATALHADA\n770 COMMUNE STOOL\nNot suitable for outdoor use.\n",51,{"image":211,"text":212,"number":213},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.52.png","063 CLASSON BEDSIDE CHEST\nNot suitable for outdoor use.\nLINDOSO\nCABRIL DO CEIRA\n227 BOX SOFA\nNot suitable for outdoor use.\n",52,{"image":215,"text":216,"number":217},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.53.png","249 BUTTERFLY CHAIR\nNot suitable for outdoor use.\nMONSANTO\nMONSANTO\n783 SOLO OBLONG TABLE\nNot suitable for outdoor use.\n",53,{"image":219,"text":220,"number":221},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.54.png","106\nPRODUCTS AT HOME \nIN OUR FACTORY\nThe De La Espada factory is where our furni-\nture comes to life. It’s where a sketch or idea \ntakes shape. Where collaboration happens between \ndesigners, our product development team, and \ncraftspeople. Where raw planks of wood become \ndesirable, functional objects for modern living. \nOur factory is the heart of De La Espada, where \nour creativity, knowledge and skill meet, where \nmeals are shared at a communal table, where con-\ncept becomes reality.\nThroughout 2020 and 2021, we photographed our \nproduct launches on the factory floor, honouring \ntheir birthplace and the team that brings them \nto life. Natural light spills through the factory \nwindows, setting the furniture aglow with a hint \nof domesticity in an industrial environment. A \nstack of raw lumber captured next to a finished \nproduct reminds us of the product’s journey. A \nturquoise metal gate infuses the composition with \ncolour and highlights the beauty of a humble \nsetting. \n",54,{"image":223,"text":224,"number":225},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.55.png","501 TABLE ONE\n349G MANTA DINING CHAIR\n",55,{"image":227,"text":228,"number":229},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.56.png","DE LA ESPADA VOLUME IV 111\n",56,{"image":231,"text":188,"number":232},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.57.png",57,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.58.png","789T SOLO TALL VITRINE\n788 SOFA EIGHT\n",58,{"image":238,"text":15,"number":239},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.59.png",59,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.60.png","785T SOLO TALL 4-DOOR CABINET\n786 SOLO BEDSIDE CHEST\n",60,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.61.png","DE LA ESPADA VOLUME IV 121\n798 PETIT 4 CHAIR\n",61,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.62.png","797 PETIT 3 CHAIR\n",62,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.63.png","DE LA ESPADA VOLUME IV 125\n124\n405F REFECTORY FIXED TABLE\n",63,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.64.png","410S UPHOLSTERED ANDO CHAIR\n",64,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.65.png","271 & 272 THRONE DINING CHAIR\n227 BOX SOFA\n249T BUTTERFLY BAR STOOL\n268 THRONE SOFA\n269 & 270 THRONE LOUNGE CHAIR\n217 LADDER BOOKCASE\n249 BUTTERFLY CHAIR\n272T THRONE BAR STOOL\n",65,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.66.png","DE LA ESPADA VOLUME IV 131\n130\nAUTOBAN\nInternationally renowned, Istanbul-based, mul-\nti-disciplinary design studio, Autoban creates \nstatement furniture to further the story told \nthrough their architecture and interiors. \nEach product is informed by a uniquely space-cen-\ntric approach, blending wit with sophistication, \nand minimal forms with rich materials.