Salone del Mobile.Milano Design News – Salone Internazionale del Mobile, S.Project, Workplace3.0

From April 16th to 21st, Salone del Mobile.Milano, the world’s leading design event opened its doors at Fiera Milano, Rho, and welcomed the finest Italian and international brands, for a chance to exchange ideas and compare notes, offering a glimpse into the future of home living. Read on and discover more.

Every edition of the Salone del Mobile.Milano is a chance for the global design community to meet and take stock of the meaning and the results of one year of work, research, and experimentation. The pavilions of Fiera Milano take on a hybrid artwork-workspace dimension, becoming the set for a showcase of environments, furnishings, objects, and installations that turn the venue into an enchanting “middle earth”. Here, new combinations of ideas, meanings, shapes, and functions materialize and become visible, perhaps in embryonic form, anticipating – sometimes imperceptibly sometimes very clearly – the identity of tomorrow’s home living.

This reservoir of potential solutions for the needs and dreams of design for the home – striving to overcome their inevitable limitations and propelled by their beauty, strength, and inherent value – is a showcase of a wealth of expressive languages, a mix that gives shape to different aesthetic paths that symbolize a way, an approach, a vision, but also a function that cannot be neglected or overlooked.

This edition once again sent out powerful messages and visions ranging from environmental and social responsibility and regeneration to the enhancement of craftsmanship, skillfully blended with digital technologies; from the storytelling of authenticity and design culture (through objects that return to the market in a new guise to embrace new construction techniques and circular materials) to design suggestions that come from afar (for example, Japan).

Among welcome returns were also the third space, when indoor becomes outdoor or vice versa; and fashion’s forays into the interior design territory. The abacus of forms expands even further: from the sculptural and architectural to the soft and organic, from decorative to essential lines, from fluidity to the quest for customization or added functionality. Once again, the Salone with its energy showed the way in a multiverse of forms, materials, and functions.

From Sustainability to Regeneration (and Tomorrow, to Ethics)

Any talk about sustainability today is taken for granted or comes across as quaint, perhaps even nostalgic. But if the focus on aesthetics, product content and experience, technology, and production processes is no longer enough, what could be the “next step”? Most likely ethics, a vision that embraces environmental issues and social aspects like equity, justice, value, and inclusion. Many designers have long been embracing these concepts as well, which fortunately are now being taught in schools to train new generations in the fundamentals of the profession. But when will companies start implementing them? At the Salone del Mobile.Milano, many brands are trying to cross boundaries appearing on the horizon.

A.I. from Kartell (Pav. 22 | A11 B10 B15 C12 C18) and Philippe Starck, is the brand’s first collection – designed through human and artificial intelligence collaboration. Their research and technological development have enabled the use of materials in products that can be regenerated and have no negative environmental impact. The latest addition to the collection is A.I. Lounge, which combines sustainable materials and comfort, defined by bold lines that look to both the future and the well-being of the body.

Designed by Patrick Jouin and made of FSC-certified ash or American walnut, the Héra series by Pedrali (Pad. 14 | A23 B24) is enriched by a new version with a cellulose woven seat. The brand’s focus on environmental sustainability is expressed through its choice to use certified woods and finishes like water-based paints and plant-based resins.

Maximo by Nardi (Pav. 18 | D23 E22), the brainchild of Raffaello Galiotto, is a modular sofa with a regenerated resin frame and fabrics with a high proportion of recycled components. The clean and balanced lines develop horizontally, the volumes are wide, the seating is deep and comfortable, and the modularity ensures flexibility and harmony. The ample and cozy cushions are also made of partly reclaimed fabrics. The collection includes a slatted coffee table and a storage rack made from recycled plastic.

Pianca (Pav. 15 | A23 A25) presented Orizzonte, the brand’s first kitchen, an experiment in new materials and stylistic solutions: sculptural and light in its essentiality, Orizzonte gives shape to a space where functionality and aesthetics coexist. The sustainable materials are earthy: natural stone and agglomerate made by reclaiming marble scraps, aesthetically evoking the suggestion of Venetian terrazzo.

Then there was cc-tapis (Pav. 22 | L16) with GRAND TOUR, a new catalog of hand-woven carpets, respectful of India’s social heritage and tradition. The brand learned the techniques of local textile craftsmanship, influenced by natural resources and cultural practices, and repurposed through the designs of Universo Uchronia, Patricia Urquiola, Charles-Antoine Chappuis, India Mahdavi, Doshi Levien, Mae Engelgeer, Clara Von Zweigbergk, Chiara Andreatti and Yabu Pushelberg.

In the same vein – Verdi (Pav. 24 | H05) presented a collection of artisanally manufactured rugs for outdoor spaces made from a new generation of materials specially chosen for their environmental friendliness. The fabrics are resistant to moisture and indirect sunlight, and reflect the hues of the natural landscapes they are inspired by.

