{"id":11848,"date":"2026-03-10T15:11:19","date_gmt":"2026-03-10T14:11:19","guid":{"rendered":"https:\/\/www.archieinteriors.com\/?p=11848"},"modified":"2026-03-10T15:11:19","modified_gmt":"2026-03-10T14:11:19","slug":"interview-with-maurizio-peregalli-ceo-of-zeus","status":"publish","type":"post","link":"https:\/\/www.archieinteriors.com\/en\/interview-with-maurizio-peregalli-ceo-of-zeus\/","title":{"rendered":"Interview with Maurizio Peregalli, CEO of ZEUS: minimalism that is never banal, in the name of matter"},"content":{"rendered":"

Milan, 1984: while postmodernism often becomes \u201cloud\u201d, ZEUS<\/strong> chooses subtraction. It was born as a group of friends with the desire and pleasure of exchanging experiences in the design, fashion, and art sectors, with the aim of sharing their ideas, contaminating each other, and immediately took a clear position: few forms, no concessions to the superfluous, an almost graphic black mark that does not chase time but passes through it.<\/p>\n

This trajectory is also further refined by a crucial school: the meeting with Giorgio Armani<\/strong>, who refined his ability to synthesize and research materials. From there, the idea becomes a method: not necessarily starting from a drawing, but from the concrete possibilities of the material and of those who work it \u2013bending, welding, manual treatments\u2013 until obtaining essential objects without ever slipping into the banal.<\/p>\n

This is what the first pieces are called Tavolo, Sedia, Panca<\/strong>: not minimalism as a style, but as a take on responsibility. Archetypes designed not to depend on trends, built with \u201cdisplaced\u201d industrial materials of meaning \u2013 linoleum, technical rubbers, extruded profiles \u2013 and held together by a rigor that can be recognized at a glance today: sharp proportions, light on the metal, handmade welds, and that rare consistency of those who prefer to last rather than like it immediately.<\/p>\n

ZEUS was born as a “group” even before being a company: friendships, contaminations between design, fashion and art, and a clear stance compared to the more “noisy” postmodernism.Looking back to 1984, what was the spark that started the project? And, above all, what did you want to take away from the design language of the time \u2013 or give back to the project \u2013 in terms of essentiality, rigor and relationship with the material?<\/h3>\n
\"tavolino
Slim Irony Sideboard<\/figcaption><\/figure>\n

The first SEDIA and the first TAVOLO were born from an internal stimulus, something was spinning in my head, a need to coagulate my instinct, discover materials, put them together, overlap them and make them coexist in forms that expressed my rigor born partly from readings and images of oriental culture, but above all from an education in the essence of things born and raised in a country context where simplicity coexists and dominates with function both by economy and by tradition.<\/p>\n

“Archetype” as a program: calling the first pieces Sedia, Tavolo, Panca is a choice of language \u2013 simple only in appearance, but in reality very courageous. Why that essential vocabulary? What did you want to affirm, and what type of relationship with the object and with living did you intend to establish from the beginning?<\/h3>\n

The first pieces, we are in 1984, are called TAVOLO, SEDIA, so already in the name they underline the concept of archetype, of reference object from which to start.<\/p>\n

The black sign, almost graphic, deliberately devoid of colour, takes on the value of essentiality; they were products that did not have to follow trends, they had to remain over time, and so it was, iconic products.<\/p>\n

The first collection is an expression of what I had inside without the limits dictated by market demands or salespeople. The reference term for my wealth of experience and the ZEUS project is the result of my experience gained over years of working in direct contact with the material and with those who work with it.<\/p>\n

What elements make a ZEUS object recognizable at a glance \u2013 proportions, rhythm, “sign”, way in which the metal psheds light \u2013 and what choices does it never negotiate, even when tastes, markets and seasons change?<\/h3>\n

The clean, minimal design, and certainly the hand-made welds are the distinctive feature that immediately catches the eye when looking at a ZEUS product. All our products are designed without following current trends, and the choice of quality materials is never in question.<\/p>\n

\"sedie
Slim Sissi Chairs<\/figcaption><\/figure>\n

Archetipo, Irony (Slim\/Big\/Easy), Tristano, Slim Sissi: what is the common thread that unites the families and what really changes between them in terms of production process, complexity, possibility of customization and quality control?<\/h3>\n

