A large chandelier-like installation made of glowing light loops arranged in a starburst pattern, suspended from a tall metal frame, with a frescoed ceiling in the background adding a contrast of classic and contemporary.

What Lingered: Milan Design Week 2025 in Review

Words by Yatzer

Milan, Italy

As ever, our annual pilgrimage to Milan Design Week (8–13 April, 2025) was a whirlwind of creativity, flair, and innovation. While navigating the city’s labyrinth of exhibitions, pop-ups, and showcases sprawled across galleries, palazzos, and unexpected corners is no easy feat, distilling the true gems from the week’s overwhelming number of offerings is even harder.

What experience (and a little distance) has taught us, however, is that time is a reliable curator. Three weeks after the dust has settled, it’s the products, designers, and installations that linger in our minds—those that carved a lasting impression—that truly deserve the spotlight. Plenty of “wow” moments have faded from our memory; conversely, quieter designs have come to loom large over time. It’s a reminder that true innovation often reveals itself slowly, asking for our attention rather than demanding it.

Read on for the projects that stayed with us—the very best of Milan Design Week 2025.

A sleek geometric pendant light floats above a deep green marble table, where minimalist design meets natural drama in perfect harmony.

At the Jacqueline Vodoz and Bruno Danese Foundation, Michael Anastassiades unveiled a new collection of modular lights—Cygnet, Frame, and Floor Mobile Chandelier—alongside Halesia, a portable lamp created with Alessi, each exploring light as both structure and memory.
Photo by Nicolò Panzera.

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At the Jacqueline Vodoz and Bruno Danese Foundation, Michael Anastassiades unveiled a new collection of modular lights—Cygnet, Frame, and Floor Mobile Chandelier—alongside Halesia, a portable lamp created with Alessi, each exploring light as both structure and memory.
Photo by Costas Voyatzis.

Three spherical white lights float against a grand domed ceiling, adorned with golden stars and classical reliefs, creating a poetic tension between architecture and contemporary lighting.

At the Jacqueline Vodoz and Bruno Danese Foundation, Michael Anastassiades unveiled a new collection of modular lights—Cygnet, Frame, and Floor Mobile Chandelier—alongside Halesia, a portable lamp created with Alessi, each exploring light as both structure and memory.
Photo by Nicolò Panzera.

With the return of the biennial Euroluce lighting exhibition this year, it’s no surprise that many of our highlights include lighting products and projects. At the Jacqueline Vodoz and Bruno Danese Foundation, Michael Anastassiades unveiled a new collection of modular lights, each piece exploring light as both structure and memory. The Cygnet series, for instance, draws from Anastassiades’ childhood memories of building and flying kites. Composed of triangular planes seamlessly joined and illuminated by hidden light sources, the pieces appear to float effortlessly in space. Suspended at varying heights by a lightweight bamboo framework, which supports the luminaires without disturbing the Foundation’s historic frescoes above, the installation echoed the delicate, weightless geometry of flight.

A geometric grid-like light fixture made of polished metal and soft illumination hovers elegantly in a corner with ornate, faded frescoed ceilings.

At the Jacqueline Vodoz and Bruno Danese Foundation, Michael Anastassiades unveiled a new collection of modular lights—Cygnet, Frame, and Floor Mobile Chandelier—alongside Halesia, a portable lamp created with Alessi, each exploring light as both structure and memory.
Photo by Nicolò Panzera.

A glowing elliptical library installation surrounds a neoclassical statue in the Brera courtyard, its illuminated shelves creating a radiant halo of books beneath the night sky.

In the courtyard of the Pinacoteca di Brera, Es Devlin unveiled Library of Light—an 18-meter kinetic sculpture of illuminated bookshelves that reflects sunlight by day and casts luminous shadows by night, transforming the historic space into a revolving beacon of knowledge and collective imagination.
Photo © Monica Spezia.

Lighting designs continued to impress in other historic settings around the city. At the former public baths of Piscina Cozzi, Milanese brand 6:AM showcased their minimalist [quadrato] lighting collection as part of their solo exhibition titled “Two-Fold Silence”. Inspired by the geometric forms of 1920s industrial lamps, fusing the rational language of the Bauhaus with Russian avant-garde artist Kazimir Malevich's minimalist poetics, the Murano-blown glass pieces married structure and simplicity with a palpable sculptural presence.

Meanwhile, in a former Milanese bank, Paris-based BOON_EDITIONS and Vancouver lighting studio A-N-D staged a showstopper presentation that blurred the lines between collectible design, functional art, and experimental lighting with each piece offering a bold, physical manifesto of light as a living, changeable medium.

  • A grand Art Deco interior with green marble flooring, fish and shell motifs along a pale green frieze, and a vivid mosaic depicting aquatic life between two doorways beneath a modern square-paneled ceiling light.

    6:AM staged its first solo exhibition, “Two-Fold Silence,” inside the cavernous basement of Piscina Cozzi, unveiling new Murano glassworks, a soundscape by Invernomuto, and the minimalist [quadrato] lighting collection. Installation view by Melania Dalle Grave.

  • Close-up of a sculptural ceiling light made of luminous, soft-edged glass squares.

    6:AM “Two-Fold Silence,” installation view by Melania Dalle Grave.

  • A playful wall light with red and yellow stripes brightens a textured, raw concrete corner.

    6:AM staged its first solo exhibition, “Two-Fold Silence,” inside the cavernous basement of Piscina Cozzi, unveiling new Murano glassworks, a soundscape by Invernomuto, and the minimalist [quadrato] lighting collection. Installation view by Melania Dalle Grave..

Wide view of a richly styled interior combining terracotta-orange seating, sculptural lighting, dark stone furniture, and expressive wall art under a dramatic central chandelier.

In a former Milanese bank transformed into a vault of creative capital, BOON_EDITIONS—a Parisian Maison du Edition specializing in limited-edition furniture—and Vancouver-based lighting studio A-N-D unveiled four sculptural collections by Pieter Maes, Stefano Giacomello, Atelier Pendhapa and Tom Hancocks alongside works from BOON_ROOM Gallery artists (A2studio, Aad Bos, AHU, CalSummers, Chidy Wayne, ERM Studio, Jialun Xiong, José Chafer, Makan, and Ward Strootman), blurring the boundaries between collectible design, functional art, and experimental lighting.
Photo by Studio Brinth.

  • A moody dining room with layered lighting, minimal sculptural furniture, earth-toned curtains, and textured stone flooring creating a monastic-modern ambiance.

    In a former Milanese bank transformed into a vault of creative capital, BOON_EDITIONS—a Parisian Maison du Edition specializing in limited-edition furniture—and Vancouver-based lighting studio A-N-D unveiled four sculptural collections by Pieter Maes, Stefano Giacomello, Atelier Pendhapa and Tom Hancocks alongside works from BOON_ROOM Gallery artists (A2studio, Aad Bos, AHU, CalSummers, Chidy Wayne, ERM Studio, Jialun Xiong, José Chafer, Makan, and Ward Strootman), blurring the boundaries between collectible design, functional art, and experimental lighting.
    Photo by Studio Brinth.

  • A futuristic lounge with an orange carpet, metallic safety deposit box walls, and glowing frosted glass lights that resemble space-age mushrooms.

