Amarysso
From the Greek amarýsso, meaning “to glimmer,” Amarysso interprets light as it reflects and refracts through the surface of water.
POLPO
Among Mariano Fortuny’s early designs lies a curious anomaly: an octopus with seven arms instead of eight. This intentional omission has come to symbolize the enduring mystique of the House—the unseen gesture, the concealed technique, and the capacity for continual reinvention.
Research revealed that Mariano’s drawing originated from an ancient Minoan vase. Within this ancient corpus, we identified fluid geometries, symbols, and rhythmic depictions of movement that resonate deeply with our visual language.
POLPO, named for the Italian word for octopus, represents not only a renewed dialogue with antiquity but also a significant evolution in our craft. We developed new techniques that allow color and form to migrate, merge, and accumulate in ways that defy conventional patterning. The resulting textiles, which we call landscapes, possess an organic quality that echo the natural world.
With POLPO, we advance a lineage of artistic inquiry rooted in observation, experimentation, and the enduring dialogue between nature, mythology, and craft.
Landscapes
Using the original processes in our historic Venice factory, we have developed new techniques that extend the processes established by Mariano Fortuny over a century ago into previously unexplored territory. These methods allow color and form to migrate, merge, and accumulate in ways that defy conventional patterning. The resulting Landscapes possess an organic irregularity reminiscent of the natural world, recalling marble veining, rippling water, drifting clouds, and the weathered façades of Venice.
Printed Landscapes
The POLPO collection presents six distinct patterns, each emerging from the intersection of myth, natural observation, and Venetian material culture. Their names trace etymologies rooted in ancient languages, marine biology, and the architectural heritage of Venice, reinforcing the dialogue between past and present that defines Fortuny’s work. These patterns transcend ornament, functioning instead as visual meditations on water, movement, and transformation.
Pitsilo
Derived from the Greek word that means “speckled”, Pitsilo’s scattered, organic forms suggest the fleeting burst of sea spray.
Ventose
From the Italian ventosa, meaning “suction cup,” Ventose translates the motion of octopus arms to evoke an organic sensation of movement.
Eledone
Named after a genus of small octopuses native to the Mediterranean, Eledone fuses the patterns of octopus skin with those of Venetian terrazzo.
Neritha
Inspired by Nerites, a spiral-shelled figure of Greek mythology, Neritha echoes ancient Minoan ornament and the cyclical motion of the tides.
Rhea
Named after the Titaness Rhea, this pattern embodies rhythmic, wave-like forms that recall ancient Minoan motifs.
"We maintain an ongoing dialogue with our Founder by embracing the research, development, and experimentation that defined his scientific artistry."
Mickey Riad
Creative Director