MILAN — Annalisa Tani and her design team at Ginori 1735 have spent a significant amount of time lately engaged in a rather unexpected workplace activity: playing the Game of the Goose. Originally popularized in Italy during the 15th and 16th centuries and historically favored by members of prominent dynastic families such as the Medici and Aragon, the winding track competition stands as the earliest commercially produced board game in history. That serpentine path and its recurring goose motif now form the conceptual and visual foundation of Fortunae, the latest collection of collectible porcelain and home decor from the storied Tuscany-based, Kering-owned manufacture.
The historic porcelain house is introducing the comprehensive range of tableware and decorative objects rooted in concepts of luck, symbolism, and thoughtful gifting. Drawing directly from the Renaissance board game’s classic design elements, the collection features an array of playful talismans—including geese, dragonflies, clovers, horseshoes, dice, keys, and ladybugs—interspersed across trays, teapots, mugs, decorative boxes, miniatures, and espresso sets. Conceived to be actively used, displayed, combined, and gifted, the diverse pieces successfully bridge everyday functionality with Ginori 1735’s signature aesthetic, vibrant color palette, and subtle, luxurious touches of gold. Retail prices for the collection range from $140 to $850.
In an exclusive interview discussing the launch, Tani sheds light on how Fortunae integrates into the broader strategic vision of the historic brand, illuminating the intersections between historical decorative arts and contemporary consumer lifestyles.
The Inspiration Behind Fortunae
WWD: How did the idea for Fortunae, inspired by a game associated with the Medici court, come about?
Annalisa Tani: It began with the universal relationship between luck and objects. Across various cultures, people have objects they use as superstitions or good-luck charms. Sometimes we genuinely believe an object brings us luck; sometimes we give an object to wish someone stai bene or buona fortuna. I wanted to explore that fundamental connection between physical objects, personal wishes, and the light-hearted idea of keeping fears at bay.
The collection successfully combines decorative and functional objects, with each piece designed carefully around both its practical use and its underlying story.
WWD: Why did you choose the Game of the Goose as a cultural reference?
A.T.: The fundamental idea of luck is shared widely across cultures: the Japanese have their distinct symbols, Americans have the horseshoe, and Italians might have the cornetto, or crescent horn. Historically, the Medici family actually gave the Game of the Goose as a gift to the King of Spain. It was one of the earliest court board games and represented the unpredictable course of life itself: you can fall, rise, move forward, or move backward.
I liked the idea of reintroducing a traditional board game into our increasingly digital lives—something deeply cultural, playful, and functional, almost like a decorative tray. The goose itself was historically viewed as a powerful good-luck symbol, which is precisely why the board game was named after it.
Redefining the Act of Giving and Modern Living
WWD: What does Fortunae say about the contemporary act of giving?
A.T.: When we give something to someone, we instinctively give a wish along with it—good luck, happiness, or overall well-being. The modern gift market has grown significantly because consumers are increasingly drawn to objects with genuine meaning and lasting value, rather than things that feel disposable in an already very digital world.
Fortunae pieces can be given individually or combined together into small, curated sets. They are also inherently multifunctional. A decorative box might hold fine jewelry beside the bed or serve chocolates on a living room table. The overarching idea is to create small, interactive worlds that can communicate and interact with one another within a home.
WWD: Are younger consumers changing the way Ginori is used and gifted?
A.T.: That is precisely where the original idea for this dedicated gift collection came from: young people frequently come into our stores asking for unique ideas for Valentine’s Day or for a major milestone like a graduation present.
Milestones like graduations and weddings, for example, represent another channel that is working extremely well for the brand. Traditional wedding favors and standard gifts are increasingly being replaced by products—or somewhat more precious pieces—that fit this modern concept, last significantly longer, and carry lasting intrinsic value.
WWD: In 2025, Ginori 1735 released the “New Table Manners Campaign” in which messy plates of spaghetti sat alongside markers, candies, and spilled tomato sauce. Above all, it was an indication that old rules are changing. How does Ginori 1735’s design strategy reflect this cultural shift?
A.T.: We asked ourselves some hard questions, and even when you go to someone’s home—especially a high-end home—the dining table may be set formally at first glance, but it naturally becomes much more relaxed as the evening progresses. Young people relate to one another in the exact same way, regardless of their specific social background.
So we began imagining how they would actually use our products. Ginori 1735 can certainly be incredibly formal when required, but it can also be wonderfully casual for an everyday quick lunch, while always maintaining a very high level of aesthetic quality. That is also part of what it means to be truly contemporary today. People no longer host large, formal family meals as frequently as they used to in the past.
Balancing Heritage and Contemporary Vision
WWD: Recent collections and collaborations balance consumers’ penchant for history, archival icons, and a contemporary spin. Case in point, Luke Edward Hall’s ongoing Neptune’s Journey for Ginori 1735, characterized by cartoonish images and an upbeat color palette. How would you describe Ginori’s current creative direction?
A.T.: We are working on several different levels simultaneously, developing future collections that range from the more classical to the much more daring. Fortunae already pushes the boundaries quite far, while still carefully maintaining the vital relationship between historical heritage and the future.
Ginori has never had only one singular voice over its 300-year history. However, there must always be a compelling narrative or story—one that is also somewhat contemporary and looks ahead, because so many things in the world are still changing. Absolute beauty is a given standard at Ginori, but there must also be a contemporary story that looks forward.
WWD: How are you balancing brand heritage with contemporary design?
A.T.: We do not always begin our creative process with heritage. For Fortunae, we mainly recovered the conceptual idea of the board game itself; the underlying graphics are remarkably contemporary and often monochromatic, featuring carefully considered touches that support the sculptural forms.
WWD: What has inspired you most in Ginori’s extensive archives?
A.T.: I deeply love Gio Ponti, and we possess an incredible archive of historical artifacts, papers, and documents that form the foundational bedrock of global design history.
Every now and then, I go through the physical archives and ask myself, “What on earth was this object actually used for?” Sometimes it is a strange, obsolete object once used to hold ice, or specialized ice-cream holders. Back then, standard household refrigerators did not exist—there were only iceboxes, and delicate glasses were placed upside down inside them to cool down thoroughly before being filled with ice cream.
There are so many other antique objects that are no longer used today—one of the most breathtaking examples is the exquisite collection of perfume bottles dating back to around the 1700s.
WWD: What was it like to develop the actual Fortunae game board itself?
A.T.: You should definitely play it because it is extraordinarily entertaining. We played it constantly throughout the entire development process. It was genuinely not easy to determine the exact board spaces where you had to move three places forward or two steps backward. We changed the visual layout at least one hundred times because every single element had to make absolute sense.
We played with our children in groups of four or five and had a wonderful time. As the old saying goes, it all comes down to luck: you can land poorly on a space and ultimately fail to reach the end of the board at all.
WWD: What responsibility comes with continuing Ginori’s legacy—and following in the footsteps of legendary figures such as Gio Ponti, who served as artistic director of Ginori 1735, then Richard-Ginori, from 1923 to 1933?
A.T.: We always remind the entire team that we are creating physical things designed to remain. We approach our work with enormous attention and profound passion because we would never want someone to look at a completed piece and say, “That is horrible.”
Ginori carries a massive historical responsibility behind it. We cannot afford to remain still; the creative bar must continually keep rising. We must keep experimenting with innovative manufacturing techniques while doing our absolute best to create objects that are beautiful, deeply meaningful, and built to last.
