The Arazzeria Scassa, founded in Asti in 1957 by Ugo Scassa, is one of the most important tapestry shops in the world. Today, like yesterday, every Scassa tapestry is worked by the expert hands of weavers and weavers, on seventeenth-century looms, with the traditional high-heddle technique of the great tapestry makers of the past.

Works of art and craftsmanship, tell of a chosen knowledge, which has been handed down in our family for two generations.


Each Scassa tapestry is handmade thanks to the skilful work of the master weavers, including the members of the Scassa family, who for two generations have preserved and handed down the artisan know-how and culture of the tapestry. Hours, months, years of work are transformed into works of the highest artistic value, exhibited in the largest museums in the world, in the rooms of the Quirinale and in the personal quarters of His Holiness, as well as in the residences of the private clients of the Arazzeria Scassa. It is thanks to the investment and sensitivity of the clients that the Tapestry has been thriving for over half a century as a spokesperson for an artistic excellence that speaks to the world from Asti.

Find out more at the following address: arazzeriascassa.it


Ugo Scassa ‘s tapestry of Asti it achieved fame in 1960, when the laboratory obtained the contract for the weaving of a series of tapestries that would have decorated the halls of the Italian turboship Leonardo da Vinci. The history of the tapestry and the birth of the relationship of Ugo Scassa with the art of tapestry dates back to a few years earlier when, in 1954, a tapestry designed by the architect Ettore Sottsass jr was exhibited. at the Milan Triennale, woven by a local manufacturer, the Redan di Pinerolo company. An extraordinary artistic adventure originated from this fortunate meeting, which still today combines professional training with a passion for contemporary art. The tapestry experiments conducted by Ugo Scassa, founder of the Asti tapestry, are to be placed at the beginning of this path.

“When I set my first tapestry on the loom” Ugo Scassa narrated “I only followed the call of my passion, animated by the conviction that the tapestry could find its own relevance, that it deserved to return to being a means, and certainly not the last, of artistic expression in the modern world. The idea of trying to merge, and successfully, into a unitary poetic expression, one was exciting millenary technique with the most unscrupulous stylistic innovations of modern figurative art. And what stimulated me the most was that a technique that has remained deliberately unchanged, without altering its instrumentality at all, was enlivened by the encounter with those new stylistic inventions that testify to an aesthetic sensibility that is different from that of the past. “