\nDESIGNERS\n",66,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.67.png","DE LA ESPADA VOLUME IV 133\n132\nLUCA NICHETTO\nLuca Nichetto is an acclaimed Italian designer \nwith offices in Venice and Stockholm. His work is \ninformed by his collaborative approach to design \nand deep respect for craft across all disciplines.\nFor his product line, ‘Nichetto’ he creates prod-\nucts with personality, distinction and versatil-\nity. The pioneering yet classical forms highlight \nthe unique characteristics of the premium mate-\nrials and superior craft.\nJASON MILLER\nJason Miller is an acclaimed American industri-\nal designer based in Brooklyn, New York, where \nhe runs both Jason Miller Studio and high-end \ncontemporary lighting brand Roll & Hill. Miller \ncreates lighting, furniture, accessories and inte-\nriors inspired by contemporary American culture, \nelevating the everyday though rich materials and \nreimagined forms.\nIntricately detailed, Jason Miller furniture tran-\nscends time in forms that capture the sumptuous \nqualities of a traditional American aesthetic in \na more modern design language.\n",67,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.68.png","DE LA ESPADA VOLUME IV 135\n134\nMATTHEW HILTON\nMatthew Hilton is an esteemed British designer \nwhose eponymous product line expresses the tech-\nnical knowledge and clarity of vision gained over \nfour decades in the industry. \nUtilising robust materials that improve with the \nmark of age, Matthew Hilton creates timelessly \nbeautiful, exceedingly functional products that \nare rigorously engineered. Every view of a design \nis valued equally, every aspect carefully consid-\nered, allowing for a sense of appreciation over \ntime as new details are discovered.\nMANUEL AIRES MATEUS\nManuel Aires Mateus is an award-winning Lisbon-\nbased architect whose projects explore the roles \nof memory and knowledge combined with the rela-\ntionship between the physical and cultural worlds. \nHis work seeks to reflect every scale of our lives \nand searches for the enduring state of shape and \nmateriality.\nWith an emphasis on function and the sensory \nresponse, his collection for De La Espada reflects \na universal heritage that is fixed without time \nor place. Utilising astonishingly proportioned \nplanks of Douglas Fir timber, the furniture is \ndesigned to be passed from generation to gener-\nation, earning the value of time and marks of \nmemories past.