There is a lot of anticipation in the design world for Milano Design Week 2025. Not only because of what will be shown during a week that is becoming longer and longer, and which is also linked to Art Week (the miart fair takes place from April 4 to 6). But also because it will see a change in the physiognomy of the Salone, which has always been its epicenter: some big companies have decided to leave the event and focus on their showrooms in the city, a trend that has been going on for years but today is really of a consistency that does not go unnoticed. We asked Maria Porro, President of the Salone del Mobile.Milano, for her point of view.
What do you expect from this Salone?
We have been going around the world with meetings and press conferences, and I have felt a great desire to be there. And also a very, very great appreciation. The work on the cultural project and also the change of pace in communication in the digital part create even more interest. I feel a positive wave even from very distant places. Then we know that the international context is complicated and full of uncertainties, so this broad work of international promotion, of opening new markets, is very important. The big architecture firms have registered well in advance, there is a lot of demand to participate in the Lighting Forum. There is really a lot of expectation and attention.
Speaking of uncertainties, in recent years, major companies have decided not to come to Rho. Does this change the physiognomy of the fair? There have always been changes; a turnover of names is normal. For those who have left, there are many – important both
in terms of specific weight and relevance – who have returned or come for the first time. Of course, I cannot mention names (I will mention some of them: Natuzzi, Vispring, Moooi and many others - ed.). Another thing I can say is that the Salone has an attraction that it puts at the service of everyone, even those who decide to stay in the city. In these 61 years, the evolution of the event has also reflected the revolution in the manufacturing supply chain: an extremely dynamic context – unfortunately! –that has seen companies grow, die, and be reborn; international or governmental transitions. So I would try to look at the whole and not stop at individual cases.
In any case, there has been a decline in numbers: from pre-Covid to now, the number of exhibitors has declined. It was also decided to arrange the pavilions on a single floor, that is to say, to incentivize a reduction in square meters per company to reduce their investment. However, it has to be said that the number of visitors and operators has set a record and is back to pre-Covid levels, we are talking about +28% compared to last year in terms of operators, 6,000 journalists, a very successful 2024 in an international context where other fairs no longer exist. I hope that the economic situations that have led to some decisions will be resolved. Because everyone is important.
For those who choose not to attend the Salone, what are their reasons?
Ask them, not me. I’ll just say one thing: the Salone has a committee that decides who gets in and who doesn’t. The city does not. Anyone who comes and has the means can take the space they want without having to be evaluated and approved.
The European scene is changing: fairs that no longer exist, a phenomenon like 3daysofdesign in Copenhagen that excites everyone. What is happening?
There is a changing world, a changing distribution, more and more B2C events, more and more commissions and big projects. The way of communication is changing. If you don’t have the parameters, it’s increasingly easy to get lost – as a consumer, as a professional - and not understand where quality and real innovation lie. The management of the Salone has a scale of values in which companies are selected and positioned according to a scale of expressive capacity and not purely economic factors. Not only the economic readiness to invest in a space, but rather the ability to express a project. Events like this are the most important to help the consumer really read who is doing quality, who is doing innovation and who is not. Then, all these changes are intercepted by the Salone, and the work we do to involve architects, interior designers, but also contractors, is a very strong and widespread work made up of important investments. At the service of the entire sector.
What are your strategies for the future?
Internationalization. The MoU signed with Saudi Arabia is about the plan to hold an event dedicated to the contract sector for large projects, a concrete goal in the short term. In the last two years there has also been a lot of interest from big international players, so we are working on that as well. We are moving through many different regions, we mentioned Saudi Arabia and then the whole Gulf area, but there is also India. Our cultural project is helping to position even better the com-
RUBEN MODIGLIANI | Editor-in-Chief
panies that fit into the context of the Salone. I cannot tell you anything now, but there is already something very important in the pipeline for 2026.
Many people say that the Milan Design Week has become too big. Are there any solutions?
The week is now of interest not only to those involved in furniture, but to everyone. This has led to confusion, to greater difficulty in being seen for all those outside, self-generated events that in the past were an added value, a special spice. With the Polytechnic we have a project on the ‘design ecosystem’, we try to create working tables, exchange of ideas. With our digital structure, we try to help the companies present at the Salone and in the city to be visible, we promote the events organized by institutions like the Triennale and the Compasso d’Oro. At the end of the day, this also helps the visitor. In the end, the benefit is for all the companies that are part of our system. Not just those that choose to be in Rho.
From now on
MARIA PORRO | President of the Salone del Mobile.Milano
DESIGN
21 MOODBOARD Form follows emotion
45 THE GRAND CRU
The excellence from the field of design
122 PORTFOLIO
Speaking light
124 WORKSPACE
The office: the third dimension of individuality
126 RISING TALENTS 11 to watch
132 PORTFOLIO
The Ballo formula
134 IFDMSURVEY To the next level
139 24HOURS IN MILAN
Redesigning the existing
144 FUORISALONE
A city on display
Hong Kong Walk On I, by Tai Ping & artist Stanley Wong aka anothermountainman, is a 3×6m handmade rug, inspired by Hong Kong’s iconic and ubiquitous white/red/blue bag.
FORM FOLLOWS EMOTION
The evolution of design in our complex 20s passes through reflections around universal principles and values that focus on emotions, desires, thoughts, connections. Fundamental elements that, alongside respect for the environment, constant research on materials, surfaces and processes, bring new light and color to the design culture by Maripina Cappelletti & Sabrina Sciama
In the mood for blue
1 | Allumette by Francesca Lanzavecchia for FOSCARINI totally redefines the aesthetic canon of the chandelier (EUROLUCE Hall 04 | C03 C05). 2 | The Omochi slide is part of the Yuugu collection designed by Naoto Fukasawa for JAKUETS, a Japanese company with a 100-year history dedicated to the creation of playgrounds (MDW25 Triennale, via Alemagna). 3 | Transcience by EMMA TERWEDUWE is a handmade tapestry with a multi-material jacquard weave that reveals its soul only when seen up close (MDW25 Alcova, Villa Bagatti Valsecchi, Varedo). 4 | Celebrating its 10th anniversary, the Tiki table lamp designed by Nao Tamura for ESTABLISHED&SONS returns in a portable and rechargeable version (MDW25 various locations). 5 | The Pliva Bowls, designed by Patrick Norguet for ZANAT, are both decorative sculptures and functional flower vases or containers. They are available with special walnut or black-stained maple shells (SALONE Hall 22 | A11). 6 | REDA AMALOU’s Panama screen is a unique, free and sculptural object. Each panel, with its organic contours, seems to dance (MDW25 Archiproducts, via Tortona 31). 7 | The result of a careful study by OLUCE to maintain the balance and details that have made this object an icon, Joe Colombo’s Spider table lamp changes size and becomes Mini (EUROLUCE Hall 4 | C20). 8 | Designed by Studio Charlie for ADRENALINA, Piscine is a modular collection of essential geometric volumes with geometric recesses on the top. (SALONE HALL 14 | B35).
An Italian Design Story
Let the sunshine in
1 | USM’s historic modular system turns 60 with a new element in the installation Connected by Our Dreams (MDW25 Spotti, viale Piave 27). 2 | TOM DIXON’s new Soft family of lamps diffuses a warm, soft light that fills the space with warmth and poetry (MDW25 via Manzoni 5). 3 | Karim Rashid’s Info carpet for ILLULIAN is a play on geometry reminiscent of 1960s kinetic art, reinterpreted in an unexpected and entirely new key (SALONE Hall 10 | C28; MDW25 via Manzoni 41). 4 | OBA, designed by Studio ADP (Altherr Désile Park) for DIEFFEBI, is part of a modular system whose wide range of shapes and sizes makes it possible to create 20 tables of different sizes and functions (WORKPLACE 3.0 Hall 22 | B19). 5 |The Donald armchair by Marco Fumagalli for CIERRE 1972 is super soft. Base in solid Canaletto walnut monostructure, metal frame, polyurethane foam upholstery. (Hall 9 G03 | H02). 6 | Francesco Rota’s Unlimited modular seating system for DESALTO allows different seats to be combined to create poufs, armchairs, chaise longues and daybeds (Hall 09 | D10). 7 | Daniel Germani’s Ice tables for MAXDESIGN are made of Murano glass: a fascinating meeting point between sculpture and design (SALONE Hall 24 | D26).
When in doubt, wear red
1 | Folda, designed by Alessandro Stabile for MILANI, features rectangular cushions that serve as a seat, back, armrest and headrest (MDW25 via Statuto 2). 2 | PLH’s Mono collection of control panels is inspired by Bauhaus principles and based on criteria of simplicity and ease of use (MDW25 via Voghera 4A). 3 | Twist is the washbasin cabinet with three rotating drawers designed by Paolo Santandrea for RCR ITALIA (MDW25 via Lovanio 5). 4 | The Meninas armchair designed by Herzog & de Meuron is one of the new additions to the MARTA SALA ÉDITIONS collection, which is celebrating its 10th anniversary (MDW25 Museo Bagatti Valsecchi, via del Gesù 5; Corso Monforte 15). 5 | Dreamaginations is the new color palette of the OCCHIO collections: new shades, finishes and atmospheres of styles with a design that is always linear (MDW25 Villa Necchi Campiglio, via Mozart 14). 6 | The Nevada armchair by ROBERTO CAVALI HOME INTERIORS evokes the sinuous shapes of the dunes and the strength sculpted by the wildness of the canyons (SALONE Hall 13 | D03). 7 | Designed by Simone Bonanni for CARPANESE HOME, the Doublé dining table has a double base and a top in ash, lacquer, marble or porphyry stone (MDW25 Beyond the Shapes, via Statuto 4). 8 | Echoes of abstract and informal art become large, barely evoked brushstrokes of color in ELITIS’ Emile rug (MDW25 Sensora, in collaboration with Masquespacio, via Palermo 8).
Golden age
1 | White and gold for the panoramic wallpaper Algues Dorées, Kintsugi collection by ELITIS (MDW25 Sensora, in collaboration with Masquespacio, via Palermo 8). 2 | JUMBO COLLECTION’s Idylle sideboard combines artisan heritage and experimentation. The laser-etched gold finish reveals a classically inspired landscape. (SALONE Hall 13 | D03).
3 | FORNASETTI’s new Soli e Lune collection is a tribute to the world of stars, handcrafted using the traditional techniques of their atelier (MDW25, corso Venezia 21A). 4 | Golden details, geometries and minimalist accents for CORALLA MAIURI’s Impressions Gold table collection (MDW25 Mosca Partners Variations, Palazzo Litta, corso Magenta 24).
5 | Softnoons armchair designed by Omi Tahara for DE PADOVA. Equipped with a swivel mechanism and possible matching footstool (MDW25 via Santa Cecilia 7, via Manzoni 17) 6 | The Barcarolle portable lamp with zinc alloy details and glass diffuser can be adjusted at the touch of a button. Designed by Yoshiki Matsuyama for AMBIENTEC. (Euroluce Hall 06 | B21 C18)
Hiroshi Iwasaki, Eller Studio
A matter of matter
1 | The Ingo pendant in Carrara marble, designed by Paolo Ulian for BUFALINI, is made from the elements of the Spacco bookcase (MDW25 Galleria Rossana Orlandi Via Matteo Bandello 14). 2 | Solo Chair, designed by Philippe Starck for ANDREU WORLD, combines the use of solid wood and plywood for its seat and backrest (MDW25, via Alessio Di Tocqueville, 14). 3 | Segmented polygon shape for the Baloise coffee table, designed by Marco Corti for DIVIANA, a new Indian furniture brand that combines oriental tradition with Italian design (MDW25 via Monte di Pietà 13/1). 4 | Riga is a collection of round vases in Cementeco by Studio Adolini for PAOLELLI GARDEN. The texture is reminiscent of the cuts left by machines during the quarrying and extraction of tuff from the quarry (MW25 at dOT, churchyard and cloisters of the Church of San Marco). 5 | A balance between retro elements and contemporary aesthetics for the Amelie chair, designed by Roberto Paoli for MIDJ. Metal legs, upholstered seat and back (SALONE Hall 18 | E23 F20) 6 | The Ombra rug by Ferriani Sbolgi for CALLIGARIS is characterized by a refined play of overlapping tones that emphasize its materiality (SALONE Hall 18 | E22 D27). 7 | PAOLA PARONETTO’s paper-clay work Autem is made exclusively for chef Luca Natalini’s restaurant of the same name in Porta Romana (MDW25 via Serviliano Lattuada 2). 8 | The glass lamp A lamp with a square for a name is part of the new collection of lighting and objects by 6:AM, a brand founded by Edoardo Pandolfo and Francesco Palù (MDW25 Piscina Cozzi, Viale Tunisia 35).
Fast forward
1 | Optical effect for Superbold, a minimal but striking ceiling light designed by Favaretto&Partners for PANZERI (EUROLUCE Hall 04 | D01). 2 | Carola is a textile micro-architecture by DOOOR, a circular self-supporting module that can be used as a dressing room, telephone booth or private area for collective spaces (S.PROJECT Hall 5 | B 15, MDW25 Archiproduct, via Tortona, 31). ph. Isabella Magnani 3 | Cupid, a table lamp designed by Alon Rotman for NEMO LIGHTING, is an abstract composition that plays on the balance between line and color (MDW25 Corso Monforte19/A). 4 | The Villhelm armchair, designed by Borselius & Bernstrand for BLÅ STATION, has a wooden shell and can be upholstered (SALONE Hall 24 | D27 D29). 5 | Intuitive and versatile, TECHNOGYM’s Reform redefines the Pilates experience by making it accessible to users of all levels. It is made of wood, aluminum and vegan leather (SALONE Hall 22 | A10 B09; MDW25 via Durini 1). 6 | Marie Cornil and Alexandre Willaume explore new expressive possibilities in industrial glass with the Coupelle coffee table for DRIADE (MDW25, via Santa Cecilia 4).
Isabella Magnani
Colour Calling
Nu Collection
Nu faucets represent a purity of visual expression and a synthesis of essential design elements: form, shape and colour. A collection that strips away the artifice to arrive at the essence of its timeless design.
The joy of living
1 | Gioiello mirror collection, rectangular and drop version, designed by Nika Zupanc for GHIDINI1961, here in Candy finish (SALONE Hall 15 | A21 A25). 2 | Important volumes and sharp geometries for the sculptural, free-standing Redbookcase bookcase designed by Rejo Studio for CAPPELLINI (MDW25 via Borgogna 8). 3 | Pony is the new ironic and cartoonish lounge chair by Ukrainian designer Vladislav Tolochko for POTOCCO (SALONE Hall 11 | L15 M10). 4 | Boring Cactus®, a reinterpretation of the original by Drocco and Mello for GUFRAM, is offered in a deliberately “ordinary” gray finish (SALONE Hall 22 | B30). 5 | Sculptural base, inspired by the soft folds of fabric, for the Plissé table by Paola Navone for MIDJ, with metal frame in various colors and top in ash, oak or marble veneer (SALONE Hall 18 | E23 F20). 6 | Designed by Pierre Paulin in 1967 for the 1970 Osaka International Exposition and reissued by LACIVIDINA, the Osaka seating system is now available in an outdoor version (MDW25 via Manzoni 41). 7 | With the Dual Code capsule collection of SIGNATURE KITCHEN SUITE, Elena Salmistraro reinterprets the wine cellar and undercounter refrigerator with pop graphics (MDW25 via Manzoni 47).
Curvy is better
1 | The Iris pendant, available in black or silver (design Caine Heintzman), is produced by A-N-D, a Canadian design studio and manufacturer of high-impact lighting (Euroluce Hall 10 | C10; Via San Vittore al Teatro 1/3). 2 | In the Groove rug by ILLULIAN the classic optical pattern is deformed and becomes a movement of curved lines that looks like a door in space-time (SALONE Hall 10 | C28; MDW25 via Manzoni 41) 3 | Soft and generous lines for the modular Proust sofa, offered both in traditional composition (3-2-3-1) and corner positions. Designed by Massimo Iosa Ghini for CHATEAU D’AX (SALONE Hall 14 | B45 C44). 4 | The MONSTRUOSUS x Michael Anastassiades ceramic vase collection reinterprets the archetypal Greek amphora in a contemporary key (MDW25 Alcova, Villa Bagatti Valsecchi). 5 | Tender is an armchair in 100% recycled polyester designed by Michele Menescardi and produced by CONNUBIA in collaboration with the technical sportswear brand Jacked (SALONE Hall 3 | A15 B20). 6 | Inspired by the artist of the same name, Botero features a sculptural central base. The top is available in ceramic, Luxor finish and wood. Designed by Paolo Cattelan for CATTELAN ITALIA (SALONE Hall 18 | A15 B18).
Designed for Work. Inspired by architecture.
ALIS by Park
Heritage 2.0
1 | IDOGI’s new Grand Door Parthenon is made of art glass and crystal columns. Light becomes matter and puts on a show (SALONE Hall 15 | A11). 2 | The Madame pattern, inspired by marbled paper, is part of the Chroma collection designed by Serena Confalonieri for the RADICI textile flooring brand (MDW25 Camera Picta, Corso Garibaldi 17).
3 | The Caleide collection by DE CASTELLI, designed by Federica Cammarota, alternates between oxidized and brushed surfaces, creating changing light effects (SALONE Hall 24 | B04; MDW25 De Castelli Gallery, via Visconti di Modrone 20). 4 | Giuseppe Porcelli presents his first furniture collection, giving life to an intimate concept within a pied-à-terre: a space for intimate gatherings, but inevitably also an expression of taste and status. (MDW25 via Attilio Deffenu 7) 5 | ETRO HOME INTERIORS The Reed armchair reinterprets the brand’s heritage: the stylema of bamboo canes, a symbol of naturalness and fluidity, is here reinterpreted in a rationalist aesthetic (SALONE Hall 13 | C01). 6 | Natural tones and relief effects for the cushion in the new ELITIS collection of cushions, rugs and plaids (MDW25 Sensora, in collaboration with Masquespacio, via Palermo 8). 7 | The Aspic table, designed by Gordon Guillaumier for RODA, combines a concrete structure with a mix of fine natural mineral components and organic fibers (SALONE Hall 24 | C19).
Fade to black
1 | For the back wall, we chose Manor House Grey by FARROW & BALL: a bold gray that retains its hue in all light conditions. Suitable for both interior and exterior use. 2 | The handmade Japanese paper surface of Moon by DAVIDE GROPPI makes each lamp unique. Also available in table version (EUROLUCE Hall 2 | B14; MDW25 Spazio Davide Groppi via Manzoni 38). 3 | The Astral Trellis outdoor pendant luminaires in stainless steel by Jan Van Lierde for PLATEK project their pattern onto surfaces, creating appealing outdoor atmospheres (EUROLUCE Hall 6 | C29 - C31). 4 | Solid top and transparent doors for the Segesta sideboard by Studio Klass for FIAM. A key element of the design is the slender frame, which visually lightens the structure and highlights the high-temperature molded glass (SALONE Hall 09 | C09). 5 | Mahari by NAHOOR (designed by William Pianta) is a lamp with an essential geometry that becomes a small architecture. The horizontal element is adjustable, as is the cylinder that contains the light source (nahoor.com). 6 | Mik is a modular glazed ceramic console whose elements can be combined to create different shapes. Designed by Cristophe Delcourt for COLLECTION PARTICULIÈRE (MDW25 Fondazione Mudima via Tadino 26). 7 | Giulio Lazotti’s Museum bench in oak for INFINITI, essential and functional, is available in one-, two- and three-seater versions (SALONE Hall 14 | E31). 8 |Medea extendable table, designed by Luca Roccadadria for CANTORI. Metal frame, wooden top, essential and rigorous design (SALONE Hall 15 | B05). 9 | Single Ring Table is part of the Charme collection by Eric Carlson - Carbondale for BUDRI, characterized by a complex three-dimensional finish that reveals the soul of each stone (MDW25 Foro Bonaparte 60).
Milano Design Week
THE GRAND
(design)
CRU
This year, IFDM pondered what excellence truly is. We found the answer in a vineyard, where each vine is expertly tended to produce a superior quality wine: a ‘Cru’, a label in oenology given to wines that stand out for their distinctive character, the result of careful selection and artisanal mastery. We brought this term into the world of design, applying the concept of “Design Cru” to products that represent the pinnacle of innovation and aesthetics, identifying ten categories (Design, Lighting, Lifestyle, Milestone, Fashion & Design, Kitchen, Unique by Nature, Editions, Surface & Bath, and Outdoor) and finding a leader for each to embody excellence. Thus, the project took shape: we redesigned the magazine, dedicating a cover and a special edition to each Cru, and extended the concept far beyond print, allowing the protagonists to take over the city streets with an occupation of the San Babila metro station in Milan from April 7 to 20, to capture the bustling design community flooding the city for Design Week. We entrusted the project to Reality is__,
a design studio driven by art, founded in 2021 in London by Italian architect Carola Migliore and British designer Miles Wagner. Specializing in creating physical spaces that spark curiosity, Reality is__ embraces a multidisciplinary approach that integrates architecture, multimedia, and technology, working at the intersection of reality and imagination to transform complexity into clear concepts. The challenge that the creative studio accepted was to weave the distinctive narratives of ten different products into a unique and multisensory experience, bringing our vision into life with expertise, allowing each brand to shine individually while resonating collectively in a harmonious context. “So we designed colorful environments of impossible architectures in which each design object is revealed, ensuring we considered the experience of both magazine readers and the wider public,” explain Carola and Miles. Their creative direction has highlighted the uniqueness of each design piece, transforming public spaces into ‘stages’ of visual innovation. “Within San Babila’s station and around Milan we aimed to capture the fleeting attention of passersby – those brief moments when they look up from their phones and engage with their surroundings – to enhance their Design Week experience. Our design was crafted for that split second, seizing the opportunity to spark curiosity and draw them into the experience,” they conclude.
Surrounded by the art, design, and colors generated by the architectures of the Salone Week, I wish everyone a wonderful experience at Design Week!
by PAOLO BLEVE | Publisher
Passion, Knowledge and Art. Since 1906, masters of natural stone.
THE GRAND CRU Design
Analysis of geometries, study of void and solid spaces, research on materials, and attention to proportions and details: this is how new design proposals are born. Sofas, armchairs, bookshelves, and tables, like characters in a story, shape the domestic environment with sculptural forms and pure geometries, focusing on structural lightness.
Max by Meridiani, design
Andrea Parisio
Snøhetta: challenging the status quo
Present in eight global cities, Snøhetta is a renowned design and architecture studio known for its sustainable creativity and transdisciplinary approach.
The Array modular sofa project showcases their innovative spirit, redefining comfort and modularity
by Giulia Guzzini
Snøhetta is a renowned design and architecture studio known for its ability to blend creativity and sustainability across projects ranging from architecture to interior and product design. Founded on the idea of creating spaces that are both functional and poetic, Snøhetta adopts a transdisciplinary approach that integrates architecture, landscape, product design, graphic and digital design, and art. With offices located in eight cities across four different continents – Oslo, New York, Innsbruck, Paris, Hong Kong, Shenzhen, Adelaide, and Melbourne – the studio offers a wide array of global perspectives and expertise. Their unique approach to product design is perfectly exemplified by the modular Array sofa project, created for MDF Italia.This project showcases Snøhetta’s desire to challenge the status quo and revolutionize the concept of comfort and modularity in product design. The Array is not just a sofa, but a design experience that embodies the fundamental values of innovation, sustainability, and collaboration.
What is your approach to design, especially product design? What values guide you?
We initiate each project with Snøhetta’s core values: social, economic, and environmental sustainability. These principles form the foundation of our design processes, allowing us to maintain an open mind and explore how new collaborations can create meaningful impact. Our projects vary widely in their scale of impact, but our ambition remains to constantly push boundaries and maximize potential within each collaboration, a unique aspect of our work. Our context is deeply intertwined with our architectural discipline, influencing how we define product design. By collaborating with diverse brands that each bring unique capabilities and challenges, we create synergy and address ambitious goals together. This project’s success exemplifies the unique outcomes of such collaborations.
How does your architectural experience influence your product design?
In our Oslo office, about 140 people work collaboratively in an open space that promotes constant interaction between architects and product designers. This setup enriches our perspective, naturally encouraging us to consider spatial aspects in product design. For example, the sofa’s soft curvature supports its placement in the middle of a room, enhancing spatial dynamism rather than confining it to walls. Our architectural insights offer a “crystal ball,” helping predict trends and ensure that our designs align with future industry contexts. This foresight enables us to develop innovative products that are attuned to long-term aspirations.
What inspired the Array concept sofa, and how does it challenge norms?
The Array concept began with an ambitious brief requiring a product that embodies everything in one piece. MDF Italia’s openness to explore new routes allowed us to move away from traditional design presentations, instead initiating a dialogue on innovative approaches to sofa design. This collaboration led to a focus on precision, modularity, and sustainability. By leveraging new techniques, such as injection molding for a recycled plastic core, we significantly reduced material and emissions, resulting in a truly sustainable, disassemblable product. This approach – from micro-levels to macro outcomes – highlights our dedication to innovative design processes that challenge conventional practices.