The Layers Collection by Thomas E. Alken for Mindo (Pav. 14 | B35) illustrates the brand’s commitment to blending luxury and sustainability. The Layers outdoor sofa is made to last, and each of the sofa’s components can be individually replaced if necessary, further extending the product’s lifespan, and cutting down on waste. Components are chosen and manufactured to be high quality, weather-resistant and recyclable. The Olyna yarns, which are technical but feel similar to wool, offer exceptional outdoor durability and are resistant to dirt and stains.

Radici (Pav. 05 | A17) presented the printed pattern Sipario, a pinnacle of sustainability. The printed variants have Bloom carpeting as their backing, made from Econyl, a presentnylon yarn regenerated from industrial waste such as fishing nets, carpet flooring, and fabric and plastic production waste. The raw material, sourced from 100% waste products, is given new life and transformed into an innovative fiber that aspires to generate a positive, green impact.

Caimi (Pav. 22 | C23 D20) presented Biosfera, a recyclable sound-absorbing fabric resulting from a collaboration between the brand and a young Taiwanese designer, Hsiang Han Hsu, who was discovered at SaloneSatellite 2023. In this fabric, acoustic comfort blends with designs that evoke elements of nature, promoting real mental and physical well-being.

Laminam (Pav. 22 | G16 G18) places sustainability at the heart of its strategic development vision, translating it into surfaces, created from recycled and fully recyclable materials. The production of the new brand line twO – ultra-thin and ultra-lightweight surfaces – has a positive environmental impact on the entire supply chain, leading to a decrease in the company’s carbon footprint that concerns about 70% of its production processes thanks to a product that is lighter and less bulky.

The entire product life cycle is optimized by its reduced thickness: the firing phase is faster, relying on all-electric kilns powered by solar panels, and the lower overall weight makes for a significantly lower environmental impact from transportation.

Lastly, Florim (Pav. 24 | G02 G03) showcased its “CarbonZero” collections: Carbon Neutral surfaces that offset the CO2 emissions, generated by their production and life cycle.

The brand measures the environmental impact of its products throughout their lifecycle, from the extraction of raw materials to disposal, and to curb the emissions of its operations, it reduces the use of natural resources, investing in making the process up to 100% sustainable in terms of water, electricity, and recovery of raw production waste. Purchasing certified carbon credits from renewable energy projects in developing countries offset the remaining emissions.

Modern Cabinetry at Salone del Mobile.Milano

Woodworking represents the epitome of tradition and is an art that is synonymous with beauty and skilled craftsmanship. Today, more and more, wood is making its way into our homes: symbolically, we are welcoming nature into our domestic kingdoms, reconnecting with it, and thus performing an action having cultural, ecological, and ethical value. This is how we feel about wood, and, it’s a feeling shared by brands, too.

For example, wood craftsmanship is the essence of Zanat (Pav. 24 | L02 L04). Combining the centuries-old tradition of wood carving with technology and challenging the limits of artisanal handcrafts, this Bosnian company presented Genkan, designed by Naoto Fukasawa: a collection for the home entrance hall that includes a console table, mirror, and small storage unit. The furniture is made entirely of wood, and its carvings add warmth and tactile relevance to daily rituals, bestowing depth and beauty to the objects.

An innate passion for wood, combining quality craftsmanship, technical knowledge, and creativity, also characterizes Very Wood (Pav. 09 | D11 E12), which entrusted the Livorno collection to Antonio De Marco. The challenge for the designer consisted of creating a chair that embodied the excellence of Made in Italy.

On the seat, the focus is on creating a dynamic dialogue between all the elements: the legs are derived from the same section and the seat rests on four equal crossbars. A distinctive feature is the special peeling of the round leg section, where a milling process creates a series of flat surfaces. The natural vibrations and veins of ash wood emerge with character in the slightly curved backrest that embraces and supports the seat.

ALPI Xilo Ice Frisé is the new ALPI wood (Pav. 24 | H06), a veneer reproducing the tightly curled wood grain of figured maple. It is part of the North Light collection, which draws its strength from the perfect intensity of nature, reproducing the grain and colors of three boreal woods through a calibrated color scale. Piero Lissoni curated the collection.

Fratelli Boffi (Pav. 13 | C10) proposed Archi, based on a design by Storagemilano, a monumental table entirely covered in inlaid walnut burl, born of the encounter between the classical architectural forms of arches and cross vaults with the tradition of the noblest workmanship of cabinetmaking. The base, made of six legs that create a series of arches, supports the top and becomes a true tribute to bygone eras. The rectangular top, with its very stoic and austere geometry, is embellished with a hammer-worked inlay in dark heat-treated oak that reproduces the design of the architectural base in two dimensions.

In its projects, more (Pav. 11 | D18 D20) uses only solid wood from sustainable forests in Europe, often of regional origin, never varnished but treated with oil based on hard waxes obtained from natural raw materials: these oils impart a slight sheen, accentuate the structure and protect the wood without completely sealing it. The material can breathe, live, and retain its authentic character, and becomes more beautiful over the years. At the Salone, more presented OSO, a collection designed by Peter Fehrentz, made of solid ash wood and inspired by the bear, the forest king.