\n",68,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.69.png","DE LA ESPADA VOLUME IV 137\n136\nSTUDIOILSE\nIlse Crawford is a designer, academic and crea-\ntive director with a simple mission to put human \nneeds and desires at the centre of all that she \ndoes. As founder of Studioilse, together with \nher multi-disciplinary, London-based team, she \nbrings her philosophy to life. This means cre-\nating environments where humans feel comforta-\nble, public spaces that make people feel at home \nand homes that are habitable and make sense for \nthe people who live in them. It means designing \nfurniture and products that support and enhance \nhuman behaviour and actions in everyday life. It \nmeans restoring the human balance in brands and \nbusinesses that have lost their way.\nNERI&HU\nNeri&Hu is an inter-disciplinary award-winning \narchitectural design practice based in Shanghai, \nChina. \nWith their product line, ‘Neri&Hu’ they seek al-\nternatives to the normative. Neri&Hu is the rein-\nterpretation of the beauty in the raw material, \nchanging perceptions through what is revealed, \nexamining history and its path, or capturing an \nordinary scene in a snapshot.\n",69,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.70.png","138\nPRODUCT INDEX\nOur product range reflects the diversity of our \ncreative partners and the unity of shared values, \nmaterials, and craft, allowing you to easily com-\nbine products to create your own unique interior.\n",70,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.71.png","DE LA ESPADA VOLUME IV 141\n140\n271 THRONE DINING CHAIR RATTAN\nBy Autoban\n361 IBSTONE WINDSOR CHAIR\nBy Matthew Hilton\n362 HASTOE WINDSOR CHAIR\nBy Matthew Hilton\n272 THRONE DINING CHAIR UPHOLSTERED\nBy Autoban\n384 MARY’S CHAIR\nBy Matthew Hilton\n388 PORTO DINING CHAIR\nBy Matthew Hilton\n410 ANDO CHAIR\nBy Matthew Hilton\n406 SAIA DINING CHAIR\nBy Matthew Hilton\n410S ANDO CHAIR UPHOLSTERED\nBy Matthew Hilton\n050 ELLIOT DINING CHAIR\nBy Jason Miller\n343 COLOMBO DINING ARMCHAIR\nBy Matthew Hilton\n344 FIN DINING CHAIR\nBy Matthew Hilton\n349G MANTA DINING CHAIR\nBy Matthew Hilton\n107 VIVIEN DINING CHAIR\nBy Luca Nichetto\n249 BUTTERFLY CHAIR\nBy Autoban\nDINING CHAIRS\n",71,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.72.png","DE LA ESPADA VOLUME IV 143\n142\nSTOOLS\n441S STOOL UPHOLSTERED\nBy Studioilse\n440 LOW STOOL\nBy Studioilse\n441 STOOL\nBy Studioilse\n440S LOW STOOL UPHOLSTERED\nBy Studioilse\n761T LIANOU STOOL\nBy Neri&Hu\n770 COMMUNE STOOL\nBy Neri&Hu\n753 DUET CHAIR - TIMBER SEAT\nBy Neri&Hu\n753S DUET CHAIR UPHOLSTERED\nBy Neri&Hu\n763 SHAKER DINING CHAIR\nBy Neri&Hu\n750 SOLO DINING CHAIR\nBy Neri&Hu\n780 CAPO DINING CHAIR\nBy Neri&Hu\n780S CAPO DINING ARMCHAIR\nBy Neri&Hu\n797 PETIT 3 CHAIR\nBy Neri&Hu\n798 PETIT 4 CHAIR\nBy Neri&Hu\n763S SHAKER DINING CHAIR UPHOLSTERED\nBy Neri&Hu\n680 TWENTY-FIVE DINING CHAIR\nBy De La Espada Atelier\n",72,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.73.png","DE LA ESPADA VOLUME IV 145\n144\n763B SHAKER BENCH\nBy Neri&Hu\n750B SOLO BENCH\nBy Neri&Hu\n446 SETTLE\nBy Studioilse\n763SB SHAKER BENCH - UPHOLSTERED SEAT\nBy Neri&Hu\n443\u002F449 BENCH\nBy Studioilse\n442\u002F448 LOW BENCH\nBy Studioilse\n445\u002F451 LOW SETTLE\nBy Studioilse\n120R\u002FL KIM BENCH\nBy Luca Nichetto\n444 BENCH WITH BACK\nBy Studioilse\n771 