Beyond Instagram: London Design Week's unparalleled breadth and depth will help you avoid 'unhinged eclecticism'

London Design Festival 2025, in its 23rd edition, showcases a diverse array of installations, exhibitions, and products across the city, emphasizing design's role beyond aesthetics in driving innovation and societal progress. Festival Director Ben Evans highlights the event's commitment to supporting the entire design ecosystem, from emerging talent to established brands, and showcasing London's creative energy. The festival includes numerous district-wide events and installations at leading institutions such as the V&A and the Design Museum. Key highlights include 'Material Matters' at Space House, returning for its fourth edition with new materials like Mycoworks' mycelium-based products and recycled PVB film from FILIE Materials. The Brompton Design District, curated by Alex Tieghi-Walker with the theme 'A Softer World,' invites new voices and unconventional formats, featuring designers like Charlotte Taylor and Tione Trice across non-traditional exhibition spaces. British designer Paul Cocksedge's 'What Nelsons Sees' at Trafalgar Square provides a unique perspective of the city through telescopic viewing portals. Lee Broom's 'Beacon' at the Southbank Centre is a site-specific light installation using upcycled glass fragments to reinterpret classic street lamps into a sculptural chandelier. Max Radford Gallery collaborates with Ercol, commissioning London-based designers to reimagine traditional wooden furniture using rejected parts, displayed at the Clerkenwell Fire Station. The David Collins Foundation presents 'Convergence' at The Lavery, an exhibition celebrating its 40th anniversary and founder David Collins' vision, featuring works by eleven artists and designers. Aram and EcoLattice offer a sustainable alternative to foam with 'Beyond Foam,' commissioning designers to create furniture using EcoLattice's 3D-printed recyclable elastomers. 'A Seat at the Table' by Design Everything is a mobile furniture exhibition travelling in a Luton van, hosting community events with pieces by emerging UK designers. Ceramicist Emma Louise Payne's 'The Objects we Live By' transforms her childhood home into an exhibition space, showcasing crafted design pieces integrated into daily life. Heirloom studio's 'Out of Orifice' explores objects designed for the human body, from medical to pleasurable. Design London Shoreditch debuts with three exhibitions focusing on workplace design, sustainability, and interior trends, featuring prominent designers and brands. 'Otl Aicher: The Legacy Archive' at Wiedemann Lampe offers a rare glimpse into the legendary designer's work, including classic posters and unique pieces for sale. Industrial designer Terence Woodgate and automotive engineer John Barnard collaborate on 'Lightness of Form,' a collection using carbon fibre displayed at Carpenters Workshop Gallery. Finally, 'Reconstructing Value' at the Bank of England Museum features a sculptural installation made from reclaimed banknotes, complementing an exhibition on the Bank's architectural evolution. #LondonDesignFestival #DesignExhibitions #InteriorDesign #MaterialInnovation #SustainableDesign #PublicArtInstallations #EmergingDesigners #FurnitureDesign #ArchitecturalEvolution

This year-in-review article from Core77 highlights significant trends and notable designs in furniture and lighting throughout 2011, alongside a retrospective of major international design festivals. The review begins by emphasizing the continuous relevance of furniture and lighting in industrial design, noting that while broader topics like technology emerge, these categories remain fundamental. Key discussions include the versatile use of wood as a material in furniture, featuring pieces ranging from left-field commentary to subtractive designs, crazy curves, and plywood pods, often incorporating nest-like warping. The article also showcases various applications of reclaimed materials, from preserved and polished pieces to de-militarized items and those simply repurposed. Lighting designs are explored in depth, highlighting how many lamps creatively mimic other objects, including the lampshade itself, leading to skeuomorphic designs like the cluster-like 'TamTam' ceiling lamp, the futuristic 'LED Shade Lamp,' and the humble 'Sympathy for the Bulb.' The popular levitating lamps by Light Light are also mentioned. Beyond conventional forms, lamps took on abstract biomorphic shapes, both 3D-printed and otherwise, and imaginative forms such as an open-ocean predator, fly kicks, and a maritime marker. The intersection of indoor lighting and upcycling is noted, with designers transforming plumbing fixtures into steampunk lighting and repurposing recyclable materials into elegant pendant lamps and minimalist desk lamps. The 'Liter of Light' project, developed by MIT students, is recognized for its significant social impact in providing sustainable lighting solutions. Chairs, a staple of furniture design, are presented through their diverse material explorations. These include aluminum wire, cork, laser-cut steel, Twintex, recycled PET bottles, piano keys, circuit boards, salvaged signage, and even the creative use of empty space. The article humorously contrasts a chair made of discarded candy wrappers with one made entirely of candy, both praised for their aesthetic appeal. The vast array of chair designs in terms of shapes and sizes is acknowledged, including those designed for bachelors and by student bachelors, and chairs that resemble other objects. DIY approaches to seating are also covered, ranging from emphatically designed pieces to simpler, deconstructed or remixed versions of classic designs like the Eames Lounge. The enduring popularity of the Mid-Century Modern (MCM) aesthetic is discussed, noting its continued presence in designs both at home and internationally, despite playful attempts to 'retire' it. The MCM movement persists through the resurrection of long-lost designs, limited-edition reinterpretations, and online resources. The review then shifts to an overview of global design weeks and festivals. Dutch Design Week 2011 is highlighted for its conceptually rich work, including Tom Gottelier's wax creations and Dennis Parren's 'CMYK Lamp.' The inaugural Beijing Design Week showcased 'site-specific' designs reflecting mainland Chinese cultural touchstones, such as the 'Chinese Stuff' exhibit and the Water Calligraphy Device Tricycle Hack, with Naihan Li's 'CRATES' collection of mobile pop-up furniture being a notable success. Design Tide Tokyo, part of Tokyo Design Week, featured 'Souvenir' by Design Soil, a series of furniture designed for easy disassembly and travel. Exhibitions in Tokyo offered a comprehensive view of Japanese design, from traditional crafts to contemporary issues and accessories. Vienna Design Week, though smaller, presented significant installations, including Philippe Malouin's collaboration with Lobmeyr and Thomas Feichtner's crafted 'M3' chair. The Salone Milan, recognized as the year's largest design event, featured Studio Formafantasma's 'Botanica,' an exploration of material science roots, and Thomas Lommée's forward-thinking OpenStructures project. The Open Source movement's impact on furniture design, seen in DIY projects and design-build firms, is also emphasized. Milan's diverse offerings included craft mashups, photoluminescent lamps, and unique material explorations. New York Design Week, including ICFF and the Noho Design District, showcased American innovation and craftsmanship, with notable works from Uhuru and Lindsey Adelman, and a tribute exhibition for Tobias Wong. London Design Week featured diverse European designs, such as the 'Argonaut' collection by Greek designers and Kyuhyung Cho's experimental typography, alongside student projects from the RCA and eco-minded cardboard furniture startups, concluding the review with a look at cardboard's versatile applications. #FurnitureDesign #LightingDesign #DesignFestivals #MaterialInnovation #Upcycling #MidCenturyModern #DutchDesignWeek #BeijingDesignWeek #TokyoDesignWeek #ViennaDesignWeek #SaloneMilan #NewYorkDesignWeek #LondonDesignFestival #OpenSourceDesign #SustainableDesign