How do cultural and environmental sensitivities from your transdisciplinary experience reflect in your product design?
Our transdisciplinary approach is evident in projects like our permeable paving system, which addresses urban challenges such as extreme weather and water management. Comprising three stones, it serves as both a practical solution and a creative tool for landscape architects. This project emphasizes transitions from green to paved areas, resonating deeply with our audience and becoming our most
liked Instagram post. The system’s success underscores our ability to blend practicality with creativity, reinforcing our commitment to environmental sustainability and innovative design. It demonstrates how we use design to connect different spaces while addressing ecological concerns, providing versatile, aesthetically pleasing solutions.
Thomas Pagani
1 Members of Snøhetta studio. From left (front) to right: Francesca Giulia Poli, Nadine Fumiko Schaub, Marius Myking, Liisa Widstand, Seppe van Heusden, Angel Valiente 2,3 Array modular sofa, design Snøhetta, produced by MDF Italia
Ogado. collection designed by Brent De Meulenaere
The intensity of self-recognition
For the 2025 campaign, Meridiani showcases the Gong table in a real home setting. Paired with the Claudine and Cosette chairs by Andrea Parisio, Gong takes center stage in “my home is ME,” the new brand tagline: a narrative journey into the versatility and craftsmanship of the company. Since its founding in 1996, Meridiani has stood out in the furniture scene for its ability to create contemporary collections, viewing the home as if it were an outfit to be worn. It offers a precise and recognizable style and identity while providing new sources of inspiration and room for personal interpretation and a sophisticated way of living daily life. This essence is encapsulated in the payoff “my home is ME,” which Meridiani brings to the 2025 Milano Design Week, shaping living identities along a journey that narrates and invites exploration of the brand’s empathetic versatility. It’s not just about new products. It’s a multifaceted experience that immerses guests and transports them to the heart of “my home is ME,” revealing the expressive power of personal interpretation and Meridiani’s skill in transforming desires into home projects. This is exemplified by the sculptural and monumental Gong table, designed by Andrea Parisio, which, in the third chapter of the brand’s campaign, is bathed in light that enhances its presence. With its thin pearl-colored marble top and naturally drawn veins, Gong instantly captures attention. There are numerous finish options for both the base and the tabletop: from dyed oak veneer, matte or glossy lacquer, to met-
als, which are currently trending: bronzed brass, matte or glossy platinum steel, orbital steel, and matte or glossy stainless steel. The Cosette and Claudine chairs, also by Parisio, complement Gong perfectly, highlighting its grandeur and creating a striking contrast: the soft composition and gentle shapes of the chairs balance seamlessly with Gong, with the sturdiness of its steel bases and the solidity of its top. Designed to serve as both dining chairs and lounge chairs, Claudine
GONG table, CLAUDINE & COSETTE chairs, design Andrea Parisio
SALONE: Hall 11/G11
MDW25: Meridiani Store Milano, Via Manzoni 38
features a compact backrest and a monolithic look, with a single, generously proportioned front leg, and can be used as an accessory in combination with the Cosette chairs or as a standalone element. Cosette presents a slender silhouette and rounded volumes, with a soft seat that follows the shape and lines of the enveloping backrests. Both can be upholstered in Meridiani’s range of fabrics and leathers or have front legs lacquered or in veneer.
New aesthetic of living
Aurora by Febal Casa is a wardrobe with hinged doors that explores the concept of lightness through the use of glass. The surfaces interact with natural and artificial light, and the interior, finished with high-quality materials, reveals a design attentive to ergonomics and visual continuity, transforming every detail into a functional choice.
AURORA wardrobe, design Febal Casa
MDW25: Via Fatebenefratelli 18
Divided, yet united
The Emile modular sofa by Christophe Delcourt for Molteni&C is characterized by its distinctive graphic lines, inspired by Lucio Fontana, that run across the sides, front, and elegant backrest. Emile offers a series of combinable and connectable modules, allowing for customizable configurations with backrests of varying heights and seats of variable depth.
EMILE modular sofa, design Christophe Delcourt
MWD25: Via Manzoni 9
Sedona serenity
Inspired by Sedona’s red landscapes, Patricia Urquiola’s Sedona sofa for Moroso embodies essential yet bold shapes, inviting introspection. Its design concept of a “room within a room” elevates personal space, wrapped in fabric with a lilac base interwoven with orange and green, creating an abstract motif reminiscent of natural beauty and a personal, idealized sanctuary.
SEDONA sofa, design Patricia Urquiola
The importance of color
Cassina celebrates 60 years of producing the Le Corbusier®, Pierre Jeanneret®, Charlotte Perriand® Collection by presenting their respective seating pieces (the 1 Fauteuil dossier basculant armchair, the 2 Fauteuil Grand Confort petit modèle chairs, the 3 Fauteuil Grand Confort grand modèle chairs, and the 4 Chaise longue à réglage continu) in three new color variants. The tubular metal frames are offered in glossy finishes, in red, blue, and green, paired with sophisticated ton-sur-ton material combinations.
Le Corbusier®, Pierre Jeanneret®, Charlotte Perriand® collection
MDW25: Via Durini 16
MDW25: Via Pontaccio 8/10
In the name of craftsmanship
The new Soffio seat, designed by CarlesiTonelli Studio for Riflessi, is defined by sinuous curves and enveloping geometries. The distinctive element is the hand-woven backrest, made with fireproof and water-repellent nautical cord. The new version features a bronze tubular base, with a seat upholstered in Amalfi 50 gray fabric.
SOFFIO seat, design CarlesiTonelli Studio
MDW25: Corso di Porta Romana 5
Visual presence
Loungescape, the seating system designed by Antonio Citterio for Flexform, is distinguished by its monocoque structure, which aggregates soft volumes into a harmonious unit. A distinctive detail is its inclined base, which adds lightness to the structure, contrasting with the initial impression of monolithic solidity the sofa conveys.
LOUNGESCAPE seating system, design Antonio Citterio
MDW25: Indoor collection, Via Della Moscova 33
MDW25: Outdoor collection, Milano Chiostro Sant’Angelo
Like a work of art
The absolute protagonist of the Auro Table, designed by Naoto Fukasawa for DePadova, is marble, enchanting with its materiality and enhanced by an oleo-hydrophobic finish that highlights its purity and resistance. It is available in elliptical or round versions.
AURO table, design Naoto Fukasawa
MDW25: Via Santa Cecilia 7 | Via Manzoni 17
Perfect balance
Lema presents L25, an archetype of vertical mount bookcases. It is an innovative freestanding system with containers and shelves, distinguished by the rhythmic placement of extruded aluminum posts. These load-bearing elements are available with floor-to-ceiling or floor-to-wall mounting.
L25 bookcase, design Officinadesign Lema
SALONE: Hall 11/B15
MDW25: Largo Augusto 8
Hacking Autoprogettazione
Inspired by Enzo Mari’s “Autoprogettazione?” manual from 1974, the Boomerang desk for Gebrüder Thonet Vienna revisits the self-design philosophy. This archival piece marries simplicity with evocative design, featuring a structure based on a curved layered-beechwood plank, reminiscent of boomerang-shaped beams in architecture. It stands on four slender yet sturdy beechwood legs. Topped with extra-clear glass that follows the base’s curve, it creates a graceful visual effect. This design reflects
Mari’s commitment to pure forms and functional clarity, where every element is easily interpretable in terms of its function. Celebrating creativity and craftsmanship, the Boomerang desk blends innovation and practicality, embodying Mari’s rational construction approach.
BOOMERANG desk, design Enzo Mari
The shape of comfort
Jean-Marie Massaud proposes a sculptural language for Poliform with the Owen collection and a minimalist design with Joan. Owen combines curved and sensual forms with a solid architectural structure. The massive wooden base supports padded elements with organic lines. Notably, the backrest seems to wrap around itself, like a Moebius strip, transforming into an armrest. With Joan, Massaud draws inspiration from fashion for clean lines, balanced proportions, and great attention to the quality of coverings and details, like stitching. An archetypal sofa collection that highlights cushioning and comprises varied elements, including angled ones, to create broader or more compact customized configurations.
Dedar collaborates with the Josef & Anni Albers Foundation to honor Anni Albers, a key figure in art and design known for bridging textiles and abstract art. A pioneering force at the Bauhaus, Albers’s legacy is celebrated through a collection of five fabrics: four “pictorial weavings” and a fabric-based reinterpretation of a previously paper-only drawing. These fabrics combine historical accuracy with modern techniques for upholstery, curtains, and panels. The collaboration showcases Albers’s innovative blend of art and function, embodying her exploratory approach of “taking thread for a walk.” This initiative aims to continue her passion for innovation in textile art.
RE_WIND: SUSTAINABLE ELEGANCE
Re_wind, designed by Enrico Cesana for Marac, aims to integrate sustainability and innovation. Crafted from 100% recycled glass or marble granules combined with plant-based polymers, each handcrafted piece features unique characteristics. Its irregular shapes result in distinct designs, with tables offering versatile use for individual or paired setups, suitable for flexible spaces. This project reflects Marac’s approach to eco-friendly design. By combining sustainability with aesthetics, Re_wind seeks to offer an option for modern, environmentally-conscious interiors, encouraging creative and responsible design choices.
JOAN sofa, OWEN armchair design Jean-Marie Massaud
Dedar, Weaving Anni Albers, Under Way 1963 CELEBRATING ANNI ALBERS
SALONE: Hall 22/A20
8 — 13 April 2025
@gallottieradice
Flagship Store
via F. Cavallotti 16, Milan
Salone del Mobile.Milano
Fiera Milano Rho, Hall 9 Booth E11 - F10
Lighting THE GRAND CRU
Light speaks and, through lamps, supports and stimulates its interactions with space. The new collections, inspired by nature or architectural rigor, explore shapes and materials that enhance the light emission. From architectural to fluid volumes, to poetic and brilliant compositions, each piece invites you to be carried away, where design and light merge in perfect balance.
Crystal Links by Preciosa, design Michael Vasku, Andreas Klug and Preciosa Design Team
The ping-pong workflow
A-Poc Able (one of the brands in the Issey Miyake group) and Atelier Oï present a multi-handed project this year. It fully reflects the Swiss atelier’s approach and the textile expertise of an exceptional fashion house.
by Ruben Modigliani
In recent years, ‘collaborations’ between fashion and design have multiplied: the masses of visitors that come to Milan every year for its Design Week make it a perfect moment for communication, and the big brands have taken advantage of the opportunity to stage spectacular installations, where the real design content is sometimes difficult to discern. The case of the collaboration between A-Poc Able, part of the Issey Miyake brand and launched during MDW itself, and Atelier Oï is different. “We just met in Milan two years ago,” says Miyamae, the line’s designer, “and we liked each other, we saw that our approach to design was very similar. From there we started to meet, but without any projects in mind. Our world is textiles,
but Issey Miyake’s idea has always been to go beyond our boundaries and collaborate with professionals from other fields”. The design of the TYPE-XIII lamp emerged from what the protagonists of this story together describe as “a long game of ping-pong: we would throw out an idea, and Miyamae would respond with another,” explains Patrick Reymond, one of the founders of Atelier Oï. The idea of a different, fluid light object that could change over time took shape. “For us, it’s important not to complete the product - that’s something for the user to do when they decide where to place it. I see the potential to give freedom to the design. We used a white fabric, but it could be paper or colored; the metal structure could have a different shape
or material. This is a starting point from which other ideas could come: some chairs, other products, who knows,” Miyamae continues. Can working with/for fashion be an added value for a designer? “With Miyake, for sure,” says Reymond with a laugh. “For us, it was an exploration of his world. Before I studied design, I played jazz. I was already familiar with Miyake’s work, and I was interested in his process of constant exploration. Design is important, but so is the way you make it happen. This is not the first time we have collaborated with major fashion brands, but this time we really got our hands dirty together. A team without hierarchies. As in jazz, it’s important to be able to step back and let others do the work. “I agree with what Patrick said. I would also add that Issey Miyake wanted to have a platform of designers to always have a different approach, and this collaboration is another chapter of the story,” Miyamae adds. Are there other plans for the future? “There are many things going on in parallel, with Atelier Oï and with others”, Miyamae concludes. “They are points that later become a line. It is better not to have a goal at the beginning, so that the line may become longer. Steve Jobs gave a speech in 2005 where he just talked about connecting the dots, and those are dots that become a line, and that line becomes something else. You have to have an open approach, you have to be able to change. Jobs never graduated from college, but he did take a course in graphic design and calligraphy. He did it not because he thought it would be useful in the future, but because it interested him. From there came the font he designed for Apple, but he did not know it at first. The same goes for this experiment of ours: we started without a goal, now there is a lamp, but there could be more. It was fun to work with Atelier Oï. And I hope we will continue to do so for a long time to come.”
1 The working group: A-Poc Able + Atelier Oï. 2-4 TYPE-XIII was developed from a concept: the interaction between a metal wire and a fabric “dress”. It exists in two versions: in the table-top, portable one (O series, developed with Ambientec), the metal structure remains on the outside and the fabric part is anchored to it, with pleats drawing its surface. The anchor points are not fixed and can be moved along the wire, thus changing the shape of the lamp. In the A series, developed with Parachilna, also in a pendant version, the elements are the same, but the process is reversed: the metal structure is inserted into the textile cover.
Metropolitan night reflections
Windows filter ever more vivid gleams as darkness progresses, giving glimpses of what happens beyond their boundary. Busy streets, places, and paths intersect, people meet. It is a true nocturnal urban story imagined by Preciosa together with designers Michael Vasku and Andreas Klug, narrated by the new Signature Design Crystal Links lighting system. The rhythm of the city that never sleeps and the charm of the metropolis that comes alive with the dark have indeed been a source of creative inspiration, materialized by Bohemian glass artisans working by hand.
The ancient glassmaking tradition – about 300 years old – marries the most advanced technology in the brand’s facilities nestled in the Crystal Valley in northern Czech Republic. It reveals the symbolic and aesthetic power of decorative lighting with suggestive and emotional experiences. A dance of metallic rods, more or less intricate, shows at the ends a crystal bicone with a three-dimensional surface. Inside, a layer of silver enhances the reflections of the light, which, when injected, passes through the geometric glass mass and transforms it into a source of illumination,
reflecting bubbles or cuts made by hand with extreme precision. The choice between dynamic or static functionality (RGBW) creates various options, while special in-house developed LEDs allow for the use of thin 2-Core cables, for more refined and clean aesthetic solutions. Crystal Links also offers great design flexibility, with the possibility to customize at will not only the arrangement of each composition, achievable in different scales, but also to modify structural elements, such as the hand-cut decoration on the components and the metallic finish of the supports. Naturally, it also allows select-
ing different methods of lighting. Such agile and flexible development of bespoke lighting as that of Crystal Links, possible across all Signature Designs, leads to a responsible approach toward lower environmental impact. Being able to modify the initial project at any time: adding components, changing the composition, or even completely redesigning it to adapt to new spaces.
EUROLUCE: Hall 4P/D02
Lights that tell stories
The Alma collection, created by Controvento for Contardi, combines two timeless classics: the fabric lampshade and the blown glass bubble in which it is immersed. The innovative lampshade technology integrates LEDs directly into the structure, completely hiding the light source.
ALMA suspension lamp, design Controvento
EUROLUCE: Hall 06/A24
MDW25: Corso Monforte 20
CRYSTAL LINKS lighting, design Michael Vasku, Andreas Klug and Preciosa design team
Modern nostalgia
Halley by Stilnovo blends timeless design with modern needs. Originally conceived by designer Richard Sapper, it reflects early LED experimentation. Named after the famous comet, Halley’s balanced, orbit-like movement is facilitated by 16 LED chips in a celestial head. With six 360-degree joints, it offers fluid 3D motion. A proximity dimmer allows effortless control, turning on and adjusting brightness with just a wave of the hand.
HALLEY, design Richard Sapper
MDW25: Via Boccaccio 15/A
Fluid forms
Cantabrina by Stefano Traverso for Italamp is more than a simple suspension lamp; it is a real piece of furniture, capable of telling stories. Inspired by the essential silhouette of the straw, the glass body features two polished white glass diffusers at the ends, with an LED source inside that diffuses a soft, uniform light.
CANTABRINA, design Stefano Traverso
EUROLUCE: Hall 04/D04
Interaction between light and space
Shift is Lodes’ new wall lamp, designed with Studio Marco Piva. It is inspired by the clean and rigorous lines of contemporary architecture, but softens its volumes thanks to its slightly rounded corners. The completely black internal structure emphasizes the power of the light beam and unifies the emission and quality of light.
SHIFT, design Studio Marco Piva
EUROLUCE: Hall 10/C21
MDW25: Via della Moscova 33
Glass storm
Lasvit presents Niveo, a new lighting collection by Czech designer Jan Plecháč. Inspired by the ephemeral beauty of hail, the collection includes various luminous objects: from linear chandeliers to compositions with one, three, or five light points, and even a spherical table lamp.
NIVEO, design Jan Plecháč
EUROLUCE: Hall 6/C39
Compact versatility
A compact version of the Dama lamp, Damina by Zafferano offers wireless illumination with a modern design. Made from painted die-cast aluminum, its IP65 rating ensures durability indoors and outdoors. A rechargeable lithium battery powers the lamp, with easy contact-based charging. Available in white, black, red, and gray, Damina adds elegance to any
space. A touch button adjusts light intensity and temperature, with options of 2200, 2700, or 3000 K. At 19 cm tall.
DAMINA lamp, design Zafferano Lampes-à-porter
EUROLUCE: Hall 10/B05
MDW25: Via Fatebenefratelli 23
Ice light symphony
Criosfera, designed by Giulia Foscari for Artemide, combines design and science, inspired by Antarctic ice core drilling. Debuting at Euroluce 2025 in a suspended version, it is crafted from recycled blown glass to promote climate change awareness. Its optical core refracts light, mimicking polar ice layers, while the handcrafted cylinder with irregular thickness enhances the light’s effect. LED technology provides seamless light diffusion, with hidden sources. The design features three laser-cut structures inspired by
ice analysis instruments, minimizing material waste. A minimalist aluminum base supports the cylindrical glass diffuser, with wavy layers surrounding the optical core, creating a warm, inviting glow. Ideal for living rooms, studies, and commercial spaces.
EUROLUCE: Hall 04/A03
MDW25: Corso Monforte 19
Modular
Frakki is the new modular lighting collection designed by Michele De Lucchi, embodying a perfect fusion of iconic design and Murano’s glass craftsmanship. Emerging from the collaboration between De Lucchi’s distinctive architectural style and the historic glassmaking expertise of Venini, Frakki offers remarkable expres-
sive versatility. Central to this collection is the “scandola,” a glass module inspired by De Lucchi’s explorations of fluid surfaces. These textured, diamond-patterned glass tiles are crafted using the “fracco” technique, creating vibrant reflections and a magical interplay of light. Available in narrow and wide variants, the tiles allow
for dynamic installations that redefine space. Frakki’s modular design supports endless configurations – from illuminated walls to dramatic suspensions and table lamps – enhancing any environment with elegance. This collection showcases the timeless artistry of Murano and also introduces custom, innovative lighting solutions
that adapt seamlessly to exclusive settings, confirming Venini’s commitment to innovation and craftsmanship.
FRAKKI lighting, design Michele De Lucchi
EUROLUCE: Hall 04/C19
MDW25: Via Monte Napoleone 10
CRIOSFERA lamp, design Giulia Foscari
Reading under the stars
An outdoor version of an existing reading lamp Berlin by Oluce, with a geometric and essential line that integrates into any landscape. The diffuser is adjustable, with 180° horizontal rotation. Available in two color variants: a completely ivory version and one with a black base and stem and a green English shade.
BERLIN floor lamp, design Christophe Pillet
EUROLUCE: Hall 04/C20
Poetics of light
Liiu design Vantot for Luceplan is a suspension lamp system that is lightweight and flexible. The basic structure consists of electrified metal cables anchored to the ceiling and held in constant tension by counterweights. The lamp bodies are positioned on the ropes, thanks to the two very light arms that hold the lighting head and feature a terminal spiral.
CANTABRINA design Stefano Traverso
EUROLUCE: Hall 04/D04
Brilliant effect
Euroluce’s Corallo is reminiscent of coral islands, with the crystal’s brightness evoking the glint of waters warmed by sunlight. Handmade, the glass discs with diamond effects are hand-ground, suitable for elegant custom solutions with great visual impact.
CORALLO collection, design Euroluce
EUROLUCE: Hall 04/D29
THE GRAND CRU
Lifestyle
From sculptural wood to fine bone porcelain interpreting marble, each piece explores form, texture, and everyday use. The interaction between craftsmanship and innovation creates elements that furnish and engage with space, redefining beauty in lifestyle. A balance between past and future, art and daily life, merging tradition with modernity in a seamless dialogue.
Lorelei by Giorgetti, design
Maserati Edition
Jaime Hayon’s artistic world
The Rhinoceros Gallery in Rome will host the group exhibition “Profiles and Gestures” until August 31, 2025, marking the second act of the collaboration between the exhibition space, directed by Alessia Caruso Fendi, and the Paris-based Galerie Kreo
by Giulia Guzzini
The exhibition highlights the works of four designers whose practices explore material experimentation, craftsmanship, and artistic expression, creating a dynamic dialogue between forms, profiles, and gestures. Featured alongside Pierre Charpin, Jean-Baptiste Fastrez, and Chris Kabel, Jaime Hayon is a prominent figure in the contemporary design scene. Known for his ability to blend art and design, Hayon challenges traditional boundaries between these disciplines, transforming everyday objects into unique and imaginative experiences. His distinctive and globally recognized style continues to explore new artistic horizons. In the Roman exhibition, his works are conceived more as sculptures than functional objects, offering a fascinating insight into the ongoing evolution of his expressive language.
How do you balance art and design in your projects? What are the challenges and opportunities?
For me, art and design are two sides of the same coin. I never see them as separate disciplines but as complementary ways of expressing creativity. Art allows for total freedom, where storytelling and emotions take center stage, while design brings structure, function, and a direct dialogue with the user. The challenge lies in maintaining a sense of play and spontaneity while respecting the constraints of production and usability. The opportunity, however, is immense: by blurring the lines between these worlds, I can create pieces that are both emotionally engaging and highly functional, pieces that live in the everyday but still carry a sense of fantasy.
1 ALIRAPTOR FOLK suspension lamp
2 LUCERNA SOMBRERO mirror
3 Jaime Hayon 1
Where do you find inspiration for your whimsical characters and how do they evolve?
My inspiration comes from a mix of childhood memories, folk traditions, historical references, and pure imagination. I’ve always been fascinated by storytelling and how objects can evoke emotions. The creatures and characters in my work emerge organically, influenced by my travels, encounters with different cultures, and the visual richness of the world around me. Over time, my creations evolve as I refine my lines, experiment with new materials, and explore new techniques. While the essence remains, I always look for ways to push boundaries, making my work more sophisticated while retaining its sense of joy and spontaneity.
What makes your style distinctive, and how did you develop your “artistic language”?
I believe my style stands out because of its strong narrative, the fluidity of form, and the emotional impact of color and material. I’ve always been drawn to the idea of creating fantasy within reality, where everyday objects become special through playful forms, bold lines, and unexpected details.
Over the years, I’ve developed my “artistic language” through experimentation and intuition. I never try to follow trends; instead, I follow my instincts and emotions, which allow my work to remain authentic. My goal is to create designs that transcend time, evoke curiosity, and bring a sense of joy.
Can you tell us about your exhibition with Galerie Kreo at Rhinoceros and how it differs from your upcoming work in Milan with Bosa?
The exhibition with Galerie Kreo at Rhinoceros was a deep dive into my artistic world, where pieces were approached as sculptures rather than functional objects. It was an opportunity to push the limits of materiality and form, creating a space where fantasy and craftsmanship intersect in a more conceptual way. The work for Milan with Bosa, on the other hand, is more rooted in the idea of functional art. While it still carries a strong artistic identity, it is developed with a focus on usability and craftsmanship, bringing my vision into a more applied context. Both projects share my DNA, but one leans more into free artistic expression while the other embraces the world of design through collectible pieces.
