Say about Stefano Giovannoni
“Stefano Giovannoni is an excellent designer, extremely contemporary. If we look at what happens at a research level in design, he is a leader. 
Novelty takes place in Australia, Brazil and Paris but his attitude to consider merchandise as a game, to laugh about it, and transform it, at times into a comic strip and other into a Disneyland object, always gracious and captivating in form, is a very important Neo-Pop attitude which transforms the contemporary world into a sort of hyperrealist scene, typical of virtuality. For a subject like design, which has been for sometime rethorical, he comes about in an original matter, rich with energy of transformation, and that is his great merit, a liberating act. Giovannoni’s approach to design as an art form is a particular characteristic of his design language.
The Giovannoni object travels a road born in the Pop Art and arrives today at a ludic, playful form which is always a work of art.”
Alessandro Mendini



“The contemporary international design scene continues to be dominated by a strong polarization. On one side there is the playful, boldly expressive approach, bordering on cartoon imagery, especially typical among young Italian designers.
On the other side there is the neominimalistic approach that leans towards simplicity and the pursuit of the essential, using a pure kind of language that is almost abstract.
Personally, I like both of these directions, because I think that the real goal of design, the most difficult but also the most exalting objective for all great designers has always been
to be super and popular at the same time. That is to say, to succeed in expressing two qualities in a project that are really quite tricky to combine: knowing not only how to reach the highest possible quality of a project (and this has to do with creating culture), but also being understood by the largest amount of people possible (and this has to do with being
able to communicate and being in sync with the public). Real Super & Popular projects are small miracles of creativity and are not frequent in the history of design. They are a concentrated form of poetry that brings a spark of joy to many people. By definition they do not need to conform to any preconceived dogmas and are exempt from prejudice.
With his virtuosic use of affective codes and metaphor, and his ability to open new roads in the unresolved dilemma of the relationship between Form and Function, he fascinates the public with his natural narrative talent. It is my opinion that Stefano is to be considered the undisputed champion of the Super & Popular in contemporary design.”
Alberto Alessi



“Maybe Giovannoni sells because unlike many of his colleagues, who only seem interested in giving shape to the phantoms of their imagination or in rendering abstract theory three dimensional, he cares about what people want. Because he is with his feet on the ground instead of hanging in mid air, lost in a nebulous cloud of design discipline, he industriously gives modernity to the simple shapes and archetypal lines,
to create “immanent” products which are characterized by
a reassuring realism. On the contrary of the majority of his young and less younger colleagues, Giovannoni, like also Antonio Citterio, another designer who has made the fortune for the companies he works for (particularly B&B but also Arclinea, a Veneto kitchen company) and Piero Lissoni author of Boffi’s success (bath and kitchen) of Porro (system company) and Living Divani, he questions the problem of numbers, convinced that the best proof of a project’s goodness lies within its commercial success.
Paradoxically, design whose etymology concerns the drawing conceived for series production, had in the second part of the twenty century conquered fame and success through prototypes, unique pieces, and limited editions, more committed to auto celebration than to diffusing itself. Enclosed by a vicious circle of auto references and satisfied by the initiatory aura which has always surrounded it, prisoner of a specific language (often cryptic), which has made it difficult to understand and undesirable for common people. In the twenty first century, it must therefore strive to make its myth useful, regarding that the numbers themselves have their own ratio and, and they are not as dry as most people depict them and that they can stimulate fantasy and talent, like, for example, it happens to Giovannoni.”
Cristina Morozzi



“Il repertorio progettuale di Stefano Giovannoni costituisce un’eccezione nel mondo del design, nel senso che i suoi prodotti, pur caratterizzati da un’espressività eretica, ottengono uno straordinario successo di mercato. Apparentemente destinati a un target di nicchia, dunque a pochi utenti selezionati, si sono rivelati spesso dei veri cult di massa.
Vero erede del radical design fiorentino, Stefano Giovannoni vede gli oggetti come presenze anarchiche, molecole autonome che hanno tagliato i rapporti con le gerarchie del progetto e le hanno ribaltate: oggetti “senza architettura e senza città, nuovi protagonisti di una No-Stop City delle merceologie mondiali, costruttori di set iper-espressivi; figli illegittimi quindi della crisi dell’architettura contemporanea e della sua incapacità di vivere nella “città della merce”. Il suo ricorso allo styling modernista, fa parte di questa fiction. Dal momento che la Modernità non costituisce più un sistema di principi etici e civili solidi, diventa soltanto un repertorio linguistico, una convenzione stilistica liberamente declinabile in un paesaggio merceologico continuamente devastato dalle tempeste della concorrenza mondiale, unica energia che scuote i mercati globalizzati. In questo senso gli oggetti di Giovannoni sono tutti “altamente concorrenziali” (e non soltanto industriali) e quindi perfettamente collocabili sui mercati mondiali.”
Andrea Branzi