Clerkenwell Design Week 2025, held from May 20-22 in London, showcased a vibrant array of design innovations, installations, and product launches. The event, known for transforming commercial design into an engaging exhibition, utilized iconic venues such as the 14th-century Charterhouse, a new space in Smithfield Market, and the medieval St Bartholomew’s Church, dubbed ‘Church of Design’ for the occasion. The atmosphere was notably lively, attracting significant crowds across various showrooms and venues. Among the standout installations was 'A Week at the Knees' by artist Alex Chinneck, a surrealist sculpture crafted from 7,000 bricks. This piece mimicked the Georgian façades of Charterhouse Square but dramatically bent across a path, inviting visitors to experience its distorted form. Although Clerkenwell Design Week concluded on May 22, Chinneck’s installation remained accessible until early July. Another notable public artwork was 'Harmonic Tides' by Arthur Mamou-Mani, which featured two sweeping 3D-printed walls with integrated bench seating. Designed to evoke the natural movement of water, the undulating walls were constructed from a sugar-based bioplastic (PLA) and incorporated LED lighting and a calming soundtrack, creating an immersive and tranquil environment. Additionally, 'Brick from a Stone: Arch Revival,' a collaboration between Hawkins\Brown and Webb Yates for Albion Stone and Hutton Stone, was unveiled on Clerkenwell Green. This double-arched pavilion, made from British stone bricks, demonstrated the inherent strength of stone through incredibly thin, load-bearing arches, merging ancient techniques with modern engineering. The event also featured unique interactive experiences, such as 'Beasley’s Biscuit Bar' by Sons of Beasley, located at Hawkins\Brown’s Clerkenwell Road studio. This installation revived a local historical anecdote about London’s first 'biscuit bar,' offering visitors Yorkshire Tea and homemade biscuits within a retrofitted servery. The space also showcased colorful furniture made from Plykea offcuts and provided a live-making demonstration, blending historical homage with contemporary design. In terms of product design, Hand & Eye presented a tactile range of slip-cast terracotta, stoneware, and porcelain wall lights, all handmade in their Devon workshop, as part of the British Collection. David Irwin introduced the 'Caston' chair for Origin Furniture, notable for its elegant form and circular design principles, featuring a tubular steel frame and zero-waste 3D-knitted upholstery that is fully recyclable. SCP debuted the 'Archer' chair by Magnus Long, a cantilever design with a tubular metal frame and plywood seat, displayed in the Church of Design. Mirage, in collaboration with AMDL Circle, launched ‘Terrae,’ a ceramic surface collection exploring the emotional connection between ceramics, light, and space, presented at Charterhouse. Curiousa introduced 'Carnival,' a sculptural lighting collection displayed in the underground space of the House of Detention. This collection combined hand-blown glass, porcelain, and wood in playful, Harlequin-inspired forms. NaughtOne launched 'Fin,' a new lounge chair by Daniel Schofield, inspired by 1960s space-age design and constructed with a simple plywood frame, minimizing its embodied carbon. Italian brand Bolzan showcased the 'Milo' bed, a cocooning design with a soft, foldable headboard, at Old Sessions House. Bolzan also exhibited headboards from their 'Woven Dreams' collection, including 'Fiocco' by Martino Gamper and 'Rosary' by India Mahdavi, both previously admired in Milan. The event successfully combined large-scale installations, product launches, and interactive elements, solidifying its reputation as a significant event in the design calendar. #ClerkenwellDesignWeek #LondonDesign #ArtInstallation #FurnitureDesign #LightingDesign #SustainableDesign #ArchitecturalInnovation #ProductLaunch #InteriorDesign

