[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-rubelli-collection-2019":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":324},{"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":319,"matched_pages":320,"match_count":321,"two_pages":322,"show_text":323},13079,"Collection 2019","rubelli-collection-2019","\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F11\u002F3a2e94ea8be7680fbac4e45d7f27be-2737dcc699.pdf","Rubelli",2377,"rubelli","38.9 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,224,228,232,236,240,244,248,252,256,260,264,268,272,276,280,284,288,292,296,300,304,308,312,316],{"image":7,"text":15,"number":16},"Author of Design\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.3.png","\"By weaving together Venetian tradition with \ncontemporary design, Rubelli intertwines ancient savoir \nfaire with technological research, offering innovative \nfabrics that keep the essential and precious nature  \nof craft textiles intact. \nWe can nowadays guarantee performances  \nthat were once unthinkable – high resistance to wear,  \nwashability in water, colour fastness even outdoors \nand fire resistance, all this while preserving the \ntypical features of our fabrics: attractive and elegant \nappearance, pleasing texture and comfort. \nThe use of different yarns in terms of type,  \nthickness and colour allows us to create weaves with  \na strong personality and only apparent simplicity.  \nIn actual fact it takes all the experience we have gained \nover the centuries to “construct” fabrics of great  \ndepth and character. \nRubelli means textiles.\" \n \nNicolò Favaretto Rubelli\n\"Unendo in un’unica trama tradizione veneziana  \ne design contemporaneo, Rubelli intreccia saper fare antico  \ne ricerca tecnologica, proponendo tessuti innovativi che conservano \nintatti l’essenza e la preziosità di quelli artigianali. \nOggi possiamo garantire prestazioni un tempo inimmaginabili:  \nalta resistenza all'usura, lavabilità in acqua, solidità del colore anche in \nesterni, resistenza al fuoco, il tutto preservando  \nle caratteristiche tipiche dei nostri tessuti: belli alla vista,  \neleganti nell’aspetto, piacevoli al tatto, confortevoli. \nL’impiego di filati diversi per qualità, spessore e colore  \nci consente di creare strutture dalla spiccata personalità  \ne solo apparentemente semplici. In realtà è necessaria tutta  \nl'esperienza che abbiamo acquisito nei secoli per “costruire” \ntessuti uniti di grande profondità e carattere. \nRubelli è sinonimo di tessuto.\"\nNicolò Favaretto Rubelli\nRUBELLI 2019 MAGAZINE \nAuthor of Design \nPublisher: Rubelli S.p.A.\nRubelli Editors \nLoredana Di Pascale, Alberto Pezzato\nConcept and Art Direction \nHangar Design Group\nPhotos  \np. 54-62, 64-66, 68, 72, 74, 75, 84-101 \nphoto Omar Sartor, styling Studio Salaris\np. 69, 78, 79, 80, 82-83 \nphoto Hangar Design Group, styling Studio Salaris\np. 6, 8, 13, 14, 18, 20, 25, 26, 29, 31, 32-33, 40, 42, 46-51, 63, 67, 73, 81 \nphoto & styling Hangar Design Group\nTexts \nHangar Design Group, Rubelli\nThanks to  \nFurniture \nBilliani \nColè Italia \nUnusDesign \nManerba \nMichele Arcarese \nMoroso \nMy home collection \nPedrali \nSaba Italia \nTalenti\nMaterials \nBesana Moquettes \nGiorgio Graesan \nMarca Corona\nItems \nGiopato&Coombes \nLe Morandine by Sonia Pedrazzini \nNoom \nPulpo\nFashion \nAlysi \nMoi Multiple\nLocation \nTenoha Milano \nPlato Chic Superfood Milano \nPrinting \nGrafiche Antiga\nDigital version of this magazine: \nhttp:\u002F\u002Fr.rubelli.com\u002Frub2019\nTo browse all the Rubelli Group \ncollections and for technical info,  \nplease visit www.rubelli.com\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.4.png","The new high-performance fabrics from Rubelli are intended for contemporary \ndesigns and elegant, but at the same time informal solutions. They include \ntechnical fibres and can be used without distinction indoors and outdoors.  \nAn exceptional depth of range, and not just in terms of colours, is joined  \nby outstanding strength and, last but not least, flame retardant properties.  \nThese requisites make it an ideal collection for homes, shops,  \nhotels or yachts and cruise ships.\nWith their outstanding personality, they become an essential part  \nof furnishings with a high level of performance and refinement. \n–\nI nuovi tessuti Rubelli ad alte prestazioni sono pensati per progetti e soluzioni \nlineari ed eleganti. Includono fibre tecniche e possono essere utilizzati \nindifferentemente indoor e outdoor. Ad una inedita profondità di gamma  \n-  non solo cromatica -  affiancano una eccezionale resistenza e, non da ultimo, \nhanno proprietà ignifughe. Questi requisiti ne fanno una collezione ideale  \nper residenze private, showroom, alberghi o per progetti legati  \nal mondo della nautica.  \nCon la loro spiccata personalità diventano elementi imprescindibili  \nper arredi ad alto tasso di resistenza e raffinatezza.\np. 7\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.5.png","F I F T Y S H A D E S\nThe essential texture: a yarn-dyed weave perfect for upholstery  \nand any decoration. Fit for residential or hospitality, indoor or outdoor\n \n02\n05\n08\n03\n06\n09\n01\n04\n07\n30320-01 \nBianco\n30320-04 \nArgilla\n30320-07 \nVisone\n30320-02 \nMadreperla\n30320-05 \nSabbia\n30320-08 \nTalpa\n30320-03 \nPietra\n30320-06 \nBeige\n30320-09 \nLegno\n#highestdurability  #indoor  #outdoor  #firecertifications\n50\n# 3 0 3 2 0\np. 9\nRubelli 2019\np. 8\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.6.png","14\n18\n23\n15\n16\n19\n20\n24\n25\n21\n13\n17\n22\n30320-13 \nFumo\n30320-17 \nPerla\n30320-22 \nPesco\n30320-14 \nAntracite\n30320-18 \nArancio\n30320-23 \nGlicine\n30320-15 \nGrigio\n30320-16 \nArgento\n30320-19 \nRuggine\n30320-20 \nCorallo\n30320-24 \nLimone\n30320-25 \nGiallo\n30320-21 \nRosa\n11\n12\n10\n30320-10 \nMarrone\n30320-11 \nNero\n30320-12 \nSale-Pepe\n30\n34\n39\n31\n32\n35\n36\n40\n41\n37\n29\n33\n38\n30320-29 \nLaguna\n30320-33 \nOttanio\n30320-38 \nNotte\n30320-30 \nAcqua\n30320-34 \nOltremare\n30320-39 \nSmeraldo\n30320-31 \nTurchese\n30320-32 \nTeal Blu\n30320-35 \nBluette\n30320-36 \nCopiativo\n30320-40 \nBiliardo\n30320-41 \nMenta\n30320-37 \nBlu\n27\n28\n26\n30320-26 \nOro\n30320-27 \nCielo\n30320-28 \nAcquamarina\nRubelli 2019\np. 10\np. 11\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.7.png","46\n50\n47\n48\n45\n49\n30320-45 \nLacca\n30320-49 \nRubino\n30320-46 \nPetunia\n30320-50 \nBordeaux\n30320-47 \nFuxia\n30320-48 \nAmetista\n43\n44\n42\n30320-42 \nAlga\n30320-43 \nChartreuse\n30320-44 \nRosso\nRubelli 2019\np. 12\np. 13\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.8.png","02\n05\n08\n03\n06\n09\n01\n04\n07\n30321-01 \nAvorio\n30321-04 \nMarrone\n30321-07 \nArgento\n30321-02 \nSabbia\n30321-05 \nPietra\n30321-08 \nArgilla\n30321-03 \nVisone\n30321-06 \nMadreperla\n30321-09 \nGrigio\n#highestdurability  #flameretardant  #widecolourpalette  #firecertifications\n40\nV E L V E T F O R T Y\nBeyond velvet. Excellent performance for this new technical fabric suitable  \nfor every possible project: really indestructible\n# 3 0 3 2 1\nRubelli 2019\np. 14\np. 15\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.9.png","14\n18\n23\n15\n16\n19\n20\n24\n25\n21\n13\n17\n22\n30321-13 \nBlu\n30321-17 \nTiffany\n30321-22 \nMenta\n30321-14 \nIndaco\n30321-18 \nAcquamarina\n30321-23 \nSmeraldo\n30321-15 \nOttanio\n30321-16 \nAcqua\n30321-19 \nGiada\n30321-20 \nLaguna\n30321-24 \nErba\n30321-25 \nChartreuse\n30321-21 \nLichene\n11\n12\n10\n30321-10 \nGrigio Scuro\n30321-11 \nArdesia\n30321-12 \nAntracite\n30\n34\n39\n31\n32\n35\n36\n40\n37\n29\n33\n38\n30321-29 \nArancio\n30321-33 \nRosa\n30321-38 \nBordeaux\n30321-30 \nCipria\n30321-34 \nCorallo\n30321-39 \nRubino\n30321-31 \nPesco\n30321-32 \nRosa Antico\n30321-35 \nMalva\n30321-36 \nPorpora\n30321-40 \nGranata\n30321-37 \nRosso\n27\n28\n26\n30321-26 \nGlicine\n30321-27 \nGiallo\n30321-28 \nRuggine\nRubelli 2019\np. 16\np. 17\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.10.png","#highperformance  #indoor  #outdoor  #firecertifications\n30\n02\n05\n08\n03\n06\n09\n01\n04\n07\n30319-01 \nBianco\n30319-04 \nPietra\n30319-07 \nNuvola\n30319-02 \nAvorio\n30319-05 \nArgilla\n30319-08 \nArgento\n30319-03 \nSabbia\n30319-06 \nCipria\n30319-09 \nGrigio\nF A B T H I R T Y\nA contemporary and durable tweed with a soft and natural look.  \nUnexpected colour combinations make it even more sophisticated\n# 3 0 3 1 9\nRubelli 2019\np. 18\np. 19\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.11.png","14\n18\n23\n15\n16\n19\n20\n24\n25\n21\n13\n17\n22\n30319-13 \nRuggine\n30319-17 \nGiallo\n30319-22 \nAcqua\n30319-14 \nCorniola\n30319-18 \nAlga\n30319-23 \nTeal Blu\n30319-15 \nRosa\n30319-16 \nPesco\n30319-19 \nVerde\n30319-20 \nPrato\n30319-24 \nBlu\n30319-25 \nNotte\n30319-21 \nTiffany\n11\n12\n10\n30319-10 \nSale-Pepe\n30319-11 \nAntracite\n30319-12 \nArancio\n30\n29\n30319-29 \nRosso\n30319-30 \nBordeaux\n27\n28\n26\n30319-26 \nGlicine\n30319-27 \nGenoa\n30319-28 \nPetunia\nRubelli 2019\np. 20\np. 21\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.12.png","#highestdurabilty  #indoor  #outdoor  #firecertifications\n20\n02\n05\n08\n03\n06\n09\n01\n04\n07\n30318-01 \nBianco\n30318-04 \nCipria\n30318-07 \nNero\n30318-02 \nBeige\n30318-05 \nArgento\n30318-08 \nArancio\n30318-03 \nCorda\n30318-06 \nGrigio\n30318-09 \nPesco\nT W I L L T W E N T Y\nA classic twill. A particularly thick thread highlights the “Z” diagonal  \nmotif which makes the fabric more dynamic. The shiny and matt threads  \nenhance the effect of the light on the surface\n# 3 0 3 1 8\nRubelli 2019\np. 22\np. 23\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.13.png","14\n17\n20\n15\n18\n13\n01\n16\n19\n30318-13 \nAcqua\n30318-16 \nTeal Blu\n30318-19 \nBordeaux\n30318-14 \nVerde\n30318-17 \nBlu\n30318-20 \nRuggine\n30318-15 \nLaguna\n30318-18 \nRosso\n11\n12\n10\n30318-10 \nGiallo\n30318-11 \nAlga\n30318-12 \nPervinca\nRubelli 2019\np. 24\np. 25\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.14.png","# highperformance  #indoor  #outdoor  #firecertifications\n10\n02\n05\n08\n03\n06\n09\n10\n01\n04\n07\n30316-01 * \nAvorio\n30316-04 * \nNero\n30316-07 * \nAcqua\n30316-02 * \nCorda\n30316-05 * \nBlu\n30316-08 * \nGiallo\n30316-03 * \nGrigio\n30316-06 * \nPervinca\n30316-09 * \nCorallo\n30316-10 * \nRosso\n* This image shows a 20cm (8”) cut of the product.\nD I E C I E L O D E\nA macro texture becomes a decoration element with an ethnic taste.  \nThe clear ground in all colour versions enhances the pattern\n# 3 0 3 1 6\np. 27\nRubelli 2019\np. 26\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.15.png","10\nT E N S T R I P E\nA casual stripe to be used both in vertical and in horizontal.  \nA simple rhythm for a young and fashion stripe, studied in its proportions and showing  \njust an irregular touch created by the slubby yarns\n#highperformance  #indoor  #outdoor  #firecertifications\n02\n05\n08\n03\n06\n09\n10\n01\n04\n07\n30317-01 \nAvorio\n30317-04 \nNero\n30317-07 \nAcqua\n30317-02 \nBeige\n30317-05 \nBlu\n30317-08 \nGiallo\n30317-03 \nGrigio\n30317-06 \nPervinca\n30317-09 \nArancio\n30317-10 \nRosso\n# 3 0 3 1 7\nRubelli 2019\np. 28\np. 29\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.16.png","02\n05\n03\n06\n01\n04\n30315-01 * \nAvorio\n30315-04 * \nAntracite\n30315-02 * \nCipria\n30315-05 * \nOrtensia\n30315-03 * \nFrench Gray\n30315-06 * \nAcqua\n06\n* This image shows a 20cm (8”) cut of the product.\nS W I N G  S T R E E T\nA decorative jacquard inspired by a hand-made drawing recalling the Art Deco style.  \nIts interesting chiaroscuro surface depicts an elegant, unusual geometry,  \ncreated by a series of overlapping rectangles\n# 3 0 3 1 5\np. 31\nRubelli 2019\np. 30\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.17.png","# 3 0 3 0 7\n# 3 0 3 1 1\n# 3 0 3 0 8\n# 3 0 3 1 0\nRubelli 2019\np. 32\np. 33\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.18.png","B A B A  J A G A\nA very original jacquard named after a witch of the Slavic and Russian mythology. \nA new version of the classic pied-de-poule. The abstract hounds-tooth motif  \nis livened up by vivid touches of colour\n02\n05\n03\n01\n04\n30308-01 ** \nTiffany\n30308-04 ** \nLimone\n30308-02 ** \nGlicine\n30308-05 ** \nAvorio\n30308-03 ** \nRosa\n02\n03\n01\n04\n30307-01 * \nArgento\n30307-04 * \nPesco\n30307-02 * \nNero\n30307-03 * \nAcqua\n* This image shows a 20cm (8”) cut of the product.\n** This image shows a 10cm (4”) cut of the product.\nP E T U N I A\nA flock printing on pure linen. Slightly stylized large-scale petunias stand out  \non the linen ground. The flock print creates an elegant velvety surface in relief.  \nSmall irregularities on the ground guarantee the highest quality of the natural yarns\nRubelli 2019\np. 34\np. 35\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.19.png","D I C K  T R A C Y\nA cotton texture with an exclusive bouclé yarn: its uneven surface  \nmakes it similar to a shantung fabric. Contrasting light and dark tones are created  \nas a result of a varied and irregular weaving\n02\n05\n08\n03\n06\n09\n01\n04\n07\n30310-01 \nAvorio\n30310-04 \nMiele\n30310-07 \nGrigio\n30310-02 \nPietra\n30310-05 \nLegno\n30310-08 \nAntracite\n30310-03 \nSabbia\n30310-06 \nTabacco\n30310-09 \nBlu\n14\n13\n30310-13 \nErba\n30310-14 \nCorallo\n11\n12\n10\n30310-10 \nIndigo\n30310-11 \nIris\n30310-12 \nTiffany\nRubelli 2019\np. 36\np. 37\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.20.png","02\n05\n08\n03\n06\n09\n01\n04\n07\n30311-01 \nBianco\n30311-04 \nPaglia\n30311-07 \nNero\n30311-02 \nSabbia\n30311-05 \nArgento\n30311-08 \nArancio\n30311-03 \nPietra\n30311-06 \nAntracite\n30311-09 \nGiallo\n14\n17\n20\n15\n18\n13\n01\n16\n19\n30311-13 \nRubino\n30311-16 \nAcqua\n30311-19 \nErba\n30311-14 \nBlu\n30311-17 \nTeal Blu\n30311-20 \nAlga\n30311-15 \nOrtensia\n30311-18 \nTiffany\n11\n12\n10\n30311-10 \nRosa\n30311-11 \nRuggine\n30311-12 \nRosso\nR A L P H\nA technical raffia, seemingly indistinguishable from a natural raffia.  \nExtremely resistant despite its light feel, allowing its use for furniture or walls,  \nas well as for drapery and any decoration\nRubelli 2019\np. 38\np. 39\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.21.png","D U K E\nAn elegant, patterned texture which recreates the appearance of handwoven silk.  \nThe lustrous weaves bring movement and iridescence to its surface.  \nDouble width fabric, ideal for decorative drapes and bed covers\n \n02\n05\n08\n03\n06\n09\n10\n01\n04\n07\n30322-01 \nAvorio\n30322-04 \nLegno\n30322-07 \nMalva\n30322-02 \nSabbia\n30322-05 \nArgilla\n30322-08 \nPesco\n30322-03 \nMadreperla\n30322-06 \nSenape\n30322-09 \nSalice\n30322-10 \nAcqua\n# 3 0 3 2 2\nRubelli 2019\np. 40\np. 41\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.22.png","# 3 0 3 2 6\n# 3 0 3 2 5\n02\n03\n01\n04\n30323-01 \nBianco\n30323-04 \nCipria\n30323-02 \nAvorio\n30323-03 \nSabbia\nB E B O P\nExpression of a timeless beauty, this sheer is reminiscent of a wool khadi,  \ni.e. the typical Indian hand-woven and hand spun fabrics. Ideal for drapery,  \nit’s fit for both residential and hospitality\n# 3 0 3 2 4\n# 3 0 3 2 3\nRubelli 2019\np. 42\np. 43\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.23.png","C A L L O W A Y\nA very light sheer, not too transparent nor too opaque: the perfect “filter” \nbetween inside and out. Its gauze aspect makes it suitable  \nfor contemporary interiors\nB E T T Y  B O O P\nAs seductive and fanciful as the cartoon heroine Betty Boop.  \nThis sheer is characterized by a precious and elegant embroidery made  \nof very small “polka dots” in relief on a very light ground\n02\n02\n03\n03\n01\n01\n30324-01 \nBianco\n30325-01 \nBianco\n30324-02 \nAvorio\n30325-02 \nAvorio\n30324-03 \nPietra\n30325-03 \nSabbia\nR A G T I M E\nA glamorous sheer reminding a silk organdie. Its sophisticated shine makes \nit suitable for refined and elegant interiors. An alternate visible and invisible \npattern of crossed threads creates an enchanting watermark effect\n02\n05\n03\n06\n01\n04\n30326-01 \nBianco\n30326-04 \nSabbia\n30326-02 \nAvorio\n30326-05 \nTortora\n30326-03 \nPaglia\n30326-06 \nArgento\nRubelli 2019\np. 44\np. 45\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.24.png","Rubelli 2019\np. 46\np. 47\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.25.png"," Diecielode 30316\u002F8\nRubelli 2019\np. 48\np. 49\nColour Design\nThe names of the fabrics are often \na play on the number of colour \nversions available - Fiftyshades, \nVelvetforty, Fabthirty, Twilltwenty, \nDiecielode, Tenstripe. \nI nomi dei tessuti giocano  \nspesso con il numero delle varianti \ncolore proposte : Fiftyshades, Velvet \nForty, Fabthirty, Twilltwenty,  \nDiecielode, Tenstripe.\nThe wide and varied range of colours produced with different techniques  \nand surfaces is the result of lengthy and thorough research by the Rubelli creative \nteam. The ongoing search for innovative solutions has produced exclusive colour \nformulas which enhance the brightness and colour variety  \nof the fabrics, ensuring at the same time their durability and fastness to light  \nto the extent of making them suitable in most cases for both indoor and outdoor use.\nLa variegata ed ampia gamma di colori realizzata in diverse tecniche  \ne superfici è il risultato di un lungo ed accurato studio sviluppato  \ndal team creativo Rubelli.\nDalla continua ricerca di soluzioni innovative emergono ricette di colori esclusivi che \nvalorizzano la luminosità e la varietà cromatica dei tessuti, garantendone  al tempo \nstesso la durevolezza e la solidità alla luce tanto  \nda renderli adatti nella maggior parte dei casi  sia all’uso indoor che outdoor. \n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.26.png","From Designers to Designers\nRubelli fabrics go beyond the ordinary in the variety of shades, weaves, decorations \nand finishing processes. From the simplest canvas to velvet,  \nfrom the micro-texture to the macro jacquard, from the simple two-tone stripe to the \ndiagonal pattern, the shared feature of all the fabrics  \nis a natural appearance. \nContemporary, suitable for residential and contract use, for indoors  \nand outdoors, they are created by designers for designers. \nI tessuti Rubelli sfuggono ai canoni dell’ordinario non solo per la varietà  \ndelle nuances ma anche per gli intrecci, i decori, i finissaggi. \nDal più semplice canvas al velluto, dalla texture materica al macro \njacquard, dalla semplice riga bicolore al disegno diagonale, tutti i tessuti \nsono accomunati  da un aspetto naturale.\nContemporanei, adatti ad un uso sia residenziale che contract,  \nindoor e outdoor, sono creati da designers per designers.  \np. 51\nRubelli 2019\np. 50\nOn the lef from the top:\nFiftyshades 30320\u002F37\u002F36\u002F23\u002F27\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.27.png","#rubellitalks\nP I E R R E - Y V E S  R O C H O N \n“ T E X T I L E  A N D  C O L O U R S ”\nT H E  I N T E R V I E W\nRU \nThe textile element, in its vast variety \nof textures and colours can be not only \ndecorative, but also a key architectural element \nthat can change the perception of a space. \nHow do you interpret this in your vision  \nas an interior designer? \nPYR The textile element is a very important \nchoice in any project of Architecture  \nor Decoration. \nIt can complement the project by its simplicity; \nit can complement a stylistic composition by \nits choice relevant to the style; it can create \nand complement an ambience; it can be the \n‘Star’ of the project by its very contemporary \nnature.\nThere are many ways to achieve this.  \nEither as a wall covering and curtains,  \nor on furniture, such as sofas or armchairs,  \nthe choice of a fabric can determine its best \nuse and the way to treat it.  \nBecause of its diversity, its patterns,  \nits materials and colours, the textile element \nis an unlimited source in serving Architecture \nand Decoration.\nRU \nHotels are places where it is important \nto feel at home, at ease. What role does colour \nplay in this? \nPYR Hotels are places where it is important \nto feel at home.\nIn our hotel projects we try to create a homely \natmosphere. Colour then plays a deciding role.\nIf we want to create a seaside atmosphere,  \nthe colours will be clear and in shades of blue.\nTo create a mountain atmosphere, then the \ntones will be white, creams, or beiges…\nTo create a countryside atmosphere,  \nthe tones will be green, yellow, red…\n \nTo create an evening or night ambience,  \nwe would use dark shades of navy blue,  \nplum, red, brown or black…\nThe colour may be appropriate for  \na decorative style in general. Indeed, certain \ncolours are only used in Classic Decorations, \nwhereas they would be different for  \na Contemporary Style.\nRU \nHow do you create the ideal fabric \npalette for furniture? \nPYR The fabric palette for furniture should \nbe ideally very diverse, if at all possible.\nNowadays creativity in my opinion seems \nto be selectively fashionable, with the result \nthat some fabrics and materials disappear. \nResulting in less beautiful designs,  \nless beautiful materials and colours…\nRU \nIs there a colour range that is never \nmissing in your projects? \nPYR Which textile colours form my  \nsignature style? Actually this is not the case.  \nIndeed, all colours, all materials, all drawings \nare of interest to me.\nRU \nWhich project do you consider  \nthe most representative in this way? \nPYR What project? All my projects are \ndifferent and are in harmony with a location, \nan architectural building, a programme,  \na story.\nIt is for this reason, that a diversity of fabrics \nmust be suggested, in order to allow Architects \nand Decorators to express their creativity.\nRU \nL'élément textile, dans son extrême \nvariété de textures et de couleurs, peut \ndevenir non seulement décoratif mais \naussi un véritable élément architectural \ncapable de modifier la perception de \nl'espace. Comment interprétez-vous cette \nvocation dans votre vision d'architecte \nd’intérieur? \nPYR L’élément textile est un choix très \nimportant dans un projet d’Architecture \nou de Décoration. \nIl peut accompagner le projet par \nsa simplicité. Il peut accompagner \nun exercice de Style par son choix \ncorrespondant à ce style. \nIl peut créer et accompagner une \nambiance. Il peut être la \"Star\" du projet \npar son choix très présent. \nLa mise en œuvre est multiple. \nEn tenture murale et rideaux, ou dans  \nle mobilier tel canapé ou fauteuil...  \nLe choix d’un tissu peut déterminer une \nmise en œuvre de ce tissu et sa façon de le \ntraiter. L’élément textile par sa diversité, \ndessin, matière, couleur, est une source \ninépuisable au service de l’Architecture  \net de la Décoration. \nRU \nLes hôtels sont des lieux où il est \nimportant de se sentir chez soi, à l'aise. \nQuel rôle joue la couleur? \nPYR Les hôtels sont des lieux où il est \nimportant de ce sentir chez soi. \nEn effet nous essayons dans nos projets \nhôteliers de créer une atmosphere \nrésidentielle. \nLa couleur joue un rôle déterminant.\nSi l’on veut créer une ambiance de bord \nde mer les couleurs serons claires et dans \nles gammes de bleus.\nSi l’on veut créer une ambiance à la \nmontagne les tons blancs, crèmes, ou \nbeiges… Si l’on veut créer une ambiance \nà la campagne les tons de verts, de \njaunes, de rouges… Si l’on veut créer un \nambiance du soir ou de la nuit les tons \nfoncés bleu marine, prune, rouge, marron \nou noir...\nLa couleur peut-être appropriée à un \nstyle décoratif en général.\nEn effet certaines couleurs ne sont \nutilisées que dans les Décorations \nClassiques, elles seront différentes  \ndans le Style Contemporain. \nRU \nComment devrait être la palette  \nde tissus d’ameublement idéale? \nPYR La palette des tissus \nd’ameublement devrait être idéalement \ntrès diversifiée , si cela est possible .\nEn effet aujourd’hui la créativité  \nme semble sélective en fonction  \nde la mode, de ce fait certains tissus  \net matières disparaissent.  \nMoins de beaux dessins, moins des  \nbelles matières et de couleurs. \nRU \nExiste-t-il une gamme de couleurs \ntextiles qui ne manque jamais dans \nvos créations? \nPYR Une gamme de couleurs textiles \nqui signe mes créations? Cela n’existe \npas vraiment, en effet toutes les couleurs, \ntoutes les matières, tous les dessins \nm’intéressent. \nRU \nQuel projet considérez-vous  \nle plus représentatif dans ce sens? \nPYR Tous mes projets sont différents \net sont en équation avec un lieu, une \nArchitecture, un programme, une \nHistoire. C’est pour cela que la diversité \ndes tissus doit être proposée pour \npermettre aux Architectes et Décorateurs \nd’exprimer leur Créativité.\nTissus et Couleurs\n M. Pierre-Yves Rochon,  \nPresident and Artistic Director  \nat Pierre-Yves Rochon Agency  \nin Paris and Chicago.\nRubelli 2019\np. 52\np. 53\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.28.png","Background \nRalph 30311\u002F19\u002F18\nTriennale Sofa 2 by Rubelli Casa  \nFabthirty 30319\u002F20\u002F22\nRubelli 2019\np. 54\np. 55\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.29.png","Baba chair by My Home Collection \nFabthirty 30319\u002F19  \nVelvetforty 30321\u002F36\nRubelli 2019\np. 56\np. 57\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.30.png","Petunia 30307\u002F1 \nVelevetforty 30321\u002F29\nSet installation \nRalph 30311\u002F19\u002F18\nDuke 30322\u002F8 \nDiecielode 30316\u002F7\nRubelli 2019\np. 58\np. 59\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.31.png","From the left:  \nIsland pouf by Saba\nlarge Fabthirty 30319\u002F26 \nmedium Tenstripe 30317\u002F6 \nsmall Fiftyshades 30320\u002F37  \nCup pouf by Manerba Baba Jaga 30308\u002F2, \nFabthirty 30319\u002F26, Diecielode 30316\u002F6\u002F5\nRubelli 2019\np. 60\np. 61\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.32.png"," Petunia 30307\u002F3\np. 63\nRubelli 2019\np. 62\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.33.png","Sheer \nBetty Boop 30325\u002F3\nBackground \nDuke 30322\u002F8\nOn the right:\nDiecielode 30316\u002F7 \nRubelli 2019\np. 64\np. 65\nHighly versatile, perfectly practical and durable \nwithout foregoing that discreet and timely elegance \nthat is the distinctive feature of the Rubelli style.\nEstremamente versatili, perfettamente funzionali  \ne durevoli senza rinunziare a quell’eleganza discreta  \ne senza tempo che costituisce la vera cifra stilistica  \ndi Rubelli. \n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.34.png","Rubelli 2019\np. 66\np. 67\nThe new Rubelli fabrics guarantee \nhigh technical performances. \nFlame retardant, durable and \nwashable, they are easy to use and \nfit for a wide variety of interiors.\nI nuovi tessuti Rubelli \ngarantiscono alte prestazioni \ntecniche. Ignifughi, resistenti, \nlavabili, sono facili da utilizzare  \ne da inserire in un’ampia varietà \ndi progetti d’arredo. \nFiftyshades 30320\u002F49\u002F48\u002F47\u002F46\u002F45\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.35.png","Kazimir screen by Colè  \nPetunia 30307\u002F1 \nVelevetforty 30321\u002F29\nOn the right:  \nDiecielode 30316\u002F4 \nFabthirty 30319\u002F28\u002F4\nRubelli 2019\np. 68\np. 69\nNatural Looking Textures\nThe deliberate irregularity is obtained from the intricate \nplay on weaves and mixes of yarns which is a feature of \nthe jacquards of the new Rubelli line. There is a clear aim \nto come as close as possible to natural fibres, mirroring \ntheir appearance and softness to create welcoming and \ncomfortable textiles. \nLa voluta irregolarità è ottenuta dal complesso gioco di \nintrecci e mélange dei filati che caratterizza gli jacquard \ndella collezione. Evidente è il desiderio di avvicinarsi il \npiù possibile alle fibre naturali, rievocandone aspetto e \nmorbidezza per creare  \nspazi accoglienti e confortevoli. \n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.36.png","#rubellitalks\nF R A N C E S C A  R E N A I \n“ O U T D O O R  C O M F O R T ”\nT H E  I N T E R V I E W\nRU \nYour work spans architecture and \nfurnishing accessories. Can the textile element \nrepresent continuity between these two areas?\nFR  \nTextiles can definitely be the element \nthat brings about interaction of the space with \nthe objects in it. Choosing a textile covering \nhelps in fact to characterise a product, and \nalso to give an identity to the entire room, \nseamlessly tying everything together. We try to \nthink of textiles as a “skin” which becomes an \nextremely important feature, the outer casing \nplaced over the product and also, why not, \nsomething to cover surfaces. \nIn recent years the high performances obtained \nthanks to ongoing industrial research have \nallowed designers and architects to try out new \nuses and applications. At Studio Urquiola we \nadopt a “feminine” standpoint which makes \nour mark unique. We often make actual one-\noff items for our products, and design, art \nand flexible production are merged so as to \nunderscore the identity of the project.\nRU  \n We can see among current trends an \nincreasingly marked contamination between \noutdoors and indoors: the living area moves \nout into the open air while the garden comes \ninto the home. This interaction also demands \na reflection on materials. How does the \napproach to the world of textiles change?\nFR \nThe byword nowadays is “mixing”. \nIt’s no surprise therefore that what had been \ndesigned for outdoor use is also proposed \nfor indoors. Innovative upholstered furniture \nusing unusual weaves, vibrant colours and \nmicro-macro patterns makes fabric an \nimportant element in interior design, and for \nthe outdoors too.\nOngoing research by companies in the \nindustry has allowed the comfort of fabrics \nfor interiors to be taken outside the four walls \nof the home. The new outdoor fabrics (and \neven more so the indoor\u002Foutdoor ones) have a \nhand which can compete with those in natural \nfibres, unthinkable until a short time ago for \narticles for outdoors.\nRU \nWhat developments do you see in the \nfuture of outdoor furnishings? How will the \nmaterials of this type of furniture change?\nFR \nAs I said, giant steps forwards have \nbeen made in the area of research into new \nproducts, particularly in the area of outdoor \nfurnishings. I believe however that there is still \na lot to do.\nUntil a few years ago the outdoor sector \nwas limited to a few product types, whereas \ntoday it has become without doubt one of the \nmost advanced and the ranges of finishes and \ncoverings have been expanded.\nThere are however still some challenges to be \novercome. Waterproof fabrics have to become \nmore pleasant to the touch; they’re still too \nstiff and with a synthetic feel.  \nCombining the technical features of a fabric \nfor outdoors together with those of the \ncontract world is another challenge, as also is \nthe adoption of a more eco-sustainable and \nintelligent production.\nRU \nYour design mark can often be \ndistinguished by a distinct focus on the \nartisanal imprint of the products. How do you \nintegrate this aspect in the choice of fabrics \nfor outdoors which must necessarily have very \nspecific technical features?\nFR \nWe’re always seeking out fabrics with \nmaterial textures and colour shades in line \nwith our products and their use. Then there \nare the contaminations, which spring from the \nstrong influence in our field of art and fashion. \nLet’s say from “what’s in the air”…..\nI consider myself very lucky to be here in \nItaly, where we are surrounded by multiple \nindustrial firms ready to experiment and then \nshare with us designers their know-how. The \nchallenge is to cover our products innovatively \nthanks to the use of high-performance \nmaterials without ever overlooking the tactile \nand aesthetic component.\nWe favour the use of fabrics with a pleasant \ntouch and in natural colours, although we have \nfun combining also different surfaces which \nfind an overall balance. Experimentation is the \nkey to our day-to-day work.\nRU \nComfort is a decisive factor in outdoor \nfurniture too. Which textures do you prefer  \nto use?