The Loop project develops from a powerful natural image: the American canyon. Designed by Elena Salmistraro, the new sofa translates the pictorial gesture into a three-dimensional form, transforming the language of outdoor design into a fluid, convivial sculpture. Alongside the sofa, a series of works expands the visual narrative and opens the project to a broader dialogue between art and design. A journey that starts from the landscape and becomes inhabitable form, between matter and imagination. From this vision, the conversation with Elena Salmistraro focuses on the design process and the language shaping the project.
What was the first intuition or image behind this project for Ethimo?
The inspiration comes from the American desert, in particular from Antelope Canyon in Arizona. I was struck by the layering of the rocks, the colours overlapping like natural brushstrokes. I imagined the sofa as a fluid line, a continuous gesture. For me, everything always starts from drawing: it is like a brushstroke in space.
How did the collaboration develop: did it start from a defined brief or from an open dialogue?
It was a very free collaboration. There was no rigid brief, but rather an invitation to explore.
I presented several initial proposals and then we chose the direction together.
The project was later developed with Ethimo’s technical team, which made it possible to translate the idea into a concrete and functional object.
This project introduces a more expressive language compared to some Ethimo collections. How did you find the balance between your identity and the brand’s DNA?
The balance was courage. I found a brand that was already open and experimental, so I never felt constrained. I brought my own language made of soft forms and colour, while on the other side there was a strong attention to material and detail. That is where the two identities meet.
In your work, the boundary between art and design is often subtle. In this project, how much space did function and narrative dimension have?
Function was important, especially in the technical phase. But it should never overshadow the narrative part. For me, design is also storytelling, and in this case the form had to maintain its expressive freedom. The result is a balance between the two aspects.
How do you feel this project fits within the Ethimo catalogue: continuity or a new direction?
More of an extension than a break. Ethimo already has very bold products, so this project fits into a coherent line of research. It could open a possible direction, but always in continuity with their identity.
How important is the context in which a project is presented?
In Milan the project was presented in its most direct form, as the debut of Loop.
In London, instead, it was expanded within the Ethimo space, taking on a more narrative dimension. The accompanying artworks become fundamental in this transition: they are not an accessory element, but open the project to my imagination, made of signs and colours derived from initial sketches. In this way, the sofa is no longer just an object, but part of a broader narrative between art and design.
Is there a detail you consider overlooked but central to the project?
Yes, the work on finishes and stitching. They perfectly follow the curves of the sofa, and it was a very complex process. Even the underside is completely finished. These are details invisible at first glance but essential.
Looking at it today, would you do it the same way or change something?
The sofa is already available in a range of shades, which highlight its material qualities and versatility. That said, I might also explore a monochrome version: as it is a highly sculptural piece, a single colour could further emphasise its form. It’s something I would like to explore.