Milan Design Week 2022 showcased a variety of temporary installations designed to captivate the design community. These installations frequently leveraged unique settings, ranging from abandoned nunneries and military hospitals to former sports venues and historic villas, to create impactful experiences. The event featured nine notable installations that demonstrated innovative approaches to design and material use. One featured installation was “A Statement of Form” by Gaggenau, a kitchen manufacturer, which was located in the Villa Necchi Campiglio, a historic Italian villa known from the film “House of Gucci.” This installation, a collaboration with architecture firm 1zu33, marble expert Salvatori, and ceramic specialist Kaufmann, presented a sleek kitchen design within a luxurious setting. Another highlight was "Monumental Wonders" by SolidNature, exhibited at Alcova’s Lavanderia building. This installation showcased the versatility of natural and semi-precious stones, featuring nine types of onyx in a dramatic entry portal. OMA designed a stone-wrapped doorway and marble-and-onyx furniture pieces, including a rotating cabinet and a bed with hidden storage. Sabine Marcelis contributed a pink onyx bathroom sculpture, demonstrating the material’s aesthetic and functional potential. “Silentscape” by Isabella Del Grandi for Slalom, also at Alcova, focused on acoustics. This colorful sound studio installation integrated soft surfacing materials and suspended upholstered spheres to create a calming, sound-absorbing environment, highlighting acoustic system solutions. Hermès presented "Houses" by Charlotte Macaux Perelman, a luminous installation of ash wood and translucent colored paper structures at La Palota. Inspired by water towers, these glowing geometric forms displayed new cashmere fabric designs for the home. Flos’s “See the Stars Again” exhibition, curated by Calvi Brambilla at the Fabbrica Orobia, introduced 14 new lighting products. A key feature was the anniversary edition of the Arco lamp, Arco K, which showcased its lead-free crystal base. The exhibition also included sculptural displays and indoor gardens. Lee Broom’s “Divine Inspiration” presented six new lighting collections and 30 products in a gallery setting. Drawing inspiration from religious architecture, the exhibition featured unique moods in each room and included limited-edition hand-sculpted pieces, such as a broken pendant light in the Requiem collection. Amine El Gotaibi’s 300-pound ceiling-mounted weaving for Beni Rugs, titled Spoken Lines, was unveiled at Alcova. This site-specific artwork, made from 80 feet of natural wool, set the stage for a collection of 10 rugs and was crafted by a cooperative of female weavers in Morocco. Caffè Populaire, a collaboration between Lambert & Fils and DWA Design Studio, offered an _aperitivo_ garden at Alcova. The installation combined sculptural lighting from Lambert & Fils with flowered wallpaper by Superflower and various plantings. It featured an elevated interior garden and a water sculpture, contrasting Brutalist lighting forms with hyperrealistic floral imagery. Finally, "Holotype" by Refractory, a newly launched furniture brand, was presented at Alcova’s E/Space building. The installation created a unique sensory experience with the scent and visual presence of turmeric, used to tint concrete walls and piled on the ground. This backdrop framed Refractory’s artisanal furniture and lighting pieces, crafted from materials like cast bronze and solid black walnut, and incorporated paleontological specimens and imagery of America’s West. #MilanDesignWeek #InstallationArt #ProductDesign #InteriorDecor #FurnitureDesign #LightingDesign #TextileArt #MaterialInnovation #ExperientialDesign

The fashion brand Peter Pilotto, known for its vibrant and intricately embroidered clothing, has expanded its creative vision into the realm of home design with a three-storey takeover of a townhouse in Cromwell Place, South Kensington, London. This initiative is part of the Brompton Design District’s ‘Other Stories’ for the London Design Festival. The pop-up space, which includes elements of a gallery, a vibrant home, and a showroom, is an extensive iteration of a temporary space the brand previously opened nearby. Central to this installation are the colourful ‘Arnold Circus’ stools by Martino Gamper, a long-time collaborator and friend of the brand. These angular stools, originally featured in Peter Pilotto’s A/W 2017 show, are now available upholstered in the brand's distinctive fabrics, bridging the gap between fashion and furniture. The pop-up features an eclectic assemblage of exclusive designs from a host of artists and designers, reflecting the brand's personal inspirations and collaborations. The curated two-room space showcases furnishings previously seen in Peter Pilotto’s A/W 2017 runway show, which was inspired by domestic interiors. This includes a triptych of paintings by Peter McDonald, a geometric print sofa designed by Bethan Laura Wood, and colourful tufty rugs by Max Lamb. Co-founder Peter Pilotto explains that the installation aims to share the inspirations that surround them and their brand, replicating the feeling of being in their friends' homes or studios. The South Kensington installation also features a large dressing room with colour-blocked mannequins, clothes hangers, and fabric screens. The third floor displays the brand’s A/W 2017 collection, which includes embroidered tweed outerwear, velvet dresses with leaf details, and knitwear adorned with Peruvian motif patches. These fashion pieces are interspersed with artworks and furnishings by McDonald, Lamb, Wood, and Schmid McDonagh. Further enriching the space are delicate vases and jugs by glassblower Jochen Holz, who also designed a range of organic curving earrings for the brand’s current collection. Hand-knotted rugs made by artisans in Ecuador and graphic blankets spun from recycled yarns from previous collections also contribute to the eclectic decor. Artist Francis Upritchard, a long-term collaborator, created the ceramics displayed throughout the space. Upritchard has previously collaborated with Peter Pilotto on scarves and incorporated her illustrations into the brand’s S/S 2017 collection. The decision to integrate catwalk details into more permanent settings stems from Peter Pilotto’s desire for longevity beyond fleeting show sets. The space demonstrates how design elements can be translated into different, more enduring applications. Martino Gamper, a frequent collaborator, highlights the conversational and collaborative nature of their work, where Peter and Christopher infuse their sensibility into his designs. The project underscores the brand's appreciation for the slower, more considered pace of the design world, contrasting it with the rapid seasonal cycle of the fashion industry. The founders emphasize the importance of London's supportive creative community, fostering a continuous exchange of ideas and mutual interest among designers. #PeterPilotto #LondonDesignFestival #TownhouseTakeover #MartinoGamper #InteriorDesign #FashionMeetsDesign #CreativeCollaboration #TextileArt #BethanLauraWood