    In a former Milanese bank transformed into a vault of creative capital, BOON_EDITIONS—a Parisian Maison du Edition specializing in limited-edition furniture—and Vancouver-based lighting studio A-N-D unveiled four sculptural collections by Pieter Maes, Stefano Giacomello, Atelier Pendhapa and Tom Hancocks alongside works from BOON_ROOM Gallery artists (A2studio, Aad Bos, AHU, CalSummers, Chidy Wayne, ERM Studio, Jialun Xiong, José Chafer, Makan, and Ward Strootman), blurring the boundaries between collectible design, functional art, and experimental lighting.
    Photo by Studio Brinth.

  • Tall sculptural light fixtures composed of softly glowing vertical glass tubes stand elegantly in a dimly lit corner with stone flooring and walls.

    In a former Milanese bank transformed into a vault of creative capital, BOON_EDITIONS—a Parisian Maison du Edition specializing in limited-edition furniture—and Vancouver-based lighting studio A-N-D unveiled four sculptural collections by Pieter Maes, Stefano Giacomello, Atelier Pendhapa and Tom Hancocks alongside works from BOON_ROOM Gallery artists (A2studio, Aad Bos, AHU, CalSummers, Chidy Wayne, ERM Studio, Jialun Xiong, José Chafer, Makan, and Ward Strootman), blurring the boundaries between collectible design, functional art, and experimental lighting.
    Photo by Studio Brinth.

  • A grand, double-height space featuring a striking vertical chandelier of curved white glass panels, contrasted by dark furniture and floor tiles.

    In a former Milanese bank transformed into a vault of creative capital, BOON_EDITIONS—a Parisian Maison du Edition specializing in limited-edition furniture—and Vancouver-based lighting studio A-N-D unveiled four sculptural collections by Pieter Maes, Stefano Giacomello, Atelier Pendhapa and Tom Hancocks alongside works from BOON_ROOM Gallery artists (A2studio, Aad Bos, AHU, CalSummers, Chidy Wayne, ERM Studio, Jialun Xiong, José Chafer, Makan, and Ward Strootman), blurring the boundaries between collectible design, functional art, and experimental lighting.
    Photo by Studio Brinth.

  • An atmospheric interior with a curated selection of modern furniture and lighting in warm tones, set against dark stone walls adorned with abstract and figurative artworks.

    In a former Milanese bank transformed into a vault of creative capital, BOON_EDITIONS—a Parisian Maison du Edition specializing in limited-edition furniture—and Vancouver-based lighting studio A-N-D unveiled four sculptural collections by Pieter Maes, Stefano Giacomello, Atelier Pendhapa and Tom Hancocks alongside works from BOON_ROOM Gallery artists (A2studio, Aad Bos, AHU, CalSummers, Chidy Wayne, ERM Studio, Jialun Xiong, José Chafer, Makan, and Ward Strootman), blurring the boundaries between collectible design, functional art, and experimental lighting.
    Photo by Studio Brinth.

  • Two monochrome paintings of abstract hands hang on a stone wall, flanked by black candleholders and a green sculptural armchair beneath a cylindrical hanging light.

    In a former Milanese bank transformed into a vault of creative capital, BOON_EDITIONS—a Parisian Maison du Edition specializing in limited-edition furniture—and Vancouver-based lighting studio A-N-D unveiled four sculptural collections by Pieter Maes, Stefano Giacomello, Atelier Pendhapa and Tom Hancocks alongside works from BOON_ROOM Gallery artists (A2studio, Aad Bos, AHU, CalSummers, Chidy Wayne, ERM Studio, Jialun Xiong, José Chafer, Makan, and Ward Strootman), blurring the boundaries between collectible design, functional art, and experimental lighting.
    Photo by Studio Brinth.

Close-up of a wavy yellow and beige sculptural rug that integrates metal to hold its form.

DUNE by Budde. Represented by Galleria Rossana Orlandi. Photo by Saskia Kinast.

A man lounges on a looped rug-chair hybrid with a retro radio nearby—soft nostalgia meets sculptural comfort.

Designed by Budde (Johannes Budde & Meike Papenfuss) and handcrafted by Nando Studio, DUNE is a sculptural chaise-lounge rug that merges nomadic tradition with contemporary comfort—its flowing merino wool surface and removable aluminium base reframe the rug as a dynamic, inhabitable centerpiece. Represented by Galleria Rossana Orlandi. Photo by Saskia Kinast.

Nata Janberidze and Keti Toloraia of Rooms Studio interacting with a modular wooden table featuring removable black panels; the clean-lined piece combines natural oak with dark slate surfaces in a flexible, minimalist design setting against a white wall and tiled floor.

Table N1, 2025 from the exhibition Sub-currents (AT WORK) by Georgian designers Nata Janberidze and Keti Toloraia of Rooms Studio.
Photography by Ilaria Orsini.

Some of the most mind-bending lighting projects we encountered were showcased by designers who embraced high-tech components to craft intricate, highly engineered objects. At “Design Signals”, an exhibition at Alcova’s multi-venue presentation (more on that later), French designer Théophile Blandet presented Fluid Dynamics, a beguiling series of lighting objects whose dimming is controlled through syringes, effectively treating light as a literal, tactile substance. The pieces—crafted from discarded medical equipment sourced from one of Europe’s most advanced manufacturers of high-precision instruments for research laboratories in Timișoara, Romania—reenact gestures of injection, merging industrial precision with an almost ritualistic intimacy.

Equally riveting was French designer Jean Baptiste Durand’s limited-edition chandelier Voices in my head (hung), spotted at VOCLA. A raw collision of steel, stoneware, moss, 3D-printed PLA, LED, and tangled cables, Durand’s creation embrace a chaotic complexity, an aesthetic he calls techno exuberance. A more expansive view of this aesthetic, which we sum up as speculative fiction meets streetwise bricolage, could be found at Alcova's Villa Bagatti Valsecchi where Durant presented several new pieces alongside works by Paris-based studio Waiting for Ideas.

  • A large chandelier-like installation made of glowing light loops arranged in a starburst pattern, suspended from a tall metal frame, with a frescoed ceiling in the background adding a contrast of classic and contemporary.

    In Fluid Dynamics, French designer Théophile Blandet transforms discarded high-tech components from Hamilton Central Europe into sculptural lighting objects, reenacting the gestures of injection to treat light as a fluid—an immersive, site-specific project shaped by the protocols and possibilities of one of Europe’s most advanced manufacturing facilities. Initiated by Faber Timișoara with curator Martina Muzi, the project was on view at Alcova.
    Photo © Alex Todirică.

  • Fluid Dynamics, by French designer Théophile Blandet.

  • A freestanding sculptural light installation made of stainless steel tubing, glowing fiber-optic loops, and delicate wires on caster wheels, arranged within a minimalist room with herringbone wood floors.

    Fluid Dynamics, by French designer Théophile Blandet.
    Photo © Alex Todirică.

What connected these designers, and signalled one of the strongest undercurrents that we picked up on across Milan Design Week, was a celebration of exposed structures and mechanical guts. Rather than hiding the wiring, framework, and technical apparatus behind polished surfaces, many projects proudly showcased the messy, intricate beauty of making itself—a bracing (and welcome!) counterpoint to the often overly manicured perfectionism of contemporary collectible design. Other examples of this refreshing trend included Bamboo Assemblage n.1 by Eugenio Rossi and Yaazd Contractor of the back studio at Gucci’s “Bamboo Encounters”, a tactile hybrid of handcrafted bamboo, cold cathode glass, and high-tech components.

