Panca Moroso Osorom nr. 120 di Konstantin Grcic, 2002

Nato a Monaco nel 1965, Konstantin Grcic studia da ebanista alla The John Makepeace School a Dorset, Inghilterra, prima di avvicinarsi al design presso il Royal College of Art di Londra. Dopo la laurea nel 1990 lavora per un anno nello studio di Jasper Morrison, per poi ritornare a Monaco per aprire il suo studio.

Dal 1991, Konstantin Grcic Industrial Design (KGID) ha sviluppato numerosi e stimati pezzi di arredamento e illuminazione per alcuni dei marchi più importanti nel mondo del design, tra cui Vitra, Magis, Plank, Established & Sons, Muji, Flos, Classicon, e Moroso. Grcic inoltre produce periodicamente edizioni limitate e progetti speciali, specialmente in collaborazione con la Galerie Kreo a Parigi.

Grcic definisce la funzione in termini umani, combinando rigore formale con acutezza mentale ed umore. Conosciuto per la sua estetica semplice, Grcic è spesso descritto come minimalista, ma il designer stesso preferisce il termine "semplicità".

Udine, Italy-based Moroso was founded as a small-scale, artisanal upholstery company in 1952 by Agostino Moroso, who served as director until the 1990s. At that time, Agostino’s children, Roberto and Patrizia Moroso took over and began to transform the traditional, regionally-focused family business into the innovative, internationally renowned furniture manufacturer it is today. In the role of Creative Director, Patrizia Moroso in particular has not only reinvented her company’s mission but also has had a lasting influence on 21^st-century design discourse through her frequent, high profile collaborations with some of the world’s most talented designers. In 1988, while still working under her father, she invited Israeli-British designer Ron Arad to produce his now-iconic Big Easy Chair, which helped to launch his career and set Moroso on a path to become one of the biggest players in contemporary design.

Moroso defines its approach to design as a laboratory for experimentation that underscores the value of communication, differentiation, and diversity. The values embraced by the brand are visible in the daringness of their lines of sofas, chairs, tables, accessories, and more. Highlights from the Moroso collection include Australian designer Marc Newson’s Gluon series (1993), Spanish artist Javier Mariscal’s Los Muebles Amorosos series (1995), British designer Tom Dixon’s Serpentine Sofas (2003), British designer Ross Lovegrove’s Supernatural Chairs, Japanese designer Tokujin Yoshioka’s Bouquet Chairs (2008), Japanese studio Nendo’s Kub Tables (2009), as well more recent additions, such as Arad’s unconventional Glider Sofa (2015) and architect David Adjaye’s Art Deco-influenced Double Zero Chair (2015).  Moroso’s ongoing relationship with Spanish architect-designer Patricia Urquiola has generated a number of highly successful pieces, like the Fjord (2002), Bloomy (2004), Antibodi (2006), Tropicalia (2008), and Fishbone (2012) series. In recent years, Moroso has contributed to a global awareness of African design and craft through the M’Afrique project and collection launched in 2009 in collaboration with Urquiola, Dutch designer , and other design greats.

In addition to its domestic furniture and accessories output, over the years, the brand has expanded into the hospitality, education, healthcare, and corporate sectors. Drawing on the worlds of industrial design, contemporary art, and fashion, Moroso has also created temporary installations for Venice Biennale (2013), Art Basel Miami Beach (2010), and Palais de Tokyo (2006).