FLORENZA BY GINORI 1735: A FLORENTINE GARDEN INTERPRETED IN PORCELAIN

he landscapes surrounding Florence have long provided a visual vocabulary for Italian artists and craftspeople. In Florenza, Ginori 1735 turns to that natural environment once again, interpreting flowers and foliage through a collection of porcelain tableware and decorative pieces designed for contemporary interiors.

Rather than presenting botanical motifs as formal arrangements, Florenza takes its cue from nature in a less structured form. Petals appear to drift across plates, leaves emerge partially from the composition and colour moves across porcelain with an almost spontaneous quality. The effect is decorative without becoming overly elaborate, giving the collection a sense of movement and informality.

At its centre, Florenza is a collection for the table. Plates, coffee cups and decorative vases form part of a coordinated range intended to bring botanical detail into everyday rituals as well as more celebratory occasions. The pieces can be considered individually or assembled into a broader mise en place, allowing the decoration to build gradually rather than demanding uniformity.

The collection’s visual language is closely tied to Florence and its surrounding countryside. Wild flowers found across the Tuscan landscape provide the starting point for motifs that are translated onto porcelain with an emphasis on irregularity. Instead of reproducing a garden literally, the designs suggest its atmosphere: the fleeting appearance of a flower, the interruption of foliage and the contrast between colour and open porcelain.

This approach is particularly evident in the collection’s two principal colour stories. Acanto green takes inspiration from the vegetation associated with the landscapes around Florence. Its deeper botanical tone gives the pieces a composed quality, framing the white porcelain while retaining the softness of a natural palette.

Malva pink introduces a different mood. Brighter and more delicate, it recalls the colour of spring flowers and creates a lighter relationship between decoration and porcelain. Areas of white remain visible within the compositions, allowing the botanical elements to breathe rather than covering the surface completely.

Together, the two palettes give Florenza flexibility. Acanto offers a more grounded interpretation of the collection’s botanical inspiration, while Malva brings a brighter note suited to spring and summer tables. Used separately, they establish distinct atmospheres; combined, they create a more expressive setting without abandoning the collection’s restrained character.

The porcelain itself remains central to the Ginori 1735 tradition. Founded in 1735 by Marquis Carlo Andrea Ginori at Doccia, near Florence, the company established one of Italy’s earliest porcelain manufactories. The Doccia manufacture developed a long association with experimentation, artistic production and technical refinement, eventually becoming Richard-Ginori before adopting the Ginori 1735 name. Its heritage continues to be closely connected to Italian porcelain craftsmanship and the artistic culture of Florence.

That history gives collections such as Florenza a particular context. Botanical decoration has appeared repeatedly throughout European decorative arts, but Ginori 1735 approaches the subject through the perspective of a Florentine porcelain house. The connection is less about reproducing historical patterns and more about maintaining a relationship between the natural environment, Italian craftsmanship and the rituals surrounding the table.

There is also a deliberate sense of versatility in Florenza. The collection does not appear restricted to formal dining. Coffee cups introduce the decoration into quieter daily moments, while plates can be incorporated into both simple meals and more elaborate tablescapes. Decorative vases extend the language beyond tableware, allowing the floral and foliage motifs to become part of an interior in their own right.

This breadth reflects a broader shift in how contemporary tableware is used. The table is increasingly treated as an extension of interior design, with colour, texture and pattern contributing to the character of a room. Florenza lends itself naturally to that approach because its decoration can be introduced in measured quantities. A single vase or floral plate can provide a visual accent, while a complete setting creates a stronger botanical composition.

The collection’s relationship with Florence is important here. The city is inseparable from the history of Italian art and craftsmanship, yet Florenza does not rely on the more familiar architectural imagery associated with the Renaissance capital. Instead, its point of departure is quieter: the vegetation, flowers and changing colours found beyond the city’s historic centre.

That distinction gives the collection a contemporary quality. Its inspiration is recognisably Tuscan without resorting to overtly traditional symbols. The designs suggest the region rather than attempting to reproduce it literally.

The idea of spontaneity is perhaps the defining characteristic of Florenza. A formal botanical pattern generally depends upon symmetry and repetition, whereas these compositions allow individual elements to feel as though they have arrived naturally on the surface. A flower may sit partly outside the central field of a plate; foliage can appear to continue beyond the visible composition. Such details create the impression of a garden that extends beyond the object itself.

For a table setting, this makes the collection particularly adaptable. Florenza can sit comfortably within a more minimal arrangement, where the porcelain provides the principal decorative note, or become part of a richer setting alongside complementary glassware, linens and flowers. Its botanical imagery provides colour without requiring the entire table to follow the same visual language.

The decorative vases reinforce that connection between the table and the wider home. Their presence allows Florenza’s botanical character to move from dining spaces into living rooms, consoles or other considered corners of an interior. The collection consequently reads as a broader expression of nature-inspired Italian design rather than simply a service of matching plates and cups.

Ginori 1735’s current collections are available through its official boutiques and authorised retail network, with availability varying by market. The brand’s official website provides the current store and boutique information for customers wishing to explore Florenza and other collections in person.

There is something fitting about Florenza being rooted in the landscapes around Florence. The collection takes an established language of porcelain decoration and loosens it, allowing flowers and foliage to feel less like fixed motifs and more like fragments encountered in passing. Its appeal lies in that balance: the discipline of finely made porcelain paired with the apparent unpredictability of nature.

In this interpretation, the garden does not end at the edge of the plate or vase. It continues through colour, gesture and arrangement, leaving each setting with room for its own expression.