Close-up of a mechanical light structure featuring a central hub with radiating LED-tipped wires and translucent tubing, mounted on a chrome vertical support—precision meets softness in form.

In Fluid Dynamics, French designer Théophile Blandet transforms discarded high-tech components from Hamilton Central Europe into sculptural lighting objects, reenacting the gestures of injection to treat light as a fluid—an immersive, site-specific project shaped by the protocols and possibilities of one of Europe’s most advanced manufacturing facilities. Initiated by Faber Timișoara with curator Martina Muzi, the project was on view at Alcova.
Photo © Alex Todirică.

Installation view of a vertically mounted sculptural structure with bamboo rods, metal clamps, and a translucent glowing panel, centered on a dark green wall beneath arched stone architecture.

At Gucci’s Bamboo Encounters exhibition, Eugenio Rossi and Yaazd Contractor of the back studio unveiled bamboo assemblage n.1, a striking interplay of handcrafted bamboo, cold cathode glass, and high-tech components that explores the friction—and harmony—between tradition and innovation.
Photo by François Halard.

Close-up of a light installation combining natural bamboo, industrial metal fixtures, and a glowing iridescent surface, creating a contrast of organic and engineered aesthetics against a green background.

At Gucci’s Bamboo Encounters exhibition, Eugenio Rossi and Yaazd Contractor of the back studio unveiled bamboo assemblage n.1, a striking interplay of handcrafted bamboo, cold cathode glass, and high-tech components that explores the friction—and harmony—between tradition and innovation.
Photo by François Halard.

sculptural wooden daybed with a dark cushion and matching side table in a minimal, industrial space.

Tim Vranken, Middernacht & Alexander, and Linde Freya Tangelder (Destroyers/Builders) came together for STRATA, a layered exhibition exploring material, texture, and collaborative tension within a renovated industrial space near Fondazione Prada.
Photo by Alejandro Ramirez Orozco.

A serene, gallery-like interior with rustic dark wood stools and soft, ambient lighting creating a quiet mood.

Tim Vranken, Middernacht & Alexander, and Linde Freya Tangelder (Destroyers/Builders) came together for STRATA, a layered exhibition exploring material, texture, and collaborative tension within a renovated industrial space near Fondazione Prada.
Photo by Alejandro Ramirez Orozco.

A solid wood dining table with fluted legs, set against a backdrop of textured, translucent panels.

Tim Vranken, Middernacht & Alexander, and Linde Freya Tangelder (Destroyers/Builders) came together for STRATA, a layered exhibition exploring material, texture, and collaborative tension within a renovated industrial space near Fondazione Prada.
Photo by Alejandro Ramirez Orozco.

Sculptural deep-red sofa with angular armrests, placed in a raw industrial space with large factory-style windows.

Trench sofa by Philippe Malouin for Acerbis.
Photo by Alberto Strada.

Minimalist marble table with a sculptural curved base, set against a backdrop of rustic wooden shelves filled with woven baskets.

Le Cupole table by Francesco Meda and David Lopez Quincoces for Acerbis.
Photo by Alberto Strada.

  • Sculptural wooden table with faceted lamp and stacked terracotta lighting forms in a minimalist, industrial interior.

    The Patchwork table by zeitgeist.limited, offcut table lamp by Lucas Zito and Fragments by Aurélien Veyrat at Galleria Rossana Orlandi. Photo by Marco Menghi.

  • Overhead view of the same wooden table, showing the full abstract braid-like pattern of wood textures.

    The Patchwork table by zeitgeist.limited .

  • A group of cylindrical terracotta light sculptures arranged like a glowing urban skyline in a dimly lit room.

    Fragments by Aurélien Veyrat at Galleria Rossana Orlandi.
    Photo by Marco Menghi.

  • Detail of a wooden table with interwoven wood panels in various shades and grains—fine craftsmanship meets organic rhythm.

    The Patchwork table by zeitgeist.limited .

Three minimalist cantilever chairs in soft neutral tones, elegantly staged against an ornate, monochrome wall for a timeless contrast.

Jil Sander reinterpreted Thonet’s iconic S 64 cantilever chair, refining Marcel Breuer’s Bauhaus classic with high-gloss finishes, tactile materials, and a minimalist elegance that bridges fashion and design.
Photo by Hartmut Nägele © Thonet GmbH.

Minimalist corner with a sculptural cream chair, a patchwork wall tapestry, and a gridded installation of embossed tiles.

LRNCE debuted Slow Roads, a collection of handmade furniture that reinterprets Moroccan craftsmanship through a contemporary lens, blending cedarwood, zellige, marble, and stainless steel into tactile, architectural pieces.
Photo by Alejandro Ramirez Orozco.

A cozy corridor wrapped in floating sheets of paper leads to a beige woven rug with bold black geometric lines, suspended like a tapestry.

Beni Rugs and Studio KO unveiled Intersection at 5VIE, a collection of Moroccan rugs that reimagines industrial relics through revived Rabat weaving techniques and hand-embroidered flatweaves, blending craft, memory, and modernity.
Photo by Romain Laprade.

  • A sun-drenched doorway reveals a minimal room with a two-tone rug in warm rust and cream shades, framed by walls layered with pinned paper scraps.

    Beni Rugs and Studio KO unveiled Intersection at 5VIE, a collection of Moroccan rugs that reimagines industrial relics through revived Rabat weaving techniques and hand-embroidered flatweaves, blending craft, memory, and modernity.
    Photo by Romain Laprade.

  • A deep, atmospheric hallway lined with pinned paper notes opens onto a large rug with a green and cream grid pattern and hand-stitched textures. 3. Third image: A sun-drenched doorway reveals

    Beni Rugs and Studio KO unveiled Intersection at 5VIE, a collection of Moroccan rugs that reimagines industrial relics through revived Rabat weaving techniques and hand-embroidered flatweaves, blending craft, memory, and modernity.
    Photo by Romain Laprade.

  • A moody, nostalgic room entirely covered in pinned papers, with a vintage wooden desk and a bright yellow typewriter placed at its center, under soft golden light.

    Beni Rugs and Studio KO unveiled Intersection at 5VIE.
    Photo by Romain Laprade.

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Yves Salomon Éditions and Dimorestudio unveiled a collection of sculptural seating pieces during Milan Design Week, blending recycled fur, shearling, and metals in a tribute to Carlo Bugatti’s ornamental craftsmanship through a contemporary, postmodern lens.
Photo by Ludovi Balay.

A chaotic tangle of glowing cables and LED panels forms a futuristic, sculptural chandelier suspended in darkness.

On view at VOCLA. VOICES IN MY HEAD (HUNG), Limited edition suspension light by Jean Baptiste Durand, 2025 — a raw collision of steel, stoneware, moss, 3D printed PLA, LED, and cables. Photo by Piergiorgio Sorgetti.

Set against the atmospheric backdrop of the former slaughterhouse at Viale Molise, VOCLA, where we spotted Jean Baptiste Durand’s zanny chandelier, was one of the standout immersive experiences this year. A compelling nighttime counterpart to Alcova’s daytime programming (the exhibition was open from 6pm to 2am), in addition to showcasing recent works by emerging and established designers, it also featured a dynamic roster of sound artists and international DJs. Centred on a custom-designed lounge bar by Henge, VOCLA captured the raw energy that often defines Milan’s best unofficial venues, that translates into a feeling that anything could happen, that every doorway and dark corner might hide a discovery.