The partnership between the interior brand Giorgetti and the automotive company Maserati is a well-suited alliance. These two symbols of Made in Italy do not merely share the creation of luxury goods; they deeply embody Italian savoir-faire and innovative research that positions them in the timeless ‘Olympus’. This well-deserved achievement comes from daring to explore uncharted territories. The sophisticated audience that knows how to choose them appreciates their prestige and performance, with uncompromising quality always. At the starting line of the Milan Design Week 2025, the two brands present themselves, without overshadowing each other, with an interior collection – Giorgetti Maserati Edition – guided by Giancarlo Bosio, Giorgetti Creative Director, and Klaus Busse, Maserati Head of Design, merging two identities and honoring both. While the automotive heritage
of Neptune’s Trident, traveling between myth and nature, evokes the power of winds with striking names like the Grecale SUV, Giorgetti calls upon the harmony of the sea and the mystery of sirens, assigning legendary aquatic nymph names to the furniture pieces. A design inspired by dynamism and movement strongly characterizes the collection, almost echoing the explosive energy released by the Futurist movement. This is immediately showcased by the sculptural Lorelei armchair, whose ‘plastic’ movements recall the hypnotic allure of the legendary siren, capable of enchanting sailors with her mesmerizing song. The bold structure offers a seductive embrace with its two shaped shells meeting at the back of the chair without touching and also serving as armrests, echoing the enveloping profile of car seats and the movement of waves. Tailored details complement soft, fluid lines, offering a completely
distinctive trait in each of the three available versions. Lorelei can be upholstered in leather, with a perimeter insert in the same leather or in flexible wood, or finished in a lacquered version with a wood insert. The soft cushions provide a deep and comfortable seat and are removable. Equally noteworthy is the Teti pouf, mother of Achilles and symbol of transformation, featuring a graphic detail on the lower part inspired by vehicles, and a base in lacquered finish in two shades or upholstered in leather. Inspired by the sea nymph it is named after, Teti transforms into a pouf-seat version, upholstered in fabric or leather, or with a storage compartment, where the upper element transforms into a transparent glass basin, adding lightness and modernity to the structure.
Giorgetti Maserati Edition Collection
LORELEI armchair, design Giorgetti R&D
TETI pouf, design Giorgetti R&D
MDW25: Giorgetti Spiga The Place, Via della Spiga 31
Blend of languages
The Selce-T table designed by Studiopepe for Gallotti&Radice has a wooden structure that develops through a play of overlapping joints. The sculptural features enhance its scenic presence, and the orange peel finish, also known as ‘rough finish’, makes the table dynamic and statuesque.
SELCE-T, design Studiopepe
SALONE: Hall 9/E11
MDW25: Via Felice Cavallotti 16
The weight of light
A borosilicate glass vase, a Lycra cover, and three translucent spheres of different diameters and weights: simply placing one on the elastic fabric turns on the lamp bu Martinelli Luce, where the sphere becomes both a decorative element and a diffuser. Depending on the weight, the intensity and tone of the dynamic LED light change: from soft and warm to stronger and cooler.
GRAMMOLUCE table lamp, design Habits Design
EUROLUCE: Hall 10/A19
MDW25: Via Borgogna 4
News flies
Poltrona Frau and Fornasetti renew their collaboration with a reinterpretation of the 1919 armchair and Isidoro bar cabinet, upholstered in Pelle Frau® ColorSphere® Impact Less featuring the “Ultime notizie” motif, created by Piero Fornasetti in 1950. The print showcases colorful butterflies fluttering over newspaper clippings, a playful trompe-l’œil reflecting Fornasetti’s visual poetry.
POLTRONA 1919 | ISIDORO bar cabinet, design Jean-Marie Massaud
MDW25: Via Alessandro Manzoni 30
Classic lines
The new Janine Lounge, designed by Roberto Lazzeroni for Ceccotti Collezioni, evolves from its armchair version, highlighting elegance and sophistication. Crafted with a solid turned wood structure and an enveloping backrest, it offers a wider and more comfortable seat. The strapped frame enhances elasticity and comfort. Available in fabric or Pelle Frau® leather, the Janine
Lounge transforms any space into a haven of relaxation, skillfully blending traditional craftsmanship with contemporary design.
Bon Voyage, curated by Nicola Bottegal, is a collection born from the desire to celebrate the beauty of extraordinary landscapes, blending the art of design with the mastery of painting. These Londonart wallpapers are inspired by places and cultures like the mysterious expanses of India and Brazil, the timeless serenity of Tuscany, the captivating lands of Iceland, and the African savannah. Pictured, Les Plaines Sauvages.
BON VOYAGE collection, design Nicola Bottegal
SALONE: Hall 05/A03
MDW25: Piazza San Marco 4
Homage to nature
Illulian presents Plumaria, a creation that blends craftsmanship and creativity, resulting from the collaboration with Daniel Germani and the Parisian atelier Maison Février. The enveloping softness of Himalayan wool blends with the lightness of feathers, the monochromatic palette highlights the colorful feathers that become the rug’s focal point.
PLUMARIA, design Daniel Germani & Maison Février
MDW25: Via Alessandro Manzoni 41
SALONE: Hall 24/C28
Marble effects
The Marmo collection by Geminiano Cozzi is made in fine bone porcelain on the iconic Florence shape, featuring delicate veins that mimic marble’s texture. It is one of the most loved collections by chefs and cooking enthusiasts, who find it the ideal canvas to craft their culinary creations. Reflecting the rich heritage of a celebrated Venetian workshop,
this collection was revived through a visionary entrepreneur. Founded by Geminiano Cozzi in 1765 in Cannaregio, the workshop was renowned for refined decorations and vibrant colors. Although it closed in 1812, its works are now in museums and auctions.
MARMO collection
design is a wonderful life
tavolo
Plissé, design
Paola Navonesedia
Qua-ndo, design
Michi Jung
e Paolo Vernier
THE GRAND CRU
Milestones
It’s a time for celebrations in the design world: anniversaries and birthdays are being marked. Some are turning a century old, others are younger, illustrating that time is a true quality indicator in furniture. There are classics where memory and future coexist, enriched by research with new functionalities and possibilities, demonstrating evolving design identity.
Flow by Serralunga, design
Zaha Hadid
1 FLOW vase, design Zaha Hadid Architects
2 RIPPLE sofa, design Zaha Hadid Architects
3 SIRCHESTER ARMCHAIR MOLESKIN design Matteo Bazzicalupo and Raffaella Mangiarotti
4 GATT-ONE tipologia, design Maurizio Prina
5 PIC-NIC lapm, design Joan Gaspar, JUJU coffee table, Moleskin finishing, design Garth Roberts, CERO pouf, design Brian Steendyk
Serralunga celebrates 200 years of innovations in outdoor design. Thanks to rotational molding, discovered in the ‘70s, and collaborations with renowned designers, the company brings elegance and functionality to homes, with a focus on sustainability and aesthetic experimentation. “The abundance of things concealed the scarcity of ideas and the erosion of every belief,” Marco Serralunga nearly tears up as he quotes Nobel laureate Annie Ernaux. “This is both what I believe in and what I fight against. At Ser-
ralunga, we’ve always concentrated our efforts and ideas on making the world of furnishings and outdoor spaces elegant and accessible.” Founded as a tannery in Biella in 1825, Serralunga celebrates 200 years of crafting outdoor furniture known for blending design, technique, and aesthetics over six generations. “We were born even before Italy was unified. We’re Piedmontese; our region is home to esteemed brands like Zegna, Loro Piana, Cerruti 1881, all companies that, like us, have embraced what I call a
SALONE: Hall 14/E24
dynamic tradition,” Serralunga continues. In particular, it’s through rotational molding that Serralunga changed its course. “Marco, you’re the man who made the world spin,” joked Elio Fiorucci. This technology, developed in the U.S. during the mid-20th century, was used to create tanks, fuel containers, and chemical-resistant vessels – seamless, lightweight, and transportable. “My father discovered it while traveling in the United States in the late ‘70s, attending several plastic technology fairs,” says Serralunga. “We were the first to envision applying this primarily industrial tech in a completely different field.” It was perfect for the outdoor world, provided one had the vision to see it. “We’ve always had the foresight to change the intended use of technology or products,” he adds. Over the years, this has led to iconic products like Vas One, extreme and out-of-scale items, decisions to incorporate lighting into planters, or create lacquered planters (“We borrowed that technology from Iveco trucks back in the day”). Over time, others have applied the same technology to outdoor furniture. Sometimes, Serralunga notes, with results suspiciously similar to theirs: “They say being copied is a sign of success, as Paolo Rizzatto often reminded me. Compared to many who ventured into rotational molding only to give it up or achieve poor results, we’ve made consistency our strength, our key to success and market recognition.” Consider the sofas with fabric cushions and rotational bases or
the pots that can be screwed into the ground with a steel spike (“Denis Santachiara’s Santavase, one of my favorites, has a wonderful poetic quality!”). Among their collaborations are the elegance and sophistication of Paolo Rizzatto, known for the Romeo and Giulietta benches, Marc Sadler’s technical mastery with his light-equipped lamps and vases, and Aqua loungers. Also, Zaha Hadid, whose iconic soft shapes embraced tables and sofas despite numerous challenges. Serralunga’s business strategy consistency, it must be said, also extends to a constant aesthetic. Not a small feat for a brand that, over two centuries, has intersected the creative paths, visionary minds, and strong personalities of design heavyweights like Vico Magistretti, Ettore Sottsass,
Philippe Starck, Patricia Urquiola, Jean-Marie Massaud, and Karim Rashid. “We are from Biella, and we have an elegance of a certain kind, not without irony. But we must be cautious because, as Nino Cerruti loved to say, the line between irony and vulgarity is very thin.” Using rotational molding for plastic products, Serralunga continues, allows the brand to offer lightweight, durable, recyclable, and aesthetically intriguing products today. Without ever shying away from a challenge: “That’s how Moleskin was born, a handcrafted process that we invented and patented, which involves scraping the plastic’s surface to give it the appearance of fabric,” he explains, aiming to avoid non-ecofriendly paints or treatments. Resistant and quick-drying, it has various applications, from lounge chairs to tables, from planters to armchairs. Most importantly, it pays homage to a sense often underutilized in the outdoor space: touch. “Today, the outdoor space is true luxury. And this holds in every city, in every country. We think not only about furnishing the large penthouse in the city center, but also about young couples seeking a two-seater sofa for their balcony. We never create just for the sake of it. We produce content, an application, an intelligence.”
Building history
We sat down with Demetrio Apolloni, CEO of B&B Italia Group, to talk about what it means to manage a portfolio of brands with a great past. The key to it all? Identity, a fundamental value. And people
by Ruben Modigliani
It has been just over a year since you were appointed CEO of B&B Italia. Where are you taking the group? It is important to go back to being aware of our values, to understand exactly what our strengths are, what were the reasons that led B&B Italia to be what it is today. This year Arclinea celebrates its 100th anniversary and Maxalto its 50th. While B&B Italia will be 60 next year. Our longevity is the starting point to think about our evolution, to make plans for the future. In other words, we need to recover our corporate values and start again.
What does this mean?
We have an important heritage, the collections: products for living, sleeping, outdoor and kitchen. This allows us to think with a design logic that is not based on individual products, but on proposing solutions for a whole home, including its exterior. This is a strength we have and have always had in the hospitality and contract sectors. I was recently in Tokyo, where I had the pleasure of visiting the Bulgari Hotel, designed by Studio ACPV Antonio Citterio Patricia Viel. It was a thrill for me to see the hotel furnished with the Maxalto collection. A wonderful calling card, a further confirmation of the company’s ability to solve important projects.
You introduced an extremely interesting topic: founding values. What are yours?
Values should always be put in context. It is often said that a company has “lost its identity,” but the reality is that the world changes and a strong brand evolves without losing its essence. Our DNA is industrial: since its foundation in 1966, B&B Italia has transformed the upholstered furniture sector, overcoming the artisan logic of the upholsterer and bringing innovation to production processes. One example is the Coronado sofa by Afra and Tobia Scarpa, which introduced cold-foamed polyurethane, optimizing production time and industrializing design. This attitude to research has guided each of our innovations: from Antonio Citterio’s Sity seating system in 1986, which revolutionized the home, to the Domus bookcase, which redefined
modularity in furniture. Today, the same curiosity and openness to change are essential to meeting new market challenges. I fully share Piero Ambrogio Busnelli’s vision: curiosity, the ability to ask questions and to confront international designers in order to always have new perspectives. This is what has made B&B Italia a benchmark in the world of design.
You manage a significant portfolio of brands. How do you make so many souls coexist?
B&B Italia has always been an example of innovation, and the introduction of Maxalto was a response to different design needs, focusing on a more classic collection and excellence in finishes. Each brand has its own identity, but quality is the common denominator that allows us to offer complete solutions and not just single products. This cohesion between the brands allows us to serve a wider and more diverse clientele that appreciates design, innovation and quality.
In this global perspective where groups are getting bigger and bigger, isn’t there a risk that the offer will become a bit homogenized?
Companies are made up of people. It is the vision and culture of the leaders that make the difference. It is crucial that those who lead the company have strong design skills and a clear vision. Mergers and acquisitions can risk homogenizing the offering, but expertise and a focus on quality make it possible to maintain a distinctive identity. It is people who make the difference, and this vision must be maintained over time.
Top: Demetrio Apolloni on the Diesis sofa (1979), design Antonio Citterio and Paolo Nava. 1. Detail of the sofa from the Erica outdoor collection (2017). 2. Sity sofa (1986), design Antonio Citterio (no longer in production). 3. Pier Ambrogio Busnelli
OUTDOOR, CABRIO STYLE
Sant’Eufemia, Italy June 30th, at 9 p.m. Natural balance of light and shade. The most exclusive open-air experience. Carrera bioclimatic pergola.
A StellaGroup Company
Alliance with art
Maxalto celebrates its first 50 years by inviting Dutch artist Patrick van Riemsdijk to embellish, with his calligraphy-inspired stroke, a limited edition of fifty of the Lilum chaise longue. Numbered and accompanied by a certificate of authenticity, the pieces are upholstered with a specially created fabric that reproduces the artist’s distinctive style.
LILUM chaise longue, design Patrick van Riemsdijk
MDW25: Via Durini 14
Journey through time
To celebrate the 25th anniversary of the Lem stool by Shin & Tomoko Azumi, LaPalma introduces it in three new galvanic finishes: brushed black, blue, and green. These new options expand the already extensive range while preserving the stool’s refined, minimalist identity. First showcased in 2000 at the Milan Furniture Fair, the Lem stool is iconic for its ‘ring that floats in the air’ design. LaPalma’s co-founder, Romano Marcato, emphasizes the company’s belief in timeless design, ensuring LEM’s status remains strong in international projects like the BMW Museum and Google HQ. Known for its simplicity and part of the Victoria & Albert Museum’s permanent collection, the Lem stool demonstrates precise craftsmanship. Originally a challenge to create, the stool’s frame is now crafted in fifty seconds.
LEM stool, design Shin & Tomoko Azumi
SALONE: Hall 22/B20
MDW25: Via Gorani 6
The idea of relaxation
Living Divani celebrates the 30th anniversary of the Frog armchair with a journey through the history of this iconic product signed by Piero Lissoni. A true pioneer of a new vision of the low and wide armchair, Frog introduced a contemporary and informal aesthetic into comfort, not only domestic, transforming over the years into a real design symbol.
FROG armchair, design Piero Lissoni
SALONE: Hall 11/C15
MDW25: Corso Monforte 20
The evolution continues
Porro, a brand that has always expressed a deep understanding of Italian design culture, celebrates 100 years of history. Experimentation on surfaces, the development of cutting-edge technological solutions, and formal research define its design approach. The Load-it shelving system, designed by Wolfgang Tolk in 1995, evolves over time integrating new materials and finishes without losing its identity.
LOAD-IT shelvign system, design Wolfgang Tolk
SALONE: Hall 11/D15
MDW25: Via Visconti di Modrone 29
The unexpected guest
Artek celebrates its 90th anniversary. For the occasion, limited editions of the Celebration collection have been created, including the Stool 60 (originally designed by Alvar Aalto) in a special Artek + Moomin version. A true tribute to the Moomins, famous characters from a series of books and comics born from the imagination of Finnish writer and painter Tove Jansson. The stool features original designs and notes by Jansson, laser-engraved on the seat and curved wooden legs, evoking the effect of scribbles on school desks.
STOOL 60, design Alvar Aalto
Suspended in time
Pedrali’s Nolita collection celebrates its 10th anniversary. Designed by CMP Design, it stands out for its steel structure and seating composed of rods, ensuring lightness and visual transparency. Thanks to its versatility, Nolita has become an icon of outdoor design, with versions ranging from seats to armchairs, and even sofas and ta-
bles. According to CMP, “Nolita is an object suspended in time, contemporary and yet evocative.” First introduced at Salone del Mobile.Milano 2015, it became quickly a bestseller for Pedrali, notable for its simple lines and playful tone. Launched 50 years after Mario Pedrali’s first metal garden chairs, Nolita evokes the company’s roots
while offering strength and durability. The collection symbolizes Pedrali’s craftsmanship and innovation, blending tradition with a contemporary approach. Its steel frame, consisting of twelve rods, offers comfort with minimal material. Available in various colors and styles, Nolita excels in outdoor settings due to its weather resistance. CMP
Design notes, “Nolita is timeless, designed for everyone and where everyone can feel at ease, a presence that acts as a backdrop for convivial moments.”
Nolita collection, design CMP Design
SALONE: Hall 24/D30
THE GRAND CRU
Fashion & Design
The blending of languages: the boundary between fashion and design is narrowing. Major fashion houses transfer their know-how to furniture, applying tailoring principles to armchairs, seating, and wallpapers. Materials, textures, and workmanship meet, giving life to collections where the rigor of design interacts with the aesthetics and material research of fashion.
Eclisse by ELIE SAAB Maison, design Carlo Colombo
Every day is a new beginning
On the occasion of receiving an award at the Madrid Design Festival last month, Paul Smith engaged in a brillant conversation with critic Deyan Sudjic. He reflected on his remarkable journey from a budding designer to an influential icon in the fashion industry
by Giulia Guzzini
His story begins with his first modest fashion show in Paris in 1976. Lacking financial resources, the show took place in a friend’s apartment, relying on a personal touch with friends modeling and his wife, Pauline, contributing by hand-sewing trousers. The music played from cassette tapes, and attendees had to ring a doorbell to gain entry, showcasing an intimate and humble beginning in Smith’s career. This contrasts sharply with the opulent fashion shows of today, which can cost upwards of £600,000 for merely 11 minutes of spectacle. Smith has recently decided to eschew traditional fashion extravaganzas in favor of intimate presentations, where he personally introduces his pieces and discusses fabric inspiration and design origins. This approach counters the industry’s trend towards shows that prioritize social media buzz over genuine appreciation for design. He laments how front rows are now often filled with influencers more interested in photo opportunities than the craftsmanship of the collections. By demonstrating his creations in person, Smith reintroduces a personal touch, drawing from influences as personal as his father’s photography, and challenging the homogeneous nature of contemporary fashion spectacles. A hallmark of Paul Smith’s design ethos is his signature stripes, a testament to his resourcefulness and creativity. Limited initially by budget, he worked with stock fabrics available in simple stripes. As his brand grew, Smith had the opportunity to
explore more innovative patterns, creating stripes that initially featured 27 colors before refining them to 14, without losing their vibrancy. Unlike many designers who rely on digital tools, Smith prefers a tactile approach, using card and thread to visualize his designs. This method allows for a unique interplay of colors that is three-dimensional, offering depth that flat digital designs cannot achieve. His stripes have since become iconic, initially intended for one season but remaining a staple due to their enduring appeal. Smith contrasts the fast-paced demands of the fashion world with other design sectors like automotive, where product development can span years. This extensive timeline contrasts with the pressure in fashion to deliver new collections frequently due to global demands for novelty, often driven by department store schedules. Despite the rapid turnover, Smith appreciates this dynamic environment, leveraging his experience from various design disciplines to enrich his work. The challenges of maintaining creativity and originality in a world dominated by mass production are substantial, yet Smith navigates them with finesse, ensuring each piece retains its individuality and charm. Beyond fashion, Smith has ventured into diverse projects, including work with the Picasso Museum and creative input for films like “Tinker Tailor Soldier Spy.” These experiences underscore his belief in embracing unexpected, lateral thinking approaches to design, allowing him to infuse projects with a distinctive vision that defies conventional paths. For him, the joy of creation lies in transforming an idea from concept to reality, which doesn’t always have to result in massive commercial success but must resonate personally and with those who experience the final product. With a vast archive that informs both his designs and young designers, Smith treasures the legacy he continues to build. His commitment to the craft is evident in every aspect, from his rigorous work ethic involving early morning rituals to long hours nurturing his brand, driven by the mantra that “every day is a new beginning.” This ethos ensures that his work remains fresh and relevant even as the fashion landscape evolves. Smith’s dedication to his art and his ability to find delight in each design endeavor guarantee that his creations will continue to captivate and inspire, fostering a profound connection with those who appreciate the artistry behind his work.
1 A domestic portrait of Paul Smith. 2-4 Objects of varying scales featuring Paul
Smith’s signature stripes.
K-shaped silhouette
Karl Lagerfeld Maison introduces the second chapter of the Wellen Collection, expanding its collaboration with guest designer Toan Nguyen. The original Wellen celebrated the timeless elegance of the 1970s. Its name, meaning ‘waves’ in German, pays homage to the fluid lines and flowing forms in Karl Lagerfeld’s fashion sketches from that era. The collection now includes twelve new pieces called K-Wellen, inspired by the iconic ‘K’ shape. This new line embodies Karl Lagerfeld’s minimalist elegance, reinterpreted with sophisticated, contemporary design. The distinctive ‘K’ silhouette is evident across a range of furniture, fostering a harmonious dialogue between essential geometries and luxurious materials. The standout feature? Metallic finishes provide a bold character and strong aesthetic identity, perfectly aligning with the futurist vision of the renowned couturier.
The Eclisse Sofa by ELIE SAAB Maison’s “Sculpted Dreams” Collection combines geometric structure and enveloping seats in an effective play of contrasts. Ideal for both hospitality and residential settings, it is a key feature of the brand’s new Milanese showroom. A captivating blend of architecture, haute couture, and craftsmanship, the Eclisse sofa by ELIE SAAB Maison embodies the brand’s new evolution, with a continued quest for refinement and attention to detail. Sculptural and generous in form, Eclisse merges geometric, stylized lines of the structure with the richness of its curved, enveloping seats, reinforcing the brand’s vision for lifestyle interiors and translating a holistic design sensibility into tangible form.
Designed for both hospitality and residential elegance, Eclisse is part of the “Sculpted Dreams” collection, which “is the expression of our design philosophy,” says Carlo Colombo, Creative Director ELIE SAAB Maison. “Where the richness of forms, textures, and craftsmanship meets the refined world of interiors. We have created a collection that embodies ELIE SAAB Maison’s codes: architectural precision, opulent materials, and unwavering attention to detail. Each piece reflects our passion for timeless elegance and sophistication.” The public presentation of the Eclisse sofa and the collection coincides with the relocation of the brand’s main Milan showroom to Via Pie-
tro Mascagni 2, in a new 450-square-meter space within one of the city’s historic palaces, the capital of design, coinciding with the 2025 Salone del Mobile. This represents a conceptual transition for the brand towards a more immersive and experiential approach, where design, hospitality, and sensory exploration blend. Focused on a multisensory journey, the new space invites visitors to engage with the world of ELIE SAAB Maison through sight, hearing, touch, and smell, transforming every interaction into a sophisticated encounter with luxury. This opening solidifies ELIE SAAB Maison’s presence in Milan’s prestigious design district with a flagship dedicated to lifestyle, innovation, and artistic expression. Materiality and texture become the focal point, with refined selections of marble, bronzed mirrors, polished metals, and tactile fabrics enhancing every piece. Meanwhile, a play of lighting and transparency highlights the depth and dimension of the entire collection, with Eclisse as the true protagonist.
ECLISSE SOFA, design Carlo Colombo MDW25: Via Pietro Mascagni 2
Theatrical atmosphere
With a scenic presence, the Ecate coffee tables and Viola chair, upholstered in Dolce&Gabbana’s Verde Maiolica, blend geometric lines with rounded forms to create furniture pieces that infuse any space with character in a harmonious manner. These pieces stand out as bold statements, yet seamlessly integrate into their surroundings, embodying a perfect balance of drama and elegance that captivates and enchants.
Sensoriality en plein air
Loro Piana Interiors’ outdoor collection epitomizes timeless elegance and exceptional quality, seamlessly merging indoor sophistication with outdoor peace. Through a collaboration with Exteta, esteemed designers Paola Navone and Otto Studio unveiled The Delight Chairs collection, capturing luxury and comfort in outdoor settings. Key pieces include the Modular Sofa, which highlights the brand’s adaptable design philosophy with its clean lines and endless configuration possibilities. The Delight Chairs, crafted from Sapelli mahogany wood, exude elegance and contemporary style, encouraging outdoor dining and enjoyment of nature. The Chaise Longue and Lounge Chair offer retreats for relaxation and tranquility. The collection also features versatile tables, like the square Breakfast table and rectangular Coffee Table, providing functional elegance in any setting. Each piece embodies Loro Piana’s dedication to craftsmanship and luxury, transforming outdoor spaces into serene, luxurious retreats, and reinforcing its legacy of timeless design.