Paolo Castelli (Pav. 9 | H02 H06) presented Giano, inspired by the ancient myth of Janus: this project interprets a classic seat with a wooden frame, defined by the apparent conjunction of the two back legs in the middle section, extended towards the backrest, defining a perfect split into a pair of twin elements. Giano’s dual essence is also replicated in the two available versions, a Walnut-stained or Black-stained ash wood frame, with elegant brass details.

Japanese Horizon

Japanese culture is imbued with a sense of lightness and a strong connection with the landscape: this is particularly evident when observing domestic spaces, where nature takes center stage. The internal layout of the rooms starts from the center and expands toward the perimeter, which, however, is never perfectly closed and defined but opens outward toward the garden.

Japanese design favors essential forms, simple furniture, unique or repeating modular elements, neutral hues, clean lines, and natural materials. Because of this connection with nature and this sense of harmony, Japanese design has been seducing the West, for some time now.

Porro (Pav. 11 | D15 E18) presented the new bench Origata designed by Nao Tamura, balancing memory and innovation, archaic forms, and contemporaneity. Monolithic in appearance, it’s inspired by kimono making, in which a flat, rectangular fabric is cut in straight lines and then sewn together to avoid waste. This principle is echoed in bench making, which is created from aluminum foil – cut and assembled, in a way that maximizes the use of the material.

Living Divani (Pav. 11 | C15 D16) presented Kasumi, the armchair designed by Studio Mist-o. The name refers to the atmospheric phenomenon by which the glow of the sunrise filters its way through fog and mist at dawn. Thus, Kasumi conveys a sense of lightness and naturalness through a wooden frame, a crisp, clean silhouette composed of a few elements designed to give the product a measured but distinctive character.

For Gervasoni (Pav. 09 | D11 E12), Gabriele and Oscar Buratti have expanded the Yaku Collection with a console table. The name refers to the Japanese tradition of connecting simple elements into sophisticated compositions. The series celebrates the essence of wood in its most authentic forms: the desk elements, with their essential geometric shapes, seem to be assembled as if in a compositional, elegant, and sophisticated artwork, recalling the ancient oriental game in which you move interlocking pieces to create symmetrical three-dimensional units.

There were also selected Japanese exhibitors, welcomed by the Salone del Mobile.Milano for their iconic value, design quality, manufacturing, and production system.

Gessi (Pav. 24 | G06 F11) presented the new Incastri faucet collection, combined with the capsule collection of washbasins, created in collaboration with Kengo Kuma and inspired by the Japanese tradition of Chidori, an ancient game of connections, intersections and overlaps in an exploration of natural materials, craftsmanship and design. The collection is also inspired by the concept of “Chōzu”, the ritual of washing one’s hands with water before entering Japanese shrines, temples, and gardens, as an act of purification and respect toward the sacred place one is about to visit.

ADAL (Pav. 14 | E41) bases its production philosophy on the desire to create a “domestic landscape” in harmony with nature according to the Japanese spirit. The Look into Nature collection, designed by Michael Geldmacher, uses igusa, a reed traditionally used in Japan for making tatami mats, as its main material. The woven texture of igusa, three-dimensional in-depth, creates monochromatic flat surfaces characterized by undulations and shine that combined with oak and walnut wood in the same shades, results in unique furniture pieces.

The latest addition to the existing collection is the armchair Boku, characterized by a clean, minimalist design signed by Cutu Mazuelos, founder of Stone Design.

Karimoku Case (Pav. 24 | G05), the Japanese brand that develops contract furniture under the artistic direction of Danish studio Norm Architects and in collaboration with Japanese architect Keiji Ashizawa, presented custom-designed furniture for CASE 07 by Norman Foster and the new furniture collection for CASE 10, characterized by a warm and inviting look in Zelkova wood. A familiar wood in Japan, it is commonly used in constructing temples, shrines, high-end furniture, and small objects.

The dining chairs created for CASE 10 feature rounded upholstered parts and a wooden frame with a slender shape that conveys an impression of lightness. The fully upholstered sofa, with its cozy, rounded silhouette, offers relaxing seating comfort.

The Value of Our Roots

What is the value of our roots in the era of globalization and liquid society? Priceless, according to designers. The cultured and intelligent reappearance – curated with extraordinary philological care-of furnishings from the past, suggests a world of colors and shades, bonds and values, balance and difference. A re-edition is, therefore, a nexus that binds us to our ancestors, restoring an origin, a meaning, and, perhaps, even a destiny.

These are furnishings rooted in our collective imagination and personal experience and, thus, all the more identifiable and reassuring. The public appreciates their historical value but also understands their economic value, so much so that these items often become the best performing on the market. Re-edition means adaptation to the contemporary concept of comfort, rethinking materials to match the environmental sensitivity – history is only the beginning, followed by a present-day interpretation that gives the furniture an independent and updated life.

With this approach, Gufram, Meritalia, and Memphis Milano (Pav. 24 | M10 M12) landed together, for the first time at the Salone del Mobile.Milano. Their joint stand was home to three different environments where visitors were given a comprehensive view of the history of radical design, side-by-side and overlapping.