Other immersive installations that caught our imagination included “Chiaroscuro” by Rive Roshan at 5Vie, a luminous meditation on resilience blending choreographed lighting and sound; “La Prima Notte di Quiete”, Loro Piana’s dreamlike cinematic installation in collaboration with Dimoremilano; and “Library of Light” by Es Devlin at the Pinacoteca di Brera—a breathtaking kinetic sculpture comprising 3,200 illuminated bookshelves spinning in an 18-meter diameter ring. A truly unforgettable spectacle!

Two sculptural cushions by Claire Duport, one in metallic silver and one in glossy black, hang against a raw, graffiti-marked wall, blending softness with urban decay.

Claire Duport sculptural cushions on view at VOCLA.
Photo by Piergiorgio Sorgetti.

A sculptural bench with twisted, polished steel legs and a vibrant orange flokati wool seat, dramatically staged in a dark, abandoned, graffiti-covered industrial space.

On view at VOCLA. The GEMINI bench by ASTRONAUTS (Danae Dasyra & Joe Bradford) fuses raw energy and crafted elegance — steel, mirrored stainless, and hand-dyed flokati collide into a future-primitive dream.
Photo by Piergiorgio Sorgetti.

Organic wooden chairs by Abreham, with bold sculptural curves and negative space, glow under the sunlight against a gritty, urban backdrop.

Chenfér Chair from the Burgui Collection of ABREHAM on view at VOCLA.
Photo by Piergiorgio Sorgetti.

  • A glowing vertical glass column with fine ribbed texture, radiating warm light in a dimly lit, rustic space.

    Rive Roshan unveiled Chiaroscuro (5vie, Via Cesare Correnti,14), a meditative installation blending glass works, light choreography by Bram van Ravenhorst, and an original soundscape by Julian Enequist—a two-minute, forty-second design performance offering a luminous reflection on resilience and beauty in times of darkness. Photo by Design&Practice.

  • A moody interior featuring tall, rectangular glass sculptures with gradient colors, mounted on softly lit white fabric walls and a freestanding matching sculpture in the center.

    Rive Roshan unveiled Chiaroscuro (5vie, Via Cesare Correnti,14), a meditative installation blending glass works, light choreography by Bram van Ravenhorst, and an original soundscape by Julian Enequist—a two-minute, forty-second design performance offering a luminous reflection on resilience and beauty in times of darkness. Photo by Design&Practice.

  • A singular vertical gradient glass panel blending blue, white, and red hues, mounted on a grid-like white fabric wall.

    Rive Roshan unveiled Chiaroscuro (5vie, Via Cesare Correnti,14), a meditative installation blending glass works, light choreography by Bram van Ravenhorst, and an original soundscape by Julian Enequist—a two-minute, forty-second design performance offering a luminous reflection on resilience and beauty in times of darkness. Photo by Design&Practice.

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    At Rossana Orlandi, Rive Roshan presented Freedom Vessels – Colour Compositions, a kinetic installation of hand-painted, whirling sculptures evoking the fluidity of dancers and echoing the voices of Iranian women calling for freedom.

A grand cloister with ornate columns and vaulted ceilings displays colorful embroidered banners and abstract, textile animal sculptures.

Yves Salomon Éditions and Pierre Marie unveiled a whimsical collection of intarsia shearling furnishings, weaving pastoral and celestial narratives into intricate, hand-crafted objects that bridge decorative arts and contemporary collectible design.
Photo by Laora Queyras.

  • Close-up of a richly embroidered tapestry hanging under intricately carved stone arches, bathed in soft natural light.

    Yves Salomon Éditions and Pierre Marie.
    Photo by Laora Queyras.

  • Hands holding and adjusting a richly textured and colorful patchwork of embroidered fabrics.

    Yves Salomon Éditions and Pierre Marie, ateliers.
    Photo by Laora Queyras.

  • A vibrant, yellow textile animal sculpture with playful embroidery details stands between classic stone columns.

    Yves Salomon Éditions and Pierre Marie.
    Photo by Laora Queyras.

  • A close-up of a hand stitching vibrant embroidery onto a colorful textile surface.

    Yves Salomon Éditions and Pierre Marie, ateliers.
    Photo by Laora Queyras.

  • A cozy corner featuring a dark wooden bench adorned with a decorative cushion in bold, colorful embroidery.

    Yves Salomon Éditions and Pierre Marie.
    Photo by Laora Queyras.

  • An artisan meticulously working on a large, colorful embroidered tapestry stretched out before her.

    Yves Salomon Éditions and Pierre Marie, ateliers.
    Photo by Laora Queyras.

  • A velvet-upholstered cylindrical stool with vivid, abstract embroidery sits on a raised platform by a traditional wooden door.

    Yves Salomon Éditions and Pierre Marie.
    Photo by Laora Queyras.

A minimalist cut-out display niche showcases a row of vibrant, color-blocked Hermès glass tumblers in bold jewel tones, casting a soft yellow glow on the white floor below—pure geometry meets playful luxury.

At La Pelota, Hermès unveiled a luminous installation of suspended white volumes casting colored halos, presenting its latest home collection as a meditative ode to glass—crafted through artisanal techniques that highlight transparency, texture, and emotional resonance. The installation was designed by Charlotte Macaux Perelman, architect and artistic director of Hermès collections for the home, alongside Alexis Fabry.
Installation view at La pelota, photo © Hermès.

A floating white display cube reveals a meticulously arranged collection of Hermès tableware—plates, bowls, and cups adorned with colorful graphic patterns—set against soft pastel walls and a gradient magenta floor that adds a dreamy, gallery-like ambience.

At La Pelota, Hermès unveiled a luminous installation of suspended white volumes casting colored halos, presenting its latest home collection as a meditative ode to glass—crafted through artisanal techniques that highlight transparency, texture, and emotional resonance. The installation was designed by Charlotte Macaux Perelman, architect and artistic director of Hermès collections for the home, alongside Alexis Fabry.
Installation view at La pelota, photo © Hermès.

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Boon editions N4 by Tom Hancocks.

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At cc-tapis’ headquarters, Roberto Sironi unveiled Hypercode, a series of handwoven rugs that layer mythological symbols, ancient inscriptions, and urban graffiti into rich textile palimpsests narrating timeless stories.
Photo by Mattia Parodi.

Minimalist wooden dining table with matching chairs, staged against richly decorated classical walls and intricate woodwork.

At Museo Bagatti Valsecchi, Marta Sala Éditions celebrated its 10th anniversary with The Secret Soul of Useful Things, a retrospective tracing a decade of timeless design and unveiling new collaborations with Herzog & de Meuron alongside signature pieces by Lazzarini Pickering and Federico Peri.

  • Close-up of a modular wooden shelving system, its clever joints and structure highlighted against a deep burgundy backdrop.

    Herzog & de Meuron for Marta Sala Éditions.

  • Vibrant green velvet stools and chair paired with modular wooden shelving, showcased in a grand historic interior with ornate details.

    At Museo Bagatti Valsecchi, Marta Sala Éditions celebrated its 10th anniversary with The Secret Soul of Useful Things, a retrospective tracing a decade of timeless design and unveiling new collaborations with Herzog & de Meuron alongside signature pieces by Lazzarini Pickering and Federico Peri.