The Delight Chairs collection, design Paola Navone and Otto Studio
MDW25: Via della Moscova 33
ECATE coffee tables | VIOLA chair
MDW25: Corso Venezia 7 | Via Durini 23
Swiss precision
Classic aesthetics and contemporary rigor define Gianfranco Ferré Home’s collection. The Zurich armchair balances defined geometries and softness, featuring tailored details like slender leather bands and dark brown straps with Brushed Bronze finishes. The silver nubuck upholstery enhances the chair’s sophisticated allure. Part of a line including a coordinated sofa, Zurich is designed to create a uniquely elegant and authentic living area.
ZURICH armchair, design Gianfranco Ferré Home
MDW25: Hall 13/C03
Nature effect
With its understated silhouette, without concessions to superfluousness, the Vivace armchair is a tribute to the purity of 1920s design and its inimitable glamour. The shell is made of curved wood covered with a metal “skin” worked in relief, evoking a forest of bamboo canes. The interior is upholstered in embroidered silk fabric in subtle shades of sand and silver. It is a small manifesto of style: the subtle play of proportions, the understated preciousness of the materials, the tac-
tility that is at once refined and minimal. It is a trait d’union between many of the pillars of the Armani/Casa aesthetic: a way of being conceived at 360°, from clothing to the home. In which aesthetic clarity becomes the key to entering a world in evolution, but always faithful to its essence.
An essential and relaxed form suitable for infinite variations. The Fendi Cover sofa is indeed removable and has a vast wardrobe of covers. It’s a new approach to living room design. Its distinctive elements include spiral piping, corner slit at the base, and leather bands with the monogram: a homage to the Maison’s stylistic codes.
FENDI COVER sofa, design FFD
MDW25: Piazza della Scala, corner Via Manzoni
THE GRAND CRU
Kitchen
The essence of the kitchen revolves around the idea of conviviality. This space evolves, becoming an environment capable of integrating with the living area. Modular systems and intelligent surfaces optimize every aspect, while high-tech appliances offer advanced performance, enhancing the interaction and personalization of the domestic experience.
A kitchen that increasingly resembles a laboratory of experience, but also a place of socialization open to family and friends: a much more ‘intimate’ kitchen than in the past, a nest where food preparation becomes a daily appointment that nourishes well-being and relationships. The new values and furnishings of the space dedicated to food today are shaped above all by Generation Z, which includes those born between 1996 and 2012: A very broad demographic category in fact, within which – especially when it comes to their relationship with food – the CreActives (20-24 years old) and ProActives (25-29 years old) tribes stand out, “two groups that grew up with talent- and cooking shows and are therefore the most inclined to experiment with new dishes and tell stories through recipes,” explains sociologist Francesco Morace, president of Future Concept Lab and co-author with Linda Gobbi of Ma quale Gen Z? (‘Gan X: What’s the story?’, Egea), an essay that examines the attitudes, values and behaviors of a generation that defies clichés. “We are faced with a user base that masters demotics, such as appliances that facilitate food preparation, and for whom being at the stove is
a creative gesture, almost a form of empowerment.” Hence the need for multifunctional robots, extractors, dryers and planetary machines, to be kept within sight and reach in practical but elegant furnishings, preferably made of natural materials such as stone and wood treated to resist water, fats and acids, sometimes combined with timeless steel, aluminum or more experimental surfaces such as ceramic or concrete. The trend towards modular and compact allin-one kitchens, designed for studio apartments and urban open spaces, and the segment of monoblocks (or the ‘stove and sink’ duo) for the outdoors, for the terrace or garden, designed to withstand the weather but which can also be used indoors if desired, are developing rapidly. In any case,
Trend kitchens
Between home automation and show cooking, the new generations have a radically new approach to cooking. In which being at the stove is a creative gesture, almost a form of empowerment.
by Silvia dal Lago
these are “clearly visible and liveable kitchens that dialogue with the living room and become an integral part of it”, says Morace, “and which, in a logic of vertical memory, are often personalized with a family object – a small cupboard, a table, the moka pot – that comes from adolescence and becomes a companion for a new phase of life”. In this way, the pact between the generations is welded once again around the most magical and ancient rite: that of eating.
1 Sociologist Francesco Morace. 2. Cha kettle/teapot, in steel and thermoplastic resin, design Naoto Fukasawa for Alessi 3. A stainless steel kitchen made by Abimis.
Sinuous shapes
Cove Kitchen, originally conceived by the genius of Zaha Hadid for Boffi, is presented as a monoblock with fluid elegance, where sinuous shapes intertwine with the versatility of moldable materials like Corian®. The lateral supports rise upwards, harmoniously supporting the rear snack, extending to create a welcoming and functional area.
COVE Kitchen, Zaha Hadid Design
MDW25: Via Solferino 11
Kitchen revolution
Elica’s Lhov cooktop has a linear design with black glass that combines aesthetics and performance: perfectly flush with kitchen cabinets, it offers multiple cooking modes and zones and an extraordinary touch screen. Its vacuum system can capture vapors and odors from the cooktop and, for the first time, from the oven as well.
LHOV
MDW25: Via Pontaccio 8
Creating without limits
Creating in the kitchen becomes limitless with KitchenAid appliances, designed in both technology and style to make every preparation exceptional. Food lovers, an ever-growing number, seek increasingly efficient tools to enhance their creativity in the kitchen and enjoy the excellence of every dish. KitchenAid is an iconic brand that has been offering a complete range of small appliances for over a century, designed to fully support passion and creativity in the kitchen. These products, a result of deep know-how filled with passion and technological research, make everyday life special.
For coffee connoisseurs or those who can appreciate its quality without being experts, KitchenAid’s fully automatic KF8 espresso machine offers the same meticulous preparation as a café at home. The integrated grinder features seven settings, with the freedom to program the temperature and customize the grind. It also lets you choose from over 40 preset recipes, allowing the exploration of flavors ranging from a clas-
sic ristretto espresso to a creamy cappuccino, including plant-based beverages – all in complete silence (the KF8 is Quiet Mark certified). A 5” touchscreen display guides the actions and integrates seamlessly into the metal-clad structure. Indeed, cutting-edge technology blends with carefully detailed, compact aesthetics, available in four color options: Stainless Steel, Cast Iron Black, Porcelain White, and Juniper.
It also alerts users to maintenance and descaling needs. The KF8 espresso machine embodies durability, build quality, and usability, earning a Red Dot Design Award and a Longtime® certification. Additionally, the 4.8 L Artisan Stand Mixer, available in an Imperial Red finish, showcases captivating aesthetics with its soft and harmonious lines in a zinc-plated metal body of dramatic effect. It is now recognized as a
true symbol of style and tradition. The famous tilt-head, which facilitates the insertion and replacement of accessories, stands out in its elegance, while the chrome details and glossy finish highlight the brand’s attention to detail. With ten speeds and a full complement of accessories, the mixer perfectly combines functional excellence and cutting-edge design. Its spacious 4.8 L stainless steel bowl and five-year warranty testify to its solidity and durability.
Fully Automatic Espresso Machine KF8
KitchenAid Artisan 4.8 L Tilt-Head Stand Mixer
KitchenAid Go Cordless Hand Blender
Seventies lines
Designed by Giuseppe Bavuso, Ernestomeda’s art director, Sign Round is characterized by its soft and enveloping shapes: strict edges give way to harmonious curves that add fluidity to the kitchen. The concept is of an airy and dynamic design, with the snack table extending like a wing, adding a touch of dynamism to the composition.
SIGN ROUND kitchen, design Giuseppe Bavuso
MDW25: Via Larga 9
Evolving graphics
Elena Salmistraro redesigns the surfaces of Signature Kitchen Suite appliances in the new DUAL CODE capsule collection, full of color and retro-pop flavor. It features the Supernova and Vector graphics that cover bespoke cabinets of the undercounter wine cellar and the convertible undercounter refrigerator. Available in three color variants each, the new graphics push the appliances beyond their “comfort zone,” inspiring compositions and combinations that turn technology into design objects. The undercounter wine cellar, crafted with meticulous attention to wine preservation, offers a capacity of 41 bottles with two independently adjustable temperature and humidity zones. Its stainless steel interior and natural beech wood shelves complement the clean, handle-free design of its triple-glazed, UV-protected door, blending functionality with sleek aesthetics.
DUAL CODE capsule collection, design Elena Salmistraro
MDW25: Via Manzoni 47
Without limits
Ak_Project, designed by Franco Driusso for Arrital, is a complete kitchen system that integrates with the living area, presenting 11 different settings and styles. Arrital focuses on the proposed layouts, such as the Planar Boiserie, Divider System modules, and the glass Pass System door. The Sipario storage module elegantly conceals the operational area.
AK_PROJECT kitchen, design Franco Driusso
MDW25: Corso Europa 22
Unique interaction
The Gaggenau Expressive series features ovens equipped with a high-performance heating system and an invisible grill. Key features include temperataures reaching 300°C, an intuitive user interface, advanced automatic programs, a multi-point core temperature probe for food, and a pyrolytic self-cleaning system.
Gaggenau Expressive
Contemporary languages
bines retro-inspired motifs with modern and functional details. The 23-mm-thick door features a slim frame made of solid Ash and a central panel veneered to match the essence.
100 YEARS WITH A PHOTOGRAPHIC PROJECT
To celebrate its centenary, the Italian kitchen company Arclinea has devised a special initiative: a photographic exhibition entrusted to the talent of Amélie Ambroise, a renowned French photographer. Amélie, also known for her collaboration with the famous fashion photographer Peter Lindbergh, has managed to capture the essence of Italy through a project that celebrates the beauty of nature and the richness of Italian culinary culture. The images created by Amélie Ambroise showcase 100 Italian ingredients, carefully selected to represent the diversity and authenticity of the territory’s gastronomic traditions. Each shot is a tribute to nature and the unique flavors of Italy, engaging in a visual dialogue that narrates stories of taste, passion, and tradition. The exhibition is set up at the Arclinea showroom on Via Durini in Milan, where visitors can also admire a selection of the most iconic creations by architect and designer Antonio Citterio. As Arclinea’s creative director for over 40 years, Citterio has played a pivotal role in defining the brand’s identity and style through projects that blend functionality and elegance. This photographic project honors Arclinea’s 100th anniversary, paying tribute to Italy through a journey that invites exploration and rediscovery of the richness of a culture that turns food into an art form.
MDW25: Corso Magenta 2
Poetica is the new furniture system from Scavolini, design Vuesse. Wood is one of the protagonists of the collection, in addition to its aesthetic value, guaranteed by the processing of the door, which com-
POETICA kitchen, design Vuesse
MDW25: Viale Piave 15
THE GRAND CRU
Unique by Nature
Exploring the relationship between natural and artificial, surfaces and furniture take shape where matter comes alive. Stone, wood, and marble join advanced technologies for aesthetic and functional solutions. Texture, light, and sustainability guide the research, defining a balance between innovation and nature.
Minera by Neutra, design Zaha Hadid Architects
Bas Smets: the landscape as a living organism
One of todays great challenges is reconciling the sustainability of our cities in the face of climate change with the preservation of monuments and community access. In this regard, Belgian architect Bas Smets is among those redefining what is possible
by Naima Morelli
An internationally renowned landscape architect, Bas Smets views the landscape as an extension of nature. For Smets, plants are not mere decorative elements but active agents in creating a self-sustaining microclimate. Over the years, this vision has manifested in innovative projects that combine scientific research, design, and technology. From transforming the area around Notre-Dame to designing the Belgian Pavilion at the 2025 Venice Architecture Biennale, his work is based on a deep philosophical reflection on the relationship between nature and urban space.
In your architectural practice, you emphasize a method over a style. What does your method entail?
My method, “biospheric urbanism,” involves seeing the city as a “second nature,” where buildings modify prevailing winds and alter solar exposure. Streets and squares change water runoff, affecting permeability. With my students at the Harvard Graduate School of Design, we study a city each year to understand how it can become resilient to climate change.
In your practice, urban space is an extension of nature. How important is it to rethink our mental frameworks to create more sustainable environments?
I believe we need to move away from the opposition between culture and nature and from viewing the environment as something merely around us; we are part of it. Darwin noted that plants shape the environment more than the
environment shapes plants. Plants indeed produce the environment we live in, so as architects, our focus should be on the cohabitation between plant and animal life.
You have been teaching at Harvard for two years, analyzing cities to improve resilience to climate change. Can you provide examples?
So far, we’ve studied New York, Paris, and Athens, imagining global warming scenarios at +2°C, +3°C, +4°C, and +5°C. As climate change becomes more drastic, solutions must become more radical. Paris, for example, has seriously addressed climate change over the past decade by mass planting trees and reevaluating soil permeability, a model many cities may soon follow.
You emphasize the importance of soil, especially in your project redesigning the area around Notre-Dame. Can you elaborate?
Soil enables plant life, but in our cities, we’ve created an impermeable layer preventing rainwater from infiltrating the ground. This results in lowered water levels, making even ancient trees unable to access water, leading to droughts and floods. To address this, in various projects, we’ve created artificial aquifers under sidewalks to plant trees that return water to the atmosphere, cooling the air. At Notre-Dame, alongside NGA and GRAU architects, we redesigned the public space around the cathedral and transformed the
unused underground parking into a visitor center. Here, we collect rainwater for irrigation and cooling the environment through evaporation.
How did you balance environmental sustainability, community, and historical heritage in the Notre-Dame project?
Working with monuments is crucial because they have succeeded in the grand laboratory of the city. Our goal was to create a climate space around Notre-Dame, studying the Seine’s wind, trees’ evapotranspiration, and sunlight reflection. We needed to respect history while projecting into the future, balancing reverence for the past with an understanding of its evolution over the next 10, 20, or even 100 years. How did your collaboration with Stefano Mancuso for the
Belgian pavilion at the Venice Architecture Biennale come about?
For Venice, I asked Stefano to integrate plants into a controlled microclimate. A building is already a microclimate: it blocks the sun and wind, simulating the understory of a subtropical forest, except it doesn’t rain. We placed sensors in the plants, allowing lighting, irrigation, and ventilation to be dictated by the trees themselves, creating a microclimate within the pavilion. This is no longer traditional air conditioning but rather a “natural intelligence” that regulates internal conditions.
In the past, you’ve expressed skepticism about the climate future, yet your work reflects a hopeful approach. Can you explain this?
We live in an interesting historical moment. On one hand, artificial intelligence presents both promise and threat; on the other, we have NI, “natural intelligence,” which we are beginning to understand much better. Compared to ten or twenty years ago, there has been a radical awareness of climate change. Faced with imminent danger, there are two options: remain paralyzed and inactive or choose to act by every possible means, even without assurance of success. For me, action is a moral obligation.
1 Paris les abords de Notre-Dame
2 “Building Biospheres”, Belgian Pavilion, Biennale di Venezia, 2025 model
Studio Alma pour groupement
Bureau
Bas Smets, Michiel De Cleene
Beyond design
The Minera table, designed by Zaha Hadid Architects in a limited edition of just eight pieces, transforms marble, a material solid by definition, into a light and soft sculpture. This achievement is made possible by the production excellence of NEUTRA, which has been working with natural stones for over 140 years.
It’s impossible, when looking at Minera, the table from the Erosion collection designed by Zaha Hadid Architects for the company, not to think of the sculptures of great masters like Michelangelo and Canova, who could impart lightness and fluidity to one of the seemingly least malleable materials in nature, like marble. Minera is the result of the revolutionary and surprising vision of Zaha Hadid Architects combined with the production excellence of NEUTRA, a company founded in 1880. While the company’s origins were in transforming and working with marble and natural stones, since 2022, under the acquisition of Emanuele Chicco Busnelli, the brand has become a benchmark for marble and natural stone furni-
Dynamic contrasts
Tuet is Arpa’s first deep surface. This new fluted surface is inspired by the reeds of Piedmont marshes and the contrast between light and shadows. On one side, the wood grain enhances the contrast between light and shadow, while on the other, it defines a tactile and undulating experience. Tuet’s waves can be arranged in both directions, fostering different sensations of movement and spatial extension.
TUET deep surface
ture design, embodying a sophisticated and timeless taste. It’s an extremely effective response to the essential lines of contemporary design, which unite natural stone, metal, glass, and wood in a subtle balance of proportions, colors, and unique materials. Through technological and artisanal research, this balance transforms into tables and furniture with light contours but strong expressive content, creating a living space where form and living matter meet to evoke timeless emotions every day. This philosophy is reflected in the new collection presented at the Milan Design Week 2025, featuring bookcases, modular sofas, sideboards, seats, a table, and a bed, as well as lighting elements where aesthetics transcend material and become poetry. Thanks to its sinuous shape, the natural stone, enhanced by the irregular veins that accentuate its charm, expresses sensations of softness in an elegant contrast with the hardness of the stone. The Erosion collection explores the dynamic interplay between matter, time, and form.
Along with the Branch console, Minera celebrates the beauty of natural stone and its transformations over time, embracing its pure allure. Sculpted from the finest Carrara marble, these products stand out for their well-defined character and narrate a temporal evolution. Minera redefines the concept of the traditional dining table through a continuous form that, thanks to impeccable craftsmanship, embodies contrasting forces. Its fluid shapes, reflecting the natural effect of erosion, are masterfully crafted by NEUTRA through delicate processing starting from a single block of marble. Designed to seat up to eight people, the Minera table is an exclusive piece available in a limited edition of just eight pieces: a sculptural centerpiece for a sophisticated dining experience.
Nagi is a marble surface that enchants with its delicate ripples, evoking the undulating movement created when a stone disturbs the tranquility of water. This texture reflects the natural rhythm of water, gradually transitioning from a dense to a more open pattern. In Japanese, Nagi means calm, highlighting tranquility and serenity. George Yabu and Glenn Pushelberg describe the concept as a celebration of the relationship between water and stone: “Translating the movement of water into the solidity of stone is a reflection of Salvatori’s essence.” Nagi comes in a rectangular tile of 586x292 mm, with a pattern that can be laid horizontally or vertically. Made from marbles like Bianco Carrara and Verde Guatemala, Nagi confirms the synergy between Salvatori and the Canadian duo Yabu Pushelberg, who have already collaborated on iconic projects.
NAGI texture, design Yabu Pushelberg
MDW25: Via Soferino 11
Acoustic design
Among the proposals from the Atelier Bespoke, Bang & Olufsen unveils a new design concept that combines sound and natural stone: the powerful Beosound Balance Natura speaker clad in Antolini®’s Cristallo Vitrum ‘Wow’, a splendid Natural Quartz from the brand’s Exclusive Collection.
BEOSOUND BALANCE NATURA design
Beosound Balance by Layer Design; Column Design by Bang & Olufsen
MDW25
Piazza Fontana Via San Clemente
Chain reaction
The ancient allure of jewelry and the playful – not lacking irony – out-of-scale play takes shape in oversized bracelets sculpted in stone, becoming the bases for side- and coffee-tables with transparent tops by Budri. As designer Eric Carlson explains, they are “furniture like
jewels for architecture,” with design inspired by fashion.
CHARME collection, design Eric Carlson/Carbondale
MDW25: Foro Buonaparte 60
Clean lines
Isola Light is a bathroom furniture system designed by Studio Itlas, consisting of wooden paneling and shelves with adjustable glass and aluminum containers, and a
countertop sink in bronze glass. The collection is customizable with the possibility of combining wood with other material elements, marble, and resins.
MDW25: Via San Marco 38
New horizons
Quartzforms®, a brand of Scapin Group specializing in innovative mineral surfaces, presents the expansion of the Ecotone™ range, a collection of surfaces made with recycled components, bio compound-derived resin, and less than 5% crystalline silica content, maintaining all the physical and technical characteristics of natural stone. Featured is the Flamingo surface. ECOTONE™
MDW25: Via Santa Tecla 3
REDEFINING MARBLE
The collaboration between Margraf, a leader in the marble industry, and Hannes Peer Architecture from Milan highlights the intersection of material innovation and creative design. Their joint installation, “Crash,” unveiled at Milan Design Week 2025, challenges traditional perceptions of marble. Margraf’s long-standing expertise meets Hannes Peer’s avant-garde vision, transforming marble from a symbol of stability into a medium of rupture and revelation. “Crash” presents marble as a dynamic material, engaging actively with its environment. This installation explores collision as both a conceptual and tangible force, with marble bending and detaching, defying architectural norms. These organic forms showcase liberation from traditional constraints and highlight the potential in its “imperfections.” Inspired by artists like Michelangelo and Isamu Noguchi, the installation pays homage to the idea of fracture as reinvention. Visitors enter a space reminiscent of a quarry, where marble takes on fluid forms, challenging expected properties. The central marble slab appears bending and crumbling, inviting viewers to explore beauty in transformation. “Crash” emphasizes the depth of imperfection, celebrating a vision where material and meaning merge, expanding marble’s role in modern design. Through this collaboration, Margraf and Hannes Peer encourage a reimagining of materials in contemporary architecture.
Isola Light, design Studio Itlas
THE GRAND CRU
Editions
Creations made with the utmost care and quality: carpets, lamps, sofas, and seating with distinctive designs guarantee high standards of excellence and adapt to high-end homes. The preciousness of materials and craftsmanship combine with refined aesthetics, giving rise to exclusive pieces that merge style and personality.
Labirinto & Catene by Ginori 1735
Design in editions: between history and innovation
From reissues of historic furniture to pieces born from the dialog between different disciplines, design in editions is confirmed as a protagonist of contemporary living.
by Umberta Genta
The phenomenon of special editions and reissues has a strong impact on the contemporary design market, where companies relaunch historical icons in limited editions or series, or develop new projects in collaboration with creatives from different fields: From artists like Giulio Paolini, who created two limited editions for the Murano glassworks in 2021 on the occasion of Venini’s centenary, to influencers like Virgil Abloh (1980-2021, founder of the luxury streetwear brand Off-White), who reinterpreted some historic pieces by Jean Prouvé in a limited edition with Vitra in 2019. The added value of an edition, whether limited or open, lies in the combination of tradition and innovation, in the historical design reinterpreted in a modern key but unchanged in its essence: the Arco lamp by Flos was proposed in 2022, sixty years after its creation, in a limited edition with a crystal base instead of a marble one. The phenomenon is not without its critics: “If a historical work by Gio Ponti will always be appreciated, a limited edition contemporary piece, in addition to costing more, may not retain its value over time”, says Rossella Colombari, founder of the eponymous Milan gallery specializing in twentieth-century art design; “the industry should focus more on research and innovation. If editions became a strategy to raise prices, it would undermine the relationship of trust between the customer and the company”. “The important thing is that these aren’t just commercial operations,” says Roberta Meloni, who in the early 2000s revived the historic Poltronova brand, today known for producing iconic pieces from its archive (notified by the Ministry of Cultural Heritage): from Archizoom
Associati’s Superonda sofa to Ettore Sotsass’s Ultrafragola mirror and Vignelli’s Saratoga series, to name a few, Poltronova presents the most experimental and daring repertoire of Made in Italy. With the exception of a few limited editions (in consultation with the author), their production is mostly mass-produced and drawn from the archive. “Re-editing a piece from the archive by putting it back into production means that we consider this project strong, ‘talking’. We discuss it with the authors or their heirs: we
have to believe strongly in it. The goal is not to celebrate the author, but to bring back to the market furniture that will naturally go into homes, that will be contemporary precisely because of the important stories they carry.”
1 Members of the Archizoom group pose on their Superonda sofa (Poltronova). 2 The D.154.2 armchair designed by Gio Ponti for the Villa Planchart in Caracas and now reissued by Molteni &C. 3 The Joe chair by Jonathan De Pas, Donato D’Urbino, Paolo Lomazzi for Poltronova. 4 Special edition of the Potence lamp by Jean Prouvé, as reintepreted by Virgil Abloh (Vitra).
Frederik
Vercruysse, courtesy of Gio Ponti Archives
Scenic effects between past and future
Gio Ponti (1891–1979) did not only significantly shape modern architecture and industrial design, but also the very material itself. As an architect, designer, and artist, he pioneered a forward-thinking approach to design with great modernity. Ginori 1735 knows this well, as it appointed him artistic director from 1923 to 1933, during which time he brought Italian craftsmanship to international fame, initiating a true transformation of the brand. Now, the brand pays tribute to the master and his brilliant vision that first linked art to industrial production with two new colors for the historical Catene and Labirinto decorations. Developed by the architect between 1926
and 1927 with playful iconography and symbolism, these designs immediately burst into the traditional company catalog of the time and gained global recognition, laying the groundwork for a valuable legacy at Ginori. Classic motifs mix with contemporary design in Labirinto, originally called Labirintesca and designed in gold and various colors: a design inspired by Greek mazes intricately repeated on small decorative objects (bowls, smoking accessories). Meanwhile, Catene draws inspiration from the geometry of interlocking rings, a delicate symbol of strength and continuity. These bold patterns with distinctive features belong to Ginori 1735’s 2025 collec-
tions in the new shades of Ebano – a deep, earthy tone – and Cachemire – a soft, refined beige. Created after careful research into Ponti’s color palettes, these are the result of a softer yet equally sophisticated interpretation. Colors crafted to enhance the straight yet sinuous lines that traverse the porcelain, generating a striking graphic movement. A blend of ancient and modern that recurs across various types: from plates to cups, trays, and pocket emptiers, to small decorative boxes. Collectible pieces in the Arte Collection include the bowl Catena di Chiavi, the perforated discs Esorcismo and Amore degli Angeli. Reissued in a numbered edition, the dreamlike figures, true to Ponti’s vision, have been recreated by master artisans after thorough research to replicate the original painting techniques and intricate details. Hand-painted in gold, each element required more than 20 hours to complete.
