About

Born in 1977, this icon­o­­clas­tic artist be­­came glob­al­­ly fa­­mous at the end of the 90’s by hi­­jack­­ing in 3D the prod­ucts of the most em­ble­m­at­ic and in­­ter­­na­­tio­n­al brands such as Vuit­­ton, Ap­­ple, Nike and Bic … Fur­ther­­more thanks to nu­mer­ous publi­­ca­­tions in the press, the fic­­tion turned in­­­to re­al­i­­ty. When cus­­tomers tried to purchase th­ese imag­i­­nary prod­ucts, the or­ders flood­­ed Ora ïto’s web site. This be­­came the se­­cond dig­i­­tal work ev­er ac­quired by the Na­­tio­n­al Funds of Con­tem­po­rary Art (FNAC).

Dur­ing the years 2000, Ora ïto ded­i­­cat­ed him­­self to his own stu­­dio and the cre­a­­tion of re­al prod­ucts, by de­vel­op­ing transver­sal pro­­jects of near­­ly all the busi­­ness sec­­tors of de­sign, ar­chi­tec­­ture, com­­mu­ni­­ca­­tion, and so on.

In 2002, he re­­ceived the Award of the best de­sign for his alu­minum Heineken bot­­tle as well as his orig­i­­nal cap­­sule pack­­ag­ing. His first lamp ONE ­LINE, which he drew for Artemide with a sin­­gle con­ti­­nous ran­­gy line, was cele­brat­ed by his peers dur­ing the Fur­ni­­ture trade show of Mi­lan in 2004 and was crowned with a Red Dot De­sign.

In 2005, the cu­ra­­tor of the 1st Eu­­ro­­pean cen­ter of con­tem­po­rary art, Marie-Laure Jous­set, of­fered him the op­­por­­tu­ni­­ty to or­­ganize in the French Cul­­tu­r­al Cen­ter of Mi­lan his first big mono­­graph­ic ex­hi­bi­­tion which he bap­­tized with irony « MUSE­O­RA-ÏTO ». His orig­i­­nal vi­­sion of the brands pushed him to the front of the in­­ter­­na­­tio­n­al scene very ear­­ly with an im­pres­sive ca­t­a­log of cus­­tomers which in­­­cludes Adi­­das, the group AIR, Thier­ry Mu­­gler, Toy­o­­ta, Bio­therm, Le­vi’s, David­off, Nike, Danone, Ken­­zo, LG elec­tron­ics, Guer­lain, Bal­lan­­tine’s, L’Oréal Pro­fes­­sion­­nal, Sagem, Habi­­tat and Christofle …

Hav­ing cre­at­ed a bath­­room for ­Su­per­­griff and a fu­­turis­tic kitchen ­for Goren­­je, O­ra ïto con­t­in­ued to elab­o­rate the ob­­jects of our fu­­ture en­vi­ron­­men­t ­for the most presti­­gious ­fur­ni­­ture and light­ing cor­po­ra­­tion­s ­such as Zan­ot­­ta, Cap­pel­li­ni, Artemide, B&B Italia, Frighet­­to.

His name has be­­come a re­al brand of de­sign cor­po­ra­­tion. Among his pro­­jects of ar­chi­tec­­ture, we count in par­tic­u­lar the night­­club “Cab”, place du Palais Roy­al in Paris, the French Nike show­­room (2003), the “Bright­­ness of Star” shop  for Mu­­gler Par­­fums (2005), the Eu­­ro­­pean flag­­ship store of Toy­o­­ta on the Champs-Elysées (2007), the new ar­chi­tec­­tu­ral char­ter of show­­rooms and deal­ers of Ja­­pa­­nese builders in Eu­­rope.

From an aes­­thet­ic ­­point of view, th­ese cre­a­­tions share a pace with the fu­­ture, with a for­­mal work­ing draw­ing and a func­­tio­n­al ra­­tio­n­al­ism, ad­d­ed to the po­­ly-sen­­so­rial­i­­ty and new ma­neu­vers. Keep­­ing a cer­­tain dis­­­tance from fashion ten­­den­­cies, he has de­vel­oped his own vo­­cab­u­lary.

“His cre­a­­tions con­ceal the codes of a new lux­u­ry, time­­less and uni­ver­sal with the same min­i­­mal working draw­ing.”

Evi­­dent forms to be un­der­s­­tood in flash, fruit of his phi­lo­­so­­phy which he named “Sim­­plex­ité”, or the art to give to an ob­­ject with com­­plex func­­tions a vis­i­ble sim­­plic­i­­ty.

He re­cent­ly de­signed the al­ready fa­­mous per­­fume “Idylle” for Guer­lain, the no­­mad and rev­o­lu­­tio­­nary k­it ­­for the first ­­cos­met­ic brand of Fred Far­ru­­gia and col­lec­­tions of fur­ni­­ture for Zéri­­talia, Zan­ot­­ta and Arte­lano, which he pre­sen­t­ed dur­ing the fur­ni­­ture trade show of Mi­lan. He works at pre­sent in co-brand­ing with Dun­lop­il­­lo for whom he cre­at­ed a col­lec­­tion of fur­ni­­ture. With­­ Stein­er he imagined a lounge col­lec­­tion, from armchair to a so­­fa and a cof­fee table and a com­plete range of prod­ucts of all the ty­polo­­gies adap­t­ed to the lounge.He al­so worked on a se­­cond col­lab­o­ra­­tion with Guer­lain (Ter­ra­­cot­­ta) and a new lifestyle and jew­­els col­lec­­tion for Christofle.

He is now de­vel­op­ping a lot of pro­jects with the pearls of the french in­dus­try, as the in­te­ri­or in­side of the next A320 for Sabe­na Tech­nics, new lifestyle col­lec­tions for Christofle, fur­ni­ture for presti­gious french fur­ni­ture man­u­fac­ters or the cut­lery for Les Forges de Lagui­ole. He has de­signed the fu­ture news­pa­pers stand for Uni­bail-Ro­dam­co and in­creas­ing­ly work­ing on ar­chi­tec­tu­ral pro­jects still kept con­fi­den­tial.

This year, in Mi­lan, Ora ïto launch­es the world­wide pre­miere an unu­su­al ex­pe­ri­ence based on the ge­net­ic trans­for­ma­tions. On the edge of the hy­poth­e­sis and con­tem­po­rary art, Ora ïto pre­sents hy­brid ob­jects as­so­ci­at­ed to the re­search and in­no­va­tion de­part­ment of the dy­nas­tic Cit­roën firm. He has cre­at­ed sur­pris­ing and un­ex­pect­ed sculp­tures join­ing all the pa­ram­e­ters and the tech­nolo­gies ap­pro­pri­at­ed for car man­u­fac­tur­er uni­verse. Lo­cat­ed Pi­az­za Croce Ros­sa, this demo­crat­ic ex­hi­bi­tion will fea­ture two mono­typ­inc kinds. Bap­tized «Evo­mo­bil» and “U­FO” th­ese two monu­men­tal sculp­tures are the cross­ing of Cit­roën’s Icons and a re­flec­tion from the past to the fu­ture. Based on the pro­cess of the evo­lu­tion, Ora ïto’s vi­sion com­bines his­toric and so­ci­o­log­i­cal tes­ti­mony by putt­ing aside estab­lished codes. The icon­o­clas­tic artist was not dream­ing of another con­cept car but of a ge­net­ic trans­for­ma­tion to spread a uni­ver­sal mes­sage to the car in­dus­try through his artis­tic vi­sion and new di­rec­tions nev­er in­vesti­gat­ed be­fore.