Four martinis in and you start to feel the moon. This is the indulgent, theatrical, and slightly delirious sensation of Disco Aperitivo—a collection dressed like Anjelica Huston at Studio 54.

Drawn from the social choreography of Italian aperitivo and the metallic allure of Italo disco, Disco Aperitivo moves between terrazze and dancefloor with over a dozen pieces shaping the cadence of a night well spent.

Across the table, each object is defined by use. The Follie placemat introduces a soft edge—raw silk, gathered and ruffled, breaking the perimeter of the setting and absorbing light beneath glass and metal, its form drawn from the film Follie di Notte. In contrast, the Stryx trays—named after the 1978 Italian television program—are produced in fire-enameled copper, using a historic process associated with figures such as Paolo di Poli, Gio Ponti, and Ettore Sottsass.

Across the table, each object is defined by use. The Follie placemat introduces a soft edge—raw silk, gathered and ruffled, breaking the perimeter of the setting and absorbing light beneath glass and metal, its form drawn from the 1978 film Follie di Notte. In contrast, the Stryx trays—named after the 1978 Italian television program—are produced in fire-enameled copper, using a historic process associated with figures such as Paolo di Poli, Gio Ponti, and Ettore Sottsass.Gio Ponti, and Ettore Sottsass.

Glassware follows the taste of the drinker, structuring the table through use: a low rocks glass for Negroni or vermouth over ice; a tall collins for spritzes and highballs; a flared aperitivo glass for lighter pre-dinner pours; and stemmed forms for Martinis, Manhattans, or champagne.

Plates and bowls keep small bites—anchovies, olives, citrus, nuts—contained and within reach, while embedded crystals catch and shift with movement.

At the periphery, La Donna, the enameled copper cigarette box, is opened, passed, and returned, with the Capri tray holding the residue—cigarettes, matches, ash, or small objects—placed somewhere between the corner bar and Donna Summer’s bedside.

Conceived during extended time in Milan, the collection reflects aperitivo as a cultural constant—stained in lipstick, carrying traces of amaro and yesterday’s perfume.

Disco Aperitivo made its debut in Milan as part of Salone del Mobile.

A world of thanks to C41, and to all who brought it to life: photography by Alecio Ferrari, creative direction by Luca A. Caizzi, and project management by Athena Kuang; set design by Maria Giuditta Vettese and Chiara Talacci, with video by Stefano Paussa; executive production by Barbara Guieu, production by Riccardo Pagano, and junior production by Alice Vitulli; with digital tech by Violetta Abbruzzino and lighting by Luca Baldini and Denise Manzi.