Persian style
The Parsa collection by Sahrai is a combination of the best traditional handmade Persian carpets. The hand-knotting requires a high level of skill and time, ensuring that no two rugs are ever completely identical. Elaheh showcases a splendid kaleidoscopic repetition of a traditional floral motif.
PARSA collection
MDW25: Via Alessandro Manzoni 38
LABIRINTO and CATENE collections
MDW25: Piazza San Marco 3
Suspended space
The name Noka refers to the Japanese country house, whose floor is covered with tatami that provide an outdoor corridor connecting the home’s heart and exterior. The Noka sofa by Sebastiano Herkner for Ligne Roset makes you feel at home and connects you with others. Like a stilt house, it emits stability while offering a new perspective. Inspired by this traditional architecture, the Noka sofa reflects a sense of balance and openness, much like the corridors that link different parts of a Japanese home. Its thoughtful design not only invites relaxation but also encourages social interaction, making it a perfect centerpiece for any living space. The modular nature of the Noka sofa allows you to create the “suspended space you need,” providing unparalleled versatility and adaptability to fit various lifestyles.
NOKA, design Sebastiano Herkner
Luminous geometries
In the Milo sofa from the NEXT collection by Zanaboni, the metal detail elegantly wrapping the armrest seamlessly blends into a sinuous curve on the side. The velvet upholstery further enhances the shapes of the sofa through its reflections that capture the light.
MILO sofa, design Castello Lagravinese Studio
SALONE: Hall 13/D05
MDW25: Via Fatebenefratelli 15
MDW25: MOHD Milano, Via Turati 3
Masked ball
Dance is the Bosa collection celebrating twenty-five years of collaboration with designer Jaime Hayon. A collection that breathes new life into more classic pieces, decorated with bright colors, playful graphics, and theatrical patterns. It includes a wide variety of objects, including coffee tables, sculptures, and table accessories.
DANCE collection, design Jaime Hayon
SALONE: Hall 22/A36
Between memory and the future
Two discs suspended in mid-air, with adjustable inclination to diffuse light with variable intensity. The upper one, made of lucite, is thin and luminous, while the lower one is crafted from epoxy resin with different hues and shades. Handmade, their aesthetic is inspired by the Space Age: a futuristic look with a vintage touch by Draga & Aurel
PHEBE suspension lamp, design Draga & Aurel
MDW25: Galleria Rossana Orlandi, Via Matteo Bandello 14
Variable setting
The design of this table dates back to 1952 when Børge Mogensen presented it at the Arts and Crafts Spring Exhibition in Copenhagen as part of a series of furniture with a minimal aesthetic, specially designed for small homes, Carl Hansen & Søn. Its extendability, together with its timeless aesthetic, has made it a classic.
BM0121 dining table, design Børge Mogensen
MDW25: Via Mercato 3
by
THE GRAND CRU
Surface & Bath
Surfaces that surprise, innovatation, and design that transforms space: the frontier of the bathroom and coatings is a blend of aesthetics and technology. From 4D technology to three-dimensional materiality, and sustainable porcelain stoneware to elegant finishes, each element redefines the relationship between design and material, narrating research and experimentation.
Rak-Valet
Rak Ceramics, design Patrick Norguet
From nature to AI
Research on covering materials is moving in precise directions: materiality, to give the impression of a natural matter as much as possible; three-dimensional processing, which has reached previously unimaginable levels of precision. The same goes for outdoor products, to create a dialog between the inside and the outside.
by Silvia dal Lago
The universe of surfaces is also opening up to constant hybridization, in a sign of the connection between worlds. As was confirmed in Valencia, Spain, during the last Cevisama, the International Exhibition of Ceramics, Bathroom Furnishings, Natural Stone, Tiles and Bricks, there is practically no difference between materials intended for indoor and outdoor use. In fact, the need to eliminate the barriers between inside and outside is one of the main design trends that has emerged in the pandemic, and ceramics is certainly the material that responds in the most versatile and healthy way to the demand for uniformity: new technologies make it possible to develop XL and XXL porcelain stoneware slabs that create visual and functional continuity between living spaces, terraces, gardens, borders and even swimming pool interiors, solving maintenance problems at the root and minimizing the use of joints. The other, more aesthetic-experimental line of research concerns finishes: in addition to lustrous glazes and metallic effects (especially Corten) and woods, surfaces inspired by the world of stone - from marble to basalt, quartz to translucent alabaster and rocks with rough, “lived-in” finishes - are effortlessly integrated into modern contexts, bringing with them the warmth and evocative power of nature. “Numerous studies show that more than 90 percent of people imagine themselves in a forest, by the sea or on a mountaintop when asked to think of a place where they feel relaxed and calm,” notes Rita Trombin, environmental psychologist, biophilic design expert and president of AIB, the Italian Biophilic Association, “while Italian research conducted during the 2020 lockdowns and published in
the International Journal of Environmental Research and Public Health confirmed that those who were isolated indoors for long periods without ever going outside had a doubled risk of developing depression. However, when direct contact with nature is not possible, the coverings used in homes and workplaces can also make a difference.” These aspects are taken care of by biophilia, which, according to the American biologist Edward Osborne Wilson, who coined the term in 1984, is “the innate tendency to focus attention on life forms and anything that reminds us of them, and in some circumstances to become emotionally attached to them. “An approach that also explains why the use of neutral tones and textures is becoming increasingly popular, with the aim of promoting that special physical and emotional well-being that comes from tactile and visual exposure to colors, shapes and decorations that evoke the Earth’s habitat. The evolution of production processes is also accelerating the engineering of materials, including AI-assisted experimentation: for example, it is already possible to lay slabs and tiles in magnetic mode without glue, to activate home automation devices by touching a smart surface, or to ‘illustrate’ ceramics with personalized images, treating them like a pictorial medium. On which everyone can write their own story.
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Rita White, AIB President. 2. Kimono collection designed by Federica Confalonieri for Decoratori Bassanesi.
. Osso e Bottone collection by Ronan Bouroullec for Mutina.
. Silverwave by Sapienstone.
AURIA _ DESIGN BY PETER WIRZ
Moving away from the void virtuosity and overwhelming technological presence of our days and nurturing the ever-pressing need for physicality and authenticity: this is the mission of Rak Ceramics, a world-leading brand in lifestyle bathroom solutions and integrated systems for floors and walls, based in the United Arab Emirates. In constant search for new solutions, the company presents all the group’s proposals, including Rak-Des and Rak-Skin, at Fuorisalone 2025, concurrently with a particularly significant event: the opening of its first Design Hub in Milan. The location chosen is via Borgogna 8, in the heart of the Design District, which becomes the ideal setting for new proposals and solutions for projects on both small and large scales that continue to provide creative inspirations to international
interior designers and architects. All under the banner of sustainability. Rak-Skin, a collection of unconventional washbasins made from tactile and natural materials, is showcased in numerous variants, all with one goal: to convey feelings of comfort and warmth. The innovative materials used possess a delicate and enveloping quality, where colors, matter, and light interact on the surfaces, defining the character of spaces for a refined aesthetic. The impact is truly unique, designed specifically for extraordinary environments. When paired with RAK Ceramics bathroom furniture featuring wood-effect materials, the RAK-Skin washbasins elevate the bathroom to a realm of exceptional comfort, achieved through a harmonious play of warm-toned finishes. Conversely, if enhanced with a stone effect, the washbasins
Memories on the surface
Terramater is the new porcelain stoneware collection from Marazzi’s Crogiolo line, made with Italian raw materials and 60% recycled material. The palette of seven intense colors arises from the reaction between glazes and natural oxides, evoking the aesthetics of 1970s ceramics. The modular formats offer endless composition possibilities.
TERRAMATER collection, Crogiolo line
MDW25: Via Borgogna 2
become the focal point of the contrast, playing on the fusion of warm and cool tones for a soft and relaxing result. Similarly, the RAKDes collection evolves by embracing color to respond to the market trend. Characterized by an essential style that draws inspiration from and pays homage to Bauhaus, it includes not only sanitary ware but also a countertop washbasin and a freestanding washbasin with minimalist lines, like the style it is inspired by. Rak-Des finds its highest expression in chromatic innovation: Matte Black, Matte Gray, Matte Cappuccino, Matte Greige, and Matte White. Conceived as an integral part of the Lifestyle Solution Provider concept, the ideal solution for Rak-Des is the combination with the RAK-Joy line of furniture, RAK-Joy Uno, and RAK-Plano in all available finishes.
Continuous research
Rak-Des, Rak-Skin
MDW25: Design Hub, Via Borgogna 8
Contaminations
Glint Variation is the collection of unique ceramic pieces born from Ceramiche Refin’s collaboration with digital contemporary artist Quayola, resulting from their collaborative experimentation. The term “Glint” refers to the shimmer of light on water when the sun directly hits, creating a brief yet intense luminous reflection. The real challenge was to reproduce on the porcelain gres surface a texture that recreates water ripples. The result is a collection of sculptural pieces in 30x30cm and 30x60cm format, 20mm thick, with a black glazed surface and edges. Glint continues Quayola’s research on observing nature and its phenomena through sophisticated technological apparatus. It offers a novel perspective on the tradition of landscape painting, which has long explored the painterly effects of lights, glimmers, and reflections on water surfaces.
MDW25: Via Melone 2
In search of relaxation
Oasi, designed by Mario Ferrarini for antoniolupi, is a bathtub with edges that gently slope towards the center, enveloping the body and inviting immersion. Variants include rectangular, oval, and corner versions, with a wide range of sizes, even customized.
OASI bathtub, design Mario Ferrarini
SALONE: Hall 22/A05
MDW25: Piazza Lega Lombarda, corner Via Porta Tenaglia
GLINT VARIATION collection, design Quayola
Sculptural elegance
The Thirties Bathtub by Devon&Devon is entirely made of White Tec Plus, a sustainable material certified Greenguard Gold. Its sculptural volume, with incorporated armrests and the molded outer surface, evokes the best design of the early 20th century.
The Thirties Bathtub, design Pierre-Yves Rochon
MDW25: Via San Marco 38
Dressing spaces
Sapienstone presents Dress Code, a collection designed by Jaime Beriestain. At the heart of the collection is ceramic with 4D technology, represented by the new Fior di Viola in the sophisticated Cashmere finish, also available with an elegant raised texture that adds depth and character to rooms.
DRESS CODE collection, design Jaime Beriestain
MDW25: ICG Gallery Milano, Via Santa Margherita 4 | Palazzo Reale, Piazza del Duomo 12
Like a sculpture
The RE018 freestanding tub mixer by Amphora, designed by Studio Adolini, stands out for its imposing profile and refined geometry. Available in three elegant brushed finishes: steel, black, and copper. The mixer combines aesthetics and functionality, transforming every bathroom into a space of exclusive design.
RE018 freestanding tub mixer, design Studio Adolini
Touch forbidden
Formelle, signed by Patricia Urquiola, is a collection of three-dimensional elements capable of interpreting the versatility of Cimento®. The covering is thin and flexible, composed of over 90% mineral aggregates mixed with a cementitious binder, mainly derived from quarry waste materials. Calle, pictured, reinterprets the complexity of Venice’s streets.
Zone is an iconic suspended basin designed by Piero Lissoni for Boffi, perfectly blending minimalist aesthetics with essential functionality. Available in three sizes (1200mm, 1800mm, 2400mm), it is crafted from a curated selection of natural marbles and granites, such as Bianco Carrara and Nero Assoluto Zimbabwe. Offered in
single or double versions, Zone makes a bold, distinctive statement for any sophisticated setting.
ZONE basin, design Piero Lissoni
SALONE: Hall 13/D11
MDW25: via Solferino 11
Unique settings
Florim’s Outdoor collections offer indisputable aesthetic and functional solutions. These surfaces are designed to guarantee maximum functionality: non-slip, frost-resistant, and easy to clean. Additionally, the wide variety of finishes and colors available allows for creating unique settings.
OUTDOOR collection
MDW25: Foro Buonaparte 14
Timeless elegance
Flora is a basin produced by Fantini that embodies timeless elegance, born from Vincent Van Duysen’s desire to create a collection with a slight nostalgic reference. “The Flora tap project,” writes Van Duysen, “materialized organically,” creating a blend of modernity with a conservative touch. With low proportions, Flora exudes sophistication and sensuality. The collection is highly tactile and ergonomic, with handles that draw attention, adding charm and character. “We paid great attention to proportions. The result is a collection with a human and personal touch,” Van Duysen emphasizes. Available in various finishes, including chrome and other PVD options, Flora represents a perfect symbiosis between design and functionality, demonstrating the excellent collaboration between Van Duysen and Fantini.
FLORA basin, design Vincent Van Duysen
MDW25: via Solferino 18
THE ESSENCE OF GLASS
Challenging traditional conventions, Agape embarks on an adventure to discover the limits of the glass material, presenting Massicci, a washbasin that blends material solidity with visual lightness. Designed by Marco Zito, the project is the result of two years of research, where the renowned craftsmanship of Murano was intertwined with Agape’s innovative design approach. Massicci is made from as much as 18 kilos of glass fused at over 1,200 degrees, a process that provides the piece with remarkable strength. Its surface retains a natural irregularity, enhancing the vibrant character of a material that, unlike blown glass, absorbs and refracts light in unprecedented ways. Its unique interaction with water and its surroundings generates iridescent effects and unexpected depths, transforming each reflection into a dance of light and shadow. This project is a tribute to the material and its innate expressiveness, the result of an ongoing dialogue between designers, technicians and master glassmakers. The name Massicci, evoking solidity and authenticity, tells the very essence of the product: an essential and powerful presence, capable of blending tradition and innovation in a perfect balance.
Outdoor THE GRAND CRU
Just by reading the names of the new outdoor collections, one perceives a strong link with nature and outdoor living. Terraces, gardens, and poolside areas are enriched with evolving furniture, the result of studies on materials and technologies. Each element, from modular structures to adjustable tables, stands out with sustainable design that invites stylish outdoor living.
Patio Lounge Armchair by Ethimo, design
Zanellato/Bortotto
Outdoor horizons
The outdoor furniture sector is undergoing a significant evolution, becoming an essential component of modern life. Driven by the demand for integration between indoor and outdoor spaces, the sector focuses on discreet luxury, functionality, and sustainability.
by Giulia Guzzini
In recent years, the outdoor furniture sector has grown significantly, becoming an essential aspect of both domestic and professional life. Changes in consumer preferences, increasingly seeking a balance between functionality, aesthetics, and comfort for outdoor spaces, alongside innovations in design and materials, have made outdoor furniture a dynamic and rapidly growing segment. Companies in the sector are therefore motivated to rethink their strategies to meet these new needs, developing collections that not only withstand the elements but also enrich outdoor environments with distinctive design. In this light, Demetrio Apolloni, CEO of B&B Italia, emphasizes the crucial role of B&B Italia’s Outdoor collection in establishing a distinct identity for the division. “It’s essential that the Outdoor division has its own identity within the retail world,” he states. Apolloni underscores the company’s strategic vision to transform their outdoor offerings from a mere subsection into a strong presence in retail and hospitality. This shift is driven by the need to adapt to global trends, where outdoor spaces are gaining increasing importance. Demand for outdoor spaces that are increasingly personalized, sustainable, and technologically advanced is growing. Outdoor furniture today must tell a story, reflecting the taste and personality of its users. Leading companies are responding to this demand by redefining standards with high-quality products that elevate comfort and beauty to new levels. Among com-
panies embracing this trend is Pedrali, which has developed a production approach based on “lean production” to reduce waste and offer custom-made furniture with a wide range of finishes. “The distinctive value lies in the fact that everything is made in Italy,” states Monica Pedrali, CEO, highlighting how this approach allows designers to transcend standardized solutions, offering uncompromising creative freedom. The landscape of outdoor furniture production aims to redefine the concept of outdoor living, creating offerings that meet modern consumers’ needs and desires. As the design of outdoor spaces continues to transform, it is clear that the future belongs to solutions that offer a new definition of comfort and harmony with the natural environment. Today’s consumers are increasingly discerning and demanding when it comes to decorating their outdoor spaces. This growing awareness is reflected in the search for collections that marry innovation, material quality, sustainability, and timeless design. A prime example of this evolution is Ethimo, which is leading the sector towards higher and more personalized specialization. Its collections are designed to seamlessly blend with the landscape, making the outdoors a true extension of the home interior. Ethimo’s CEO, Giampaolo Migliaccio, highlights the importance of high-quality materials and environmental responsibility, elements that combine to offer durable and timeless products. Ethimo successfully meets modern consumer needs, often antici-
pating market trends with innovative products like the Allaperto and Outdoor Extras collections. The need to create continuity between indoor and outdoor spaces, without compromising on quality and resistance to weather factors, is a significant direction of development for the outdoor furniture sector, increasingly driven by the pursuit of perfect integration between indoor and outdoor spaces. Similarly, the Belgian company Royal Botania focuses on creating furniture that bridges the gap between indoor comfort and outdoor living. Kris Van Puyvelde notes that consumers seek not just functionality, but solutions that are a natural extension of their home environments. Royal Botania’s creative direction is committed to using sustainable materials and integrating smart technologies, addressing sustainability and durability challenges while ensuring a high level of craftsmanship. This vision is particularly appealing in markets like the Middle East and the United States, where there is a growing interest in outdoor spaces that serve as elegant and functional retreats. Innovation in the outdoor furniture sector is driven by a combination of intelligent design, environmental sustainability, and attention to detail. Outdoor spaces are increasingly seen as natural extensions of the home, rich in personality and aligned with contemporary trends and global audience needs. Looking ahead, an expansion of personalized solutions is expected, increasingly demanded in sophisticated and variable global markets.
A panoramic view from a scenic terrace at the Patmos Eye boutique hotel & villas on the Greek island of Patmos, featuring furniture supplied by Pedrali
Fascinating history of weaving
Gathering place
Kettal’s Insula sofa is Patricia Urquiola’s contemporary interpretation of the traditional seating system typical of Arab majlis, spaces where the community gathered to socialize. The design translates into a low modular sofa with soft and rational shapes, characterized by a roll backrest that serves as a focal point, emphasizing horizontality.
INSULA sofa, design Patricia Urquiola
SALONE: Hall 24/C05
MDW25: Via Broletto 44
The decorative use of weaving has a long and anciently charming history, rooted in the oldest crafts and significantly influencing contemporary design, particularly the most “avant-garde” ones, which have long been attentive to a holistic concept of “Human Well-being” that considers not only performance but also, and above all, concepts and perhaps even unconscious suggestions. The result is contemporary interpretations of past images. This is evident in the outdoor collection Patio, designed by Zanellato/Bortotto for Ethimo, where the central theme is the study and rediscovery of traditional weaves belonging to various cultures, gathered by the two designers during their travels around the world. Patio is a lounge collection with enveloping forms, designed to embrace the body in a comforting hug. It evokes, in its name and specific arched weaving, the concept of Andalusian porticos or gardens. These traditional spaces, typical of Andalusian architecture, offer sheltered and relaxing environments, where the combination of shade and light creates a harmonious and refreshing interplay. Andalusian porticos and courtyards, often enhanced by pools and fountains, represent an oasis of peace, inviting a deep connection with nature and moments of tranquility and reflection. An inviting place, serving as the junction between indoors and outdoors. The distinctive pattern, present in all the collection’s elements, recalls the art of weaving typical of the Eastern area – a tradition that is still used today to create baskets, trays, and everyday items. Patio is a wide and complete collection, consisting of lounge and dining elements where traditional geometric patterns are reinterpreted as three-dimensional surfaces, especially evident in the seating where wide bands – crafted with a rope specifically for outdoor use that in texture resembles natural fiber – wrap around simple and compact teak frames, becoming looms for the weaving artisans. The lounge proposal in-
cludes an armchair, three-seater sofa, daybed, and coffee table with enameled lava stone tops in mist or moss green colors. All items feature elegant weaving constructed on a light grey outdoor rope frame and a novel arched weave defined in a soft lagoon blue color. The cushions, with generous volumes and soft textures, traverse hues of sand and sea. The Patio collection, in its lounge concept, is completed with a cozy hammock designed for outdoor relaxation. Complementing the lounge solutions are the dining ones, with round or oval tables and matching armchairs that echo the arched weaving of the other seats. The tabletops are crafted in Cipollino marble and veincut travertine.
MDW25: The Lodge, Ethimo Flagship Store, Via Felice Cavallotti 8
Like a jewel
The outdoor collection Luma, designed by Dougan Clarke for Tuuci, represents luxury thanks to Aluma-Forge™, the cold welding that joins stainless steel, polymer, and aluminum for long-lasting durability. Enriched with custom finishes and characterized by the distinctive Aluma-Weave™ pattern, each piece exudes precision and craftsmanship.
LUMA collection, design Dougan Clarke
SALONE: Hall 24/C27
Serene evolution
The Erica collection, designed by Antonio Citterio for B&B Italia, is enriched with new proposals, introducing an expanded range of seating, tables, finishes, and variations for 2025. First launched in 2017, Erica has steadily grown into a bestseller, now evolving into a complete system that embraces both form and function. Among the novelties is a sofa with a curved design (pictured) that lends itself to creating dynamic and convivial solutions for outdoor relaxation. This evolution allows the collection to suit various outdoor environments, such as dining areas, poolside retreats, nautical settings, and urban terraces. The collection maintains its distinguished features: lightweight, durable powder-coated die-cast aluminum frames, and high-tensile polypropylene fibre interlacing, specifically designed for outdoor durability.
ERICA collection, design Antonio Citterio
MDW25: Via Durini 14
Coastal atmospheres
The collection designed by Workshop/ APD for Perennials and Sutherland introduces the Drift Sofa and Drift Chaise, characterized by lines inspired by a ship’s hull and a suspended structure that imparts lightness. The Drift Chaise features wheels that add functionality to its elegance. Completing the
Organic forms
The Ogado low dining table, created by Brent De Meulenaere for Manutti, can easily transform by adjusting the base, offering a lower profile ideal for informal meals. The smooth, circular top, available in ceramic or teak, invites comfort and relaxation. The sculpted wood base echoes the collection’s organic inspiration.
OGADO low dining table, design Brent De Meulenaere
SALONE: Hall 14/C25
collection are the Archer and Anchor tables, which combine materials such as wood, GFRC (Glass Fiber Reinforced Concrete), and aluminum.
DRIFT collection, design Workshop/APD
Pure soul
The term jun means “pure and sincere” in Japanese, perfectly capturing the essence of this collection, which aims to resonate deeply with the heart. Designed by Marco Acerbis, the recent Compasso d’Oro winner, for Talenti, Jun embodies a harmonious balance between voluminous cushions and the clean lines of its teak structure. This design highlights a two-dimensional perception
by minimizing the thickness of the wood, allowing the cushions to take center stage. Jun embraces an immediate and authentic design, free from rhetorical frills or redundancies. Inspired by simplicity and elegance, the collection showcases the inherent beauty of the wood, highlighting meticulous detailing. The structure seamlessly merges with the backrest and armrest fabrics, creating a
semi-bidimensional effect. This collection exudes a “sense of nature” and balances minimalism with volume.
JUN collection, design Marco Acerbis
SALONE: Hall 22/A31
MDW25: Via Alessandro Manzoni 11
Inventing shade
Carrera by Pratic is the first shading system with alternating fixed and movable slats, capable of lifting and overlapping each other, following the natural movement of the sun. The innovation lies in the dynamic design of the cover: fixed and movable aluminum slats alternate on two depth levels. With one gesture, the first ones lift and slide until they disappear above the fixed ones.
CARRERA shading system
SALONE: Hall 24/C25
Outdoor living
Maximo is a modular sofa designed by Raffaello Galiotto for Nardi. Its structure is made of mass-colored regenerated resin, and its fabrics are highly recycled. It features two new practical components: the side storage, easily attachable to the seat, and the side table, which can be free-standing or inserted anywhere in the composition.
Organic harmony
Amba, designed by Henrik Pedersen for Point, redefines modularity with contemporary aesthetics. Featuring organic forms, it adapts seamlessly indoors and outdoors. Offering two backrest versions – Amba Essence with plush upholstery and Amba Woven with intricate rope detailing – it invites contemplation and blends with space, creating a soothing ambiance.