  • Another sculptural view of the wooden pentagonal table, this time with more dramatic carved base elements against a soft grey wall.

    Herzog & de Meuron for Marta Sala Éditions.

  • A sculptural wooden side table with a pentagonal top and intricate base detailing, set against a muted grey wall.

    Herzog & de Meuron table for Marta Sala Éditions.

A lineup of colorful prison phone booths and metal security doors displayed like sculptures in a gallery space.

Spanning over 1,500 square meters, Prison Times at Dropcity examined the spatial and temporal dimensions of incarceration through a clinical display of objects from prisons worldwide, exposing the institutional logic and global reach of the prison industrial complex. Photo by Piercarlo Quecchia (DSL Studio).

  • Industrial-style exhibition of stainless steel prison toilets and sinks arranged in a symmetrical grid under a corrugated vault.

    Spanning over 1,500 square meters, Prison Times at Dropcity examined the spatial and temporal dimensions of incarceration through a clinical display of objects from prisons worldwide, exposing the institutional logic and global reach of the prison industrial complex.
    Photo by Piercarlo Quecchia (DSL Studio).

  • Prison cafeteria setup with mint-green and blue tables facing a vibrant wall of multicolored plastic food trays and utensils.

    Spanning over 1,500 square meters, Prison Times at Dropcity examined the spatial and temporal dimensions of incarceration through a clinical display of objects from prisons worldwide, exposing the institutional logic and global reach of the prison industrial complex.
    Photo by Piercarlo Quecchia (DSL Studio).

  • Display of pastel-colored prison furniture, including beds, tables, and lockers, in a minimalist arched warehouse.

    Spanning over 1,500 square meters, Prison Times at Dropcity examined the spatial and temporal dimensions of incarceration through a clinical display of objects from prisons worldwide, exposing the institutional logic and global reach of the prison industrial complex.
    Photo by Piercarlo Quecchia (DSL Studio).

  • A plate showcasing a divided meal with rice and curry, emphasizing the practicality of the tableware for easy, organized eating.

    Dversa Studio introduced kwer (at House of Switzerland Milano), a universal plate set designed for independence, featuring a beveled surface, raised rim, and non-slip base—thoughtfully crafted to support both motor and cognitive accessibility without compromising on everyday elegance.

  • Hands demonstrating the modular functionality of the white ceramic tableware by lifting one bowl from another.

    Dversa Studio introduced kwer (at House of Switzerland Milano), a universal plate set designed for independence, featuring a beveled surface, raised rim, and non-slip base—thoughtfully crafted to support both motor and cognitive accessibility without compromising on everyday elegance.

  • A cozy corner with minimalist stacked white ceramics placed on a dark brown cabinet against a neutral wall.

    Dversa Studio introduced kwer (at House of Switzerland Milano), a universal plate set designed for independence, featuring a beveled surface, raised rim, and non-slip base—thoughtfully crafted to support both motor and cognitive accessibility without compromising on everyday elegance.

  • Minimalist white ceramic tableware with organic, asymmetric forms, stacked neatly on a white background.

    Dversa Studio introduced kwer (at House of Switzerland Milano), a universal plate set designed for independence, featuring a beveled surface, raised rim, and non-slip base—thoughtfully crafted to support both motor and cognitive accessibility without compromising on everyday elegance.

  • A minimal showroom with vibrant pendant lights, a bold orange bench, and a concrete cube chair under an airy white ceiling.

    At Convey, From Lighting showcased the Tiro lamp by Studio Brynjar & Veronika, alongside Max Henri van Christensen’s Reasonable Doubts collection of stainless steel furniture.

  • A bright yellow pendant light with an orange rod, glowing against a clean white background.

    Tiro lamp by Studio Brynjar & Veronik for From Lighting.

  • A cluster of colorful, minimalist pendant lights hanging from a white industrial ceiling.

    Tiro lamp by Studio Brynjar & Veronik for From Lighting.

  • A close-up of a terracotta-colored pendant light with a red rod, suspended from a black twisted cord.

    Tiro lamp by Studio Brynjar & Veronik for From Lighting.

A close-up detail of the golden lattice repair seamlessly integrated into a blue-and-white patterned plate.

Kintsugi 2.0 by Supermama at Future Impact 3: DESIGN NATION.

The underside of the plate revealing the fine craftsmanship of the golden lattice restoration.

Kintsugi 2.0 by Supermama at Future Impact 3: DESIGN NATION.

  • A man posing next to a ceramic plate and a vase, both decorated with intricate golden repairs, set on a minimalist mustard-colored display.

    At Future Impact 3: DESIGN NATION, Supermama unveiled Kintsugi 2.0, reimagining the ancient art of repair through 3D-printed gold-plated resin and algorithmic growth patterns, elegantly bridging traditional craftsmanship, digital innovation, and sustainable design.

  • Hands holding up a restored blue-and-white plate with golden lattice seamlessly filling in missing parts.

    Kintsugi 2.0 by Supermama at Future Impact 3: DESIGN NATION.

  • A grand exhibition space inside a historic church, showcasing design works including the golden-repaired plate and vase on a central mustard display.

    At Chiesa di San Bernardino alle Monache, Future Impact 3: DESIGN NATION showcased 14 Singaporean designers and studios, celebrating 60 years of design innovation with works that reflected the city-state’s vision for a sustainable, inclusive future.

  • A blue-and-white ceramic plate and a colorful vase, each intricately repaired with delicate golden latticework, displayed against a mustard yellow background.

    Kintsugi 2.0 by Supermama at Future Impact 3: DESIGN NATION.

  • A close-up of the golden lattice on the vase, highlighting its fine, textured detailing.

    Kintsugi 2.0 by Supermama at Future Impact 3: DESIGN NATION.

  • Hands presenting a restored traditional Chinese vase, its delicate broken areas replaced with intricate golden meshwork.

    Kintsugi 2.0 by Supermama at Future Impact 3: DESIGN NATION.

  • A large clear glass jar filled with lemon halves, closed with a green-tinted glass rim and a clear lid featuring a wrapped handle.

    KEEP mouth-blown glass fermentation vessel by LAYER x Orrefors.

  • Close-up side view of the assembled glass vessel, highlighting the smooth curves of the clear jar and the warm amber glass rim.

    KEEP mouth-blown glass fermentation vessel by LAYER x Orrefors.

  • Benjamin Hubert dressed in black and sits on a sleek metallic platform surrounded by sculptural glass jars filled with colorful pickled vegetables, showcasing a futuristic yet organic display.

    At the 101010 exhibition—a milestone showcase celebrating LAYER’s 10-year journey of innovative design— LAYER (founded by Benjamin Hubert) and Orrefors unveiled KEEP, a mouth-blown glass fermentation vessel that bridges ancient preservation techniques with contemporary Scandinavian design, inviting a more mindful, resource-conscious relationship with food.

  • Three separate pieces of the glass vessel — a clear jar, an amber disk, and a clear lid with a wrapped handle — laid out elegantly on a white surface.

    KEEP mouth-blown glass fermentation vessel by LAYER x Orrefors.

  • A clear glass jar filled with pickled cucumbers, topped with an amber-hued rim and a transparent lid with a tactile wrapped handle.

    KEEP mouth-blown glass fermentation vessel by LAYER x Orrefors.