Gufram presented the iconic CACTUS® by Guido Drocco and Franco Mello in a new limited edition, The Invisible Spectrum, available for one year only and made in 365 pieces. The collection consists of three pieces inspired by special colors found in the light spectrum: Ultraviolet, Gammablue, and Infrared. The idea of working on colors aims to highlight the power of this piece as a symbol of a renewed concept of radical design, a new way of looking at an icon from a fresh and contemporary perspective.

Since its founding, Meritalia has been animated by a distinctive sense of freedom that marks its inherent pop-modernism: not only an intellectual stance that celebrates heterogeneity but also a happily incoherent vitality that generates everyday objects of desire. At the Salone, the brand presented the re-release of La Michetta by Gaetano Pesce, a binge of irregular shapes, colors, and materials, for sitting and lying down depending on whether the module is horizontal, vertical, seat or back or armrest, single or multiple.

Forty years after its founding, Memphis Milano debuted at the Salone presenting a careful enrichment of its historical archive. Extensive technical research has led to the modernization of production, pursuing the goal of preserving the original aesthetics of products such as Carlton by Ettore Sottsass or Bel Air by Peter Shire and updating critical production aspects.

Poltronova (Pav. 24 | D01) recreated at the Salone a hub that brought together all its hyperpop creativity, a place to (re)discover the brand’s design. The visual and performative journey unwinded through environments that recall in shape or color the 20+ objects on display, including the mirror Ultrafragola by Ettore Sottsass; Superonda and Mies by Archizoom Associates; the sofa Rumble by Gianni Pettena; and the bench Canton by Franco Raggi.

Meanwhile, Contract Exteta (Pav. 11 | A 19 B20) offers a special reissue of the Locus Solus collection by Gae Aulenti with Jacquemus: a pop series featuring bold lines with vintage appeal, revamped in fabrics and colors from the contemporary eye of designer Simon Porte Jacquemus, a longtime admirer of Aulenti’s work and an avid collector of her chairs.

In collaboration with Archivio Joe Colombo, Tacchini (Pav. 24 | C01 C03) presented the reissue of Additional System: a modular system (an armchair, ottoman, and daybed versions) – with timeless appeal, still “futuristic” 50 years later. Cushions of six different sizes, inspired by ergonomic studies from the 1960s, come together in dynamic and flexible combinations created by varying the number of elements and their composition.

Venini (Pav. 09 | L06 L08) brought the re-edition of the Clessidre Sommerse by Fulvio Bianconi and Paolo Venini to the Salone del Mobile.Milano. The series of timeless gems narrate the relentless passage of time in a world suspended between past and present. The display is a tribute to the skill of the master glassmakers in combining the technique of submerged glass with that of incalmo through the superimposition of multiple layers of color to create striking chromatic effects.

Gallotti&Radice (Pav. 09 | F09 G10) presented the lamp Bubbles by Massimo Castagna with its distinctive spherical shape and soft, enveloping light, inspired by the ethereal nature of playful soap bubbles. Bubbles lamp lights up with new hues: Bronzite, Amber, Amethyst, and Topaz.

With 200 Years, Vista Alegre (Pav. 15 | B21 B23) showcased the brand’s capacity for renewal by combining various aesthetic elements from different eras in a tableware collection that plays with undulations and grooves, reflecting the brand’s historical path.

Design Meets Fashion at Salone del Mobile.Milano

The fashion system’s attraction to interior design continues to grow, and numerous creative liaisons awaited visitors at this edition of the Salone del Mobile.Milano. The connection between the two worlds goes back decades. So many designers have brought the design to the runway (or were inspired by it): from Elsa Schiaparelli to Tom Ford, from Bill Gaytten (Dior) to Viktor&Rolf, from Maison Martin Margiela to Nicolas Ghesquière (Louis Vuitton). Today, however, many creative directors have crossed the line and designed (or inspired) new clothes for the home.

Carpet Edition (Pav. 18 | D09) and Ken Scott presented a collection of tapestries and rugs, drawing on the iconic works of the famous fashion designer. His style is free, color-hungry, primal, and almost childlike; his works are reminiscent of Boetti and Warhol, but the pop vein of his paintings (primarily flowers) cheerfully combines with new tones.

The new Carpet Edition collection, which includes 33 items, is a tribute to the floral, geometric, and animal artworks that have been a hallmark of Scott’s artistic journey. Among the 33 pieces, 8 are flower-shaped and were intended as a Capsule Collection and an allusion to the designer’s favorite plants.

Jannelli&Volpi (Pav. 24 | E06 E08) presented three collections, each a collaboration with a different fashion brand: Wallcoverings Marimekko 07, Inspired Moods by Armani/Casa, and Missoni Wallcoverings05.

The first marries new and historical patterns while introducing new printing techniques: glossy and matte finishes, silver and gold finishes, and 3D inks to restore tactile sensations.