Amba collection, seating modular system design Henrik Pedersen
SALONE: Hall 011/L24
MAXIMO modular sofa, design Raffaello Galiotto
SALONE: Hall 14/A23
MDW25: Via Pontaccio 19
Architectural proportions
The new Pasadena collection, designed by Jean-Marie Massaud for Vondom, includes various elements: a lounge chair, modular sofa, coffee table, and sunbed. Its architectural approach and sensitivity to materials result in pieces capable of transforming any outdoor space into a serene place. The connection between Jean-Marie Massaud and Vondom brings Pasadena to life, embracing outdoor (and indoor) spaces with soft shapes, warmth, and perfectly balanced proportions, inviting maximum relaxation. Pasadena’s equilibrium lies in the harmony of sinuous profiles, fluid lines, and evident comfort. The outcome is an elegant universe where pure forms merge with outdoor living pleasure. Massaud describes Pasadena’s ambition as turning an archetype into something architecturally proportioned yet immensely comfortable.
PASADENA collection, design Jean-Marie Massaud
SALONE: Hall 22/A27
Icon of elegance
The Balinese is the new collection by BT Group. The elegant lines and painted aluminum structure, available in 62 colors, ensure resistance to weather conditions. Its modular structure allows it to adapt to various configurations. The cushions, made with Tempotest Home Striato fabric, offer UPF50+ sun protection and exceptional wear resistance.
LA BALINESE collection
SALONE: Hall 05/A03
TALKING LIGHTS
At the beginning of the year, Milanese passing by the Contemporary Art Pavilion on Via Palestro (where Metal Panic, a solo exhibition by Marcello Maloberti curated by Diego Sileo, was on view) saw a large mechanical arm lifting the word “sky,” but upside down, written in neon. It was Cielo (‘ky’, a work from 2022, shown at the Bangkok Biennale that year). Maloberti, born in 1966, is a multifaceted artist: he writes sentences and aphorisms in marker, imagines (and makes) performances, and puts a content of poetry and déplacement in everything he does. For some time now, he has been having his writings done in neon, always white. He wanted to light up the ceilings of his house. The furniture and objects, few in number, are pieces by Achille Castiglioni, Enzo Mari, Gae Aulenti. On the floor a few lamps, always by authors, such as Mangiarotti’s Lari.
A close encounter with Marcello Maloberti, a shining star of the contemporary Italian art scene. Author of installations, exciting performances, aphorisms that flash through your mind like lightning. And that, like seeds, remain, germinate, make you think.
by Ruben Modigliani
Good morning, Marcello. Maybe you don’t know, but during the next Salone del Mobile.Milano there will also be Euroluce, an event dedicated precisely to light. I wanted to talk about it with someone who is not a designer or an industrialist. Maybe an artist? Can you tell me something about your writings/signs?
I work a lot with handwriting, not just my own. We worked with Liliana Segre at the Shoah Memorial, both outside and inside. There are two sentences written in her handwriting. It is like the work of four hands. They both refer to her memory of looking at the sky, at the stars, during her internment. A handhold of hope. I like the idea of the handwriting, because it’s a drawing that becomes more sculptural, like in the PAC, where you could walk around these sentences, always written by me, and see them from behind. Like a kind of curtain.
Lately the word inhabits me more. We are inhabited by the voice, by the word. The light also brings me back to the idea of classicism, an idea that interests me a lot. Maybe when I turn on the light, I turn on a day, the future, the moment. And, trivially, at the level of the object? I don’t really like chandeliers. I don’t know why, but I prefer floor or table lamps. That’s why you have neon lights in your house. When did you start writing your “martellate” (hammer blows)?
For an artist, the first form of writing is to give a title, to give a voice to a work. Mine have always been a bit specific: The Vertigo of Mrs. Emilia, The Destruction of a Morning. They are contracted narratives, almost like oracles. In class, my students have said to me, Eh, but you should write down the things you tell us, because these sentences come to me a little out of the blue. I like the idea of the fragment in the writing, of these sentences that say and don’t say, that are almost clues. Talking about objects reminds me of some of your performances in which a group of boys and girls destroyed panthers. That work was born out of giving form through destruction, so I break an object to create a different kind of form, a fragment, a ruin. Something that is considered finished, and I destroy it to make it unfinished. These were performances that lasted only a minute. I did one at the Macro in Rome where I smashed 25 specially made panthers. I like the idea of the fragment because maybe I’m a little bit of a warrior.
Trivia question, since we are in Design Week: What is your ideal home?
You should have at least several houses, come on! I want a house in the city, a house in the country, a house by the beach, a house in the mountains. And maybe one abroad. With very few objects, very little furniture, and lots of light. The one by the sea could be Villa Malaparte, in Capri. The one in the mountains would be Brutalist. And abroad, I would like Lisbon. It has a light that is almost annoying when you walk.
From top left, clockwise: Chi mi protegge dai tuoi occhi (‘Who can protect me from your eyes’), 2023, site specific neon installation. Fondazione Memmo, Rome, photo by Daniele Molajoli. Circus, 2004. temporary installation for Citying Chirignago, Mestre. Cielo, 2024, performative installation at PAC, Milan, photo by Andrea Rossetti. Indiano Riservato (‘Indian Reserved’), 2018 (the artist himself); Tu sei la memoria della mia notte (‘You are the memory of my night’), 2025, neon installation at Memoriale della Shoah of Milan, photo by Andrea Rossetti. Invitami notte a immaginare le stelle (‘Invite me night to imagine stars’), 2023, permanent installation at Memoriale della Shoah of Milan, photo by Andrea Rossetti and Tiziano Ercoli. …Ma l’amor mio non muore (‘...But my love does not die’), 2019, installation for Artissima Art Fair, Turin. Center: Martellate (‘Hammer blows’), 2024, neon Installation at PAC, Milan, photo by Andrea Rossetti. All photos courtesy the artist, Fondazione Memmo - Rome, PAC, Padiglione d’arte ContemporaneaMilan, Memoriale della Shoah of Milan and Galleria Raffaella Cortese, Milan - Albisola.
THE OFFICE
the third dimension of individuality
There is private space, public space, and then there is work space, where the two areas blend with productivity. In the multifaceted narrative of office furniture protagonists, here’s how the trend in the industry has evolved, inevitably and closely linked to new social models.
by Manuela Di Mari
Where is the office world heading? In recent years, we have witnessed a radical transformation of the working universe, influenced by cultural, generational, environmental, and technological changes. Physical presence has evolved into more fluid work models, leading to a reconsideration of the concept of productivity, measured not only by the time spent at one’s desk. Referring exclusively to smart working would be reductive. Because the revolution touches the very culture of work, and therefore companies internally, associating mental efficiency with flexibility of movement, connection, and exchange. It depicts the office as a living, non-static place, fueled by the mixture of people. “One might think of a sort of clubhouse or cultural hub that supports the company’s goals and
values, while promoting a sense of community,” says Grazia Manerba, President of the brand of the same name. “Secondly, it is the place where work happens. Paradoxically, the more we are online, the more there’s a desire for qualitative physical experiences. This need could also be met by co-working spaces, which create a sense of community through events and shared spaces.” “Office presence and remote work can coexist harmoniously, balancing personal and professional needs optimally,” adds Simona Colombo, Chief Marketing Officer of Arper. “But face-to-face interaction has a value that resides in the ability to strengthen the sense of belonging, stimulate creativity, and create a more cohesive environment.” All this creates a spatial ambiguity that needs to be redesigned, revolving around new values such as integration, adaptability, versatility, dynamism, changeability, and also the search for privacy.
1 Typo by Mara, design Michele De Lucchi. 2. Workspaces by Pedrali. 3. Franny by Dieffebi, design Elisa Ossino. 4. SuperRandom by Manerba, design Gio Tirotto. 5. Loop by Milani, design Massimo Costaglia & Giulio Mazzanti. 6. Alis by Fantoni, design Park Associati. 7. Catifa Carta by Arper, design Lievore Altherr Molina. 8. Cécile collection by Capdell, design Mario Ruiz.
Omar Sartor, Alberto Sinigaglia
NEW EXPERIENTIAL STYLISTIC CHOICES
The adaptability response to change by furniture brands in the sector has been swift. With one premise: “Offices face a challenge: to offer added value that motivates employees to participate in person,” says Andrea Borja, Marketing Manager of Capdell. “This translates into more attractive environments, comfortable furnishings, and spaces that facilitate wellness, concentration, and rest. Mental and physical health is a priority.” In fact, a process of humanizing work environments is underway, particularly able to communicate safety, kindness, and comfort. So much so that these values take shape in the pay-offs of some brands. Values conveyed by ergonomic furnishings, biophilic elements, the use of colors, and mainly natural lighting. Acoustic isolation also plays a role, with sound-absorbing materials integrated into furnishings, especially in cocoon stations or breakout areas. “Outdoor spaces also become an integral part of the office,” emphasizes Monica Pedrali, CEO of the company: “open-air stations are increasing, where people can work or relax, places where people want to stay. Here the furnishings guarantee comfort and withstand atmospheric agents.” The entire dynamic office ecosystem revolves around “human-centric landscapes,” as they say at Fantoni, with in-between areas and hybrid zones where the first space (home) and the second (of-
fice) mix to generate third welcoming and adaptable places to work, meet, relax, individually or with others. Highly adaptable offices, designed to meet diverse needs with easily modifiable layouts and highly reconfigurable products, where the modularity and multifunctionality of the furniture allow for flexible configuration over time.” This trend of transformability also touches the home office, with a significant impact on living spaces and the way we experience the home. Space-saving solutions become essential, those that are functional but welcoming with a timeless aesthetic.
THE IMPORTANCE OF SUSTAINABILITY
There is a growing awareness of the environmental impact in choosing sustainable materials and throughout the production process. “There is a strong use of recycled and recyclable materials, eco-friendly fabrics, and certified wood. Durability is also a fundamental aspect,” says Nicoletta Milani, CEO of Milani. “All products are designed with a view to complete disassembly (for refurbishment and correct disposal at the end of life),” adds Simona Colombo, Chief Marketing Officer of Arper, “without any presence of glues, and we constantly drive research on innovative materials even for fillings” Some, like the Mara brand, invest “in a 100% Made in Italy and km 0 production, allowing for complete control over product circularity.”
THE FUTURE OF THE OFFICE
So, what horizons is the industry looking toward? Mara again provides insight: “We are moving towards workspaces that prioritize user experience. Human-centered design represents an increasingly central theme of contemporary living, looking at design not only in its functional effectiveness but also at the sensations it can generate, thereby evolving the relationship between furniture and its users.” Alessandra Fardin, from the Dieffebi Marketing & Innovation Division adds: “The future of offices is geared toward a playful design approach, with adaptive furniture systems capable of reigniting the joy of working in inspiring spaces.”
to watch
In these pages we present some of the new talents taking part in the Salone Satellite 2025, which, as always, is the only part of the Salone del Mobile.Milano open to all visitors from the very first day (with free admission). Ecology, playfulness, attention to craftsmanship, new technologies: these and other clues give life to a moment of meeting and exchange of ideas attended by young people (among the exhibitors there are also many design schools) and entrepreneurs on the hunt for the designers of tomorrow.
by Anna Casotti
Japan AIOI
A graduate in environmental design from Tama Art University in Tokyo, Yugo Fukasawa is the founder of aioi studio, which opened in 2018 with the idea of focusing on product&space design between retail, restaurant, office and showroom. The concepts of function, material, structure and aesthetics are the cornerstones of his philosophy, combined with a focus on detail. At Salone Satellite 2025, he is presenting two new types of seating and a pendant lamp characterized by steel tubing, leather and plywood shaped in a variety of ways. “In 1925, exactly 100 years ago, Marcel Breuer presented the Wassily lounge chair. It was the first chair in the world to use metal tubing, a material that remains a standard in furniture construction today. Even at a time when the focus is on new materials, metal tubing – which many of the greats of the design world have used for furniture – remains an excellent material that should not be confined to the past”. www.aioi-design.jp
Italy
Born in 1994, she lives and works in Modena, Italy, in the field of research and development of ceramic products. After graduating with a bachelor’s degree in industrial product design, in 2018 she obtained a master’s degree in advanced design at the Faculty of Engineering and Architecture of the University of Bologna. She began collaborating with companies and design studios in 2017, with a personal research between art and design that focuses on the relationship between the interior and the exterior world, where emotional value is as important as functionality. “For me, objects are memory and feeling, they connect us to the outside world or to ourselves: everything around us has emotional potential. And design is the continuity between matter and thought, function and emotion, both primary needs”. At the Salone Satellite, she is presenting a collection of objects that straddle the boundary between art and design, “to overcome the traditional notion of the utility object as the sole or principal expression of function. Isn’t emotion itself a function?” The Ariadne coffee table recreates the design of the labyrinth it is inspired by, i.e. The Labyrinth of Ariadne by sculptor Italo Lanfredini; the kinetic mirror Dali features an observing eye, textures and materials to generate contamination; and the installation Guardati negli occhi (Look into your eyes) celebrates artist Amedeo Modigliani by interpreting one of his most important pictorial signs: the representation of the eye. www.clelialiberti.com
CLELIA LIBERTI
South Korea EUIJUNG SUNG
Denmark/Japan ERINA CALDEIRA
Born in 1990, Erina is a Japanese product designer who, after graduating from Musashino Art University in 2013. Since 2020, she has lived in Denmark, where she opened his studio in Copenhagen in 2022, incorporating a unique balance of Rising Sun aesthetics and Scandinavian design sensibilities into her practice. She has won the Good Design Award in Japan four times and the Topawards Asia in 2016. At Salone Satellite 2025, she will present Tilt, a coffee table that can be disassembled into three simple planks. www.erinacaldeira.com
A Seoul-based designer, Euijung Sung creates furniture and spaces by exploring the boundaries of experience between product and user. Trained in interior architecture and furniture design at Hongik University, she reinvents objects and environments to challenge conventional perceptions and create meaningful interactions between people and the space they live in. At Salone Satellite 2025, she will present The Coverless Bookshelf, a new way of interacting with books that invites readers to begin their journey from a single word or phrase, creating an immediate immersive experience. “At the same time, I interpret the theme New Crafts manship, New World as some thing beyond physical form. True craftsmanship should facilitate human interaction in a way that only craftsmanship can provide.” @euijung.sung
Germany FENGFAN YANG
An industrial designer based in Germany, his products emphasize usability, simplicity, adaptability and playfulness. At Salone Satellite, he presents Frisbee Table, a collection designed for agile and versatile workspaces. “Frisbee’s design is based on the geometric principles of points, lines and planes, with the Power Column as the central element. Its two key components, the Table Leg and the Table Trestle, support different tabletop shapes and allow for unlimited spatial configurations. For dynamic work environments.” www.fengfanyang.com
Germany HAYO GEBAUER STUDIO
Before completing his studies at the Design Academy Eindhoven with an MD in Contextual Design, Hayo – born in 1990 – trained as an industrial designer at the Hochschule für Bildende Künste Braunschweig. After founding his studio in Berlin in 2017, two of his projects, created in collaboration with Esaila and La Chance, received the Red Dot Award. Present at Salone Satellite with Belt Chair, a chair in beech and aluminum characterized by soft curves and ergonomic angles; the Henkel lamp, in terracotta and glass, a modern version of the classic candle holder; and finally Penta Mirror, a wall mirror in larch wood. www.hayogebauer.com
Ukraine BASNY RUGS
Founded by Volodymyr Benedychuk, the rug brand – whose name is a dialect term meaning fantasy and has a mystical, abstract quality – artfully combines the tradition of Ukrainian weaving with a contemporary view of design, combined with local craftsmanship that makes each piece unique. The rugs become an authentic medium of aesthetic expression, told through the freedom of imagery developed by Basny’s team in collaboration with artists and designers. “These graphic motifs are elements of reflection and pure artistic signs, open to interpretation. Basny creates a context in which art, tradition and functionality are no longer separate entities. Contemporary imagery meets archaic regional craftsmanship in the interior space”. Made from sheep’s wool in the Hutsul region, this type of carpet is called lizhnyk: “It is made by hand using a centuries-old technique that involves more than ten processing steps. The process begins with the harvesting and processing of the wool and ends with the finishing of the object.” @basnyrugs
Hongchao Wang - designer, curator, academic and representative of Chinese design in the world, with a Master’s degree in Luxury Design & Craftsmanship from ECAL in Lausannetrained in the United States, where he began his career. In 2012, he founded the Benwu Studio in New York, which focuses on the exploration of materials, craftsmanship and interdisciplinary collaboration, integrating industrial design, interior architecture, installations and brand strategy. In 2016, he founded the Benwu Edition brand (the first Asian furniture brand to win the Lane Crawford Best Startup Award). www.benwustudio.com
An award-winning designer based in Prague – MD in Product and Industrial Design at the Ladislav Sutnar Faculty of Design and Art, University of West Bohemia – his practice spans a wide range of disciplines and methods: from product design to interior and spatial design. Specializing in glass, lighting design and furniture, his creations are in the realm of art design with a focus on the creative process and detail, with a visual language that weaves historical and cultural elements through a contemporary lens. Meticulously honoring the tradition of his homeland, each product is handcrafted in the Czech Republic in limited series and displayed in select galleries and showrooms in Europe, Australia and the United States. “My design philosophy is rooted in the dialog between time, material and craftsmanship. I create furniture, lighting and sculptural objects that interweave long-forgotten craft techniques with a contemporary visual language. Each piece is more than just an object: it is a multilayered story of historical references, shaped with precision and elevated by craftsmanship. The interplay of silhouette, structure and symmetry defines my work, transcending unspoken expectations and establishing an ongoing dialogue with its surroundings. Like the visionaries before me, I see design as a balance between function and form, heritage and innovation. It is in this space between the past and the present that something new is born”. Prominent among his creations at Salone Satellite is the Nouveau cabinet, a tribute to the interdisciplinary nature of the artists of the Art Nouveau and Symbolist movements. www.jirikrejcirik.com @jiri_krejcirik
The design studio was founded in Saigon by Tran Le, Nhan Pham Tho, Quyinh Mai Nha, Nhung Nguyen Tuyet, Linh Dinh Thi Thuy, young and passionate architects, designers and technicians. With an approach to creating furniture that reconnects them to their roots, Vietnamese culture and traditions, but with an open eye to the spirit of the times, S.norm plays with materials, evoking new meanings in their designs. At Salone Satellite 2025 they present Li-tea, a piece of furniture art dedicated to the tea ceremony. Woven rattan provides a softer seat, while elegantly curved legs add a dramatic touch. Because sipping tea is both an act of contemplation and an art form.” www.snorm.vn
Raised in Bruneck, South Tyrol, Lorenz Trasser began his design career in Florence, Italy, where he studied interior and product design. His professional experience includes Volkswagen in Wolfsburg, Zaha Hadid Architects in London and Ferragamo in Florence. For him design is an act of reflection, “an act that carries a responsibility that goes beyond aesthetics or function. My work focuses on material awareness, ethical considerations and the impact of objects over time. Through minimal, yet intentional forms, I try to create pieces that encourage silence, reflection and a deeper connection with the environment”. At Salone Satellite 2025, he is presenting a new piece that explores the concept of Silent Monumentality, “an idea that explores how minimal forms can convey presence and meaning without excess”. His first official piece, the Madera chair, reflects his commitment to a more thoughtful and responsible approach to design. www.sser-studio.com
THE BALLO FORMULA
In post-war Milan, an extraordinary period of intellectual openness and a desire to (re)build, two photographers began work that changed the way design was seen – and communicated. From their home-studio-cenacle, a meeting place for artists and thinkers, came images that told the world about a phenomenon in the making: that of Made in Italy
by Monica Baio
Milan, 1950: between the corridors of the Brera Academy and the architecture classrooms of the Politecnico, the pioneering minds of Marirosa and Aldo Ballo crossed. They studied and worked: thanks to their shared passion for photography and their family history (her father was a professional photographer), they dedicated themselves to reportage, selling their photographs to the Corriere della Sera newspaper. They studied and teamed up with Bruno Munari, Gae Aulenti and Massimo Vignelli, with whom they contemplated their future and shared the history of a country in the process of reconstruction, unaware that they were the first generation of what would be called the ‘creative class’ of the 21st century. Bohemian newlyweds (they get married right after Christmas 1953, on December 26), they enter together what could be defined as the first year of Italian design:
television, just arrived in the country, innovates the way of looking at reality; the first Compasso d’Oro is created to award the most innovative objects produced by industry; the economic boom introduces beauty into the gestures of everyday life: a kind of gigantic cultural operation on several fronts. Communication and advertising, which until then had relied on illustration to disseminate their content, began to consider photography as a more effective means of conveying a sense of form and thus of design. The Ballos’ house/studio, which would continue this formula in its various locations, grows larger and larger, becoming a laboratory for experimentation in film, set design, advertising and graphics, where photography is seen as a representational tool with many expressive capacities: everything technological/analog that exists is present in the studio, there is a sense of
modernity, rigor, order and scientific rationality: the search for perfection typical of excellence in any discipline. The dynamism of the studio is reminiscent of Bauhaus methods, the sets are more or less complex scenographies, from the limbo to the perspective box; from still life, true product portraits, to the more demanding compositions of furniture sets that reproduce in the studio what happens in a domestic interior, in dialogue with the perspective box constituted by the view camera. Everything that leads to the birth of the image is done thanks to the collaboration and exchange with the people who frequent the couple: many young assistants who later go out on their own, having learned, in addition to the craft, a way of life, of thinking, of being. Aldo and Marirosa are surrounded by intellectuals, architects and designers, art critics and artists from many disciplines:
Lucio Fontana, Mario Soldati, Osvaldo Borsani, the Castiglioni brothers, Magistretti, Dorfles, Giò and Arnaldo Pomodoro, Alik Cavaliere, Gio Ponti, Cini Boeri, Ettore Sottsass, Enzo Mari, Alessandro Mendini, Pino Tovaglia, Bob Noorda, Max Huber, who especially inspired Aldo Ballo with the sharp, essential, luminous and unretouched vision in the practice of still life. Accompanied by close friends who were architects and designers, in a few years the Ballos achieved a very strong specialization in the photography of design and the industrially produced object, hand in hand with the birth of the great Italian furniture companies, which became known throughout the world also thanks to the Ballos’ photographs. The link with the world of publishing is automatic: Casa Vogue and its covers tell the story of the evolution of the Ballo style from the fifties to the nineties.
A style based on the control of light, very soft, but also on the ability to eliminate elements so as not to alter the understanding of the real object, which finds a new form of life in the photographic product. One of the most beautiful things they have left us, in addition to a magnificent archive, is the immaterial and intangible cultural legacy of their adventure: having understood how to communicate design.
From top left, clockwise: D70 sofa by Tecno, design Osvaldo Borsani
K 1340 chair by Kartell, design Marco Zanuso & Richard Sapper GA 45 POP turntable by Minerva, design Mario Bellini
Cartoons partition wall by Baleri Italia, design Luigi Baroli
Aprile chairs by La Rinascente, design Gae Aulenti
Tube Chair armchair by Flexform, design Joe Colombo
Eclisse table lamp by Artemide, design Vico Magistretti
Studio Ballo+Ballo.
Aldo, Marirosa, Tobia, 1975, Milan
TO THE NEXT LEVEL
WHAT OBJECTS YOU WOULD LIKE TO DESIGN (AND
HAVE NOT YET DONE)?
In the world of contemporary design, the ability to explore new design territories has become an essential skill. Designers specializing in specific categories like chairs, lamps, or tables are finding great value today in broadening their scope and engaging with the design of previously unexplored objects. This openness to new challenges is not only an opportunity for personal growth but also responds to the needs of an increasingly fluid and interdisciplinary market. Looking closely, it’s like facing a methodological revolution. A seating piece interacts with the body, its ergonomics, and structural resilience. A lamp dialogues with light, ambiance, even with the energy passing through it. This leap in scale and function forces a reevaluation of approach, exploring new materials, and perhaps studying new technologies.
Achille Castiglioni, who often emphasized the importance of curiosity and an experimental approach in design (“If you lack curiosity, it’s best to skip it.”), embodies a spirit of exploration that gave birth to vastly different objects, from the Arco lamp to the Mezzadro. To experiment means accepting uncertainty and risk, surely, but it is in this space of adrenaline-charged freedom where the most revolutionary ideas and products destined to make a mark in the history of design are born.
Therefore, when we asked 20 selected designers, both Italian and international, emerging and seasoned, what objects they would like to design (and have not yet done), some surprised us, and perhaps surprised themselves, by allowing their minds to venture into truly unexpected territories. Others corrected us on the very premise of the question: we are not seeking a missing type, a checkbox on a creative to-do list. Common to these responses (followed by an obligatory one: what are you presenting at Design Week?) was certainly a premise: in an era where disciplinary boundaries are becoming increasingly blurred, design is increasingly becoming a process intertwining technology, sustainability, and innovation. For a designer, embracing new types of projects means not only professional growth but also contributing to a richer and more articulated project culture.
by Cristina Kiran Piotti
6:AM GLASSWORKS
1. Rather than focusing on a single object, we are interested in creating products that integrate directly with architecture, such as bricks and innovative glass components for luminous floors, roofs, and other solutions pushing our material research to a more structural level. At the same time, we explore the potential of traditional Murano semi-finished products, reinterpreting them in a contemporary key to create new lamps and furnishing objects. 2. This year, our main project is “Two-Fold Silence”, our first solo show. It is not a retrospective – we are too young for that – but a true manifesto of our world, our inspirations, and our products. The goal is to show not only what we do but also the creative process and the connections between the ideas that run through us. Within the exhibition, we will present several new products, including a collection of modular architectural lamps called Quadrato. Additionally, we are preparing our first pop-up shop, open for the whole month of April, on level -1 of La Rinascente in Milan.
