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Textile can be structure, surface, colour and thought. Few designers demonstrated this as clearly as Anni Albers, whose work changed the place of weaving within modern art and continues to shape the way designers approach pattern today.
For a Nosetta edition, we have made two of our Made in Italy silhouettes, the Gallia-LS Clutch and the Olmo Hobo, in Drawing XVI (b) 1974, a bicolour jacquard velvet designed by Anni Albers and woven by the Italian textile house Dedar in collaboration with the Josef & Anni Albers Foundation.
Anni Albers was a German-born artist, weaver, designer, writer and teacher who helped establish textiles as a serious modern art form. At the Bauhaus, where women were frequently directed towards weaving, she turned the medium into a field for rigorous experimentation. Thread became her way of exploring geometry, movement, material and architecture.
After leaving Germany in 1933, Anni and her husband, the artist and educator Josef Albers, joined Black Mountain College in North Carolina. Their creative partnership became one of the most influential of twentieth-century modernism. Josef is widely known for his study of colour, particularly the Homage to the Square series. Anni developed an equally exacting language through fibre, construction and repeated form. Their practices were distinct, yet shared a belief that careful observation could transform simple elements.
Josef and Anni Albers
Albers refused the old division between fine art and applied art. She approached weaving as both an ancient technology and a modern design system. A textile could be useful and intellectually ambitious at the same time. It could absorb sound, divide a room, create warmth, carry pattern or simply reward close looking.
Her influence can be seen in contemporary fashion, interiors, architecture and graphic design. Designers still return to the qualities that define her work: disciplined geometry, sensitivity to material and variation within repetition. The result is never decoration for its own sake. Pattern has structure and purpose.
Her work is represented in major museum collections and has been the subject of important exhibitions, including at The Museum of Modern Art in New York and Tate Modern in London. This institutional recognition reflects a larger shift that Albers helped make possible: textiles are not secondary to art history, but central to it.
Anni Albers at the Tate Gallery - London 2019
Drawing XVI (b) 1974 began as a work on paper. In Dedar’s jacquard velvet, rows of soft triangles animate a dense white ground. The small geometry feels ordered at first glance, then becomes irregular and alive. Rhythm is present, but repetition never becomes mechanical.
The fabric is produced in colour 001 Charcoal. Its white pile is dense, matte and cotton-like, while the charcoal areas have a softer, silkier appearance. A vertically textured ground adds another layer of movement. Light changes the textile throughout the day, revealing a design that is tactile as well as graphic.
Dedar’s collaboration with the Josef & Anni Albers Foundation brings the original drawing into a new material form while respecting the clarity of Albers’ design. Woven in Italy, the textile connects twentieth-century modernism with the depth and technical knowledge of Italian textile production.
Anni Albers 1967 © The Josef and Anni Albers Foundation VEGAP-2021
Nosetta selected the Charcoal version for its balance of precision and versatility. The black-and-white palette allows the triangular motif to remain strong without overwhelming the form of the bag. We use it in two distinct silhouettes, each offering a different reading of the same textile.
Compact and architectural, the Gallia-LS turns the jacquard into a concentrated field of pattern. Italian vegetable-tanned leather details and two detachable straps allow it to move easily from wristlet to shoulder or crossbody bag.
The larger Olmo Hobo gives the textile room to unfold. Its softly structured body, vachetta leather base and handles, cotton twill lining and practical interior make it an everyday bag with the presence of a collectible design object.
Dedar presented this meeting of textile history and Italian weaving during Milan Design Week 2026 and at Lake Como Design Festival 2025. Both settings were natural stages for the project. Como has a deep relationship with textile production and design culture, while Milan brings together international conversations around furniture, fashion, material and architecture.
Seen in these contexts, these fabrics are more than a famous pattern. They show how a historic design can enter daily life through material choices, skilled Italian construction and forms made to be used.
The Gallia-LS Clutch and Olmo Hobo in Drawing XVI (b) 1974 are available by preorder in editions of ten pieces per style. Each piece is made in Italy and is expected to ship in the first half of October 2026.
The small edition reflects the character of the project: considered materials, careful construction and a design whose value lies in lasting relevance rather than scale.
The design is by Anni Albers, based on her 1974 work on paper Drawing XVI (b). The jacquard velvet is woven by Dedar in collaboration with the Josef & Anni Albers Foundation.
No. Nosetta uses Drawing XVI (b) 1974, a jacquard velvet produced by Dedar in collaboration with the Josef & Anni Albers Foundation. The bags are designed and made by Nosetta in Italy.
Nosetta uses Dedar colour 001 Charcoal, with soft charcoal triangles on a dense white ground.
Both styles are made in Italy using the Anni Albers-designed Dedar velvet, Italian vegetable-tanned leather and carefully selected Italian components.
The edition consists of ten Gallia-LS clutches and ten Olmo hobo bags.
Preorders are expected to ship in the first half of October 2026.
Düsseldorf-based art consultant Sabine Broekmann has spent thirty years placing art in homes, galleries and design spaces. We asked her about atmosphere, collecting — and the Italian objects she chooses for herself.
There are places on Lake Como that you would not expect to exist. Casa Bianca Como is one of them. A historic villa open to the public since 2024, it houses a deeply personal contemporary art collection — works by Francesco Vezzoli, Pier Paolo Calzolari and others — alongside Cova, the historic Milanese patisserie. We went on a winter afternoon. We will return.
The things we value most about how we work were not invented. They were inherited — from the mills, the artisans, and the rhythms of life on Lake Como. And they are responsible. Zero waste. Transparent supply chain. Timeless design. No compromise.
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