The second is dedicated to escapism and reproduces themes inspired by literature and poetry that come to life on wallpapers made with artisanal techniques in large-format designs capable of dressing up any room with evocative images, exotic reminiscences, and enveloping atmospheres.

The third was created under the curatorship of Alberto Caliri, creative director of the Missoni Home collection, to bring out the brand’s signature colors and patterns.

The Couture Collection by Jaipur Rugs (Pav. 01 | C10 C12) stems from a collaboration with Vimar1991, a company in the Chanel textile chain, taking inspiration from the high-fashion fabrics used by the brand, reinterpreting them with traditional weaving techniques. There are also “home” collections of fashion brands that have entered the design arena directly.

Among them, Etro (Pav. 15 | A11) presented Quiltana, an armchair with soft, enveloping lines, embellished with refined quilting. The floral Gobelin fabric selected from the Etro archive, features a pastel color palette with vintage charm.

Ferré (Pav. 15 | B14) presented Brygge: contemporary design and flowing lines for an armchair with sculptural appeal. Like a modern work of art that creatively responds to the desire for relaxation, its shape recalls the fingers of a hand, ready to welcome and cradle.

Roberto Cavalli (Pav. 15 | A19 B16) presented Toulou, an armchair with soft lines, blending rich details with the feeling of natural comfort. Covered in soft and warm faux fur, the seat embodies the glamorous mood of the brand’s fashion collections.

Love for Curvy-Shaped Design

As you stroll among the stands at the Salone del Mobile.Milano, you may wonder: “Why do we love curvy design so much?” Science and in particular, neuroscience, has the answer: it has been scientifically proven that our brain doesn’t prefer edges and the rigidity of too-sharp lines. This primal choice has not gone unnoticed among contemporary designers, who have embraced a more plastic and supple vision and approach to furniture design, influenced by the organic forms in nature.

But what is it that we find so appealing about curves? It’s fairly simple: curved shapes are reassuring, comfortable, and welcoming; they create an idea of movement and depth and are reminiscent of maternal shapes, landscapes, and atmospheres. For this reason, curves dominate interior design again: to trigger a kind of domestic revolution celebrating harmony and pleasantness, conviviality, and sharing.

But there is a side effect: visual lightness gives way to magnified, massive, and sculptural proportions, blunted but amplified. Is it perhaps because we crave protection so much? Whatever the case, the fact remains that many brands are moving in this direction.

There is Arper (Pav. 22 | C21 D12), presenting Lepal by Doshi Levien. An armchair that harmoniously balances a rigid but generous outer structure with a soft, cozy inner seat, both supported by an essential, sculptural base, it’s not just a comfortable place to relax, but an invitation to consider rest as a silent source of energy and inspiration. Lepal combines comfort, ergonomics, functionality, and aesthetics in one product in which the contrast between sculptural profile and soft upholstered seat results in an expressive and identifiable piece.

Cimento (Pav. 18 | F14) develops its collections around the interplay of shapes that are soft and organic most often. The contrast between polished and rough surfaces, the striped finish, and the choice of different color shades all contribute to an aesthetic and formal balance, always in constant dynamism. The “sprayed” collection by Patricia Urquiola, consisting of chairs, stools, and coffee, side, and dining tables, is based on organic forms. With spraying and shading that highlight the soft shapes -the pieces resemble real monoliths.

ImperfectLab (Pav. 22 | H18 H20) brought to the Salone Òrghen, designed by Verter Turroni: a fiberglass table with curved, clean, and solid geometries that seem to defy our concept of balance impossibly. Even in its larger version, it demonstrates that size is an illusory concept that expresses an unexpected lightness.

Lago (Pav. 24 | E11 F06) presented the sofa Altana, an upholstered modular system inspired by Venetian roof terraces, sheltered places for meeting and relaxation. The sofa is light and linear, with visually curvy and soft cushions designed to provide optimal comfort in part thanks to the quality of the materials used. Its distinctive legs feature an ovaloid cross-section that intersects at 45° with the upholstered, sloping profile of the bases, and the seat cushions and backrests rest on the platforms in a play of successive volumes.

Poliform (Pav. 09 | A05 A09 B05 C06) presented Ernest by Jean-Marie Massaud – a sectional sofa characterized by generous, soft silhouettes that infuse a pleasant feeling of home comfort: not only a seat but also a more organic way of understanding space design.

Meanwhile, with Studiopepe, Visionnaire (Pav. 09 | L11 M06) brings the quintessential soft, rounded form of the knot into the realm of furniture. The knot is in itself full of ancient symbolism. In Egypt it represented life, immortality, and divine love; for Buddhism, in China and Tibet, infinite devotion. In the West, it alludes to eternity and fidelity: a well-made knot does not untie, come undone, or split up.

The Shibari chair is a soft, enveloping knot, consecrated to achieving well-being through touch. The lines, which reconcile and intertwine, give rise to an organic architecture, in which the geometry of edges yields soft volumes, corners are transformed into curves that welcome and soften daily living and the shades of colors are soft and soothing.