MICHAEL ANASTASSIADES
1. As a designer I began my exploration with industry quite late in my career. I have been lucky to be given an opportunity to design a diverse range of products with a lot of incredible and historical brands. I have arrived at this position maturely to learn how to operate from a place of appreciation and not from a place of greed. I find a challenge in every invitation I receive which keeps me excited enough not to dream of things I don’t get the chance to do. 2. I am presenting two new lighting collections from my own brand at an exhibition hosted at the Fondazione Danese, which is open to the public for the first time in 20 years. I am also launching a new collaboration between Alessi and my brand, and exhibiting new products that I have designed for Tacchini, Monstruosis, Il Tornitore Matto and Flos.
FEDERICA BIASI
1. I would like to design products that are more closely associated with the fashion world, clothing, and bags, and simultaneously, I am attracted to audio systems that can be well integrated into the domestic environment, moving away from technological aesthetics. 2. At the fair, I will present an armchair (Alba) and a collection of Wicker Poufs (Sam) for Frigerio, a sofa with a matching armchair for EMU – the collection will be called Antigua. Then, an entire collection consisting of a table, chairs, benches, sofa, and bookshelves for Koru, a new brand set to launch in the spring. Additionally, the “Soffio” goblets designed for Cantine San Marzano, and for Galleria Movimento, we will present the Zenith table at Spaziovento, of which we had previewed in London in the autumn.
SIMONE BONANNI
1 . I would like to try my hand at designing a large pendant lamp, possibly in fabric or rice paper. I have never designed one before, and in recent months I have had some interesting ideas floating around in my head. 2. This year, at the Salone, I present an entire collection for Carpanese Home, a young brand from Veneto that, under the artistic guidance of my friend Federico Peri, is making significant strides in a highly competitive world. I have been given carte blanche, provided the projects are strong and recognizable. I have stepped out of my usual comfort zone, and I hope you will like them.
CRISTINA CELESTINO
1. After designing the Matrice handle for Manital last year, I would like to focus on designing a faucet: an object that must combine functional and ergonomic requirements but also express an innovative and fresh aesthetic, all guided by well-founded design and technical expertise. 2. I will present “Rilievo”, a new carpet for CC-Tapis and a new outdoor collection designed for Ethimo, a renowned outdoor furniture brand. Furthermore, the “Luminora” chandelier designed for MOOOI last November will be officially presented in the new MOOOI spaces on Via Turati.
DRAGA & AUREL
1. We have always been passionate about home object design – vases, centerpieces, tableware – elements that enrich everyday life with style and character. For some time, we have wanted to design pieces belonging to this universe, as yet unexplored by us. We like the idea of applying our research and aesthetic code to a smaller, more intimate format, transforming simple everyday objects into elements with a strong expressive value. So far, time has not allowed us to bring these ideas to life, but who knows...! 2. This year we present a series of novelties that mark an evolution in our research path. Transparency and color are the common threads of the new creations on display at the Rossana Orlandi Gallery, where light will play a central role with a new collection of pendant lamps. In parallel, we have delved into the theme of recovery, giving life to unique pieces formed from the union of “orphaned” (cupboards, drawers of old wardrobes, and library modules) components of vintage furniture we have reinterpreted and transformed over the years through the Heritage collection. Added to this are new pieces we have signed for Baxter, Wall&Decò, and Gallotti & Radice.
FINEMATERIA
1. We would like to design cutlery or an analog kitchen utensil. In recent years, we have had the opportunity to develop various projects and prototypes of small accessories, among various collaborations, particularly the perpetual calendar for QuadroDesign. We are fascinated by the design of smallsized objects with strong manual interaction, perhaps because they can create a different kind of satisfaction compared to other objects. We would like to continue experimenting with our language in the everyday context of home accessories. 2. By invitation of Park Associati, to be part of the cultural programming of Park Hub, we present “PAFF PAFF – Liminal Spaces for Sensorial Rituals”, an installation that explores wool as a symbolic and primordial element. Then, from an experiment with 70Materia, a Venetian company specializing in surfaces created from various mixtures of water, sand, stone fragments, recycled materials, and cement, a new finish is born, which will be presented by Capsule at Spazio Maiocchi. At the fair, we will be present with “Ritagli”, our first stand for Besana Carpet. Finally, House of Finemateria will open its doors for the Milano Design Week with a program of culinary activities in collaboration with Volumeuno, a Piacenza-based kitchen company. Our new space, located at Via Cadibona 9, will present a bespoke setup for the launch of a unique serving plate, “Primosecondo,” handcrafted in Nove (VI).
SEBASTIAN HERKNER
1. I would love to design a kitchen. I personally love to cook and host friends for dinners. 2. We will present a new lounge collection called MDear with Dedon this year. We started almost 10 years ago to work together and it is always a very fruitful collaboration. We also present a new dining chair with ClassiCon and the extension of our Nymph lamps for Poltrona Frau.
MANDALAKI
1. We live in an age of abundance, where objects accumulate and quickly lose meaning. In this context, the question is not so much what to design, but why. We believe that design today should focus on quality rather than quantity, creating durable, meaningful objects capable of enriching people’s lives. For us, the value lies in concepts like slowness, contact with nature, essentiality, and functionality. Our next project will be born precisely from the intersection of these values. We want to create something that invites slowing down, reconnecting with natural rhythms, focusing on what is essential. An object that is not just beautiful and functional, but that inspires a new way of living, more conscious and sustainable. 2. This year, Halo Edition, designed by Mandalaki, continues its research. At the Rossana Orlandi Gallery, we present “The Beauty of Nature”, an exhibition that celebrates light as a living force capable of reshaping spaces and transforming any environment into a luminous landscape: the novelties will be Halo Mini Landscape, the iconic compact model now available in the delicate Landscape shades; Halo Bold, a floor lamp that emphasizes its optical body with a newly enlarged diameter design; Halo Applique, the first wall declination of the Halo collection, and Halo Mag 2 Sunset, a portable magnetic lighting in an updated version ranging from pendant lighting to reading light.
GIACOMO MOOR
1. A kitchen for a sector brand. My studio designs and manufactures kitchens constantly for our clients, I would like to collaborate with a company to develop a kitchen that follows the criteria of industrial production. 2. A furniture collection for Cappellini and an armchair for Living Divani.
MIST-O
1
. There are still many objects we haven’t designed, but we don’t focus on a specific type to create at all costs. For us, what really matters is not the type of object, but the value the project brings. Every new work must represent an intellectual challenge, something that stimulates us to explore new solutions, innovate, and improve the way people interact with objects. 2. A loveseat and a series of tables for Living Divani. These new pieces represent the evolution and expansion of the outdoor armchair Kasumi, which we introduced last year. This year the family is completed with a two-seater loveseat and a series of tables in five variants, round, square, and rectangular, also in the indoor version.
NM3
1. We would love to design a building rather than an object. We’ve had the opportunity to execute some retrofits of existing buildings, always in relation to interiors and custom objects, but we would really like the chance to build a new building from scratch. The reason? Because we started as architects, and despite the long timelines and very complicated dynamics, we are still passionate about architecture as a form of expression. 2. We will be bringing our first wooden collection for the Swedish brand NO GA, a Plaza capsule in Spazio Maiocchi. Additionally, we will be presenting a collaboration with Gruppo Florence, a textile producer for the main luxury groups, featuring textures and surfaces designed by our friend Andrea Ferrari. Finally, we will be among the ambassadors of Not in Milan by Highsnobiety, involved both in the city’s communication campaign and with some objects in their takeover of Lubna, behind Fondazione Prada.
PARASITE 2.0
1. We have never designed a bed. We would love to! Why? Because we believe it is underestimated and because we often dream of still being in bed and not in the office. You can spend entire phases of the day in bed, with the right breaks, getting up sporadically just to stretch your legs and back. Furthermore, when we turn it into the scene for functions other than just sleeping, we believe there is much to design. 2. There are several. To name a few, we will present a site-specific installation within the showroom of the Brazilian brand Ornare at Via Manzoni 30 and a new collection of XC Objects in collaboration with Bianco67 in various locations.
FEDERICO PERI
1. I would love to design a wristwatch and a coat, two objects that, in different ways, embody the concept of timelessness, a theme very dear to me. The watch is like a micro-architecture for the wrist, where materials, details, and proportions intertwine to tell a vision of time. The coat, on the other hand, represents the perfect synthesis between structure and softness, and I find it fascinating how it can influence both the perception of the wearer and the surrounding space. 2 At Baxter’s showroom, we will present two evolutions of existing collections: the desk version of the Blend collection and the table version of the Wave lamp. For Nason Moretti, I will introduce several Murano glass projects, two collections of glasses with matching carafes, two series of vases, and a charger plate. For the past three years, I have been following a very structured artistic direction for Carpanese Home, and this year we will curate the Fuorisalone space in Via Statuto 4. Finally, Saba: both at the fair and outside. This is the project I consider my main focus for this Milan Design Week because I believe greatly in their products and approach. For them, I have designed a bookshelf (in both wall and freestanding versions), a dining table, and an armchair.
SARA RICCIARDI
1. We are currently focusing on inclusive spaces and have noticed that the world of bathrooms still lack accessible and aesthetically pleasing solutions. Items designed for disability often focus solely on function, neglecting design’s aesthetic and sensory values. I would like to collaborate with a sanitaryware company to rethink the public bathroom experience, transforming it into a more comfortable, welcoming, and inclusive moment for everyone. 2. For Roche Bobois, we are presenting our new home accessories collection AURAVIBE. In the 5Vie district, we’ll showcase two installations: “The Chrysalis Knows the River’s Song,” an immersive experience created in collaboration with Antica Passamaneria Massia since 1843, Silver Tre Traviganti, and music therapist Paolo Borghi. We’ll also unveil “Golden Harvest” at the new Borbonese headquarters in Corso Venezia 2, celebrating the magic of the harvest. Lastly, a social design project, “Arena Stadera,” a public space co-designed on the theme of welcoming.
LAUREN ROTTET
1. I’ve always wanted to design a flying bicycle or a pocket air conditioner because Houston was so hot, and the bike never went fast enough. More realistically, I’m working on a line of oversized planters as art objects, so even if your plant doesn’t survive, you still have a beautiful sculpture. I haven’t yet designed a chest of drawers that I’d like to, with large drawers for big items, small compartments for precious ones, and designed under the principles of Light and Space to change with the time of day. 2. I’m collaborating with Turri, the Italian maker of exquisite furniture, to display new pieces from the Rottet Collection. We’ve also engaged several designers for accessories. On Thursday evening, April 10th, we will participate in a panel discussion titled “Weaving the World Together,” where experts will discuss the love and passion behind design.
STEFANIA RUGGIERO
1
. Probably a lamp, an object as a source of illumination. 2. For this Design Week, I will exhibit an installation at Alcova created in collaboration with set designer Weronika Wolińska; then I will be part of a collective: “The Theater of Things” 7 Nights and 7 Days Living with Collectible Design, from 8 to 13 April, curated by Valentina Ciuffi and Joseph Grima, including works by Objects of Common Interest, Linde Freye Tangelder, Espace Aygo, Rich Aybar, Laurids Gallée, Stefania Ruggiero, Niki Danai. Finally, I will participate in a show curated by Cinema Parentesi where a short film featuring collectible design objects will be screened.
ELENA SALMISTRARO
1. There isn’t a specific project I’ve always wanted to do that I haven’t realized yet, mostly because what fascinates me the most is precisely what I don’t know. Discovery is an essential part of every new project; it’s an opportunity to explore unexpected territories, challenge myself, and give shape to something that didn’t exist before. If I had to choose an object, perhaps I would say a chair. It’s one of the most complex elements of design, not only because of ergonomic and structural considerations but also for the symbolic value it can hold. Designing one would mean facing a complete challenge, which could be both fascinating and stimulating. 2. At the next Milan Design Week, I will present various projects, each with a well-defined identity. Among the new developments I can discuss, there will be a basin made with Flaminia, born from research into forms that can give the bathroom a distinctive character. I will also present a new collection of marble coverings with Lithea, where stone becomes an expressive medium for creating surfaces rich in details and suggestions. Finally, with Bosa, I will continue a collection started several years ago of ceramic coverings, featuring new forms and variations of textures and patterns with a strong visual impact.
STUDIO KLASS
1. We believe the value of a project emerges only when there is a real demand, a necessity to satisfy. Rather than focusing on the idea of ‘creating an object,’ we are interested in exploring where design can truly make a difference, improving experience, simplifying a gesture, or creating new relationships between objects and spaces. The real question, perhaps, is: what is truly needed today? 2. This year at Fuorisalone, we present an installation and new products for Molteni&C, while for UniFor we have curated the communication of two novelties that will be exhibited for the first time at their showroom on Viale Pasubio. At the fair, together with Fiam, we launch a new collection of containers for living.
VALERIO SOMMELLA
1. Off the top of my head, today I would say I would like to design a coffee maker, to use it every morning. A project as beautiful as it is challenging. 2. With Ethimo, a brand-new collaboration, we will present a small family of outdoor glazed ceramic tables called Tama. For I 4 Mariani, on the other hand, the modular sofa Siesta, a product designed for a residential context starting from an idea of extreme comfort, with simple and recognizable lines, to create a break from what has been done with the company in past years. Moving to lighting, there will be two novelties for DGA, Kumini and Kumax, which expand the range of outdoor products that began some years ago with the Kumi lamp. With KDLN, we will celebrate the 10th anniversary of the Kumi collection, a bestseller and now an iconic product of the company, with a new table lamp, which for my part is the missing piece of an already very wide collection. Additionally, a photographic project will narrate the 10 years of Kushi through the shots of various photographers.
Porcelain tiles for your design paths
Fuorisalone 2025 | 4-13 April METAMORPHOSES
Refin Studio | Brera, Milano
hours in Milan
Redesigning the existing
by Umberta Genta
Rather than expanding geographically, Milan Design Week focuses on strengthening what has been built in recent years. The 2025 edition will see a redesign of the city center. Milan is rethinking itself starting from its heart, a historic center often overshadowed by emerging areas, but now the new epicenter of design. Here, showrooms, galleries, courtyards, palaces and new spaces such as the Molteni flagship store in via Manzoni, the new design street, become undisputed protagonists. A few steps away, the Porta Venezia Design District, barely two years old but already in full ferment, is becoming the ‘Gateway to Design’ thanks to its monumental bastions, which are getting a makeover thanks to the artistic intervention of Toiletpaper for Prima Assicurazioni, the area’s main sponsor. The “who goes up, who goes down” exchange is getting faster and faster. Destinations such as Central Station are becoming more discreet and quieter, and events such as the Isola Design Festival are increasingly gaining ground on the map of must-see stops. However, for a part of the public, especially foreign visitors, the growing number of individual events runs the risk of making Design Week too fragmented and dispersed, to the det-
riment of its original identity. An issue raised by one of the protagonists of Milan’s busiest week (+400,000 visitors, at least according to official figures): Gisella Borioli, founder of Superstudio Più. “It is not easy to maintain quality when you clash with quantity. Messages get confused, lines get lost, excessive competitiveness is bad,” she comments. While there is a risk of losing the culture and uniqueness of Milan between aperitifs and gadget-hunting, how do you keep the limits in check? There are also those who have gone beyond the borders: like Alcova, which, in its view of re-design, has chosen to position itself again this year in Varedo, half an hour by train from the center, expanding and taking the collectible design from Villa Borsani and Villa Bagatti Valsecchi to Serre Pasino and the former SNIA industrial plant. In addition to this event, which was a great success with the public last year, Brutal, a group exhibition celebrating raw collectible design and the fascination of Brutalism, and the group exhibition Good Selection, 61 international designers, will also land in Varedo. Is there a key to renewal in moving away?
(Above: the installation designed by Michela Picchi for Glo in the courtyard of Palazzo Moscova 18)
1 | ITALGRANITI GROUP
Via Statuto 21
New layout for the showroom of the company specializing in wall coverings, designed by Andrea Parisio and Giuseppe Pezzano. A space where light enhances the materials.
2 | MARTINELLI LUCE
Via Borgogna 4
In the heart of the historic center of the city, the first ‘Milanese house’ of the historic lighting brand, a four-handed project signed by Emiliana Martinelli and Dainelli Studio.
3 | MOLTENI&C
Via Alessandro Manzoni 9
Palazzo Molteni, a short walk from La Scala, is a seven-story, late 19th-century building that was once a private residence. Vincent Van Duysen, the brand’s art director, redesigned its spaces.
4 | AATC
Cre-Action, via Festa del Perdono 7
As part of the multi-voiced event organized by Interni magazine, Zaha Hadid Architects’ installation for the marble and granite specialist creates a unique ‘space sculpture’.
5 | BOON EDITIONS
Via San Vittore al Teatro 1/3
The French ‘maison d’editions’ has teamed up with Canadian lighting brand A-N-D to present works of functional art and collectible design that combine craftsmanship and innovation.
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1 | SAHRAI
Via Alessandro Manzoni 38
An installation curated by Reality is_ studio that recreates a journey between history and innovation in luxury carpets. And where the new capsule dedicated to denim will be on display.
2 | TIME & STYLE
Largo Treves 2, Via Balzan 4, Via San Marco 13
The Japanese brand’s new 2025 collection, a dialog between past and present, tradition and design, is presented in the calm (plastered with washi paper) and light-filled spaces.
3 | NARDI
Via Pontaccio 19
A few steps away from the Accademia di Brera, a space dedicated to professionals that communicates the company’s idea of the outdoor lifestyle, where sustainability plays an important role.
4 | IRIS CERAMICA GROUP
Palazzo Reale
Art Déco. Il trionfo della modernità exhibition
The Group, main sponsor of the exhibition that traces a fundamental page in the history of design, presents in the entrance hall the Sinfonia installation, made up of sound and light.
5 | SELETTI
Corso Garibaldi 117
The popular brand presents Superfurniture, a project dedicated to the world of furniture: a selection of unusual lamps, complements and accessories. That transform the ordinary into the extraordinary.
6 | DOLCE&GABBANA HOME
Corso Venezia 7
The world of references of the Maison’s Home collection is enriched with a new theme, Maiolica Verde, which takes a thousand forms, from furniture to tableware.
7 | BRERA DESIGN APARTMENT
Via Palermo 1
100 square meters in the heart of the Brera design district, a space designed as a meeting place for professionals. This year’s installation, entitled Orizzonti, was curated by the Zanellato/Bortotto studio.
8 | VISIONNAIRE
Piazza Cavour 3
The brand’s Milan flagship store presents itself in a new look that tells the story of its evolution, between heritage and innovation. A path marked by chromatic dominants.
9 | ORNARE
Via Alessandro Manzoni 30
In the middle of the ‘fashion quadrilateral’, the showroom of the Brazilian brand Ornare is one of the new presences in this street that is becoming one of the epicenters of design in the city.
10 | DOT
Piazza San Marco
Mini fair dedicated to the outdoor lifestyle: the name stands for Design Outdoor Texture, with the guiding idea of highlighting the connection between indoor and outdoor.
A city on display
Starting from an image that arouses emotions, create your own itinerary: a journey to discover unique furnishings, objects and installations that will transform the city for a week. Design venues will light up, while exclusive spaces, open only for the occasion, will reveal a Milan never seen before
by Umberta Genta
1 | HOUSE OF PIRANESI
Basic Village, via dell’Aprica 12
The collective, whose work combines traditional crafts with 3D printing and robotics, presents a fun collection for the outdoors (and beyond), presented at the Isola Design Awards.
2 | ARTEMEST
Palazzo Donizetti, via Gaetano Donizetti 48
A meeting with high artistry at Artemest, which celebrates its 10th anniversary at Palazzo Donizetti, a Milanese jewel between Baroque and Liberty, open to the public for the first time.
3 | ALL’ORIGINE
via Tortona 31
The brand of 20th century European objects sets up a temporary shop for Tortona Rocks at Otto Studio by Paola Navone and an installation on forgotten treasures curated by the duo PetriPaselli.
4 | SNOC via Tortona 31
Tortona Rocks celebrates its 10th anniversary with the Unframed design edition: for the spaces of Opificio 31 it chooses the timeless collections of SNOC, a Turkish company making its debut at Design Week.
5 | BRAVERY BAR BASIC VILLAGE
Via dell’Aprica 12
The IAAD (Institute of Applied Art and Design) project brings the theme of inclusivity to the Isola Design Festival: in sports, art and design (photo: street art crew Truly Design).
6 | R 100 BY HYDRO
Capsule Plaza, via Achille Maiocchi 7
Hydro, a low-emission aluminum brand, is exhibiting works created in collaboration with designers using processes that reduce the carbon footprint (pictured is Sabine Marcelis’ work on color).
7 | ALINE ASMAR D’AMMAN
Galleria Rossana Orlandi, via Matteo Bandello 14
The Soft Shell coffee tables by the Lebanese architect and adopted Parisian stand out in the RoCollectible 2025 exhibition, are made of sandblasted concrete with hand-pleated metal inserts.
8 | WAITING FOR IDEAS
Alcova, Villa Bagatti Valsecchi, via Vittorio Emanuele II 48, Varedo (MB)
The timeless minimalism of the Parisian creative studio faces the bold techno exuberance of Jean-Baptiste Durand: a striking contrast between expression and restraint.
9 | AQUA CLARA
Mosca Partners Variations, Palazzo Litta, corso Magenta 24
The installation created by the Japanese design group Honoka for the Japanese mineral water brand explores the potential of used bottles transformed into aesthetic architectural materials.
1 | INDERJEET SANDHU
Alcova, Villa Borsani, via Umberto I, 148, Varedo (MB)
In the series That’s Bananas, the Indo-Dutch designer denounces exaggerated exoticism: the banana stands out against a discolored background, a symbol of values erased by intensive cultivation.
2 | SHAKTI DESIGN RESIDENCY
Alcova, Villa Bagatti Valsecchi, via Vittorio Emanuele II 48, Varedo (MB)
The first results of the inaugural program of an Indian initiative created with the aim of developing relationships between the very rich landscape of local crafts and global design.
3 | MUDAC
House of Switzerland Milano, Casa degli artisti, corso Garibaldi 897A
The Museum of Contemporary Design and Applied Arts in Lausanne presents Baddance with Thebadweeds, Rocio Berenguer’s installation in which people dance with a half-vegetable musical band.
4 | VIENNA VIBES
Boutique Erotika, via Melzo 19
From ready-made to high craftsmanship, with forays into Art Nouveau: in the heart of the Porta Venezia design district, Galerie Zippenfenig presents the scene of new independent Austrian design.
5 | BALMACEDA STUDIO
Galleria il Vicolo, via Maroncelli 2
A mix of textures, shapes and colours inspired by Nepalese craftsmanship and Mexican heritage: the Jardines collection by Mexican designer José María Balmaceda is making its debut at Design Week.
Duyi Han –Janine Limb, Rocio Berenguer and Ferran Belda
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1 | MARCIN RUSAK
Alcova, Pasino Glasshouses, via Vittorio Emanuele II 54, Varedo (MB)
Rusak’s sculptures, inspired by his botanist grandfather’s cultivation of orchids, are made from 3D-printed PLA and corn derivative and are biodegradable.
2 | YOCHIYA
Alcova, Villa Bagatti Valsecchi, via Vittorio Emanuele II 48, Varedo (MB)
Copper plates inflated by hydraulic pressure give life to the works of the Swollen project, created according to the concept “beyond material, but not a product”.
3 | NILUFAR/NILUFAR DEPOT
via della Spiga 32/viale Lancetti 34
Two venues by gallerist/talent Nina Yashar: Nilufar Depot celebrates its tenth anniversary with an installation by Fosbury Architecture, the Via della Spiga space celebrates the work of George Nakashima.
4 | MISHA KAHN
Cavallerizze, via Olona 4
The multifaceted American creative presents his latest project of objects and creations for the home Abject: Inhabit the Poché, within a dynamic performance inspired by Chinese shadows.
5 | ATELIER MARÉE
Basic Village, via dell’Aprica 12
The Danish studio presents a series of unique pieces for the table. Handmade in Aarhus, Denmark, from white clay porcelain, they are inspired by the waves of sea sand.
6 | BRUTAL
Via Umberto I 80, Varedo (MB)
Brutalist inspirations in the group exhibition Be Alpha, curated by Foro Studio: Veronica Soto’s series of mirrors Temporal Ellipses is an encounter between geometry, color, matter and optical illusions.