\nFR \nIt depends on the products. Obviously \nsofas are close to the material textures of faux \nuni and weaves and interweaving are a part of \nour daily exploration. Then there are products \nsuch as rugs which have opened up a new \nworld in the outdoor sector.\nThe textures can also be 3D and therefore able \nto bring greater comfort to the product.\nMy design type is the textile and decor \ndesigner, so my designs always have a strong \ncolour and decorative connotation. \nRU \nWhich features are a necessary part  \nof a textile collection for outdoor use?\nFR  \nFaux uni and micro patterns. Micro and \nmacro textures for a stepped effect. Fabrics in \nunusual colours.\nPersonally I love greens and blues, but I \nconsider all those colours that reference the \nnatural world to be necessary – earthy brown, \nterracotta and ochre. Colour is present in the \noutdoor world and strong in all its shades, yet \nhas always to tone in with the context in which \nit is placed.\nRU \nIl vostro lavoro spazia dall’architettura \nall’accessorio d’arredo. L’elemento tessile può \nsegnare una continuità fra questi due mondi?\nFR  \nIl tessuto può essere certamente l’elemento \nche fa dialogare lo spazio con gli oggetti che lo \nabitano. Scegliere un rivestimento tessile aiuta \ninfatti a caratterizzare un prodotto, ma anche a \ndare un’identità ad un intero ambiente, facendo \nconvivere il tutto in armonia. Proviamo a pensare \nal tessuto come a una “pelle” che diventa un \nelemento importantissimo, l’involucro esterno \nche veste il prodotto, ma anche, perché no, un \nrivestimento di superfici. \nIn questi ultimi anni le elevate performance \nottenute grazie ad una continua ricerca \nindustriale hanno permesso a designer \ne architetti di sperimentare nuovi usi e \napplicazioni. Allo studio Urquiola adottiamo \nun punto di vista \"femminile\" che rende unico \nil nostro segno. Spesso realizziamo veri e propri \npezzi unici per i nostri progetti: design, arte e \nflessibilità produttiva si fondono per sottolineare \nl'identità del progetto.\nRU  \n Tra le tendenze attuali rileviamo una \nsempre più marcata contaminazione fra outdoor \ne indoor: il salotto si sposta all’aperto, il giardino \nentra in casa. Questa interazione impone una \nriflessione anche sui materiali. Come cambia \nl’approccio al mondo tessuti?\nFR \nOggi la parola d’ordine è “mixare”. \nNon stupisce quindi che molto spesso ciò che \nera stato pensato per un uso esterno venga \nproposto anche per gli interni. Vestire imbottiti \nin maniera innovativa - grazie all’uso di trame \ninconsuete, toni vibranti e motivi micro-macro \n- rende il tessuto un elemento importante nella \nprogettazione d’interni, così come per l’outdoor. \nLa continua ricerca da parte delle aziende \ndi settore ha permesso di portare il comfort \ndei tessuti per interni anche fuori dalle mura \ndomestiche. I nuovi tessuti outdoor (e, a \nmaggior ragione, quelli indoor\u002Foutdoor) hanno \nuna mano che nulla ha da invidiare a quelli in \nfibra naturale. Cosa fino a qualche tempo fa \nimpensabile per gli articoli per esterni.\nRU \nQuali evoluzioni intravede nel futuro \ndell’outdoor? Come cambieranno i materiali di \nquesta tipologia di arredi?\nFR \nCome ho detto, sono stati fatti passi da \ngigante nel campo della ricerca di nuovi prodotti, \nin modo particolare nel settore dell’outdoor. \nCredo comunque ci sia ancora molto da fare.\nFino a qualche anno fa l’outdoor era un settore \nlimitato a poche tipologie di prodotti, mentre \noggi è diventato senza dubbio uno dei più \navanzati e le gamme di finiture e di rivestimenti si \nsono ampliate.\nRimangono però ancora alcune sfide da vincere. I \ntessuti waterproof devono diventare più piacevoli \nal tatto, sono ancora troppo rigidi e dall’effetto \nspalmato. Combinare le caratteristiche tecniche \ndi un tessuto per outdoor insieme a quelle del \nmondo contract è un’altra sfida, come pure \nmettere in atto una produzione più ecosostenibile \ned intelligente. \nRU \nIl vostro segno progettuale si riconosce \nspesso da una marcata attenzione per l’impronta \nartigianale dei prodotti. Come integrate questo \naspetto nella scelta dei tessuti per l’outdoor \nche per necessità devono avere caratteristiche \ntecniche ben precise?\nFR \nSiamo sempre alla ricerca di tessuti che \nabbiano texture materiche e nuance cromatiche \ncoerenti con i nostri prodotti e con il loro \nutilizzo. Poi ci sono le contaminazioni, che \nnascono dalla forte influenza nel nostro campo \ndell’Arte e della Moda. Diciamo da quello che \n“si respira nell’aria”...\nMi reputo molto fortunata di essere qui, in \nItalia, dove si è circondati da una moltitudine \ndi realtà industriali pronte a sperimentare \ne poi a condividere con noi designer il loro \nknowhow. La sfida è vestire i nostri prodotti in \nmaniera innovativa grazie all’uso di materiali \nperformanti senza trascurare mai la componente \ntattile ed estetica. Prediligiamo l’uso di tessuti \npiacevoli al tatto e dai colori naturali, ma ci \ndivertiamo anche ad accostare superfici diverse \nche trovino un complessivo bilanciamento. La \nsperimentazione è la chiave del nostro lavoro \nquotidiano.\nRU \n Il comfort è un elemento decisivo anche \nnell’outdoor. Quali texture preferite utilizzare?\nFR \nDipende dai prodotti. Certo, i divani sono \npiù vicini alle texture materiche dei falsiuniti, \ntrame e intrecci fanno parte della nostra ricerca \nquotidiana. Poi ci sono prodotti come i tappeti \nche hanno aperto un mondo nuovo nel settore \ndell’outdoor. Le texture posso essere anche \ntridimensionali e quindi in grado di conferire al \nprodotto un comfort maggiore. La mia natura di \nprogettista è quella di textile and decor designer, \nper cui i miei progetti hanno sempre una forte \nconnotazione cromatica e decorativa. \nRU \nQuali pezzi non possono mancare per una \ncollezione tessile destinata all’outdoor?\nFR  \nFalsi uniti e micro disegni. Texture micro \ne macro per un gioco di scale. Tessuti dalle \ntonalità inedite. \nPersonalmente amo i verdi e i blu, ma ritengo \nnecessari tutti quei toni che si rifanno ad un \nmondo naturale: fango, terracotta e ocra. \nIl colore nell’outdoor è presente e forte  \nin tutte le sue nuance, ma deve essere \nsempre in armonia con l’ambiente in cui  \nviene inserito.\nComfort Outdoor\nFrancesca Renai, Senior Designer  \nat the Patricia Urquiola Studio  \nin Milan.\nRubelli 2019\np. 70\np. 71\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.37.png","Swing chair by Talenti  \nFabthirty 30319\u002F14\nFabthirty 30319\u002F27\nRubelli 2019\np. 72\np. 73\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.38.png","Outdoor\nFlame retardant, durable and \nwashable, most fabrics in the new \nRubelli collection are suitable for \noutdoor use thanks to their high \nfastness to light.\nIgnifughi, resistenti, lavabili,  \ni tessuti della collezione Rubelli sono \nper la maggior parte adatti ad uso \noutdoor grazie ad un’elevata solidità \nalla luce.\nOlympia chaise-loungue by Michele Arcarese for UnusDesign  \nTenstripe 30317\u002F7\u002F8 Fiftyshades 30320\u002F29\u002F26\nRubelli 2019\np. 74\np. 75\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.39.png","#rubellitalks\nS A S K I A  S I M O N \n“ F A B R I C  I N  S P A C E S ”\nT H E  I N T E R V I E W\nRU \nFabric is a material that has evolved \nfrom a technological point of view and \ntoday lends itself to different uses in interior \ndesign, not only as a furniture covering but as \nversatile, high-performance design element. \nWhat do you think it is most suitable for?\nSS  \nBesides the indispensable presence in \nany interior thanks to its richness in structure \nand tactility, the effect of fabric on the \nacoustics in a space is not to be ignored. Fabric \nbrings balance to the collection of materials \nthat compose a space.\nRU  \nAlthough it is an ancient material, today \nfabric has been reinvented in its performance \nthanks to technological research and is \ntherefore a source of endless inspiration. \nWhat are the drivers that lead you to choose a \nmaterial for the interior of contemporary\narchitecture?