Anthropomorphism

Alessandro Mendini was the director of a magazine called Modo (In English it would be appropriate in this case to define 'modo' as 'manner'). A master and pope of the 'how', when he speaks of 'manner'; it means making each approach, each method, sacred. When he intervenes on the Thonet chair; he uses the golden weight of the most sublime creature of semiotics, the flag. It is as if only the language of signs could condensate the sense of his projects.
And the most renowned creature of his, the bottle opener Anna G, is it not the demonstration of the sign becoming an entire project? Even if it may be his simplest and 'easiest' project, is it not nevertheless the one, where pure manner fuels the quality of the final result? It is not the anthropomorphism of the object that gives it meaning, but it is the only one that leaves a mark. If this weren't so, this would have ended up to be just one of the many eccentric objects we have laying around. And even if it were so, he would have probably been happy anyways.