The 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes was a landmark event that heralded the convergence of artistic craftsmanship and industrial progress. Matter and Shape pays tribute to the Exposition’s theme, in particular the Pavillon de l'Esprit Nouveau, a model home designed by Le Corbusier and Pierre Jeanneret especially for the event. Advocating for modular living and a symbiotic relationship between urbanism and nature, although the Pavilion was much maligned at the time due to its radical modernism, it has since been recognised as one of the designs that defined the modern world. Echoes of this seminal work could also be felt in Willo Perron’s design for the Tuileries (East) and Concorde (West) pavilions, which similarly embraced the principles of modularity, openness, and a seamless integration between architecture and its surroundings.

Perron's interpretation emphasized spatial fluidity, with reflective facades that visually dissolved the boundaries between structure and landscape, much like Le Corbusier’s vision of open, adaptable living spaces. Inside, lightbox ceilings bathed the exhibition spaces in soft, natural light, juxtaposed against dark floors for dramatic contrast. Mirrored display stands reinforced the theme of refraction and reinterpretation, inviting visitors to engage with the exhibits from multiple perspectives, while the decision to omit corporate branding and excessive wall text, made the exhibition space feel less like a trade fair and more like a salon.

Amidst the array of exceptional exhibits, certain works stood out for their ingenuity, craftsmanship, and conceptual depth. The collaboration between J. & L. Lobmyer and Gohar World masterfully bridged the past and present, with the Viennese crystal atelier unveiling a new glassware collection which took inspiration from archival 1925 designs, merging historical craftsmanship with Gohar World’s playful surrealism. Similarly, French-American artist Jeremy Maxwell Wintrebert’s Marie-Antoinette chandelier blurred the boundaries between tradition and subversion. Measuring two metres in height, the freehand-blown glass form, hovered just above the ground, serving to redefine the grandeur of aristocratic ornamentation through a contemporary lens. Traditional craftsmanship also met contemporary design in Milan-based Colombian designer Natalia Criado’s silver-plated brass collection of tableware and objects, where minimalist geometric lines belie the painstaking work of Colombian and Italian artisans.

Material experimentation took centre stage in several exhibits. NO GA’s collaboration with Willo Perron introduced a series of modular tables and mirrors, handcrafted from cast glass fibre and finished in high-gloss lacquer, seamlessly blending sculptural aesthetics with functional adaptability. In a similar exploration of material and form, South African designer Lea Colombo employed sodalite and red jasper, sourced from Namibia and South Africa, to craft objects that transcended the line between functional design and pure sculpture, imbuing them with an almost spiritual energy.

The jewellery-focused JOYA fair took a more architectural approach, presenting a striking installation of interlocking semicircular elements made of stainless-steel that created a fluid transition between open and intimate space. Designed by Swiss architects Christ & Gantenbein in collaboration with NM3 Milan, the modular exhibition design reflected the structural logic of the jewellery on display, emphasizing their sculptural presence within the salon’s broader dialogue regarding object design.

Beyond its design showcases, the event offered a culinary and retail ecosystem curated with the same level of refinement. The Zara Home x Dreamin’ Man Café served hojicha lattes and pour-over coffees in an environment curated by Vincent Van Duysen, while the WE ARE ONA pop-up restaurant provided a dining experience where gastronomy met design courtesy of London-based chef Imogen Kwok. Known for blurring the lines between sculpture and dining through convention-defying food presentation, Kwok’s artful dishes were further enhanced by custom reflective screens. Finally, the Matter and Shape Shop functioned as an ephemeral boutique, showcasing an eclectic mix of furniture, objets d’art, vintage books, and independent magazines, allowing visitors to take a tangible piece of the salon’s aesthetic vision home with them.

If the 1925 Exposition des Arts Décoratifs defined the future of design a century ago, Matter and Shape 2025 illuminated its evolving trajectory. By balancing history with progress, the salon reminded us that great design is always in dialogue with its past, even as it forges bold new visions for the future.