\nSS \nI’m not sure the process of \nmaterialisation has changed significantly: \nwe still seek the best possible translation of \na conceptual design into actual materials. \nDifferent nowadays than before is the \nunlimited access we have to information about \na range of products from all over the world, \nthe expansion of possibilities of customisation \nand a growing demand for durable materials.\nRU \nFabric is matter, colour, texture; the \nsensorial richness that a fabric offers to a \nshared space – whether it be retail, hospitality \nor a public place – also influences its use and \nemotional perception. How do you select the \nappropriate fabric?\nSS \nThe selection starts with the way the \nfabric feels and looks. If it meets the technical \nrequirements, the colour is confirmed (or \ncustom made).\nRU \nThe range of fabrics for interior \ndesign is always growing both in terms of \nperformance and aesthetics. How does the \ncustomisation of projects change?\nSS \nAs customisation grows, catalogues \nseem to disappear (they will never disappear \nentirely for fabrics). As we’ve always assumed \nanything is possible, we’ve gone as far as \nweaving fabrics ourselves or adjusting fabric \nstructures to meet our demands. This would \nnot have been possible 15 years ago and \nan increasing amount of companies set up \n‘ateliers’ within their production facilities to \nencourage customisation. It’s very exciting and \nhelps to understand the materials and their \nmanufacturing process.\nRU \nThe hybridisation of shared spaces \n– working spaces, home offices, restaurant \nand sales areas, etc. – and the increased \nfunctionality of materials introduced the use \nof textiles even in places where it was not \nwidely used, for example in offices. How is the \nwork of designers influenced?\nSS \nThe access to an extremely wide scope \nof material finishes is the consequence of well \ndocumented online material libraries. The \nshared use of spaces for multiple functions \nbrings new challenges to designers, as well as \nbroader scopes and possibilities. Key remains \nto create an aesthetical as well as a technical \nand durable composition.\nRU \nThe identity of a space is often defined \nby the meeting of a characterizing architecture \nand an interior design that interprets its \npossibilities. How far does the architect's \npencil go and where does the company's know-\nhow come into play in the search for tailor-\nmade solutions?\nSS  \nFirstly there is a conceptual design, \nthen its further development leads to a set of \nmaterial choices and finding out whether these \nexist or not : if we cannot find a product to \nmatch the design, a custom-made solution is \nfound – it is the way architecture ‘works’.  \nThe latter is then developed in close \ncooperation with an executive party, which \nis always a very exciting period as all parties \ninvolved gain new insights when faced with \nnew challenges. Particular knowledge acquired \non one project may lead to a solution for a \nnext project; there is quite a lot of exchange  \nof such information within our office.\nRU  \nIs there a singular project that is \nparticularly close to your heart where fabric \nplayed an important role? \nSS \nIn the Hof House restaurant in Den \nHaag (NL) the design consists of a series \nof ‘food stalls’ and a large bar all clad in \nresin in various colours. For the enormous \nbenches with planters containing the tall palm \ntrees we sought an upholstery completing \nthis composition that needed to be soft and \nluxurious. Although velvet can be associated \nwith more classical environments, the thick, \ndark green velvet by Rubelli combined \nperfectly with its context.\nRU \nIl tessuto è un materiale che si è \nmolto evoluto anche dal punto di vista \ntecnologico e si presta oggi a utilizzi \ndiversi nel design di interni, non solo come \nrivestimento di arredi ma come elemento \nprogettuale performante e versatile. Per \nquali utilizzi lo ritiene più adatto?\nSS  \nDel tessuto, presenza imprescindibile \nin ogni tipo di interno, non può essere \nignorato l’effetto fonoassorbente. Il tessuto \nporta equilibrio nel contesto dei materiali \npresenti in uno spazio.\nRU  \nIl tessuto, materiale antichissimo \ne oggi reinventato nelle sue performance \ngrazie alla ricerca tecnologica, fornisce \ninfiniti spunti di ispirazione. Quali sono \ni driver che la portano alla scelta di un \nmateriale per l’interno di un’architettura \ncontemporanea?\nSS \nNon sono convinta che il processo \ndi lavorazione dei materiali sia cambiato \nin modo significativo: tuttora siamo alla \nricerca di materiali che siano in grado di \ntradurre concretamente e al meglio concetti \ndi design. Quello che c’è di diverso oggi \nrispetto a ieri è l’opportunità di avere \nun accesso illimitato a informazioni su \ntutta una serie di prodotti provenienti da \ntutto il mondo, così come l’ampliamento \ndelle possibilità di customizzazione e una \ndomanda crescente di materiali duraturi.\nRU \nTessuto è materia, colore, texture; \nla ricchezza sensoriale che un tessuto \nconferisce allo spazio condiviso - che si \ntratti di retail, hospitality o di un luogo \npubblico - influisce anche sul suo utilizzo e \nsulla sua percezione emotiva. Come avviene \nla scelta del tessuto appropriato?\nSS \nLa selezione ha inizio dal modo in \ncui si presenta il tessuto, sia da un punto \ndi vista tattile che visivo. Se soddisfa i \nrequisiti tecnici, viene confermato il colore \nin cui è disponibile (oppure viene realizzato \ncustom).\nRU \nLa gamma di tessuti per il design di \ninterni va sempre crescendo sia in termini \ndi performance che di estetica. Come \ncambia la customizzazione dei progetti?\nSS \nVia via che la customizzazione \naumenta, i cataloghi sembrano scomparire \n(per i tessuti non spariranno mai \ncompletamente). Poiché abbiamo dato \nper scontato che qualunque cosa sia \npossibile, siamo arrivati a mettere a punto \nnoi stessi le strutture per soddisfare le \nnostre esigenze. Questo non sarebbe stato \npossibile 15 anni fa. Un numero sempre \nmaggiore di aziende ha aperto “laboratori” \nall’interno delle proprie strutture \nproduttive per favorire la customizzazione. \nÈ molto emozionante e aiuta a capire i \nmateriali e il loro processo di lavorazione.\nRU \nL’ibridazione di spazi condivisi \n– working spaces, home offices, spazi \ndi ristorazione e di vendita, ecc. – e \nl’accresciuta funzionalità dei materiali \nhanno introdotto l’utilizzo dell’elemento \ntessile anche in luoghi dove era poco \nutilizzato, per esempio negli uffici. \nCome ne viene influenzato il lavoro del \nprogettista?\nSS \nL’accesso ad una vastissima gamma \ndi finiture nasce dall’avere a disposizione \nbiblioteche online molto ben documentate \nsui materiali. La condivisione di spazi \ndestinati a molteplici funzioni genera \nnuove sfide per i designer, ampliandone al \ncontempo le possibilità e il raggio d’azione. \nIl punto centrale resta quello di creare \n“composizioni” durature da un punto di \nvista sia estetico che tecnico.\nRU \nL’identità di uno spazio è spesso \ndefinita dall’incontro tra un’architettura \ncaratterizzante e un interior design che \nne interpreta le possibilità. Fino a dove si \nspinge la matita dell’architetto e dove entra \nin campo il know-how dell’azienda nella \nricerca di soluzioni tailored made?\nSS  \nSi parte da un progetto concettuale, \nper passare poi alla scelta di materiali dei \nquali deve essere valutata la disponibilità: \nse non riusciamo a trovare un prodotto in \nlinea col progetto, si trova una soluzione \ncustom. Così “lavora” l’architetto. Il \nprodotto viene quindi sviluppato in stretta \ncollaborazione con l’esecutore: questa è \nsempre la fase più entusiasmante, perché \nle parti coinvolte, trovandosi di fronte a \nsfide sempre nuove, acquisiscono nuove \nconoscenze. E una specifica conoscenza \nacquisita nell’ambito di un progetto \npuò rivelarsi la soluzione in un progetto \nsuccessivo. In questo senso c’è un grosso \nscambio di informazioni all’interno del \nnostro ufficio.\nRU  \nC’è un progetto specifico che le sta \nparticolarmente a cuore dove il tessuto ha \ngiocato un ruolo importante?