The designer

Alessandro La Spada is one of the most eclectic, daring interior designers in Italy who frequently contributes to sectors that require a significant dose of creativity: from luxury furniture to lighting, leather goods, home accessories, custom motorbikes, objects and visual design.

Curious, experimental and attracted by the merger of art, design and ancient crafts, he boasts a great professional experience along with historical furniture brands such as Visionnaire, Smania, La Murrina, Illulian rugs, Besana, Longhi and Milldue; companies specialized in natural stone processing such as Antolini and young furniture brands like Clan Milano. Alessandro has always been fascinated by the emotional side of objects and by intense material research intended as an introspective investigation. His projects are united by the same common thread, condensing dreamlike suggestions, attention to detail, luxury and experimental functionality.

He likes to label himself a self-taught artist, with the air of a craftsman rather than a designer, even though he has taught furniture design for years at the IDI’AC Interior Design Institute and held workshops at the Domus Academy. “Space is a challenge, not a constraint”: this is how he expresses his constant enthusiasm for design and choice of organic and industrial materials, shaping exclusive, refined living environments, ranging from the tranquil shores of Lake Garda to the social spaces of a luxury Milanese hotel, to the cold latitudes of St. Petersburg.

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The lines


For this handle, the designer was inspired by the film masterpiece METROPOLIS, a science fiction film from the beginning of the century (1927 – Fritz Lang). He consider this handle as a small sculpture with organic and soft shape but strong at the same time.
A tribute to Maria, female character of the film , whose looks inspired the creation of the HEL robot. A great example of the stylistic expression of last century expressionism.


The inspirational source of this project was the decor of some elements of the mausoleum of Agra in India, the TAJ MAHAL, considered one of the seven wonders of the world. It would seem that this construction was intended in 1632 by Emperor Moghul Shah Jahan in memory of his wife Mumtaz Mahal.


A geometric weave “wraps a body ornamenting it like a second skin”. The reference to the footwear of the
ancient Romans is the pretext for the styling exercise of this model.

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