De Castelli (Pav. 24 | B01 B02) also opts for round shapes in Folio Round by Draw Studio: a volume that is pure and precise, characterized by a composition of orthogonal planes made of thick metal plates placed on parallel planes that generate an interesting play of light and shadow. A stage presence as simple as it is bold, is achieved with two round DeDeep steel plates that accommodate a DeErosion brass back band and define the large top.

Acerbis (Pav. 22 | G15 H12) has enlisted Sabine Marcelis, who fuses matter, light, and color in the small Lokum tables. A collection made of pure forms, enhanced by the artisanal use of blown glass, they are available in rectangular and square versions, strictly without edges but with rounded and curvy corners, and in three different shades.

Desalto (Pav. 09 | D10) presented Roller, a project by Francis Rota that breaks down seating into essential graphic elements: armchairs, poufs, and chaise longues come to life from round and oval, geometric, sculptural, and defined rollers designed to ensure maximum comfort through the use of polyurethane in different densities. The forms mold around the person who shapes them by sitting down, resulting in a product that welcomes and embraces. The metal component, which is aesthetically and technically fundamental, manifests itself as a round tube, outlining in space a load-bearing base that supports the seat cushions.

Kristalia (Pav. 22 | D25 E20) proposed Dimora by Cristina Celestino: two structures “embrace” the bed, combining soft rigor and regal presence to highlight the footboard and give the bed an original identity.

The Cartesio system with integrated washbasin by Antonio Lupi (Pav. 22 | A19 A21) also boasts a curvy personality, offering versatile solutions adaptable to modern needs: an advanced modular system of vertical and horizontal elements that can be combined in different positions and sizes to create customized interiors. The countertop sink adds a distinctive design element and with its elevated position and elegantly curvy shape, it becomes the focal point in the bathroom.

Calia (Pav. 03 | E15 F14) presented I Sassi designed by Timothee Studio, a collection featuring curvy-styled modules enveloped in soft, organic lines. The main module can be expanded with others, and two different types of side seating respond to all living room needs, whether for conversation or relaxation. The collection includes armchairs and “special” pieces.

Potocco (Pav. 11 | L15 M12) presented a preview of the new armchair with arms from the Jade collection designed by Hanne Willmann. Fully upholstered, it consists of a round seat cushion and a semicircle cushion that serves as a backrest, to create an enveloping and reassuring nest.

Milla&Milli (Pav. 14 | C29) offers the capsule collection Edge, designed by Alain Gilles. The common denominator of the different products, inspired by a dynamic and sculptural concept, is found in the soft lines of the horizontal tops combined with legs and crossbars with a more rigorous and architectural presence. It is made of solid oak worked by master craftsmen.

Tonelli Design (Pav. 24 | L12) presented Split by Francesco Forcellini: a family of mirrors characterized by a vertical cut inside which two inclined mirrored surfaces reflect the surrounding space and mirror each other, creating a dynamic play of reflections. This collection was born from the idea of entering the mirror, a space beyond. The slit, which divides the mirror into two parts, also holds the object together, creating new perspectives.

Frigerio (Pav. 11 | C23 C25) presented Poltroncina, designed by David Lopez Quincoces, a reinterpretation of a traditional cockpit seat that offers great comfort thanks to the almost total wrap-around effect of the backrest, defined by a curved line that extends beyond the canonical semicircle to evoke the idea and feeling of an embrace. Clean, formal lines, warmed by extremely balanced proportions, and a light silhouette punctuate this versatile and functional product.

The “Plain” Shape of Things

If we leave curvy behind and visit the opposite end of the spectrum, here lines, geometry, and materials affirm their formal and chromatic value as well as the relationship they establish with space. This is where the magic of the essential and the versatile happens when Wallace Stevens’ “plain sense of things” recomposes and gives value to space.

Molteni&C (Pav. 24 | A09 C06 C10) presented Logos, signed by Vincent Van Duysen: cleanliness, modularity, functionality, and lightness are the main features of this fully flexible home design system. It introduces a new approach to space furnishing, characterized by the lightness of the vertical dividers that determine its compositional and aesthetic modularity.

Fantoni (Pav. 22 | F15 C12) proposed Decumano, a table designed by Giulio Iacchetti and Matteo Ragni, who opted for an essential structure, a simple orthogonal intersection of light beams supporting the plane and combining to create a quadrilateral shape metaphorically reminiscent of the layout of Roman settlements. The choice of the name is telling: a junction that gives rise to a structure conveying solidity and simplicity; in its most iconic versions, the tops are transparent to enhance simplicity.

Fiam (Pav. 09 | C09) has once again collaborated with Patrick Norguet, who has always sought innovation in refined simplicity. His emotional and intuitive approach to design is reflected in Type, a collection of small tables designed in three different formats, representing pictograms that convey meanings quickly, clearly, and universally. They are versatile glass and solid wood coffee tables that combine form, function, and innovation – and can overlap to form new glyphs to convey innovative formal expressions and expressive combinations that create a new formal language with each use.

Fantin (Pav. 14 | E28) presented the desk Wave, designed by ruga.perissinotto, made of folded metal worked into a precise parabola of curves and rays that enhance its functionality and formal cleanliness.