COMMUNE BENCH\nBy Neri&Hu\nBENCHES\n",73,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.74.png","DE LA ESPADA VOLUME IV 147\n146\n386S ARMSTRONG ARMCHAIR\nBy Matthew Hilton\n781S CAPO LOUNGE ARMCHAIR\nBy Neri&Hu\n359 KIMBLE WINDSOR CHAIR\nBy Matthew Hilton\n105 BLANCHE BERGERE\nBy Luca Nichetto\n360 BURNHAM WINDSOR CHAIR\nBy Matthew Hilton\nLOUNGE CHAIRS\n101 ELYSIA LOUNGE CHAIR\nBy Luca Nichetto\n389 MIRA LOUNGE CHAIR\nBy Matthew Hilton\n781 CAPO LOUNGE CHAIR\nBy Neri&Hu\n340 LOW LOUNGE CHAIR\nBy Matthew Hilton\nBAR STOOLS\n272 THRONE BAR STOOL RATTAN\nBy Autoban\n750 SOLO BAR STOOL\nBy Neri&Hu\n406 SAIA BAR STOOL\nBy Matthew Hilton\n780 CAPO BAR STOOL\nBy Neri&Hu\n249 BUTTERFLY BAR STOOL\nBy Autoban\n271 THRONE BAR STOOL UPHOLSTERED\nBy Autoban\n",74,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.75.png","DE LA ESPADA VOLUME IV 149\n148\nOTTOMANS\n101O NINO OTTOMAN\nBy Luca Nichetto\n751O SOLO OTTOMAN\nBy Neri&Hu\n116 STEVE POUF\nBy Luca Nichetto\n340O LOW OTTOMAN\nBy Matthew Hilton\n389O MIRA OTTOMAN\nBy Matthew Hilton\n407 SAIA LOUNGE CHAIR\nBy Matthew Hilton\n751 SOLO LOUNGE CHAIR\nBy Neri&Hu\n270 THRONE LOUNGE CHAIR - RATTAN\nBy Autoban\n781SZ CAPO LOUNGE ARMCHAIR WITH MANTA ESPINHADA UPHOLSTERY\nBy Neri&Hu\n102S STANLEY ARMCHAIR\nBy Luca Nichetto\n269 THRONE LOUNGE CHAIR - UPHOLSTERED\nBy Autoban\n",75,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.76.png","DE LA ESPADA VOLUME IV 151\n150\n755 PLATFORM SOFA\nBy Neri&Hu\n794 SOLO DAYBED\nBy Neri&Hu\n750L SOLO SOFA\nBy Neri&Hu\n267 THRONE SOFA - UPHOLSTERED\nBy Autoban\n102 STANLEY SOFA\nBy Luca Nichetto\n268 THRONE SOFA - RATTAN\nBy Autoban\n391 HEPBURN MODULAR SOFA SYSTEM\nBy Matthew Hilton\n766 FRAME SOFA SYSTEM\nBy Neri&Hu\n122 BELLE REEVE SOFA SYSTEM\nBy Luca Nichetto\n788 SOFA EIGHT MODULAR SYSTEM\nBy Neri&Hu\nSOFAS\n227 BOX SOFA\nBy Autoban\n350FM HEPBURN FIXED 3-SEATER\nBy Matthew Hilton\n403 PLANALTO SOFA\nBy Matthew Hilton\n401 MCQUEEN SOFA\nBy Matthew Hilton\n386 ARMSTRONG SOFA\nBy Matthew Hilton\n054 GATES SOFA\nBy Jason Miller\n",76,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.77.png","DE LA ESPADA VOLUME IV 153\n152\n345 I-BEAM SIDE TABLE\nBy Matthew Hilton\n119 KIM COFFEE TABLE\nBy Luca Nichetto\n381 HORIZON COFFEE TABLE\nBy Matthew Hilton\n118 KIM SIDE TABLE\nBy Luca Nichetto\n103L LAUREL COFFEE TABLE\nBy Luca Nichetto\n103S LAUREL SIDE TABLE\nBy Luca Nichetto\n103LM LAUREL COFFEE TABLE IN MARBLE\nBy Luca Nichetto\n103SM LAUREL SIDE TABLE IN MARBLE\nBy Luca Nichetto\n761M ZHUZI TABLE\nBy Neri&Hu\nSMALL TABLES\n409 CARLO SIDE TABLE\nBy Matthew Hilton\n453M COMPANIONS BEDSIDE\nBy Studioilse\n790 HANDLE SIDE TABLE\nBy Neri&Hu\n453S COMPANIONS LOW BEDSIDE\nBy Studioilse\n387 ARMSTRONG COFFEE TABLE\nBy Matthew Hilton\n772 COMMUNE COFFEE TABLE\nBy Neri&Hu\n",77,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.78.png","DE LA ESPADA VOLUME IV 155\n154\n754SB TRIO SIDE TABLE WITH METAL TOP\nBy Neri&Hu\n754SM TRIO SIDE TABLE WITH STONE TOP\nBy Neri&Hu\n754MM TRIO ROUND COFFEE TABLE WITH STONE TOP\nBy Neri&Hu\n456MM\u002FGM SIDEKICKS COFFEE TABLE WITH