\nSS \nIl progetto per il ristorante Hof \nHouse da L’Aja, in Olanda, consiste in una \nserie di “bancarelle” dedicate al cibo e in \nun grande bancone interamente rivestito \ncon una resina di vari colori. Per le enormi \npanche, dove sono stati posizionati vasi \ncon all’interno grandi palme, eravamo \nalla ricerca di un rivestimento che fosse \nmorbido e ricco. Sebbene il velluto venga \nassociato ad ambienti più classici, il \nvelluto verde scuro di Rubelli si inseriva \nperfettamente in quel contesto.\nTessuto e Progetto\nSaskia Simon, Senior Architect  \nat the OMA Architects Studio  \nin Rotterdam.\nRubelli 2019\np. 76\np. 77\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.40.png","Background \nFabthirty 30319\u002F20, \nBackground left\nRalph 30311\u002F18\nCushions\nFabthirty 30319\u002F20, \nFiftyshades 30320\u002F41\u002F31\nCushions \nFabthirty 30319\u002F20, \nFiftyshades 30320\u002F41\np. 79\nRubelli 2019\np. 78\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.41.png","T H E  W I D E S T\nC O L O U R  C H O I C E\nOn the left:\nBackground\nFabthirty 30319\u002F19, \nBench cushion\nTwilltwenty 30318\u002F14, \nCushions on the bench\nVelvetforty 30321\u002F33, Twilltwenty 30318\u002F14,  \nVelvetforty 30321\u002F22, \nCushions on the chairs\nVelvetforty 30321\u002F22, 30321\u002F33\u002F22\np. 81\nRubelli 2019\np. 80\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.42.png","Cushions\nFabthirty 30319\u002F21, Velvetforty 30321\u002F20, Twilltwenty 30318\u002F9, \nFabthirty 30319\u002F12\u002F21, Tenstripe 30317\u002F7, Diecielode 30316\u002F7, Tenstripe 30317\u002F9, \nFabthirty 30319\u002F12, Diecielode 30316\u002F7, Tenstripe 30317\u002F7, Fabthirty 30319\u002F21, \nDiecielode 30316\u002F7, Twilltwenty 30318\u002F9, Velvetforty 30321\u002F20, Fabthirty 30319\u002F16,  \nDiecielode 30316\u002F7, Velvetforty 30321\u002F20, Fabthirty 30319\u002F21, Tenstripe 30317\u002F7, \nTwilltwenty 30318\u002F9\u002F8, Velvetforty 30321\u002F34\u002F20, Fabthirty 30319\u002F21, Fiftyshades 30320\u002F41\nRubelli 2019\np. 82\np. 83\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.43.png","30310\u002F10\n30311\u002F16\n30318\u002F16\n30315\u002F5\n30316\u002F8\n30317\u002F5\n30320\u002F26\n30318\u002F17\n30320\u002F27\n30311\u002F15\n30317\u002F5\n30311\u002F16\n30316\u002F8\n30310\u002F10\n30320\u002F25\nRubelli 2019\np. 84\np. 85\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.44.png"," \nAnita Arm Chairs by Rubelli Casa \nFiftyshades 30320\u002F33\nOn the left: \nSpy chairs by Billiani  \nVelvetforty 30321\u002F33\u002F34 \nCurtain \nFabthirty 30319\u002F24\nRubelli 2019\np. 86\np. 87\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.45.png","Fiftyshades 30320\u002F33\nVelvetforty 30321\u002F33\nRubelli 2019\np. 88\np. 89\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.46.png","Undecided chairs by Manerba \nFiftyshades 30320\u002F20\u002F44\u002F45\nRubelli 2019\np. 90\np. 91\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.47.png","Rubelli 2019\np. 92\np. 93\nOn the left:\nCurtain \nDuke 30322\u002F8 \nGeo pouf by Saba \nVelvetforty 30321\u002F34 \nDiecielode 30316\u002F9 \n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.48.png","#30321\u002F18\nRubelli 2019\np. 94\np. 95\nCurtain  \nSwing Street 30315\u002F6 \nBulé pouf by My Home Collection \nVelvetforty 30321\u002F18 \n \nOn the rignt: \nSwing Street 30315\u002F6\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.49.png","Rubelli 2019\np. 96\np. 97\nAnita Arm Chairs by Rubelli Casa  \nVelvetforty 30321\u002F20\u002F27 \n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.50.png","Rubelli 2019\np. 98\np. 99\nBetty Boop 30325\u002F3 \nUla chair by My Home Collection  \nDick Tracy 30310\u002F3, Velvetforty 30321\u002F1 \nBebop 30323\u002F3\u002F4, Swing Street 30315\u002F2, \n30325\u002F3, Betty Boop 30325\u002F3, Calloway \n30324\u002F3, Ragtime 30326\u002F6, Duke 30322\u002F5\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.51.png","Rubelli 2019\np. 100\np. 101\nPipe chairs by Moroso  \n\u002FYellow \nBaba Jaga 30308\u002F4 \nRalph 30311\u002F9\n\u002FPink \nBaba Jaga 30308\u002F3 \nRalph 30311\u002F10\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.52.png","Author of Exceptional\n",52,{"image":222,"text":19,"number":223},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.53.png",53,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.54.png","\"In 1781 Giovanni Paolo Rubelli, who could boast four looms as well as the \nSan Marco shop, was admitted to the guild of silk merchants. From that time \nonwards, my family became firmly linked to the noble art of Venetian Silk. \nA century later, in 1889, Lorenzo Rubelli bought an exclusive mill, one of the \nfew that had survived the fall of the Serenissima Venice Republic. \nToday, after three generations, our passion for the art of silk continues to \nflourish. Our guiding mission is to keep alive the original Venetian tradition \nwhich inspires our creations, transforming fabrics into works of art.\nThis is Rubelli Venezia.\" \n \nNicolò Favaretto Rubelli\n\"Nel 1781 Giovanni Paolo Rubelli veniva ammesso al Corpo dei Mercanti di Seta: \noltre al negozio a San Marco poteva vantare quattro telai. Da quel momento  \nla mia famiglia divenne saldamente legata alla nobile Arte della Seta veneziana. \nUn secolo dopo, nel 1889, Lorenzo Rubelli acquisiva un'antica tessitura, tra le \npoche sopravvissute alla caduta della Serenissima Repubblica di Venezia. \nOggi, a tre generazioni di distanza, la nostra passione per l'arte della seta continua \na fiorire: la missione che ci guida è mantenere viva l’originaria tradizione veneziana \nche ispira le nostre creazioni, trasformando i tessuti in opere d'arte.\"\nQuesto è Rubelli Venezia.\nNicolò Favaretto Rubelli\nAuthor of Exceptional\nRUBELLI 2019 MAGAZINE \nAuthor of Exceptional \nPublisher: Rubelli S.p.A.\nRubelli Editors \nLoredana Di Pascale, Alberto Pezzato\nConcept and Art Direction \nHangar Design Group\nPhotos  \nPhoto Matteo Imbriani  \nStyling Cristina Nava, assistant Silvia Pozzi\nTexts \nHangar Design Group, Rubelli\nThanks to  \nFurniture \nGiobagnara, Living Divani, NO|BE Italia, \nPoliform, Porro, Rubelli Casa, Salvatori\nItems \ncc-tapis, Dimorestudio, Golran,  \nNason Moretti, Nemo Lighting, Salvatori,  \nVito Nesta, Richard Ginori \nFashion \nAntipast, Cartier, Dior, La DoubleJ,  \nPaula Cademartori\nLocation \nT’a Milano Restaurant & Bistrot \nPrinting \nGrafiche Antiga\nDigital version of this magazine: \nhttp:\u002F\u002Fr.rubelli.com\u002Frub2019\nTo browse all the Rubelli Group \ncollections and for technical info,  \nplease visit www.rubelli.com\n",54,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.55.png","Vivienne \nA precious iridescent silk satin that creates sumptuous and elegant decoration.  \nSilk is the most noble of all fibers, reflecting the light like no other surface\n#30300\n30300-01 \nBianco\n30300-04\nPietra\n30300-002 \nMadreperla\n30300-05\nAvorio\n30300-03 \nNuvola\n30300-06 \nArgilla\n5\nRU B E L L I  V E N E Z I A  2 0 1 9\n4\n",55,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.56.png","30300-08 \nCipria\n30300-18 \nGermoglio\n30300-07 \nSabbia\n30300-17 \nAcqua\n30300-13\nGlicine\n30300-12\nEbano\n30300-09 \nPesco\n30300-19 \nErba\n30300-14\nOrtensia\n30300-10 \nGrigio\n30300-20 \nLimone\n30300-11 \nArdesia\n30300-21 \nRuggine\n30300-15 \nOttanio\n30300-16 \nTeal Blu\nRU B E L L I  V E N E Z I A  2 0 1 9\n6\n7\n",56,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.57.png","Margaret's Bouquet \nInspired from a XVIII century English design.  \nThis silk brocade shows flowers embraced by a romantic lace. The vibrance of the design  \nis skillfully created by an appealing and competent use of yarns\n#30301 \n30301-01* \nAvorio\n30301-04* \nPesco\n30301-07*\nAcqua\n30301-02* \nFrench Gray\n30301-05*\nCopiativo\n30301-08*\nTeal Blue\n30301-03* \nCipria\n30301-06* \nLimone\n* This image shows a 15x20cm (6”x8”) cut of the product.