An important aspect is the capacity for synthesis, the ability to collect, stop and resume images, sensations, experienced and seen visions to transpose them into the development of the design moment and the nascent object.<\/p>\n

My belief in the capacity for synthesis leads to the characteristic of my objects, namely their essentiality. The rejection of decorativism and the superfluous arises from an internal need for simple things and primary feelings which are the expression of a great passion that has accompanied us for more than forty years.<\/p>\n

Since we are manufacturers, we have more maneuverability in customization: we can choose how to move in materials and finishes, and above all we can customize even for small quantities.<\/p>\n

In your production you declare a “strongly artisanal” industrial matrix, with folding, welding and treatments carried out by hand, and a preference for finishes that let the material speak. At what point, for you, does the hand become a design value\u0097and not a simple narrative attribute?<\/h3>\n
\"mobile
Easy Irony TV and Low Tables<\/figcaption><\/figure>\n

It is the project that takes production capabilities into account. The materials are industrial materials, easy to find and low cost, they overturn the use for which they were originally designed. Linoleum for floors is used to cover tables, Pirelli millepunte rubber from car mats becomes chair seats, extruded rubber sleeves become armrests and backrests. The construction is the result of folding, welding. They are all handmade, unique products. And this still remains the characteristic that distinguishes us.<\/p>\n

Is there a threshold beyond which minimalism stops being essential and becomes sterile? How do you recognize it \u2013 and how do you avoid it in the construction of forms and in the choice of materials?<\/h3>\n
\n

It hasn’t happened to me to do something banal, because there is always a thought behind every product.<\/p>\n<\/blockquote>\n

\"\"
Big Brother collection<\/figcaption><\/figure>\n

Since the 1980s, the showroom has become a place of exhibition, communication and meeting for ZEUS: a cultural device, not just a commercial one. What responsibility do you feel today, in 2026, towards that “editorial” dimension of the brand\u0097and how does it translate into concrete choices?<\/h3>\n

\"showroom<\/p>\n

Our showroom has always played an important role. Zeus in 1984 was the precursor of the Fuorisalone by organizing shared presentations and exhibitions within its spaces in via Vigevano: we could thus fully express our identity, not reducing it to the space of a stand at the Fair – a thought that still remains today!<\/p>\n

It was on the occasion of the 1984 Salone del Mobile that we organized the first real party, where the first collection of archetype products was presented.<\/p>\n

This – subsequently called ALL NIGHT LONG PARTY, with music and grandiose buffets where the whole city participated in the event – and the subsequent memorable parties were moments of openness and exchange for ZEUS; the presentations as an extended group, on the occasion of the Salon, had a strong impact on the media.<\/p>\n

In 1988 I had the intuition to ask Ansaldo for the abandoned space, which was obtained free of charge, where I could set up the usual annual presentation: among the unused locomotives, we organized an exhibition and a round table in which we discussed contemporary design.<\/p>\n

For 30 years our showroom has been in Corso San Gottardo, a 1950s garage of around 1000 m2 where we present our products and host other brands from different sectors such as lights and carpets.<\/p>\n

In the hospitality world the project is made of atmosphere but also of continuous use: lobbies, rooms, restaurants, lounge areas. In which interventions has ZEUS best expressed its identity in this sector? If you like, tell us about one or two particularly successful projects (even without mentioning the client), explaining what the experience was to build and how you translated that request into choices of materials, finishes and details.<\/h3>\n

\"ristorante<\/p>\n

One of the most important projects that I would like to remember is the one carried out at the Venice Biennale, specifically in the Le Bombarde restaurant. Tables with antique wood tops, GINGER chairs and the EASY IRONY bookcase, Zeus products customized based on the surrounding environment and consistent with the mood of the place.<\/p>\n

In the world of fashion and retail you have collaborated with companies such as Giorgio Armani, Replay, Furla and Giglio Palermo, designing and creating boutiques in Italy and abroad. What changes for ZEUS when the project must translate a brand identity into space \u2013 and not just “furnish” an interior? If you like, tell us about one or two particularly significant interventions (even without going into confidential details), explaining what the initial request was and how you transformed it into choices of material, proportions, finishes and duration.<\/h3>\n