7 | ROSANA SOUSA
Basic Village, via dell’Aprica 12
The Portuguese designer was honored at the Isola Design Awards for her wooden Vaga chair, each of which is unique due to the skilled patchwork craftsmanship.
8 | NG DESIGN
Basic Village, via dell’Aprica 12
The Polish studio presents furniture made with prestigious brands (fabrics by Larsen, Alpi wood surfaces designed by Ettore Sottsass) and celebrates the uniqueness of collectible design.
9 | MASTERLY THE DUTCH
Palazzo Giureconsulti, piazza Mercanti 2
This event dedicated to Dutch design focuses on the theme of reuse: the Tol lamp by Dirk van der Kooij is the result of his unique 3D printing technique using recycled plastics.
10 | LAVAZZA
Palazzo del Senato, via Senato 10
Source of Pleasure is an installation by Brazilian architect and designer Juliana Lima Vasconcellos: discover the world of coffee in one of the most beautiful spaces in the Porta Venezia Design District.
1 | BROOT – DIALOGUES FROM WITHIN
Broot Pop Up, Via Borgonuovo 5
Assimagra’s project presents a collection born from the dialogue between Portuguese natural stone and materials from different industries in Portugal.
2 | CASA ORNELLA
Via Conca del Naviglio, 10
Craftsmanship and customization at Maria Vittoria Paggini’s showroom; the designer and art director presents her interpretations of the kitchen (by Turati Cucine) and bathroom in the project MediterraneaAndamento Lento
3 | PORNO ROMANTIKO
Via Giorgio Jan 3
In the Porta Venezia design district, Andrea Semeghini presents his collection of ceramics; a magnifying glass reveals the most intimate and haunting details of the works.
4 | PRENDETE E MANGIATE
Via Cesare Correnti 14
What’s left when you leave the table? In the exhibition curated by Carolina Levi, Yellowdot’s egg cups (among the twenty projects on display) are also kinetic sculptures made of brass and eggshells.
5 | MARC-ANTOINE BARRAULT & ANTOINE BOUILLOT
Via San Gregorio 29
An immersive installation that magically combines light, darkness and scent to present Aldebaran (a star discovered in the Middle Ages), a new fragrance by designer Marc-Antoine Barrault.
6 | KITT.TA.KHON
Superstudio Più, via Tortona 27
The Thai studio blends craftsmanship and innovation in furnishings such as the hand-woven Boa Boa chairs that color the Front 100 exhibition, dedicated to one hundred emerging Thai creatives.
7 | BUDDE X NANDO STUDIO
Galleria Rossana Orlandi, via Matteo Bandello 14
The collaboration between the two German studios results in Dune, a carpet that turns into a chaise-longue, a playful blend of the textile art of tufting and contemporary comfort needs.
8 | LUCA MAIBACH
Basic Village, via dell’Aprica 12
The Isola Design Award-winning designer presents the Pilaro family of tilt and turn lamps that can vary the light: from soft mood lighting to concentrated spotlighting.
9 | PRADIER-JEAUNEAU GALLERY
Via Madonnina 17
A gallery/workshop run by Aurélien Jeauneau and Jérémy Pradier-Jeauneau, exceptional dealers/designers with cultivated and eclectic tastes.
10 | SENSES
MelzoDodici, Via Melzo 12, Milan
The boldest pieces created by the creative duo Iammi come to life through interaction with visitors: a voyage of discovery through a multisensory cabinet of curiosities, co-curated by Iammi and Materia Studio.
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FOOD CULTURE & MISE-EN-SCENE
Designing a bar or restaurant very often seems to be a process similar to the invention of a theatrical staging. Obviously eliminating the temporary nature of the performances, the intention is to recreate a universe, small but semantically and functionally layered, starting with close collaboration with the chefs, who have very precise ideas about their culinary art but also about the space in which to work. This is a real mise-en-scène, very creative spaces that nevertheless cannot deviate from the needs and obligations of the workplace and public environment. Instead of the device of the fourth wall, it is the threshold that is the point of access to a material and sensory (mini) universe, often deliberately suspended in time, a puzzle of many different kinds of content, tangible and intangible: local and international culture, gastronomy, artisanal knowledge, decorative arts, eye-catching furniture and installations, light and views, lighting and atmosphere, travel memories, emotional states. An operation of syncretism in which two key concepts, layering and experimentation, distinguish the work of both chefs and designers.
by Alessandra Bergamini
Bibo
At 11 Apáczai Csere János u. the entrance to Dani Garcia’s restaurant and cocktail bar, a recent opening by the Andalusian chef in the Dorottya Hotel, immediately draws the eye with a play of metal spheres and reflective surfaces. A game of illusion and fading that intensifies as you go up to the top floor, to the restaurant with skybar and terrace, where Astet Studio’s interior design project becomes total staging, mesmerizing, imaginative, disorienting. The intention is to accompany, from the mirrored threshold, “guests into a world of elegance, illusion and artistry,” and to challenge their sensory perception in “an environment where light, mirrors and movement dissolve the boundaries between reality and illusion.” Mirrored surfaces, alternating with deep blue wood paneling, also cover the reception area, a fragmented and deceptive space where soft curves and clean-cut edges seek the balance between fixity and movement. In the bar area, the theme of spheres returns as a protagonist, and here they are transparent and dot the ceiling along with larger-than-life floral ele-
ments, “in eternal suspension.” The large area dedicated to the restaurant is organized in a series of micro-environments created by the curved shapes of the sofas and the alternating colors in the seating, petrol blue, burnt orange and salmon, on which hang light giant flowers and small glass spheres. In the background, visual continuity is interrupted by series of arches, beyond which are the wine cellar and a private room decorated by a hand-painted mural: a moon that, when reflected, turns from crescent to full.
Locantion: Budapest
Interior design: Astet Studio/Ala Zreigat and Oscar Engroba Furniture and lighting: on design by the architects
Photos: Salva López
Kioku by Endo
The restaurant, one of 9 opened in the former Old War Office in Whitehall now known as The OWO after an extensive renovation and transformation, represents the destination of a long journey of life and work by Japanese star chef Endo Kazutoshi, but also an example of designer and client attunement in a design process. From Yokohama to Madrid, from the tradition of sushi to the culinary fusion of East and Mediterranean, Pirajean Lees have developed an ad hoc language that fuses Japanese and Spanish elements in the rooftop restaurant’s interior. Open to the London skyline from panoramic windows and laid out on a narrow, elongated floor plan, Kioku consists of a sequence of spaces divided by oak screens and mirrored ‘portals’: the main area with tables for 56 covers, a chef’s table for 8 people connected to the kitchen, and the open air area in the terrace. Recalling the art of Japanese carpentry are the interlocking details, the paneling, the concealed cabinets in the walls, the wooden fixtures, and the custom-made furniture made especially for this
project. Such as the high and low oak seating covered with embroidered Japanese silk. Leather, cork, handmade ceramics contribute to the design language instead as ‘quotes’ from the Mediterranean area. Beyond the terrace is a private room for just eight diners carved out of one of the historic building’s turrets. Circular in shape, it has a ceiling painted with an Indigo Moon, a mural created by Pirajean Lees and crafted by British artist Tess Newall, and a stone floor covered with a large carpet depicting the sun.
Locantion: London
Client: Creative Restaurant Group
Interior design: Pirajean Lees
Furnishings: on design by the architects exclusively for Kioku
Photos: Polly Tootal
Sonora
Paloma Rubia, L’Azul, Caiman Club, Batanga, Cereza, El Molle, Puma Punka, Mi Corbata, Los Valles, and others are the cocktails served on the 24th floor of the OMA-designed tower in the RAI convention center area that houses Nhow Amsterdam. Names chosen to suggest the history, myths and adventures of Latin America, its geography and riches. But even the forms hint, in the ‘landscape’ imagined by the architects, at pre-Columbian golden idols and mythical creatures, the waters and vegetation of the tropical jungle. The imposing bar counter, the epicenter of attraction of the space and the gaze, is a structure with a circular volume with a shimmering golden finish that expands on the ceiling with organic and rounded shapes, a true “golden idol in the jungle.” A reimagined and conceptual jungle, with green plants scattered everywhere, plant and aquatic patterns in the textile floor covering, treated glass surfaces mimicking the flow of water, sugary colors and intricate patterns for stools, armchairs and sofas. The allure of the tropics with a view
of the Amsterdam cityscape: the space’s triangular shape and transparent facades force the gaze to move alternately from the ‘golden creature’ at the center of the cocktail bar to the expansive horizon outside.
Locantion: Amsterdam
Interior design: El Equipo Creativo / Oliver Franz
Schmidt, Natali Canas del Pozo, Lucas Echeveste Lacy
Gastronomic concept: Younique
Lighting design: MMAS lighting
Construction & fit out: Martinez Otero
Decorative greenery: Bossvi
Kitchen equipment: Pilsa
Kitchen planner: Vijverborgh
Acoustic consulting: Level Acoustics & Vibration
Audio visual: Bazelmans
Flooring: Cotlin
Finishes: Formica, Finsa
Fabrics: Grupo LaMadrid
Ceramics: Matter Atelier
Photos: Adrià Goula
apothéose
The floor is on the top of Toranomon Hills Station Tower, a 49-story skyscraper designed by OMA and Shohei Shigematsu. Entrance to Michelin-starred chef Keita Kitamura’s new restaurant designed by Space Copenhagen is through a tall double door, decorated with graphic engraving and two burnished brass bars. A sculptural element created ad hoc like those with the round shapes of the host station in the guest reception lounge area, bright and furnished with small, comfortable seats, from which there is access to both the terrace and the very bright dining room with 40 covers, open kitchen and an endless view of the city. Natural light enhances the soft tones of the oak, leather, and fabrics chosen for wall and floor coverings, chairs, tables, and sofas, as well as the dark tones of the burnished brass paneling lining the kitchen. Another sculptural element, a gray natural stone island, serves as a waiter’s station and a link between the kitchen and guests, while other wood paneling designs and separates a small private room. The dècor condenses craftsman-
ship, high-quality natural materials, and color balance, and the atmosphere is light and inviting. After 15 years in Paris, the chef wanted a working and welcoming space where he could experience a fusion of French gastronomy and Japanese terroir. “From the welcoming lounge to the open kitchen with sweeping views of the Tokyo skyline, each element has been thoughtfully crafted to curate an elevated dining experience, blending elegance with a sense of comfort,” Peter Bundaard Rützou and Signe Bindslev Henriksen.
Locantion: Tokyo
Interior design: Space Copenhagen
Furnishings and lighting: &Tradition, Sorensen, Benchmark, Michael Anastassiades
Fabrics: Kvadrat, Dedar
Photos: Joachim Wichmann
Cheese Farm
For the restaurant, the second opened by Cheese Factory Syrovarnya in Yerevan, Armenia, born from the producer’s idea to bring its dairy products directly to the table, Studio Shoo’s design amalgamates culinary art and local craftsmanship. If the color of milk pervades the entire space creating a clear and serene atmosphere, the ‘sculptured’ wall decoration is definitely distinctive and was created by local artists based on a design by Shushana Khachatrian, founder of the studio. “The wall sculpture was made in partnership with a local sculptor. I made a sketch using traditional Armenian shapes: a circle representing harmony and order in the world, and leaves reflecting growth, fertility, and vital energy.” Symbolic circles and spheres are repeated in the white porcelain cluster lamps and suspended lighting system. Stylized leaves come to life and color in the widespread plant elements alternating in the large 86-guest space with solid oak tables of various shapes and sizes, and natural bentwood chairs of different types. Complementing the color palette are
the ochre of French sofas, small splashes of color in the clay pots displayed above the long service counter, and touches of polished brass. Much in the space is exposed to guests’ view, from ceiling-mounted conductors to the open kitchen, from the wood-burning oven to the objects and food products that fill the wood and metal shelving. More hidden remains a private room for 14 diners.
Locantion: Yerevan, Armenia
Client: Suyrovarnya
Interior design: Studio SHOO
Furniture and lighting: supplied by Nera Project; on design by Studio Shoo
Photos: Sergey Krasyuk
C-Bar
The first Japanese music bars (ongaku kissa) seem to date back to the 1920s: places for music and alcohol connoisseurs, equipped with loudspeakers and music collections of various kinds, which over time adapted to new styles and spread around the world. The design for the C-Bar, recently opened in the Andromeda hotel on the Ostend waterfront, is inspired by this kind of listening café, where the disconnection from the outdoors, the muffled atmosphere, and the comfortable, low, wide seating encourage relaxation, listening, and a cocoon effect. The “lounge feel” is amplified by the natural materials - such as wood, leather, fabrics - and the warm, enveloping colors, dark browns or oranges, terracotta, and purple, blended in a sophisticated ensemble that accords horizontal and vertical upholstery, bar counter and wooden armchairs, sofas on fixed structures, transparent blown-glass coffee tables, and full-height velvet curtains with soft draperies. Even more sophisticated is the treatment of lighting points. The lighting design, whose intensity decreases towards
the end of the day, alternates between illuminated ‘fields’ and areas of shadow, patches of soft artificial light and natural light framed by a full-height window, the only opening that connects to the outdoors and the terrace, overlooking the beach and the sea. “Refinement is key in our portfolio. It shows itself, among other things, in the subtle play of light and shadow and the subdued but powerful presence of textiles. Also characteristic is the mathematical approach to space. This not only creates a practical flow, but also a captivating natural and unparalleled sense of harmony.”
Locantion: Ostend, Belgium
Architecture: TJIP interior architecture/Jakob
Vyncke and Thomas Meesschaert
Furnishings and lighting: custom made on design by the architects; Hay, Miniforms
Styling: Aurore Lameyr
Photos: Alice Mesguich
The Rook
The logo of The Rook - Ministry of Horns and Fins refers graphically to the style of postage stamps, and narratively to the widespread belief in the 18th century that every land creature had its alter ego in aquatic fauna. The animal depicted represents precisely an interspecies hybrid and reminds guests at the restaurant in central Helsinki that the menu of chef duo Hans Välimäki and Arto Rastas offers game and seafood dishes, a fusion of British pub and French bistro traditions. “Mixing mystical and dramatic undertones with feminine softness in the finer details,” Fyra’s designers were inspired by the typical aesthetics of British pub interiors, which also fits well with the context of the historic building in the Punavuori district, a former ministry headquarters. The quiet, subdued atmosphere, the warm, low lighting, the dark woods of furnishings and woodwork, the large wall cabinets, frosted glass, wall sconces, chandeliers and candles, and the forest-green surfaces create a charming, timeless place. “The mix of materials
and classic British racing greens serve as symbolic representations of the restaurant’s concept.” Spatially, the venue condenses into 200 square meters the bar area with stools and bistro tables, the restaurant area with fixed upholstered furniture and not-toolarge tables, and even a secret room, accessed through a revolving door/bookcase.
Locantion: Helsinki
Interior design: Fyra
Furnishings and lighting: bespoke designs by Fyra, including fixed furniture and table lamps
Photos: Riikka Kantinkoski & Jarno Jussila
A Post-Salone journey around the world
After the Milan event, which remains a must and the starting point for everything, numerous design shows take place all over the globe. Among those not to be missed: New York’s ICFF, Downtown Design in Riyadh, and Design Shanghai
by Laura Barsottini
NEW YORK: DESIGNING IN HARMONY
May 18-20, 2025
The International Contemporary Furniture Fair (ICFF), North America’s premier platform for global design, returns to the Javits Center from May 18 to 20, 2025, with an immersive, worldwide event featuring a new layout by RADS (Rodolfo Agrella Design Studio). This year’s theme is “Designing in Harmony,” focusing on human-centered, multisensory, and multicultural design that reflects the diversity and dynamism of the global industry, with particular attention to craftsmanship, sustainability, and human connection. The ICFF Editors Awards will return, celebrating excellence across categories like furniture, lighting, and textiles, with a ceremony hosted by New York comedian and writer Dan Mahboubian Rosen on Sunday, May 18, at 5:30 p.m. The Mainstage and The Oasis will host speakers, debates, and workshops covering a wide range of topics from sustainability, inclusivity, to innovative materials, new technologies, and business models. Notable speakers include Patrizia Moroso, Dieter Vander Velpen, Jared Blake, Ben Aranda of Aranda\Lasch, Esther Chang, and Daniel Germani. Lastly, this year’s ICFF Night Out expands from May 16 to 20 across various city locations, including NoMad, SoHo, Tribeca, and Midtown, in partnership with NYCxDESIGN, New York City’s leading design festival, and media partners Interni and Aspire Home and Design.
2
1 Cosmos collection by Noiro Studio
. ICFF main venue, NYC
THE EXPANSION OF SAUDI ARABIA
May 20-23, 2025
Downtown Design Riyadh will take place from May 20 to 23, 2025, in the JAX District of Riyadh, a creative hub hosting acclaimed artists, galleries, prominent media, creative agencies, and Samoca, Saudi Arabia’s first contemporary art museum, combining cutting-edge cultural infrastructure with the historic UNESCO heritage site of Al Turaif. Organized in collaboration with the Saudi Ministry of Culture’s Architecture and Design Commission, the fair provides design enthusiasts, professionals, and industry leaders direct access to original contemporary design brands and limited-edition works worldwide, alongside local and regional designers and studios. Over its ten years, Downtown Design has established itself as the leading fair for contemporary, high-quality design in the Middle East and a catalyst for growth in the region’s creative scene, dedicated to originality and contemporaneity. The event is complemented by a program of pop-up concepts, creative events, and live talks. Downtown Design Riyadh will echo Saudi Arabia’s Vision 2030 to deliver the highest cultural quality and position itself to meet the Saudi interior design market, valued at $3.66 billion in 2024 and projected to grow to $4.63 billion by 2029.
DESIGN FOR HUMANITY IN SHANGHAI
June 4-7, 2025
Design Shanghai 2025 will be held from June 4 to 7 at the Shanghai World Expo Exhibition Center. With over 80,000 professional visitors expected, Design Shanghai will showcase leading brands from more than 30 countries and regions. This year, the focus is on human-centered design and a fundamental question: Through design, where are we headed, and how should we act? Design Shanghai 2025 will highlight over 600 design pieces across four sections: Furniture and Lighting, Kitchen, Bathroom, and Systems Design, New Materials and Applications, and Living & Lifestyle Design. Craftsmanship receives significant attention: Chen Min and neooold integrate art, craft, and design with conventional Chinese materials; Re: Materialize explores aesthetic trends on materials curated by Zhang Lei, and Beyond Craft Japan delves into Japanese aesthetics. Furthermore, Made in JDZ curated by Ran Xiangfei and Collectible Design & Art will emphasize the handmade craftsmanship of Jingdezhen and limited edition design art. The 2025 edition will also feature three major conferences with speakers such as Craig Miller, Partner and Project Leader at Heatherwick Studio; Changrui FU, Associate Partner at MAD; Paul Priestman, Chairman and Creative Director at PULI Innovation; Robert Greenwood, Partner, Asia Pacific Director at Snøhetta; Ole Scheeren, Chief Designer at Buro Ole Scheeren; and Satoshi Ohashi, Director (China) at Zaha Hadid Architects.
3. JAX District, Al-Turaif UNESCO World Heritage Site
4. JAX District, Riyadh
5. Chroma Meteor, Cosmic Candy by FORM
6. World Expo Exhibition and Convention Centre, Pudong
SAVE THE DATE
Follow IFDM at the world’s leading international trade fairs
APRIL
BRERA DESIGN WEEK
April 7-13, 2025
Milan (Italy) https://breradesignweek.it
FUORISALONE
April 7-13, 2025
Milan (Italy) www.fuorisalone.it
ISOLA DESIGN FESTIVAL
April 7-13, 2025
Milan (Italy) https://isola.design
PORTA VENEZIA DESIGN DISTRICT
April 7-13, 2025
Milan (Italy) www.portaveneziadesigndistrict.com
SALONE DEL MOBILE MILANO
April 8-13, 2025
Milan (Italy) www.salonemilano.it
MAY
HD EXPO + CONFERENCE
May 6-8, 2025
Las Vegas (USA) https://hdexpo.hospitalitydesign.com
NYCXDESIGN
May 15-21, 2025
New York City (USA) www.nycxdesign.com
ICFF
May 18-20, 2025
New York City (USA) https://icff.com/
WANTED DESIGN
May 18-20, 2025
New York City (USA) www.wanteddesignnyc.com
CLERKENWELL DESIGN WEEK
May 20-22, 2025
London (United Kingdom) www.clerkenwelldesignweek.com
INDEX
May 27-29, 2025
Dubai (United Arab Emirates) www.indexexhibition.com
JUNE
SAN FRANCISCO DESIGN WEEK
June 2-10, 2025
San Francisco (USA) https://sfdesignweek.org
CRUISE SHIP INTERIORS DESIGN
EXPO AMERICAS
June 3-4, 2025
Miami (USA) https://cruiseshipinteriors-expo.com
3DAYSOFDESIGN
June 4-6, 2025
Copenhagen (Denmark) www.3daysofdesign.dk
SUSTAINABLE DESIGN CHINA SUMMIT
June 4-6, 2025
Shanghai (China) www.sustainabledesignchina.com
DESIGN SHANGHAI
June 4-7, 2025
Shanghai (China) www.designshanghai.com
NEOCON
June 9-11, 2025
Chicago (USA) https://neocon.com
SEPTEMBER
MAISON&OBJET
September 4-8, 2025
Paris (France) www.maison-objet.com
CANNES YACHTING FESTIVAL
September 9-14, 2025
Cannes (France) www.cannesyachtingfestival.com
FURNITURE CHINA
September 10-13, 2025
Shanghai (China) www.furniture-china.cn
FIND
September 11-13, 2025
Singapore www.designfairasia.com
LONDON DESIGN FESTIVAL
September 13-21, 2025
London (United Kingdom) www.londondesignfestival.com
DESIGN SHENZHEN
September 18-21, 2025
Shenzhen (China) www.designlondon.co.uk
SALONE NAUTICO
September 18-23, 2025
Genova (Italy) https://salonenautico.com
CERSAIE
September 22-26, 2025
Bologna (Italy) www.cersaie.it
MONACO YACHT SHOW
September 24-27, 2025
Monaco (France) www.monacoyachtshow.com
CROATIA YACHT SHOW
September 29 - October 1, 2025
Zadar (Croatia) https://croatiayachtshow.com
FERIA HÁBITAT VALÈNCIA
September 29 - October 2, 2025
Valencia (Spain) www.feriahabitatvalencia.com
OCTOBER
INOUT
October 8-10, 2025
Rimini (Italy) www.inoutexpo.it
EDIT NAPOLI
October 10-12, 2025
Naples (Italy) https://editnapoli.com
HOSTMILANO
October 17-21, 2025
Milan https://host.fieramilano.it
FORT LAUDERDALE INTERNATIONAL BOAT SHOW
October 29 - November 2, 2025
Fort Lauderdale (USA) www.flibs.com
NOVEMBER
BRUSSELS FURNITURE FAIR
November 2-5, 2025 Brussels (Belgium) www.furniturefairbrussels.be
DUBAI DESIGN WEEK
November 4-9, 2025
Dubai (United Arab Emirates) www.dubaidesignweek.ae
DOWNTOWN DESIGN
November 5-9, 2025
Dubai (United Arab Emirates) www.downtowndesign.com
WORKSPACE DESIGN SHOW AMSTERDAM
November 5-6, 2025
Amsterdam (The Netherlands) https://workspaceshow.nl
BDNY
November 9-10, 2025
New York City (USA) https://bdny.com
WESTEDGE DESIGN FAIR
November 20-22, 2025
Santa Monica (USA) westedgedesignfair.com
DECEMBER
CRUISE SHIP INTERIORS DESIGN EXPO EUROPE
December 3-4, 2025
London (United Kingdom) https://cruiseshipinteriors-europe.com
ART BASEL
December 5-7, 2025
Miami Beach (USA) www.artbasel.com/miami-beach
DESIGN MIAMI
December 2025 (dates to be defined) Miami (USA) www.designmiami.com
JANUARY
MAISON&OBJET
January 15-19, 2026
Paris (France) www.maison-objet.com
BOOT DÜSSELDORF
January 17-25, 2026 Düsseldorf (Germany) www.boot.com
IMM COLOGNE
January 20-23, 2026 Cologne (Germany) www.koelnmesse.it/imm
FEBRUARY
STOCKHOLM FURNITURE FAIR
February 3-7, 2026
Stockholm (Sweden) www.stockholmfurniturefair.se
AMBIENTE
February 6-10, 2026
Frankfurt am Main (Germany) https://ambiente.messefrankfurt.com
DISCOVER BOATING
MIAMI INTERNATIONAL BOAT SHOW
February 11-15, 2026
Miami (USA) www.miamiboatshow.com
WORKSPACE DESIGN SHOW LONDON
February 25-26, 2026
London (United Kingdom) https://workspaceshow.co.uk