  • A hand lifts a delicate glass lid with a wrapped handle above a sculptural glass vessel with a wide amber-hued rim, against a soft white background.

    KEEP mouth-blown glass fermentation vessel by LAYER x Orrefors.

A striking landscape view of a historic Italian garden with manicured paths, leading lines of trees, and a central round pond holding a glowing red hemisphere sculpture.

At Alcova, Rive Roshan and SOL R&D reactivated the historic fountain of Villa Bagatti Valsecchi with Sun Catcher, a solar-powered installation merging colour-shifting glass, renewable energy, and poetic reflection. Photo by Design&Practice.

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At ALCOVA (Ex SNIA), Jim Brose and Caroline Fischer unveiled T.o.y.s. No 2, a raw, fast-built chaise lounge crafted from cotton-filled tubes, steel, and rope—an experimental outcome of a three-day workshop led by designer Philipp Witte, exploring recycled materials and collective design. Photo by Lorenzo Capelli (DSL-Studio).

A group of people explore the overgrown courtyard of a derelict industrial building with a striking cylindrical glass façade, partially shattered, surrounded by decaying concrete and creeping vegetation.

The former SNIA factory, a rationalist industrial relic from World War I, offered a haunting backdrop at ALCOVA, where ivy, moss, and crumbling structures revealed nature’s quiet reclamation of a once-thriving hub of synthetic fiber production.

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    At the former SNIA factory, SPREAD (Hirokazu Kobayashi and Haruna Yamada) presented Ornamental Contrast, an exploration of the interplay between light, darkness, and color, drawing inspiration from the ever-shifting landscapes of nature and the timeless drama of chiaroscuro in art and cinema.
    Photo by Piergiorgio Sorgetti.

  • A tiled bar installation pops with graphic patterns beneath arched stone colonnades—old-world architecture meets Memphis spirit.

    Alcova’s convivial areas, designed by Space Caviar, brought together Mattonelle Margherita tiles by Nathalie Du Pasquier for Mutina and food by Panificio Davide Longoni, creating vibrant spaces for pause, exchange, and informal gathering.
    Photo by Piergiorgio Sorgetti.

  • A vibrant display of bottles behind a checker-patterned bar, set within a sunlit portico—drinks served with a dose of design.

    Alcova’s convivial areas, designed by Space Caviar, brought together Mattonelle Margherita tiles by Nathalie Du Pasquier for Mutina and food by Panificio Davide Longoni, creating vibrant spaces for pause, exchange, and informal gathering.
    Photo by Piergiorgio Sorgetti.

Minimalist stone and metal furniture pieces by Estudio Material at Villa Borsani, framed by aged stone walls, a gridded window, and dappled sunlight.

Estudio Material’s Fragments series found a perfect setting amid the gardens of Villa Borsani.
Photo by Piergiorgio Sorgetti.

Three minimalist, angular chairs in a raw metallic finish are placed inside a weathered stone doorway of an old, textured building, blending stark modern design with a crumbling historic backdrop.

FOMU introduced the Frame Collection in raw aluminium, a series of minimalist designs highlighting the material’s inherent texture and structural clarity.
Photo by Piergiorgio Sorgetti.

Of course, no Milan Design Week recap would be complete without mentioning Alcova’s ever-expanding presentation which this year took over not two but four sites outside of Milan in Varedo. Highlights abounded: at Villa Borsani, we singled out J39.5 by AtMa inc, a series of chairs reassembled from salvaged parts of Børge Mogensen’s iconic J39, a poetic exploration of circular design, material reuse, and cross-cultural reinterpretation. Several Greek participants stood out including Theo Galiakis with his Throne Room, where ancient symbols of authority were reimagined in industrial materials, Eleftheria Tseliou Gallery with their reenactment of “The Library Show”, and New York and Athens-based studio Objects of Common Interest (OoCI) who presented a new light project with THE BREEDER gallery.

At Pasino Glasshouses, a setting half-consumed by nature’s slow reclamation, we were intrigued by Polish designer Marcin Rusak’s Ghost Orchids, a haunting series of biodegradable sculptures responding to the site's botanical history; and Soft Horizons, also by OoCI, a playful, almost surrealist rethinking of marble as a malleable, soft material.

We also fell for Conservatory Collection by Lemon and Yaniv Chen, whose delicate outdoor furniture pieces danced across the Villa Borsani’s gardens like quiet poems in perforated steel.

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At Alcova, AtMa inc. presented J39.5, a series of chairs reassembled from salvaged parts of Børge Mogensen’s iconic J39, offering a poetic exploration of circular design, material reuse, and cross-cultural reinterpretation.

  • A retro-futuristic lounge featuring a trio of brown leather and metal chairs with gathered skirts, a glossy wood and steel table, and a floor lamp, all set against dramatic, ruched white curtains.

    At Villa Borsani, Supaform unveiled The Waiting Room, an installation where everyday objects, shaped by time, memory, and routine, slowly transformed into quiet sculptures of familiarity and nuance.
    Photo by Piergiorgio Sorgetti.

  • A close-up of a single leather and metal armchair with a gathered leather skirt detail, set against a wood-paneled wall and terrazzo floor.

    The Waiting Room by Supaform.

  • A vintage-style waiting room with warm wood-paneled walls, leather and metal chairs, a metallic table, and a tall grid-like floor lamp.

    The Waiting Room by Supaform.

Outdoor dining set by Lemon with perforated white metal frames and yellow cushions, nestled under lush pine trees in a meadow at Villa Borsani during Milan Design Week 2025.

Lemon debuted the Conservatory Collection by Yaniv Chen, a poetic series of outdoor furniture defined by delicate perforations, allowing light and nature to flow seamlessly through sculpted steel forms. Photo by Inge Prins.

Close-up of a Lemon armchair showcasing the grid-like shadows cast on vibrant yellow upholstery through the white perforated frame.

The Conservatory Chair Lounger by Yaniv Chen for Lemon.
Photo by Inge Prins.

Lemon’s sleek yellow-cushioned lounger placed on a stone terrace, with ornate iron balustrades and a sweeping view of the landscaped grounds.

The Conservatory Sun Lounger by Yaniv Chen for Lemon.
Photo by Inge Prins.

A chair flat-packed, neatly stacked like transparent blueprints—design as puzzle.

Clarity chair by Waiting for Ideas (aka Jean-Baptiste Anotin).
Photo by Mathilde Hiley.

A hand wearing a white glove demonstrates the insertion of a sleek acrylic element into a matching transparent structure.

Waiting for Ideas (aka Jean-Baptiste Anotin) presented Clarity, a collection of transparent armchairs, tables, mirrors, and lamps that played with light, gravity, and reflection, creating ephemeral forms that shifted with every change in perspective.
Photo by Mathilde Hiley.

  • Vertical acrylic lamp glowing in electric green, a futuristic totem of light.

    Clarity chair by Waiting for Ideas (aka Jean-Baptiste Anotin).
    Photo by Mathilde Hiley.

  • A poetic gathering of acrylic furniture pieces under soft light, including a green glowing light sculpture.

    Clarity chair by Waiting for Ideas (aka Jean-Baptiste Anotin).
    Photo by Mathilde Hiley.

  • Detail shot of intersecting acrylic planes revealing prismatic edges and dotted connection points.