TERRAZZO TOP\nBy Studioilse\nHEPBURN MODULAR COFFEE TABLE\nBy Matthew Hilton\n385 MARYS SIDE TABLE\nBy Matthew Hilton\n459 SIDEKICKS HEIGHT ADJUSTABLE TABLE\nBy Studioilse\n456 SIDEKICKS OCCASIONAL TABLE\nBy Studioilse\n373 MAIA\nBy Matthew Hilton\n754C TRIO CONSOLE TABLE\nBy Neri&Hu\n754O TRIO OVAL COFFEE TABLE\nBy Neri&Hu\n754M TRIO ROUND COFFEE TABLE\nBy Neri&Hu\n754S TRIO SIDE TABLE\nBy Neri&Hu\n456M\u002FG SIDEKICKS COFFEE TABLE WITH ALUMINIUM TOP\nBy Studioilse\n",78,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.79.png","DE LA ESPADA VOLUME IV 157\n156\n108ML MARLON RECTANGULAR TABLE\nBy Luca Nichetto\n355T MARS ROUND TABLE\nBy Matthew Hilton\n395 OVERTON TABLE\nBy Matthew Hilton\n108RM MARLON ROUND TABLE\nBy Luca Nichetto\n405 REFECTORY EXTENDING TABLE\nBy Matthew Hilton\n405F REFECTORY FIXED TABLE\nBy Matthew Hilton\n764T SHAKER DINING TABLE\nBy Neri&Hu\n764R SHAKER ROUND TABLE\nBy Neri&Hu\n764M SHAKER DINING TABLE STONE TOP\nBy Neri&Hu\nDINING TABLES\n341E LIGHT EXTENDING TABLE\nBy Matthew Hilton\n056 ELLIOT RECTANGULAR DINING TABLE\nBy Jason Miller\n393F LIGHT RECTANGULAR TABLE\nBy Matthew Hilton\n394F LIGHT OVAL TABLE\nBy Matthew Hilton\n051 ELLIOT OBLONG DINING TABLE\nBy Jason Miller\n773 COMMUNE DINING TABLE\nBy Neri&Hu\n",79,{"image":321,"text":322,"number":323},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.80.png","DE LA ESPADA VOLUME IV 159\n158\nDESKS\n777 DRAPE DESK\nBy Neri&Hu\n756 TRAY DESK\nBy Neri&Hu\n060 ELLIOT DESK\u002FDRESSING TABLE\nBy Jason Miller\n365 ORSON DESK\nBy Matthew Hilton\n365S ORSON COMPACT DESK\nBy Matthew Hilton\n784 SOLO DESK\nBy Neri&Hu\n106 HAROLD DESK\nBy Luca Nichetto\n454R\u002FL COMPANIONS WRITING DESK\nBy Studioilse\n458 SIDEKICKS SMALL DINING TABLE\nBy Studioilse\n783 SOLO OBLONG TABLE\nBy Neri&Hu\n752R SOLO ROUND TABLE\nBy Neri&Hu\n681 TWENTY-FIVE DINING TABLE\nBy De La Espada Atelier\n762 STRUCTURE TABLE\nBy Neri&Hu\n408 TAVLI DINING TABLE\nBy Matthew Hilton\n452E TOGETHER EXTENDING TABLE\nBy Studioilse\n452F TOGETHER FIXED TABLE\nBy Studioilse\n752 SOLO DINING TABLE\nBy Neri&Hu\n364 WELLES TABLE\nBy Matthew Hilton\n501 TABLE ONE\nBy Manuel Aires Mateus\n",80,{"image":325,"text":326,"number":327},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.81.png","DE LA ESPADA VOLUME IV 161\n160\n765 FRAME BED\nBy Neri&Hu\n768 FRAME BED WITH ARMS\nBy Neri&Hu\n351 HEPBURN BED\nBy Matthew Hilton\n110 DUBOIS BED TALL HEADBOARD WITH BEDSIDE TABLES\nBy Luca Nichetto\n400 MCQUEEN BED\nBy Matthew Hilton\n758 PLATFORM BED\nBy Neri&Hu\n787 SOLO BED\nBy Neri&Hu\n265 SUITE BED\nBy Autoban\n112 DUBOIS BED, LOW HEADBOARD, WITH BEDSIDE TABLES\nBy Luca Nichetto\nBEDS\n782 CAPO BED\nBy Neri&Hu\n061 CARLTON BED\nBy Jason Miller\n113 DUBOIS BED, LOW HEADBOARD, NO BEDSIDES\nBy Luca Nichetto\n455 COMPANIONS BED\nBy Studioilse\n396 BRETTON BED\nBy Matthew Hilton\n500 BED ONE\nBy Manuel Aires Mateus\n",81,{"image":329,"text":330,"number":331},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.82.png","DE LA ESPADA VOLUME IV 163\n162\n053 CLASSON TALL CHEST\nBy Jason Miller\n052F CLASSON SIDEBOARD 3 DOOR \u002F 3 