B—Line is a company specialised in designer furnishings which, ever since its beginnings, has manufactured contemporary products along with evergreen icons from the past, such as Joe Colombo’s famous Boby storage trolley. Solid, transversal and flexible designs, the result of collaborations with international designers and of an exclusively Italian production.
B—Line is a company, brainchild of its founder, Giorgio Bordin, that restores life to several historical icons of design on the Italian scenario. These are works that have disappeared over the years, made obsolete by the unrelenting ferment of a market that is brimming with innovation. Of the products re-edited, some have made history “contaminating” many facets of art and design, such as Joe Colombo’s famous Boby.
From the very beginning, side by side with its re-editions, B—Line places contemporary furnishing accessories, resulting from collaborations with international designers. Tangible, factual and transversal projects that have the responsibility and honour to co-exist with the great cornerstones of design and to encourage, in terms of style and character, a smooth switch from home environments to working spaces and from outdoors to indoors, areas that are increasingly hybrid and mercurial, as demanded by contemporary lifestyles.
Zanellato and Bortotto: new formulas and optimism for facing the emergency
3 December 2020

From budding talents to established designers: Zanellato and Bortotto, a duo that in just a few years achieved status amongst those exhibiting in the most important cult design sites, boasting international awards such as the Red Dot Design Award. For B—line, they designed Bix, a small versatile and minimalistic armchair available in leather or fabric, perfectly integrating with both contract and home environments.

Even though keeping faith with a research path characterised by a wholly personal creative style, they are facing the limitations posed by the current emergency, taking up the challenge of a new approach towards the conception of their projects, in a stimulating dimension imbued with positivity and optimism.

Here’s their description of this moment.

What is your emotional take and your understanding on how to live this period, not only from a work viewpoint?

We are basically optimistic and despite the setbacks presented by this very particular moment in time, we have accepted the challenges that this has brought about on a professional and personal level. If from a professional point of view we managed to bring to fruition an ambitious project, almost entirely carried out remotely and in smart-working mode, even from a more personal point of view there is no lack of innovations that are managing to positively colour a year as difficult as this one.

As far as work is concerned instead, how has your approach changed towards new projects?

We have perhaps gained greater awareness of the work we do. The times we are currently living have momentarily put on hold every stage of the process to which we were generally accustomed. The timing schedule, from the brief to the actual launch at the show, has been totally called into question. On the one hand, this forces us to review the way in which we organise our work, as well as our studio’s activities: all that, however, also affords us more time to focus on specific projects and to fully understand what we really want to do.

Generally speaking, has your way of designing and your relationship with companies changed? If so, how?

Not much has changed in the way we design, but rather in the need to find new formulas for dialogue and interaction with our clients. The lack of direct contact is very apparent. This can hardly be replaced by chats and video calls. We really miss being able to move around and travel, because that is how we become inspired and influenced in finding the foundations on which to build new projects. We are however well aware that this will prove to be a limited interlude and that we will soon be able to repossess our lives.