Milan Design Week and Salone del Mobile, annual events in April, draw a global audience of designers, curators, buyers, editors, and visitors. This week serves as a hub for creative ideas and industry discussions, offering insights into future trends in interiors, product design, and architecture. Four interior design experts from Arighi Bianchi, ROCCIA, Apollo Blinds, and My Fitted Bedroom analyze the potential impact of this year's key trends on UK interiors. One significant trend is "Playful Maximalism," indicating a shift away from subdued minimalism towards bold, expressive designs. This approach embraces vibrant colors, whimsical forms, and a mix of eclectic materials, as seen in Louis Vuitton’s flower-shaped record player and Loewe’s artistic teapots. Gavin Farrington of ROCCIA notes that this trend, especially in kitchens and bathrooms, encourages bold tile choices, expressive textures, and unexpected color pairings like deep emeralds with blush pinks or terrazzo floors with sculptural brassware. Maximalism emphasizes curated expression through purposeful layering of patterns, finishes, statement lighting, and art. Lucy Mather of Arighi Bianchi adds that this trend promotes freedom and personal reflection in home decor. Another emerging trend is "The Reflective Renaissance," characterized by the widespread use of shiny chrome, aluminum, and mirror finishes. Examples include Hiroto Yoshizoe’s ‘ubique’ lights and Nilufar Depot’s ‘Silver Lining’ concept, highlighting luminosity and depth. Lucy Mather believes this trend is gaining momentum in the UK, especially in smaller spaces where reflective materials can bounce light, add depth, and uplift a room without extensive structural changes. Mirrored coffee tables or chrome light fittings can transform spaces with limited natural light. The key is balance, using well-chosen high-gloss elements to make rooms feel bigger and brighter, while also creating tactile contrast when paired with plush fabrics like velvet or boucle, as observed by Matt Thomas from Apollo Blinds. The "Fusion of Fashion" trend sees major fashion houses integrating their brand DNA into home interiors. Gucci reinterpreted its bamboo motif, Prada focused on sustainability with discussions on a vintage train, and Dolce & Gabbana revitalized baroque print furniture with vibrant patterns. Missoni Home’s debut boutique further solidified the connection between fashion and home decor, emphasizing storytelling through spaces and objects. Lucy Mather appreciates how interiors are becoming as expressive as fashion, driven by inspiration from online magazines, Instagram, TikTok, and Pinterest, leading to increased confidence in color, curated clashes, and layered textures. Finally, "The Human Touch" highlights a return to craft and tradition, focusing on human-centric design and inclusivity. SaloneSatellite’s ‘New Craftsmanship’ theme underscored personal connection and wellbeing. Brands like Cassina and Natuzzi revisited their archives, reinterpreting heritage with fresh energy. New furniture lines with organic curves and immersive sensory installations were designed to evoke emotion and enhance mood and wellbeing. Megan Baker of My Fitted Bedroom notes that this trend reflects a desire for furniture with purpose, precision, and personality, moving away from disposable trends. It emphasizes creating spaces that make life easier, more beautiful, and deeply personal, where comfort and emotional connection are paramount. The overarching theme observed by all experts is the increasing role of technology in home design, with installations at Fuorisalone and LG demonstrating the blend of physical and digital worlds. #MilanDesignWeek #SaloneDelMobile #InteriorDesign #PlayfulMaximalism #ReflectiveRenaissance #FashionFusion #HumanCentricDesign #HomeDecorTrends #ProductDesign

The Interior Design Show (IDS) Toronto returns to the Metro Toronto Convention Centre (North Building), offering a comprehensive experience for enthusiasts of interiors, home decor, architecture, technology, and art. The event, held in January 2026, features immersive environments, insights from celebrity designers, presentations by local and international brands, and innovative installations. It commences with an Opening Night party, transforming the show floor into a stylish lounge with live performances and DJ sets, marking the official start of Toronto Design Week. One of the main attractions is the "How We Work" feature, which explores the future of productivity through narrative-driven, cinematic environments. Collaborative design teams, including Ste. Marie x Moooi and 3H + Syllable Design, present installations that investigate the impact of workspaces on creativity, focus, and wellbeing. A notable exhibit within this section is the "Pomodoro" installation by BDP Quadrangle, which provides a physical interpretation of productivity cycles using light and texture. The Central Bar at IDS, named "Field of Interaction," serves as an interactive art installation created by Yury Goncharov and Alina Tacmelova. This space combines cocktail service with artistic engagement, featuring floating threads symbolizing human connection and a large "social rock" bar that allows guests to experience art from within. The show also highlights "Colour Drenching," a major trend emphasizing bold, saturated hues. Benjamin Moore showcases its 2026 Colour of the Year, Silhouette AF-655, a charcoal-plum shade, demonstrating how confident, monochromatic aesthetics can be integrated into home environments through brands like Hollis + Morris. The event features a distinguished lineup of speakers, including Canadian design figures such as Tommy Smythe, Brian Gluckstein, and Colette van den Thillart. International design icons, including Yves Béhar of Uber's founding team, Eames Demetrios, and architect Tatiana Bilbao, also contribute to the program. A keynote address titled “Rethinking AI’s Impact on the Business of Design” explores how artificial intelligence is transforming the design industry. IKEA Canada returns to IDS with a 600 sq ft immersive kitchen experience. This exhibit demonstrates practical and affordable world-class design solutions, showcasing a main kitchen, a hidden prep kitchen, a dining area, and a walk-in pantry. Another highlight is ILLUMINATE, a new feature curated by ThinkL Lighting Studio. This immersive "tunnel of light" combines art, technology, and design, presenting innovative lighting solutions from brands such as Anony and Delta Light. IDS also introduces the Furniture Forecast, a debut gallery-style showcase curated by Azure Magazine. This feature highlights the year's most exciting design innovations, including the Canadian premiere of works from international brands like Moooi, HAY, and SEM Milano. It provides an exclusive look at groundbreaking products such as Yves Béhar’s modular Peaks Sofa and Nicholas Baker’s Haybale Lounge Chair, emphasizing sustainable materials and contemporary silhouettes. Additionally, Atriani presents its evolving artistic direction, featuring rich, moody hues like terracotta and burgundy with deeply textured fabrics. Their booth showcases the debut of the Ottagono Coffee Table set and the Tuscano Chair, alongside updated versions of their core collection, like the Cielo Arm Chair, coinciding with the opening of their second Toronto showroom. #IDSToronto #InteriorDesignShow #DesignTrends #HomeDecor #Architecture #InteractiveArt #DesignInnovation #TorontoEvents #DesignWeek