The collaboration between Lapalma (Pav. 24 | G09 H10) and Mario Ferrarini brought to the Salone del Mobile.Milano the evolution of the seat Hawi. Characterized by an essential and timeless aesthetic, it presents an interesting twist generated by the counterpoint between the solidity of the structure and the graceful backrest that adds lightness to the whole. Stackable and extremely versatile, in the version that combines injection-molded plastic back and seat, it lends itself to indoor and outdoor use. All components can be easily disassembled for easy recycling.

Atlas Concorde (Pav. 03 | C13 C15) presented Boost Color, a project featuring a color palette created by Piero Lissoni. First and foremost, as an architect, he imagines color relating to space and prefers simple neutral tones that fit well in space and allow things in that space to come alive. The surface is either smooth, soft, and velvety or has an original texture (dubbed “Frog”) in three colors. The soft, curvy lines are reminiscent of organic shapes inspired by nature.

Nikari Oy (Pav. 22 | E16 E18) proposed Archetyp, a new lobby and lounge seating, created by Jasper Morrison in birch, ash, or oiled oak. Functional, simple, and straightforward with dimensions and shapes that suggest the concept of a chair reduced to the essential, with subtle refinement, they appear decidedly new and yet familiar to the eye.

Salone del Mobile.Milano – Decor Never Goes Out of Style

For its part, the appeal of decorativism shows no signs of abating: it is a journey into color, bold positivity, playfulness, layered patterns and textures, and dynamic shapes if somewhat lighter and more mature, a sort of hedonistic elegance. The desire to overcome conventions and move past rigor to enthusiastically embrace playfulness. The renewed allure of decorativism reminds us that we can play with patterns, combine, and even overlay materials – what matters is doing it with care. Topping the charts are, once again, plant patterns and decorative floral themes.

There was Lithea (Pav. 18 | B08) presenting the Marina collection designed by Elena Salmistraro, which illustrates through abstract composition the depth of the sea in all its complexity and wonder. In the collection, Anemone is a modular decorative panel that depicts the seabed through the designer’s creative alphabet, moving from plants and mollusks to essential boat profiles.

Cedit (Pav. 24 | G02 G03) offered a series of “compositional duets” that gave rise to unprecedented visions of living – the result of the dialogue between different forms, colors, and textures. Originating from a creative selection and interpretation process by BRH+ (Barbara Brondi & Marco Rainò), the compositional duets enhance the original designs of individual authors and create innovation through unexpected ceramic juxtapositions. On display here, were creations by Franco Guerzoni & Zaven, BRH+ &Formafantasma, Matteo Nunziati & Federico Peri, and Cristina Celestino & Zanellato/Bortotto.

Villari (Pav. 13 | C09) presented the Laguna collection, consisting of chandeliers, mirrors, and vases designed by, among others, Ciarmoli Queda Studio, Debonademeo, Giulio Gianturco, Ferruccio Laviani, Marcantonio, Fabio Novembre, Emanuele Pangrazi, Li-Jen Shih, Elena Trevisan and Elena Xausa. This collection is inspired by the charm of the Venice lagoon – and opens the door to new expressive horizons.

Made with meticulous attention to detail, the chandelier in the collection has a commanding presence and it’s composed of monstera leaves in Murano glass and porcelain, in silver and emerald green tones. The delicate and detailed leaves are skillfully shaped, creating a visual effect that captures and diffuses light strikingly.

L’Opificio (Pav. 13 | F07) presented Filigrana, a fabric inspired by the various traditional processes of Murano glass reworked in a contemporary way. The project, by Zanellato Bortotto, refers specifically to murrine, colorful patterns or images made in a glass rod that become visible when the rod is cut into sections.

Starting from geometric and regular patterns, craftsmanship and high temperatures soften the many individual decorative points, transforming them into irregular and curvy patterns. These endless decorative patterns, this universe of irregular shapes and textures are the inspiration for the collection. Unexpected patterns give life to a moving texture that lends dynamism to cushions, curtains, and furnishings.

Bosa (Pav. 22 | L18) presented Oasis: inspired by the idea of the place, the versatile Sara Ricciardi imagines a landscape made of palm trees, papyruses, lotus flowers, and paradisiacal birds, representing their vivid colors and full of vigor on ceramic vases and tables enriched with textures, decorations and precious details.

By contrast, the beauty of gems and their random combination inspired the new Gem Rugs collection designed by Alain Gilles for Illulian (Pav. 15 | D18 D20). The project concept comes to life through the encounter of differently shaped stones through a design that brings out the sharpness of the cuts typical of crystals: the roundness of one element enhances the sharpness of the other and vice versa, in a kind of geometric play that emanates light.

The two silhouettes appear to overlap due to the optical effect generated by the different heights of the fabric. In all models, the typical veining of gemstones is highlighted, enhancing their nuances and reflections in a unique interpretation of the distinctive characteristics of each gemstone.