The meeting and collaboration with Giorgio Armani were fundamental in the acquisition of my ability to synthesize and research materials. The project and creation of various Emporio Armani stores in Italy and abroad are the basis on which the first ZEUS collection was born. It is clear that the identity of the brand I work with always remains, but it merges with our production capacity, especially in metal processing and the use of industrial materials.<\/p>\n

When a client or designer asks for customizations, which parameters do they really consider as design parameters (dimensions, thicknesses, tolerances, fixing systems, finishes, resistances, times) and which requests, instead, do they tend to discourage because they risk distorting the object or compromising its durability?<\/h3>\n

There are projects that we do not accept because they do not correspond to our production identity, for example when we are asked to use materials with which we do not work.<\/p>\n

Looking at the catalogue: which are the most representative products of today ZEUS \u2013 and why do those precisely describe your idea of ??form, function and matter best? (If possible: an “Archetype”, an “Irony” and a particularly significant piece for the contract world.)<\/h3>\n
\"collezione
Archetype Collection<\/figcaption><\/figure>\n

Certainly the Archetipo collection designed in 1984, iconic and still top of the line, and then the SLIM IRONY collections (highly requested in the contract sector) EASY IRONY and BIG IRONY.<\/p>\n

You have often declared that you do not necessarily start from a drawing, but from the potential of the material. He tells us how a piece is really born: what is the trigger \u2013 a surface, a treatment, a production constraint, a cost-target, a gesture? And at what moment do you “understand” that the shape is the right one?<\/h3>\n

Manual skills and the direct relationship with the artisans have always been an instinctive need and a pleasure of mine. I need to have a direct relationship with things to be able to express my aesthetic and functional opinion. My approach is not just creative from scratch, but rather modification according to my experience. Not invention, but filter and precise attention to detail that determine the substantial difference between pure minimalism and the banal sign. An important aspect is the capacity for synthesis, the ability to collect, stop and resume images, sensations, experienced and seen visions to transpose them into the development of the design moment and the nascent object.<\/p>\n

If available: do you have sketches, notes, prototypes or archive images that can tell the story of the genesis of a product \u2013 the passage in which the material “decides” the shape? Would you like to share one or two materials with the editorial team?<\/h3>\n

\"bozzetto \"bozzetto \"bozzetto<\/p>\n

You talk about the life cycle of materials and metal as a recyclable material: without slogans, what concrete choices have you adopted today (materials, processes, durability, reparability, finishes) and what objective do you want to make more measurable between 2026 and 2027?<\/h3>\n

Our strong point is that of being self-producers; we use recyclable materials, we have always focused on essentiality, minimalism, the rejection of formal and symbolic “waste” in favor of rigor and intransigence, and the choice of poor technologies.<\/p>\n

If you had to describe ZEUS in just three words, which ones would you choose\u0097and why?<\/h3>\n
\n

Minimalism – Material – Handmade, words that represent our concept.<\/p>\n<\/blockquote>\n

\"tavolo
Augustin Table<\/figcaption><\/figure>\n

We close with a vision exercise: it is 2036. How do you imagine the relationship between craftsmanship and technology in the production of furniture \u2013 and where do you want ZEUS to be placed, in that dialogue between matter, rigor and culture of living?<\/h3>\n

Even in the future we plan to continue with our style and our production method, differentiating ourselves from current trends and maintaining our cornerstones.<\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Milan, 1984: while postmodernism often becomes \u201cloud\u201d, ZEUS chooses subtraction. It was born as a group of friends with the desire and pleasure of exchanging experiences in the design, fashion, and art sectors, with the aim of sharing their ideas, contaminating each other, and immediately took a clear position: few forms, no concessions to the …<\/p>\n","protected":false},"author":17,"featured_media":15523,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[350],"tags":[],"class_list":["post-11848","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","has-thumb","has-featured"],"yoast_head":"\nMaurizio Peregalli CEO ZEUS: Minimalism and Made in Italy Metal<\/title>\n<meta name=\"description\" content=\"Interview with Maurizio Peregalli, CEO of ZEUS: a tale of Italian minimalism that is never banal, design rigor and hand-worked metal.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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