Milan Design Week annually transforms the city's historic streets with a multitude of installations, performances, and interventions, captivating visitors with creative displays in shop windows and hidden courtyards. In recent years, fashion brands have increasingly participated, extending their design expertise to furniture, interiors, and architectural spaces. This integration showcases a growing trend of interdisciplinary collaboration between fashion and design industries. Among the highlights of Milan Design Week 2019, Marni's 'Moon Walk' installation draws inspiration from celestial themes, merging 'primitive fascinations with the imagination of the future.' This project features a collection of brightly colored chairs, loungers, stools, and tables crafted from innovative materials by Colombian artisans, with whom Marni has a long-standing collaboration. The designs reflect an exploration of unexplored forms and textures, bringing a unique artisanal touch to the event. Jil Sander's 'Adjacent Field' installation, a collaboration between creative directors Lucie and Luke Meier and artist Linda Tegg, emphasizes sustainability and spontaneity. The Jil Sander headquarters in Milan houses a botanical display comprising mosses, succulents, weeds, herbs, and flowers, illuminated by a sophisticated lighting design by Nic Burnham. This installation transforms the space into a natural oasis, highlighting the beauty and importance of biophilia in urban environments. COS, an early adopter of Milan Design Week participation since 2012, partnered with architect Arthur Mamou-Mani for 'Conifera.' This futuristic bower, constructed from 3D printed wood and bioplastic conical bricks, occupied the courtyard of the historic Palazzo Isimbardi. The project exemplifies the brand's commitment to innovative design and sustainable practices through the use of advanced manufacturing techniques and eco-friendly materials. Tod's No_Code Shelter, a joint effort between Tod's and architect Andrea Caputo, created a multi-room exhibition within a cavernous space adjacent to the National Museum of Science and Technology. Surrounded by reconstructions of Leonardo da Vinci's inventions, the installation delved into themes of shelter, sustainability, and safety in contemporary society, prompting reflection on modern living challenges and solutions. Miu Miu presented 'M/Matching Colourstool,' a playful collaboration with creative agency M/M Paris. This design features a perforated linden wood stool that allows for customization with over 300 colored 'matchsticks,' offering owners a personalized decorative experience. The stool debuted at Milan's Teatro Gerolamo, underscoring Miu Miu's vibrant aesthetic and engagement with artistic expression. Issey Miyake, on its third appearance at Milan Design Week, collaborated with architect Jólan van der Wiel for 'The Strange Attraction of Water.' The piece, 'Journey of a Raindrop,' integrates water and design to simulate a raindrop's journey through various elements, showcasing an understanding of the natural world and its influence on creative expression. This installation offers an immersive experience, blending natural phenomena with artistic interpretation. Finally, Raf Simons and Kvadrat continued their collaboration with 'No Man's Land,' an installation at Garage 21 that explores the 'microarchitecture of yarn.' The exhibit featured apocalyptically styled soft furnishings, a prefab house by Jean Prouvé, and catering from London's Rochelle Canteen. This project highlights the innovative use of textiles and examines the intersection of fashion, architecture, and interior design in creating conceptual spaces. #MilanDesignWeek #FashionInstallations #InteriorDesign #ArchitecturalSpaces #SustainableDesign #ArtisanCraftsmanship #Biophilia #3DPrinting #TextileInnovation #CustomizableFurniture

The London Design Festival 2025 showcases a dynamic exploration of wood, challenging its traditional perceptions and highlighting its versatility through innovative designs. This year’s festival features numerous projects that push the boundaries of this everyday material, ranging from experimental uses of discarded offcuts and material combinations to the extraction of pine resin and novel manipulation techniques. Designers emphasize wood's environmental benefits and its adaptability, positioning it as a material perfectly suited for future design. Many young designers are redefining wood's potential. Blake Carlson-Joshua of B.C. Joshua, for instance, has transitioned from paper pulp to hardwoods, incorporating hand-painted aluminum inlay into his work. He notes that modern systems like CNC and laser cutting have significantly broadened creative possibilities in wood design. The festival also includes 'Grain Pile,' an exhibition at Clerkenwell Fire Station, where Max Radford Gallery collaborated with British furniture maker Ercol. Six London-based designers, including Lewis Kemmenoe, reimagined Ercol's wooden furniture, producing contemporary stools, tables, benches, chairs, and a rocking chair. Concurrently, the American Hardwood Export Council (AHEC) at Material Matters in Holborn spotlights emerging talents such as Andu Masebo, Daniel Schofield, and Anna Maria Øfstedal Eng. These designers craft furniture from 'No.1 Timber,' an underused, knotty hardwood grade, in partnership with Benchmark workshops. This initiative promotes a sustainable approach to material selection, embracing natural imperfections over demanding pristine materials. Additionally, Material Matters hosts the Wood Awards, exhibiting its 2025 shortlist, which features a range of wood-based creations from small furniture pieces to Feilden Fowles’ timber pavilions at the Natural History Museum gardens. These collective efforts demonstrate that tradition and innovation are complementary forces in wood design, revealing surprising new possibilities for a material with a long history. The article highlights seven specific projects that exemplify this innovative spirit. Brogan Cox and Nat Maks, inspired by Margate's tides, created 'Tides' tables using marbled timber surfaces. These sycamore pieces are CNC-machined, hand-finished, and then dipped into swirling inks. B.C. Joshua's 'Dogtrot II' stool, made from CNC-cut British ash with hand-painted aluminum inlays, draws inspiration from the Harlem Renaissance and African American history, featuring motifs of Black cowboys. Lewis Kemmenoe's 'Patchwork Rocking Chair,' crafted from ash and oak including factory waste, incorporates a spindle back with solid, paneled sides and distinctive patchwork detailing, transforming familiar forms. Jacob Marks explores pine resin, a historically significant material displaced by petroleum, showcasing its potential in contemporary design through various objects like handles, lights, and furniture, as well as a sustainable composite material. Darren Appiagyei’s 'Ignatius' vessels, made from cherry and horse chestnut wood, demonstrate his evolution into a wood artist through intricate pyrographic finishes. Tabitha Isobel and Dom Callaghan's 'Ferro' collection, including a side table, mirror, and wall light, utilizes London Plane timber sourced from felled city trees, presenting clean lines and a checkerboard pattern. Finally, Shintaro Oku of KOPPA showcases zero-waste designs using camphor wood off-cuts from Kagoshima, Japan, transforming them into smooth, textural forms and stackable cups dyed with natural methods, embodying a commitment to sustainability. #LondonDesignFestival #WoodDesign #SustainableMaterials #FurnitureDesign #MaterialInnovation #Craftsmanship #DesignExhibitions

