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La Corallina was conceived as a project in which the creation of its decorative objects is also a cultural journey: bibliophilia, a love of iconography and philosophy meet and intertwine, transforming each object into a small story made of images, ideas and forms.

Valentina Talks About the Mare Coralli Lampshade Among the pieces in the La Corallina collection, one lampshade consistently attracts particular attention: the Mare Coralli Cylinder Lampshade. We asked Valentina, the creative soul behind the brand, to explain why this design holds such a special place in the collection.

The new Asinara collection by La Corallina occupies a very distinctive aesthetic space: one in which Mediterranean decorative tradition meets a contemporary visual language shaped by graphic synthesis, visual irony, and conceptual lightness. Rather than a direct reference to pop art, it would be more accurate to speak of a pop suggestion in the most refined sense of the term: the ability to transform everyday elements, animals, and ornamental patterns into immediately recognizable and iconic...

A conversation with Valentina about La Corallina’s Okinawa Collection There are objects created simply to be functional. And then there are others that seem to preserve a more ancient visual memory: fragments of distant geographies, traces of cultures that transformed everyday life into an aesthetic of attention. La Corallina’s new Okinawa Japanese Collection belongs to this second category. The Okinawa collection was born in this spirit: not as a simple exotic decoration, but as a meeting...

There are objects that do not merely support light, but prepare it, hold it, almost think it before it happens. The lamp bases of La Corallina belong to this ambiguous and fascinating category: not simple supports, but forms charged with memory, shaped by an ancient genealogy rooted in the earth, in ceramics, in symbol. We discuss this with Lorenzo, in a dialogue that moves between craftsmanship and history, between Tuscany and Sicily, between gesture and tradition.

Ikat is an ancient technique, and this alone makes it fascinating. The term comes from the Malay mengikat, meaning “to tie”: the threads are bound and dyed before weaving. This means that the pattern is not something applied afterward, but something that emerges from within the very structure of the fabric. It is a technique found in many parts of the world, from Central Asia—particularly Uzbekistan—to Indonesia and India, and each tradition has developed its own visual language. What unites...

That is exactly the case. Color is never neutral, but in spring this truth becomes evident. It is no longer contained within form: it passes through it, expands it. The Procida collection, for example, emerges from a very precise intuition: that color can produce a spatial vibration. The contrasts, the luminous backgrounds, the tension between the floral motif and the surface are not conceived to represent a flower, but to convey its energy, its happening. Procida does not describe spring; it...

With this series of zodiac charger plates, we chose to move away from the most predictable idea of an astrological collection, one based on recognizable emblems and figures, and instead work on a more subtle terrain: the sign not as an image, but as a sensitive structure, an atmosphere, a quality of space.

In less than a decade, with La Corallina we have managed to build a clear and recognizable identity, especially in the segment of placemats and lampshades, which are still our historic core products. The journey has been gradual but very coherent: we started from a precise vision, from a strong idea of style, and we worked consistently so that this language could become readable, credible and distinctive. Today, alongside our most iconic lines, we are developing new product categories with...

In Zanzibar, color is not decoration but a true language. We wanted to avoid any form of neutrality: every shade is conceived to be present, recognizable, almost physical. This is a deliberate choice, because color has the power to change the atmosphere of a space instantly. Here, it is not an accompaniment but a statement of expressiveness. As Matisse said, “Color, above all, and perhaps even more than drawing, is a liberation” — and Zanzibar is born precisely from this freedom.