DRAWER\nBy Jason Miller\n358 DIFFERENT TRAINS CABINET\nBy Matthew Hilton\n379 MCQUEEN BEDSIDE CHEST\nBy Matthew Hilton\n378 MCQUEEN EIGHT DRAWER CHEST\nBy Matthew Hilton\n368 MCQUEEN LARGE CHEST\nBy Matthew Hilton\n402 MCQUEEN BEDSIDE\nBy Matthew Hilton\n217 LADDER BOOKCASE\nBy Autoban\n369 MCQUEEN TALL CHEST\nBy Matthew Hilton\n789 SOLO VITRINE\nBy Neri&Hu\n052E CLASSON SIDEBOARD 4 DOOR\nBy Jason Miller\n052J CLASSON SIDEBOARD 2 DOOR \u002F 3 DRAWER\nBy Jason Miller\n789T SOLO TALL VITRINE\nBy Neri&Hu\n063 CLASSON BEDSIDE CHEST\nBy Jason Miller\nSTORAGE\n053S CLASSON LOW CHEST\nBy Jason Miller\n",82,{"image":333,"text":334,"number":335},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.83.png","DE LA ESPADA VOLUME IV 165\n164\nACCESSORIES\n392LR CONISTON LARGE ROUND MIRROR\nBy Matthew Hilton\n447-457 SEAT PADS\nBy Studioilse\n392LV CONISTON LARGE RECTANGULAR MIRROR\nBy Matthew Hilton\n064 ELLIOT DESK STORAGE\nBy Jason Miller\n370-372 ORSON DESK ACCESSORIES\nBy Matthew Hilton\n757 EXTEND MIRRORS\nBy Neri&Hu\n380 MCQUEEN LOW CHEST\nBy Matthew Hilton\n109Q MITCH CABINET - SQUARE\nBy Luca Nichetto\n785 SOLO 2-DOOR CABINET\nBy Neri&Hu\n786 SOLO BEDSIDE CHEST\nBy Neri&Hu\n785T SOLO TALL 4-DOOR CABINET\nBy Neri&Hu\n785L SOLO WIDE 4-DOOR CABINET\nBy Neri&Hu\n397 BRETTON BEDSIDE\nBy Matthew Hilton\n759S TRUNK LOW CABINET\nBy Neri&Hu\n109S MITCH LOW CABINET\nBy Luca Nichetto\n759L TRUNK TALL CABINET\nBy Neri&Hu\n",83,{"image":337,"text":338,"number":339},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.84.png","DE LA ESPADA VOLUME IV 167\n166\nOUTDOOR\n579 98.6°F OUTDOOR COFFEE TABLE\nBy Neri&Hu\n577 98.6°F OUTDOOR BENCH\nBy Neri&Hu\n575S 98.6°F OUTDOOR DINING ARMCHAIR\nBy Neri&Hu\n576ZL 98.6°F OUTDOOR ONE ARMED LOUNGE CHAIR\nBy Neri&Hu\n578 98.6°F OUTDOOR SIDE TABLE\nBy Neri&Hu\n580 98.6°F OUTDOOR DINING TABLE\nBy Neri&Hu\n776 SHAKER BACK CUSHION\nBy Neri&Hu\n796 SOLO STORAGE TRAY\nBy Neri&Hu\n769 FRAME SOFA TRAY\nBy Neri&Hu\n351T HEPBURN SIDE TABLE\nBy Matthew Hilton\n760 LATTICE\nBy Neri&Hu\n788T SOFA EIGHT TABLE\nBy Neri&Hu\n793 SOLO DESK PENCIL TRAY\nBy Neri&Hu\n",84,{"image":341,"text":342,"number":343},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.85.png","168\nTIMBER\nThere is nothing quite like solid wood: reflecting \nthe life of the tree, every plank has an indi-\nvidual beauty granted by its unique colours and \ngrain patterns; it allows for the use of joinery \nas handsome as it is secure; it has a natural \ntacility and familiarity that connect to us in \na true way; and it allows for the use of finishes \nthat invite you to get involved in its care. \nWe exclusively use timber from sustainable farms. \nThis not only makes environmental sense, the \ntrees methodically replanted, but aesthetic sense \nas well: the regular pruning that occurs on these \nfarms creates the highest quality planks with \ngreater strength and fewer knots. Our finishes \nare carefully chosen to embrace and enhance the \ncharacteristics of the material, while offering a \nbroad range of aesthetic possibilities.