Milan Design Week 2023, the first to return to its regular April schedule since 2019, showcased significant shifts and emerging trends in interior design. Attendees observed a strong emphasis on comfort and inviting silhouettes, with “Squish Is the New Blob” emerging as a dominant theme. Oversized, plump seating, such as Gal Gaon’s Macaron chairs at Nilufar Gallery and Cassina’s Moncloud sofa by Patricia Urquiola, highlighted a preference for soft, curvaceous forms designed for relaxation. Fendi Casa also embraced this trend with its Blow Up modular sofa, indicating that comfort remains a top priority in contemporary design. Outdoor living spaces are undergoing a technicolor transformation, moving away from traditional neutrals to incorporate vibrant hues and pastels. Joana Vasconcelos’s new indoor/outdoor BomBom chairs for Roche Bobois exemplify this trend, inspired by Portuguese sunsets and transforming showrooms into kaleidoscopic displays. Flexform and Dedon also introduced colorful outdoor furniture, with Dedon developing a unique color-shifting fiber for its seating, underscoring a desire for playful and expressive outdoor environments. Nature-inspired design, specifically “Moss-Core,” is another prominent trend, moving beyond subtle nods to nature to an immersive integration. Buccellati’s exhibit, featuring accessories nestled among carnivorous plants curated by Lily Kwong, and Forma Rosa’s ceramics paired with real flora and fauna at Alcova, illustrate this approach. Rinck’s designs incorporating undulating vine motifs further highlight the trend of intertwining design with natural elements, expected to influence textiles, rugs, and soft furnishings. Lighting is becoming more portable and versatile, reflecting a move towards indoor-outdoor living. Euroluce, the biennial lighting fair, featured portable lamps that can be easily moved, exemplified by Ginori 1735’s perfume bottle-inspired lights designed by Luca Nichetto, and Tom Dixon’s miniature versions of popular silhouettes. Italian design house Porada also contributed with the Ekero Move, a small, portable wood lamp, showcasing the growing demand for flexible and functional lighting solutions. Murano glasswork is experiencing a contemporary resurgence, with new designers breaking into the traditional space. Barbini Specchi Veneziani’s exhibit at Alcova showcased traditional Venetian glass alongside modern interpretations by emerging artists like Lucia Massari, whose confectionary Toppings chandeliers were displayed at Nilufar Depot. Dolce & Gabbana’s collaboration with Bradley Bowers on the chrysalis-like Fiosa vase, and Sofia Zevi Gallery featuring Akira Hara’s intricate vessels, demonstrate a fresh approach to this heritage craft. Aluminum is gaining traction as a preferred material, appreciated for its lightness and versatility. At Alcova, Arthur Vandergucht presented industrial tables and stools made of aluminum, emphasizing minimalist design and functional adornments. Kiki Goti’s debut collection also featured aluminum components in sconces, candlesticks, and mirrors, showcasing its playful potential. Ledongil Workshop from Korea presented functional objects with stainless steel bases and aluminum plates coated in glass fiber, creating a light, plastic-like appearance. Trompe-l’œil effects are adding a chic, deceptive element to design. Rinck, the French cabinetmaker, presented furnishings with subtly marbled surfaces that, upon closer inspection, were revealed to be lightweight composites. The Touch Wood duo developed a unique terrazzo using wood chips, challenging traditional material perceptions. Additionally, N/A, a design partnership between Natalia Triantafylli and Andrew Scott, utilized 3D printing to create clay mirrors and vessels based on scanned objects, blending traditional craft with digital aesthetics. Finally, textile design is focusing on sustainability and innovative production methods. Goran Sidjimovski’s BOI collection featured home textiles knitted from dead-stock yarns, organic cotton, and recycled polyester, with a production process that minimizes waste. Atelier LUMA presented a wool tent with a working felt machine and floor pillows woven from palm leaves, highlighting alternate uses for underloved textiles. Demeter Fogarasi’s “Frozen Textile” chair, made from a heat-pressed jute-based biocomposite, showcased how innovation can create inviting and comfortable forms from unexpected materials. #MilanDesignWeek #InteriorDesignTrends #FurnitureDesign #SustainableDesign #LightingDesign #MaterialInnovation #OutdoorLiving #TextileArt #DesignExhibitions

This article details the extensive renovation of the historic Miles Costin House in downtown Wilmington by homeowners and interior designer Paula Warren and her husband, Chan Warren. Purchased in 2020, the nearly 7,000-square-foot, four-story Italianate-style home, built in 1855 by architect James F. Post, underwent a complete transformation across all 22 rooms. The Warrens moved from Washington, D.C., seeking a warmer climate and a vibrant town, but initially underestimated the scale of the project, especially the challenges of restoring a historic property. The renovation began with the basement, a laborious process that involved stripping everything down to the dirt, taking almost a year to complete. This space was converted into a cow-themed Airbnb named 'Steer on Dock'. Following the basement, the couple tackled the main house, where Paula's design philosophy of eclectic style came to life. She blended bold colors, fun patterns, contemporary fixtures, and unique vintage finds to modernize the once-dated dwelling while honoring its historical grandeur. Key design choices include painting the dining room and parlor in Edgecomb Gray by Benjamin Moore, while the kitchen features White Dove walls and Chantilly Lace cabinets and trim. Paula, known for her frugal and secondhand shopping approach, sourced many pieces from local estate sales, Facebook Marketplace, and Paper Wood Vintage, valuing the character and quality of older items. Modern fixtures were acquired from Capitol Lighting, Shades of Light, and Anthropologie. The kitchen was significantly updated with leathered Taj Mahal quartzite counters by Marmolite Granite & Marble, new pulls, and redesigned layout to incorporate a functional island. Architectural details of the Miles Costin House, such as the grand center staircase spanning three floors, detailed crown molding, thick paned windows, and Greek Revival fireplaces, were preserved. The house is also notable for having one of Wilmington's few mansard roofs and a unique side piazza with floor-length walkout windows, along with distinctive 'come-and-go' front porch stairs. These historical elements were integrated with contemporary design choices, such as curvilinear light fixtures, to create a harmonious blend of old and new. Further renovations included Chan’s second-floor office, which was wallpapered in Phillip Jeffries grasscloth (Manila Hemp in navy). The five bathrooms were updated with creative tile layouts, wall-mounted faucets, and modern fixtures, with four of them being completely gutted. The primary bathroom, formerly a small bedroom, was transformed into a luxurious suite with a fireplace, cappuccino station, and flat-screen TV, featuring Tesoro Bianco marble vanity tops. The primary bedroom boasts a patterned Scalamandre Raphael wallpaper by Sandberg. Children's rooms and guest rooms on the third floor also received fresh paint, such as Cedar Path and Aspen Skies by Benjamin Moore. Exterior restorations included the front porch, side veranda, back deck, and a roof replacement. After two years, the Warrens, along with their French bulldog Atlas, now enjoy their uniquely restored home and its vibrant downtown Wilmington location. #HomeRenovation #HistoricHome #InteriorDesign #EclecticStyle #WilmingtonNC #HomeDecor #MilesCostinHouse #DIYRenovation