\nRU B E L L I  V E N E Z I A  2 0 1 9\n8\n9\n",57,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.58.png","Caterina De' Medici\n A sophisticated and refined brocade from a  XVI century fragment  preserved   \nin the Rubelli museum. Metallic yarns reproduce stylised traditional decorations on a silk ground, \nan expression of the unique and unmistakable Rubelli style\n30302-01* \nAvorio\n30302-04* \nLimone\n30302-07*\nCipria\n30302-02* \nNuvola\n30302-05*\nPavone\n30302-03* \nPesco\n30302-06* \nAcqua\n#30302\n* This image shows a 15x20cm (6”x8”) cut of the product.\n1 1\nRU B E L L I  V E N E Z I A  2 0 1 9\n1 0\n",58,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.59.png","Eleonora \nA brilliant reinterpretation of a handwoven silk velvet belonging to the Rubelli museum.  \nThe original pattern is repeated twice and overlapped, giving an unexpected modern twist  \nto this ancient motif\n#30303\n30303-01* \nAvorio\n30303-04*\nAcqua\n30303-02* \nFrench Gray\n30303-05*\nOro\n30303-03* \nCipria\n30303-06* \nRosso\n* This image shows a 15x20cm (6”x8”) cut of the product.\n1 3\nRU B E L L I  V E N E Z I A  2 0 1 9\n1 2\n",59,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.60.png","Daisy \nA precious and decorative silk stripe.  Rhythm and dynamism  \ncharacterise the multicolour stripes, highlighted by the alternation  \nof two different satin weaves: those of Victoria and Vivienne\n30305-01* \nBeige\n30305-04*\nRosso-Fuxia\n30305-02* \nCipria\n30305-05*\nAcqua\n30305-03* \nGrigio-Giallo\n#30305\n* This image shows a 15x20cm (6”x8”) cut of the product.\nRU B E L L I  V E N E Z I A  2 0 1 9\n1 4\n1 5\n",60,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.61.png","#30314\n30314-02* \nSabbia\u002FReversible\n30314-01*\nAvorio\u002FReversible\n30314-07*\nTiffany\u002FReversible\n30314-06*\nAcqua\u002FReversible\n30314-03* \nArgento\u002FReversible\n30314-08*\nOttanio\u002FReversible\n30314-04* \nCipria\u002FReversible\n30314-05* \nErba\u002FReversible\n30314-09* \nRubino\u002FReversible\n30314-10* \nGiallo\u002FReversible\nMargot \nAn elegant double-faced jacquard. Margot’s decoration is taken from the sumptuous \ninlaid marbles in the baroque church of the Gesuiti in Venice. Suitable for both home \ninteriors and hospitality because of its technical yarns\n* This image shows a 15x20cm (6”x8”) cut of the product.\nRU B E L L I  V E N E Z I A  2 0 1 9\n1 6\n1 7\n",61,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.62.png","Daisy 30305\u002F4\nUn materiale prezioso: la seta.  \nUn’arte secolare: la tessitura. E un luogo magico, \nVenezia. Dall’intreccio di questi  \ntre elementi nasce la nuova collezione  \nRubelli Venezia\nThe precious material that is silk,  \nthe age-old art of weaving  \nand a magical place, Venice - these \nthree elements combine to bring you  \nthe new Rubelli Venezia collection\nRU B E L L I  V E N E Z I A  2 0 1 9\n1 8\n1 9\n",62,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.63.png","2 1\nRU B E L L I  V E N E Z I A  2 0 1 9\n2 0\n",63,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.64.png","Curtain \nMargot 30314\u002F7\nSophia Pouf by Rubelli Casa \nVivienne 30300\u002F9 \n \nOn the right:\nCurtain \nMargot 30314\u002F7\nSkirt  \nOmbra 30253\u002F528\n2 3\n2 2\nRU B E L L I  V E N E Z I A  2 0 1 9\n",64,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.65.png","Palazzo Sofa by Rubelli Casa \nDick Tracy 30310\u002F13 \nDress  \nVivienne 30300\u002F19\nOn the right:\nDick Tracy 30310\u002F13\nTextured surfaces with \nsurprising colour shades \nfor a rethink on tradition\nSuperfici mosse giocano con \nnuance sorprendenti  \ne rinnovano la tradizione\n2 5\nRU B E L L I  V E N E Z I A  2 0 1 9\n2 4\n",65,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.66.png","Cushions \nVivienne 30300\u002F17-19 \nCaterina De' Medici 30302\u002F3-4-6-7 \nDick Tracy 30310\u002F13\nOn the left:\nMargot 30314\u002F5\n2 7\nRU B E L L I  V E N E Z I A  2 0 1 9\n2 6\n",66,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.67.png","Frank chairs by Porro \nEleonora 30303\u002F5 \nRunner  \nRalph 30311\u002F5\nOn the wall  \nMargaret's Bouquet 30301\u002F1\nCurtain \nVivienne 30300\u002F4\nOn the left:\nPioggia chair by Porro \nEleonora 30303\u002F4\nSofa \nVelvetforty 30321\u002F13\n2 9\nRU B E L L I  V E N E Z I A  2 0 1 9\n2 8\n",67,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.68.png","Curtain \nBaba Jaga 30308\u002F4\nA versatile and  \nwell-balanced collection,  \ndesigned to adapt to classic  \nor contemporary interiors\nUna collezione versatile  \ne armoniosa, pensata per \nadattarsi ad interni classici o \ncontemporanei\n3 1\nRU B E L L I  V E N E Z I A  2 0 1 9\n3 0\n",68,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.69.png","Curtain  \nBaba Jaga 30308\u002F4\nChemisa chair by Living Divani  \nVelvetforty 30321\u002F34\nRU B E L L I  V E N E Z I A  2 0 1 9\n3 2\n3 3\n",69,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.70.png","Margaret's Bouquet 30301\u002F6\u002F7 \n \nOn the right: \nMargaret's Bouquet 30301\u002F6\nRU B E L L I  V E N E Z I A  2 0 1 9\n3 4\n3 5\n",70,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.71.png","Ascari Side Chair by Rubelli Casa  \nEleonora 30303\u002F2 \n \nOn the left: \nSophia Pouf by Rubelli Casa  \nMargot 30314\u002F9 \nVivienne 30300\u002F9\u002F11\nRU B E L L I  V E N E Z I A  2 0 1 9\n3 6\n3 7\n",71,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.72.png","Lavinia screen by Nobe \nEleonora 30303\u002F6\nPouf \nRalph 30311\u002F12 \n \nOn the right:\nEleonora 30303\u002F6 \nRalph 30311\u002F12\nRU B E L L I  V E N E Z I A  2 0 1 9\n3 8\n3 9\n",72,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.73.png","Curtain \nMargot 30314\u002F8\nTablecloth \nVivienne 30300\u002F16 \n \nOn the right:\nTablecloth \nVivienne 30300\u002F16\nChair \nVivienne 30300\u002F16\nRU B E L L I  V E N E Z I A  2 0 1 9\n4 0\n4 1\n",73,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.74.png","Sophie chairs by Poliform \nRalph 30311\u002F16\nCushions  \nCaterina de' Medici 30302\u002F6  \nMargaret's Bouquet 30301\u002F7 \nVivienne 30300\u002F19  \nSofa  \nVelvetforty 30321\u002F13\n4 3\nRU B E L L I  V E N E Z I A  2 0 1 9\n4 2\n",74,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.75.png","On the wall \nMargaret's Bouquet 30301\u002F7 \nNina Bar chair by Living Design \nRalph 30311\u002F16\nSophie chair by Poliform  \nMargaret's Bouquet 30301\u002F3\nOn the wall  \nMargaret's Bouquet 30301\u002F8\nRU B E L L I  V E N E Z I A  2 0 1 9\n4 4\n4 5\n",75,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.76.png","Floral patterns map out  \nthe space in an intriguing play  \non light and shade\nSophie chair by Poliform  \nRalph 30311\u002F16\nCushions \nCaterina De' Medici 30302\u002F3\u002F5\u002F2 \nRalph 30311\u002F10 \nCaterina De' Medici 30302\u002F4\u002F7\nMotivi floreali disegnano lo \nspazio in un suggestivo gioco \ndi luci ed ombre\nRU B E L L I  V E N E Z I A  2 0 1 9\n4 6\n4 7\n",76,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002F77\u002F2c433b0e44b51b43f0ed030e7bd5d8-2737ddb138.77.png","Triennale Lounge Chair by Rubelli Casa  \nDick Tracy 30310\u002F14 \nOn the right:\nTriennale Lounge Chair by Rubelli Casa  \nDick Tracy 30310\u002F14\nCurtain and dress  \nMargaret's Bouquet 30301\u002F4\n4 9\nRU B E L L I  V E N E Z I A  2 0 1 9\n4 8\n",77,[],0,false,true,{"success":323,"data":325,"meta":538,"count":539,"next":540,"previous":541,"results":574,"brand_chips":635},[326,339,348,357,366,375,385,395,405,417,429,442,452,465,477,487,497,506,516,528],{"id":327,"title":328,"slug":329,"image":330,"source":331,"brand_name":332,"brand":333,"brand_slug":334,"file_size":335,"pages":336,"pages_count":337,"matched_pages":338,"match_count":321,"two_pages":322,"show_text":323},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 MB",[],1218,[],{"id":340,"title":341,"slug":342,"image":343,"source":344,"brand_name":332,"brand":333,"brand_slug":334,"file_size":345,"pages":346,"pages_count":287,"matched_pages":347,"match_count":321,"two_pages":322,"show_text":323},26606,"Architectural Systems  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