    Clarity chair by Waiting for Ideas (aka Jean-Baptiste Anotin).
    Photo by Mathilde Hiley.

  • Close-up of the lamp’s top structure—crisp edges, drilled circles, and glowing neon green energy.

    Clarity chair by Waiting for Ideas (aka Jean-Baptiste Anotin).
    Photo by Mathilde Hiley.

  • Clear acrylic armchair with angular planes and circular joint details, floating like a ghostly sculpture.

    Clarity chair by Waiting for Ideas (aka Jean-Baptiste Anotin).
    Photo by Mathilde Hiley.

  • Transparent acrylic table showcasing sharp geometric precision, minimal and ethereal.

    Clarity chair by Waiting for Ideas (aka Jean-Baptiste Anotin).
    Photo by Mathilde Hiley.

A sculptural wooden cabinet with marble-like spherical feet, paired with a dark wood chair upholstered in lush, nature-inspired embroidery, set against soft draped fabric — pure artisanal poetry.

Dining chair and wooden cabinet from VeeCollect's latest furniture collection.

Close-up of a hand-carved wooden chair with playful rounded details and lush botanical embroidery, kissed by soft sunlight — craftsmanship in full bloom.

Dining chair from VeeCollect's latest furniture collection.

Moody installation view of an aged, textured room with a dark organic sculpture on the wall and a tall, narrow vase on a pedestal, both with a metallic, earthy finish.

YOCHIYA  (Yachiyo Kawana and Yoichiro Hatanaka)  unveiled SWOLLEN, a sculptural work formed by inflating welded copper plates with hydraulic pressure, capturing the raw, unpredictable moment when material transforms into something beyond matter.

  • Abstract wall-mounted sculpture with an organic, inflated form and glossy, mottled brown-black texture, displayed against a distressed yellow wall with white tiles.

    YOCHIYA  (Yachiyo Kawana and Yoichiro Hatanaka)  unveiled SWOLLEN, a sculptural work formed by inflating welded copper plates with hydraulic pressure, capturing the raw, unpredictable moment when material transforms into something beyond matter.

  • Sculptural metal wall pieces with organic forms lean against a white textured wall, bathed in soft natural light.

    The making of SWOLLEN series by YOCHIYA (Yachiyo Kawana and Yoichiro Hatanaka).

  • Close-up detail of the glossy sculptural surface, revealing its rich, marbled texture and reflections against cracked white tiles.

    YOCHIYA  (Yachiyo Kawana and Yoichiro Hatanaka)  unveiled SWOLLEN, a sculptural work formed by inflating welded copper plates with hydraulic pressure, capturing the raw, unpredictable moment when material transforms into something beyond matter.

  • A hammered, bronze-toned metal sculpture with hollow sections placed on a black mat over a stone floor, connected to black wires.

    The making of SWOLLEN series by YOCHIYA (Yachiyo Kawana and Yoichiro Hatanaka).

A polished metal chair and matching vessels sit atop a dark wood platform, reflecting soft warm light, beneath a pixel-like artwork of iridescent squares.

Presented at Villa Borsani, Throne Room by Theo Galliakis reimagines ancient symbols of authority in fire-treated steel, copper, and faux-gold finishes—offering a wry, reflective take on power, value, and the allure of gilded illusions.

A faceted, double-handled vase crafted from riveted metal plates gleams in a beam of sunlight, casting geometric shadows on the wooden pedestal.

Presented at Villa Borsani, Throne Room by Theo Galliakis reimagines ancient symbols of authority in fire-treated steel, copper, and faux-gold finishes—offering a wry, reflective take on power, value, and the allure of gilded illusions.

A geometric wall-mounted mirror with a translucent, glowing red octagonal frame and a central reflective square, casting dramatic shadows on a stark white surface—minimalist yet sculptural in presence.

Objects of Common Interest unveiled a luminous collection of semi-transparent resin mirrors and objects for Tacchini, blending prismatic 1960s-inspired forms with a deeply personal memory—each piece refracting light and emotion like the fragile, shifting nature of recollection itself.
Photo by Yiorgos Kaplanidis.

A translucent pink stool with a fluted, arched form and built-in wheels, made from resin-like material, its jelly-like surface catching soft light on a concrete floor—playful, futuristic, and oddly tactile.

At Villa Borsani, VOIDS by Objects of Common Interest with The Breeder gallery reimagines Athens’ urban shopfront rollers in cast resin, transforming ephemeral gestures into sculptural totems that explore the interplay of absence, materiality, and transformation within a poetic scenography curated by Joy Herro.
Photo by Yiorgos Kaplanidis.

A maze of furry walls and mirrored surfaces glows under linear lights—like walking through a futuristic cocoon.

To mark its 10th anniversary, Nilufar Depot unveiled Silver Lining, a curatorial statement by Nina Yashar with a 1970s-inspired installation by Fosbury Architecture—an immersive, monochromatic landscape exploring the aesthetics and sensuality of metal through form, texture, and tone.
Photo by Alejandro Ramirez Orozco.

Over at Nilufar Depot, Nina Yashar marked the venue’s 10th anniversary with “Silver Lining”, a lavish 1970s-inspired installation by Fosbury Architecture that celebrated the expressive power of metal. Set against a monochromatic backdrop, vintage treasures by iconic designers such as Gio Ponti and Gabriella Crespi mingled with contemporary pieces by Audrey Large, Supaform, studioutte, and others, blurring temporal and aesthetic boundaries.

The installation was one act of Nilufar’s ambitious, five-act “Repertorio” exhibition which unfolded across both Nilufar Depot and Nilufar Via della Spiga. At the latter, we singled out “Ex Terrā”, an exhibition exploring humanity’s enduring fascination with nature’s forms and cycles. One particular discovery that stole our hearts there was Maximilian Marchesani’s Famiglia chandelier, created from twisted branches and parrot feathers collected in Milan’s Palestro Gardens—a delicate, melancholic meditation on the migrations and mutations of nature in urban environments.

  • Sculptural lights twist like liquid metal through a dreamscape of pink shag and velvet—baroque cyber fantasy.

    Armchair Cobra by Walter & Moretti, 1970. Ceiling lamp Thunderborn by Audrey Large from the Implicit Surfaces Collection.
    Silver Lining, Nilufar Depot 2025, photo by Alejandro Ramirez Orozco.

  • A sculptural, skeletal aluminum shelf stands delicately against plush blush walls and a deep burgundy shag rug—tactile softness meets structural clarity.

    Bookshelf High Section by Linde Freya Tangelder (Destroyers/Builders).
    Silver Lining, Nilufar Depot 2025, photo by. Photo by Alejandro Ramirez Orozco.

  • A polished lamp peeks through soft pink walls—couture coziness with a metallic wink.

    Table lamp Chiara by Mario Bellini (Flos Editions, 1967).
    Silver Lining, Nilufar Depot 2025, photo by Alejandro Ramirez Orozco.

Tufted red velvet seats nestle in a corridor of shag and sheen—a velvet underground for design lovers.

Modular sofa by Giorgio Montani, designed for Souplina in the 1970s.
Silver Lining, Nilufar Depot 2025, photo by Alejandro Ramirez Orozco.

A mirrored canopy floats above fuzzy blush partitions and a plush burgundy carpet—surreal softness meets industrial reflection.