Milan Design Week transforms the city into a global design hub, attracting attendees to both Salone del Mobile and Fuorisalone. This year's event showcases a diverse range of installations, highlighting innovative approaches to design, lighting, and materiality. Atelier Biagetti, a recurring favorite at Fuorisalone, presents "The King," an exploration of obsessions inspired by Elvis Presley. Their installation reimagines a fantastical living room featuring "The King Sofa," a modular piece accompanied by guitar cases cleverly reinterpreted as tables with intricate Ravenna mosaics. This piece exemplifies their propensity for the impossible and their unique artistic vision. Ross Gardam, an Australian lighting designer, offers "Transcendence," an exhibit focused on the allure of illuminated glass. Gardam, known for creating meditative moods with his fixtures, demonstrates his broad talents and deep fascination with glass's ability to transcend physical boundaries. The installation promises a dynamic curation of luminaires, showcasing the material's unparalleled qualities. Giopato & Coombes, Treviso-based lighting masters, unveil "18 Pockets" after six years of dedicated research. This exhibit provides a glimpse into their creative process, highlighting the magical qualities of the immaterial. Their previous fixtures are transformed into 18 unique luminaires through a complex system of weight and balance, creating charming and poetic combinations. Galerie Philia's "Desacralized" exhibition takes place in a deconsecrated 11th-century Milanese church, fittingly exploring the theme of desacralization. Over 20 artists from the gallery's roster contribute to this unique setting. Notable pieces include Studiopepe's octagonal marble side table, inspired by Italian baptisteries, Kar Studio’s chair, drawing inspiration from ancient Chinese Shang Dynasty script, and a monumental chandelier by Morghen Studio, designed to offer a transformative experience of light within the historic space. SolidNature returns with "Beyond the Surface," an OMA-designed installation that metaphorically connects quarrying stone with the act of dreaming across seven distinct rooms. A highlight is Sabine Marcelis’s lustrous table, an ombré glass coffee table anchored by impressive stone blocks, demonstrating her experimental approach to materials. Objects of Common Interest, composed of Eleni Petaloti and Leonidas Trampoukis, presents "Poikilos." Inspired by ancient Greek references to iridescence and insights from Romanian artisan Ovidiu Colea, their ethereal objects and tables with opalescent finishes and sinuous curves inject energy into the Nilufar Depot. Loewe Chairs, under Jonathan Anderson's direction, reinterprets chairs into distinctive totems through an emphasis on texture, personality, color, and weaving. The display integrates materials close to Loewe’s brand identity, such as leather and raffia, with unexpected techniques like incorporating thermal blankets, elevating the humble stick chair into a canvas for elaborate woven decoration. Suchi Reddy, founder of Reddymade Architecture and Design, collaborates with Lexus on "Shaped by Air," an installation focused on carbon neutrality. Visitors navigate a forest of Matisse-like forms to discover a life-sized interpretation of the Lexus Electrified Sport, designed to evoke the sensation of being shaped by air. Lastly, "Bar Flora" is a collaboration between Sophie Lou Jacobsen, Nick Ozemba, and Felicia Hung of In Common With. Building on their Flora Collection, which employs Venetian glassmaking techniques to mimic natural forms, this installation transforms Palinurobar into a floral oasis. It introduces two new additions, including a sandblasted amber colorway, further enhancing their partnership. Byredo, known for its unconventional approach to fragrance, showcases "Bal D’Afrique by Dozie Kanu." Founder Ben Gorham teamed with Portugal-based artist Dozie Kanu to capture the essence of the beloved fragrance through a showcase that merges Kanu's unique objects with photographic negatives from Adjoa Armah’s _saman archive_, creating a multi-sensory experience that extends beyond traditional perfumery. #MilanDesignWeek #DesignInstallations #Fuorisalone #LightingDesign #FurnitureDesign #MaterialInnovation #CollectibleDesign #ArtAndDesign

