€150,00
VAT included • Free delivery in the EU
Color
The hand fan, in rigid plexiglass.
Ancient Egypt, c. 1330 BCE
The golden ostrich-feather fan from the tomb of Tutankhamun. Not a tool for comfort, a ritual instrument carried beside a living god. To move air near a pharaoh was an act of devotion, not convenience. The fan began as something sacred.
Han Dynasty China, c. 200 BCE
The tuanshan, a rigid round fan of silk stretched over bamboo, painted with peonies, cranes, or verse. Carried by scholars and poets, its circular form stood for moral wholeness and quiet restraint. Less a tool than a small, portable philosophy.
Heian Japan, c. 900 CE
The hiogi, thin cypress slats bound with silk cord, gave the world the folding fan. Collapsible, precise, and intimate, it let Heian court women speak in gestures too subtle for words. A plane of painted wood that opened and closed like breath.
Rococo France, c. 1750
The folding fan at its theatrical peak. Hand-painted pastoral scenes on vellum, mother-of-pearl sticks, gilt edges. In the salons of Louis XV, a precise code of movements let a woman signal interest, secrecy, or refusal across a crowded room.
The Modern Era
Bamboo sticks. Blank paper. A rivet. By the twentieth century, the fan had been stripped of material, meaning, and identity, reduced to a disposable commodity. The object that once held ritual, poetry, and social power became something no one thought about. The gesture survived but everything else was lost.
Prima by Priosa, 2026
Prima is a single piece of bent plexiglass, no joints, no sticks, no fabric. Transparent when still, it disappears into light. In motion, it reappears. Four thousand years of gesture, reduced to pure form.
Ancient Egypt, c. 1330 BCE
The golden ostrich-feather fan from the tomb of Tutankhamun. Not a tool for comfort, a ritual instrument carried beside a living god. To move air near a pharaoh was an act of devotion, not convenience. The fan began as something sacred.
Han Dynasty China, c. 200 BCE
The tuanshan, a rigid round fan of silk stretched over bamboo, painted with peonies, cranes, or verse. Carried by scholars and poets, its circular form stood for moral wholeness and quiet restraint. Less a tool than a small, portable philosophy.
Heian Japan, c. 900 CE
The hiogi, thin cypress slats bound with silk cord, gave the world the folding fan. Collapsible, precise, and intimate, it let Heian court women speak in gestures too subtle for words. A plane of painted wood that opened and closed like breath.
Rococo France, c. 1750
The folding fan at its theatrical peak. Hand-painted pastoral scenes on vellum, mother-of-pearl sticks, gilt edges. In the salons of Louis XV, a precise code of movements let a woman signal interest, secrecy, or refusal across a crowded room.
The Modern Era
Bamboo sticks. Blank paper. A rivet. By the twentieth century, the fan had been stripped of material, meaning, and identity, reduced to a disposable commodity. The object that once held ritual, poetry, and social power became something no one thought about. The gesture survived but everything else was lost.
Prima by Priosa, 2026
Prima is a single piece of bent plexiglass, no joints, no sticks, no fabric. Transparent when still, it disappears into light. In motion, it reappears. Four thousand years of gesture, reduced to pure form.
PRIMA is made of rigid plexiglass, so it slides in the air, without distractions.
At 80g, no. Hold it from the lower opening and let the concave form move naturally through the hand.
Warm water and soft cloth. No abrasives. That's all.
14-day returns. Ships from Italy. Free shipping within the EU.
Common inquiries
PRIMA is made of rigid plexiglass, so it slides in the air, without distractions.
At 80g, no. Hold it from the lower opening and let the concave form move naturally through the hand.
Warm water and soft cloth. No abrasives. That's all.
14-day returns. Ships from Italy. Free shipping within the EU.