Bossa Furniture

HIDDEN TREASURES: MÓVEIS CIMO
THE COMPANY

More than just an industry, Móveis Cimo left an enduring legacy in Brazilian design history. It furnished public buildings, theaters, cinemas, and schools while also catering to the growing demand for modern design in private homes. As "modern" became synonymous with "trendy," Cimo developed a line that brought mid-century aesthetics to a broader audience, balancing functionality with style.

The company's reach extended through nationwide advertisements in magazines such as Manchete during the late 1960s. Intriguingly, a decade earlier, Manchete’s owner, the visionary Adolpho Bloch, had chosen works by Joaquim Tenreiro and Sergio Rodrigues—icons of bespoke modernism—for his buildings and residences. This juxtaposition reveals a fascinating evolution from high-art craftsmanship to accessible, industrially produced modern design.

Cimo's history starts in 1921 with a factory of wood boxes, called A.Ehrl e Cia., and ends in 1982 as a furniture factory, after a lot of names and format changes, as Móveis Cimo S.A. Cimo was committed to industrialization, carrying out the standardization of products, and facing serial production challenges.

In the search for more accessible prices for the popular strata, the company did not abandon the possibility of developing quality products by rationalizing production, making better use of materials, and using advanced technologies for the time. Móveis Cimo became the largest furniture producer in Latin America, playing a fundamental role in developing its region and the advancement of manufacturing series furniture in the country, being a pioneer in several sectors and an essential chapter in the history of Brazilian furniture making.
THE HIDDEN TREASURES PROJECT
For the past five years, the Bossa team has been immersed in the Hidden Treasures project—a meticulous exploration of the overlooked yet pivotal companies that shaped Brazilian design history, such as Móveis Cimo.

Through extensive research of old magazines, company catalogs, and newspapers, we have unearthed narratives on the verge of being forgotten. These stories extend beyond the celebrated masters, shedding light on the creative ecosystems—the stores, makers, and local scenes—that played vital roles in Brazil’s modern design movement.

The pioneers will always hold their rightful place in history, but Hidden Treasures shifts focus to the networks and ideas that sustained and amplified their success. It explores how creative hubs, cultural movements, and economic forces intersected to shape Brazil’s design landscape, reflecting a dynamic confluence of ambition, innovation, and historical context.

Unlike the radical experimentation seen elsewhere, the late 1960s was marked by a pragmatic approach to design, when mid-century modern aesthetics became accessible to the upper-middle class. This era marked significant industrial growth, as companies invested in worker training, expanded operations, and established multiple locations—often bridging São Paulo and Rio de Janeiro. This industrialization brought modern design into everyday life, making it both functional and aspirational.
THE RESTORATION PROCESS

"It is part of our job to prevent, delay, and repair the natural damages caused by time and use."
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Our work has gone beyond archival research to rescue and restore extraordinary pieces that, unlike the well-preserved icons, were often neglected and altered over time. Many of these works, once adorned with exquisite rosewood veneers, were painted white in the 1980s. Now, over 80 models have been meticulously restored and cataloged, and stand as testaments to the artistry and innovation of Brazil’s unsung design pioneers.

After sixty years of use, even the most comfortable lounge chair in the room loses its comfort. There are natural transformations in the materials due to the passage of time, and to bring their full potential back, we count on a multidisciplinary team of greatly skilled researchers, artisans and craftsmen, working together to achieve the best results according to each project.

Research and restoration are allies. Research supports us when addressing techniques and materials, while restoration tells us about the truth of the material. The undeniable marks of the passage of time are signs that help us identify the original pieces and – equally important – the fake ones, guaranteeing they are not part of our collection.

The distinguished creations in mid-century Brazilian design have the potential to tell stories about who we are, transport us to the past, trace paths to the present, and allow us to glimpse into the future.

Restoring a piece of furniture makes new experiences possible through its materiality, carrying the legacy of Brazilian design.
OUR COLLECTION