\nOur oil finishes reveal the inherent colour and \ngrain variations in the timber, whilst providing \na renewable surface for enduring beauty.\nOur stains are sealed with a clear matte lac-\nquer to maintain the colour whilst preserving the \nsilky touch.\nOur painted timber is wire brushed before the \napplication of the paint, creating a textured \nsurface.\nOur oxidised timber employs an oxidising solution \nthat reacts with the tannin in the wood, creating \na beautiful patina. This is followed by a clear, \nmatte lacquer.\n",85,{"image":345,"text":346,"number":347},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.86.png","DE LA ESPADA VOLUME IV 171\n170\nWHITE OAK\nDANISH OILED \nOAK\nWHITE OILED \nOAK\nBLACK OILED \nOAK\nOXIDISED \nOAK\nDANISH OILED  \nWALNUT\nBLACK OILED  \nWALNUT\nWHITE OILED  \nWALNUT\nBLACK WALNUT\n",86,{"image":349,"text":350,"number":351},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.87.png","DE LA ESPADA VOLUME IV 173\n172\nPAINTED ASH\nASH PAINTED WHITE  \nRAL 9016\nASH PAINTED BONE  \nNCS S1005-Y20R\nASH PAINTED FJORD  \nNCS S 3010 G20Y\nASH PAINTED LAGOON  \nNCS 2010 G\nDANISH OILED  \nASH\nWHITE OILED  \nASH\nBLACK OILED  \nASH\nASH\n",87,{"image":353,"text":354,"number":355},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.88.png","DE LA ESPADA VOLUME IV 175\n174\nASH PAINTED BORDEAUX  \nNCS S6030-R10B\nASH PAINTED OCHRE  \nNCS S 4040-Y20R\nASH PAINTED BAY  \nNCS S 7010 B50G-APPROX\nASH PAINTED COVE  \nNCS S 6010 G10Y-APPROX\nASH PAINTED FOREST  \nNCS S7020-G\nASH PAINTED BLACK  \nRAL 9005\n",88,{"image":357,"text":358,"number":359},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.89.png","DE LA ESPADA VOLUME IV 177\n176\nASH STAINED BAY  \nNCS S 7010 B50G-APPROX\nASH STAINED COVE  \nNCS S 6010 G10Y-APPROX\nASH STAINED FOREST  \nNCS S7020-G\nASH STAINED BLACK  \nRAL 9005\nASH STAINED WHITE  \nRAL 9016\nASH STAINED BONE  \nNCS S1005-Y20R\nASH STAINED FJORD  \nNCS S 3010 G20Y\nSTAINED ASH\nASH STAINED LAGOON  \nNCS 2010 G\n",89,{"image":361,"text":362,"number":363},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.90.png","DE LA ESPADA VOLUME IV 179\n178\nDOUGLAS FIR\nWHITE OILED \nDOUGLAS FIR\nASH STAINED BORDEAUX  \nNCS S6030-R10B\nASH STAINED OCHRE  \nNCS S 4040-Y20R\n",90,{"image":365,"text":366,"number":367},"\u002Fmedia\u002Fimages\u002F7b\u002F465075a0f142cab63b7cc073c919e4-28fe2be05a.91.png","180\nCREDITS\nPHOTOGRAPHY\nCarlos Teixeira [all photography apart from the \nbelow listed]\nNicole Franzen [page 11-18, 20-22, 24-25]\nCourtesy of Fabricaal [page 59-60, 62-63, 67]\nSimone Bossi [page 73, 76-77, 80-81]\nRodrigo Sousa and Diogo Barros Pires \n[page 96-103]\nDesigner portraits by:\nSergio Ghetti, Jeffrey Schad, Lera Moiseeva, \ncourtesy of Manuel Aires Mateus, Sarah Lee, \nJiaxi Yang & Zhu Zhe, Leslie Williamson\nACCESSORIES\nWith thanks to:\nResidence Lisboa \nRoll & Hill, Kasthall, Studio Astolfi\nPorto Residency  \nRoll & Hill, Kasthall, Diogo Barros Pires\nILLUSTRATION\nRIMA studio [page 95]\nART DIRECTION\nDe La Espada\nEDITING & WORDS\nDe La Espada\nDESIGN AND LAYOUT\nRIMA 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