Desk by Marzio Cecchi, 1970.
Silver Lining, Nilufar Depot 2025, photo by Alejandro Ramirez Orozco.

slender illuminated rods and soft-hued translucent elements resembling leaves.

Ceiling lamp "Famiglia" by Maximilian Marchesani from the ‘EX TERRĀ’ collective exhibition by Andrea Mancuso, Maximilian Marchesani, and Etienne Marc at Nilufar Gallery.
Photo by Filippo Pincolini.

The same sculptural light piece in a dimly lit space, with its glowing rods activated—casting warm, organic light that highlights the twisting branches and scattered colored accents, evoking a floating, bioluminescent forest.

Ceiling lamp "Famiglia" by Maximilian Marchesani from the ‘EX TERRĀ’ collective exhibition by Andrea Mancuso, Maximilian Marchesani, and Etienne Marc at Nilufar Gallery.
Photo by Filippo Pincolini.

If nature emerged as one of Milan Design Week’s dominant themes this year, another common theme was the creative dialogue between tradition and experimentation.  “Romantic Brutalism: A Journey into Polish Craft and Design”, organized by the new Visteria Foundation, offered a powerful example. Installed across a sequence of theatrically staged rooms, it introduced 23 Polish artists deeply rooted in their country’s artisanal traditions.

Νo report would be complete without tipping our hat to SaloneSatellite 2025, where the next generation of designers never fails to surprise, more of which you can read in our dedicated overview.

A minimalistic room featuring two tall clay vases, unique furniture, and artistic sculptures on a polished wood floor. Natural light streams in.

Romantic Brutalism: Visteria Foundation Showcases Polish Craft & Design at Milan Design Week 2025.

An artistic installation features yellow tubular structures and a sleek, gray table on a patterned rug, set in an elegant room.

Romantic Brutalism: Visteria Foundation Showcases Polish Craft & Design at Milan Design Week 2025.

A moody, luxurious corridor lined with dark wood paneling and dotted with spherical wall and ceiling light fixtures, leading to a softly lit room with blush-toned walls, sculptural lighting, and geometric rugs—where mid-century elegance meets contemporary warmth.

To mark its 20th anniversary, Bocci collaborated with The Future Perfect’s David Alhadeff on The Numbers Between the Numbers, a reflective exhibition of archival works and experimental lighting at Bocci’s Milan apartment.
Photo by Paola Pansini.

Finally, we’d like to mention two radically different projects that caught our eye at “Expanded Living”, Capsule Plaza’s third edition. The first, Philippe Malouin and Lehni’s rigorously minimalist Bent Aluminium series of tables, consoles, and shelves (presented by Salon 94 Design at Satellite Venue 2) balances technical precision with thoughtful proportion. Made from folded sheet metal, each piece is seemingly simple yet full of considered detail like the hidden cast nylon blocks that support the structures with subtle grace.

On the other side of the spectrum, Misha Kahn’s riotously imaginative new works (presented by Friedman Benda, also at Capsule Plaza's Satellite Venue 2) revelled in their gleeful abandon. Case in point, Euphausiids Delight (Final Moments), a dining table 3D-printed in fiberglass and lusciously coloured in automotive paints, that captures the surreal, writhing energy of marine life in a moment of fantastical excess.  One an exercise in balanced restraint and technical refinement; the other a joyful, near-anarchic swirl of materials and techniques. Milan, as ever, contained multitudes, and it was precisely this collision of opposites that made it so electrifying.

A sleek, bright red console table with white-capped legs is mounted against a bare concrete wall in a brutalist interior—precise, utilitarian design with bold chromatic presence.

At Capsule Plaza’s Satellite Venue (Piazza Risorgimento 8), Philippe Malouin and Swiss manufacturer Lehni unveiled Bent Aluminium for Salon 94 Design, a refined collection of tables, consoles, and shelves that juxtapose precision-folded aluminium with solid nylon blocks—merging industrial clarity with sculptural restraint and discreet functionality.
Photo © Jasmine Deporta.

Close-up of a brown powder-coated metal table featuring an open drawer with neatly divided compartments—industrial detail rendered with quiet elegance.

Bent Aluminium by Philippe Malouin and Lehni for Salon 94 Design.
Photo © Jasmine Deporta.

Five wall-mounted metal storage units in beige, green, blue, white, and pale yellow, shown in sharp light and shadow against a raw concrete wall—minimalist geometry meets industrial color play.

Bent Aluminium by Philippe Malouin and Lehni for Salon 94 Design.
Photo © Jasmine Deporta.

A vibrant yellow low-profile platform with wheels sits at the center of a vast industrial warehouse, its glossy surface glowing against the muted grey of concrete floors and exposed storage racks—design as punctuation in an architectural space.

Bent Aluminium by Philippe Malouin and Lehni for Salon 94 Design.
Photo © Jasmine Deporta.

Milan Design Week 2025 offered not just a glimpse into the future of design, but a visceral reminder of why we fall for it every time. In all its sprawling, chaotic, contradictory glory, there’s no experience quite like it — no place that so fully embraces beauty, messiness, invention, and the sheer thrill of discovery.

A gallery-like interior filled with playful, surrealist furniture by Misha Kahn, including an undulating, multicolored velvet lounge piece at the center, organic ceramic sculptures scattered along the floor, and a wall lined with irregularly framed mirrors in vibrant hues—eccentric, tactile, and joyfully maximalist.

In Far Afield exhibition by Friedman Benda Art gallery at Capsule Plaza’s Satellite Venue (Piazza Risorgimento 8), Misha Kahn transformed the space into a surrealist terrain anchored by Azimuth, a kaleidoscopic grid of mirrors inspired by celestial measurement. New works—including a draped marble console (A Long Winter’s Sleep), a mohair carpet blending digital and handcraft, and sculptural seating in Dedar fabrics—reflect Kahn’s wildly tactile, ever-evolving cosmos of form and material.

Close-up of the table’s sculptural base showcasing hyper-detailed glossy elements—bulbous yellow forms, curling blue and brown tendrils, and clusters of rounded orange nodules—evoking a dreamlike ecosystem frozen in time.

Misha Kahn [American, b. 1989]
Euphausiids Delight (Final Moments), 2024
PLA, resin, fiberglass, steel and automotive paint
31 x 66 1/2 x 65 inches
78.7 x 169 x 165 cm
Courtesy of Friedman Benda and Misha Kahn
Photography by Phoebe Dheurle

A whimsical, sculptural table with a glossy, organically shaped base featuring swirling, multicolored forms that resemble sea creatures, plants, and fantastical objects, topped with a smooth, gradient-toned circular surface—part furniture, part surrealist artwork.

Misha Kahn [American, b. 1989]
Euphausiids Delight (Final Moments), 2024
PLA, resin, fiberglass, steel and automotive paint
31 x 66 1/2 x 65 inches
78.7 x 169 x 165 cm
Courtesy of Friedman Benda and Misha Kahn
Photography by Phoebe Dheurle

A wildly intricate tapestry by Misha Kahn, composed of tangled, organic shapes and vibrant textures—an explosion of embroidered forms resembling sea creatures, plants, wires, and abstract matter, all woven into a chaotic yet mesmerizing visual ecosystem on a neutral canvas backdrop.

Misha Kahn [American, b. 1989]
Swatching Space Time, 2023
Mohair
110 1/4 x 173 1/4 inches
280 x 440.1 cm
Courtesy of Friedman Benda and Misha Kahn