The new collection by Wallpepper (Pav. 07 | C10), highly flexible and versatile, consists of about 100 brand-new and original graphics: a collection of extraordinary images that transform nature, colors, geometries, architecture, landscapes, fantasy, and dreams into the decor, and envelop the environments of everyday life by recreating sceneries and atmospheres that fit the personality and function of places.

For its part, Wall&Deco (Pav. 22 | L21) also decorates wet environments, such as bathrooms, showers, and spas. WET System 2024 is impervious to water and offers excellent resistance to yellowing and household detergents.

Inside Out

Today’s furniture believes in intersections, in the possibility of stepping over the boundaries of defined spaces to find other places, in which to feel at home and to which new functions can be assigned. The outdoors is a space to be (re)claimed, designed in a comfortable, functional (and beautiful) way as a place of gathering and conviviality, inhabiting it with increasingly hybrid furnishings in the name of cross-pollination.

We were designed for outdoor living: this is the tenet of Pratic (Pav. 22 | F19) which, through its pergolas, presented the forms of an ideal neuro-architecture that encourages well-being naturally in open-air spaces. Carrera changes the shape of the bioclimatic pergola to create the first outdoor shading with alternating blades that rise and overlap, following the natural movement of the sun.

Innovation is defined by the dynamic design of the roof: fixed and movable blades alternate on two depth levels, giving the closed ceiling a refined three-dimensional effect. With a gesture, the movable blades rise and slide until they disappear above the fixed ones in perfect alignment. Depending on the angle of the sun or the desired level of light, the blades move from right to left and vice versa. This technology, combined with Pratic’s weather sensors, allows the shade to regulate its movement along with that of the Sun’s rays, from sunrise to sunset, for an experience of the outdoors in all the comfort of the indoors.

Roda (Pav. 24 | C02 C04) presented Teseo, the new dining collection from AMDL CIRCLE by Michele De Lucchi: the collection, a perfect marriage of craftsmanship and industrial efficiency, consists of dining table and chair and features a tailoring detail that joins the teak slats through a continuous stitching of ropes. The continuous stitching on all chair slats lends a unique touch of cohesion and savoir-faire to the collection, almost as if designed for an indoor setting.

Rigor is the watchword of Konstantin Grcic and his new collection South by Magis (Pav. 22 | D15 E14), the epitome of “designed for outdoor use but also excellent for indoor use”. Made of steel tubes and rods, it is available in several colors. Curvy yet essential at the same time, made with high technology combined with selected materials and creative yet practical know-how, the collection consists of a small armchair, a high bench, a low armchair, and a low bench. It also includes three tables and two side tables and is complemented by woven mats for seating, rugs, baskets, and a plaid, all in the same fabric suitable for outdoor use.

Unopiù (Pav. 18 | A05) presented DAVOS, by designer Matteo Nunziati, and its endless modular options. Designed for indoor and outdoor use, it is perfect in either naturally open environments or indoor spaces, thanks to its extremely soft padding and maxi cushions. The distinctive graphite-colored aluminum frame allows for great modularity; the seats can be alternated with small table modules.

Ethimo (Pav. 22 | L22 L24) presented Boldini coffee tables, inspired by megalithic architecture and exuding a robust character, sculptural soul, and careful craftsmanship. They would be perfect in a living room but inhabit the outside space. The tops, available in three “soft” shapes, are made of marble with a bright glossy finish that accentuates the beauty and natural grain of the materials. The legs, made of glazed ceramic, echo the colors of the tops and the glossy effect, adding dynamism and cohesion to the overall design.

Talenti (Pav. 24 | M02 M04) presented the lounge chair Allure, designed by Christophe Pillet, a seat that calls out to anyone seeking peace and relaxation. Available in different color combinations, Allure conveys a feeling of lightness, made evident in the aluminum frame, a green and practical material that allows endless combinations and ease of movement. The frame and the upholstery, in their different variations, generate a pleasant material contrast.

Musola (Pav. 01 | E09 E11), true to a philosophy of pure minimalism, offered pieces characterized by fluid lines, timeless design, and noble and sustainable materials. Brise, a collection of tables and coffee tables, is elegant and functional, light but stable. The top is made of high-tech ceramic laminated with glass, an innovative material that combines durability and aesthetics, facilitates cleaning, and provides exceptional durability.

Slide (Pav. 18 | D 14) presented Coliseum by Alvaro Uribe: inspired by the architecture of the Colosseum, the monolithic body of this seat is punctuated by multiple arches, giving it a sense of lightness. With its grooves, the chair plays with light and shadow, adding visual rhythm to any space, indoor or outdoor.

Home Fitness Trend

Home fitness trend – we have all gained a new appreciation of fitness at home. Today, the trend is ablaze everywhere, as part of the “wellness project” that seems to have taken so many sectors by storm and has certainly not passed by the furniture and design sector. Therefore, it is no surprise that several brands now offer home fitness solutions that combine functionality with curated aesthetic research.

Cover Photo: @Salone del Mobile.Milano / Delfino, Sisto, Legnani

Salone del Mobile.Milano Press

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