British interior design continues to be a significant influence in the United States, known for its warm and welcoming aesthetic. London Design Week 2025 unveiled several key trends that are expected to gain popularity in the coming months, highlighting a shift towards more expressive and dynamic home interiors. These trends are supported by insights from professional designers participating in London's WOW!house Showhouse. One prominent trend is the embrace of asymmetry in interiors, moving away from perfectly coordinated spaces. Designers like Kelly Hoppen note a shift towards creative expression and unexpected design elements. Rupert Cunningham of Ben Pentreath Studio connects this trend to traditional English country houses, where rooms evolve organically through successive generations, adding layers without undermining the original spirit. This approach fosters a sense of history and individuality within a space. Super layered rooms are another key trend, with designers advocating for multiple layers to add depth and character. Ailsa Connery of 1508 London emphasizes that layering creates harmonious yet dynamic environments. Emma Sims-Hilditch points to the classic English country look as an ideal example, where a mix of patterns, colors, and furniture allows a home to evolve organically. Daniel Slowik reiterates this, describing it as an enjoyable, organic, and collaborative process. Lighting is also recognized as a crucial element in layered spaces, enhancing depth, highlighting forms, and creating subtle reflections, moving beyond its purely functional role. The use of vibrant colors is also a defining characteristic of British interior design, encouraging a departure from solely neutral palettes. Brigitta Freund of Spinocchia Freund stresses the role of color in shaping atmosphere, narrative, and emotion. This trend can be applied through various methods, such as painting ceilings in lively hues or using rich greens and navies for kitchen cabinets. Pattern, particularly wallpaper, is also making a comeback, with designers like Darren Price of Adam Architecture suggesting it's a reaction against overly minimalist, stripped-back aesthetics. Finally, leafy greens and botanicals continue to be a strong and enduring trend. Verdure-inspired prints, a staple of classic design, are here to stay, appearing on wall coverings and soft furnishings. Ailsa Connery highlights that leafy greens create peaceful retreats and foster a connection to nature. This trend can be incorporated through antique verdure tapestries, botanical-printed pillows, or by integrating live plants, even in small amounts. Alexander Hoyle, a plantsman and garden designer, underscores the universal appeal of plants in softening spaces and adding color and interest. #BritishDesign #InteriorTrends #Asymmetry #LayeredRooms #VibrantColors #BotanicalPrints #HomeDecor #LondonDesignWeek #DesignInspiration

The article explores eclectic minimalism, a design trend that merges the diverse aesthetics of eclecticism with the simplicity and intentionality of minimalism. This style is characterized by the incorporation of multiple styles, ages, colors, and textures, while maintaining a sense of breathing room through neutral color palettes, sparse furniture, and clean lines. It offers a solution for individuals who appreciate varied designs but prefer an organized, uncluttered living space. Erika Dale, an interior designer and founder of Erika Dale Interior Design, explains that eclectic minimalism caters to those who value the relief of negative space and the intentionality of minimalist decor but desire to introduce more color, personality, and quirkiness. This is achieved by featuring unique silhouettes, artwork, varied colors, textures, and patterns, moving beyond the typical monochromatic minimalist interior. The trend encourages individuals to select specific pieces that reflect their personal style without overwhelming the space, distinguishing it from eclectic maximalism. To successfully implement eclectic minimalism, Dale advises mixing furniture from different styles and incorporating eclectic decor items such as vintage treasures, personal collections, unique artwork, and textiles with unexpected variations in color and pattern. Crucially, these items should be treated with the same intentionality as in a minimalist design, ensuring each piece stands out with ample adjacent negative space. This approach prevents the space from appearing cluttered or chaotic. The article clarifies a common misconception about minimalist interior design, emphasizing that it does not equate to sterile, dull, or lifeless environments. Australian furniture company Esho Gallery highlights that eclectic minimalism is for those who value diversity and uniqueness while striving for order and simplicity. They demonstrate this by pairing modern sofas with vintage armchairs and mid-century tables, alongside contemporary lights mixed with those from other eras, showcasing how different styles can create contrast and interest. While minimalism is often associated with neutral tones, eclectic minimalism encourages the use of color. Dale suggests that the clean airiness of minimalism can be maintained even with a broader color palette, as the openness primarily derives from negative space, not solely from a lack of color. A practical approach involves starting with furniture made from natural materials like wood, stone, glass, and metal, which are characteristic of minimalism. Subsequently, vibrant statement pieces that reflect personal style, such as beaded pillows, thrifted vases, or bright woven planters, can be introduced. The key is to be intentional about the chosen textures and patterns, allowing these eclectic elements to infuse charm, character, and color into the home. #EclecticMinimalism #InteriorDesign #HomeDecor #DesignTrends #MinimalistStyle #PersonalizedSpaces #DecoratingTips #HomeImprovement

Terrasza, a new 'phigital' platform dedicated to outdoor living design, launched its inaugural event in Barcelona as part of Barcelona Design Week (BDW) from October 16th to 27th, 2023. This event aligns with BDW's theme, 'Design for Human Future,' and the United Nations' 17 Sustainable Development Goals (SDGs), specifically promoting SDG number 18, which broadly covers sustainability, well-being, responsible strategies, social impact, techno-humanism, and diversity. Guendalina Perelli, the founder of Terrasza, initiated the platform to address the evolving relationship between individuals and nature, particularly amplified by the pandemic and climate change. She observed a growing recognition of the importance of outdoor living spaces, leading many indoor furniture companies to venture into outdoor collections. However, a dedicated event or comprehensive online platform for exterior design, encompassing all product categories for outdoor spaces, was lacking in the market. Terrasza aims to fill this void by providing a dynamic space for dialogue and contemplation, connecting companies, professionals (architects, designers, researchers, experts), and artists. It seeks to integrate the best in design and production for outdoor living into a single 'online and offline container,' including itinerant events. The choice of Barcelona for the launch was strategic, as the city is renowned for its contemporary architecture and open-space designs that foster community engagement. Perelli noted Barcelona's paradigm shift where design and architecture directly influence social behavior and are tangible values for residents and tourists alike. The city's meticulous attention to aesthetic and functional quality in urban furnishings, lighting, sidewalks, and green spaces made it an ideal location. What distinguishes Terrasza from existing events is its exclusive focus on outdoor living and its transdisciplinary approach. The platform's primary goal is to foster synergies, dialogue, and reflection on ecological, lifestyle, and creative challenges. This innovative perspective aims to establish outdoor design as a distinct category in thought and market, highlighting all entities involved in the global outdoor living sector. Terrasza is designed to be both a 'business to buyers' event and a platform for professionals to share their expertise, experiences, achievements, and future concerns. This dual approach acknowledges the broad appeal of design, extending beyond professionals to the general public, as observed during events like Milan Design Week. The outdoor furniture market is experiencing significant growth, with a global valuation of $45.08 billion in 2020, projected to reach $66.55 billion by 2028. Key trends in this market include a steady recovery after the 2020 downturn, with strong growth in regions like the United States, Canada, China, France, and Germany. Consumers increasingly prefer environmentally friendly materials, with wood accounting for approximately 55% of material usage and natural fabrics showing a projected annual growth rate of 4-5% until 2027. Resins and metals, making up 15% and 10% of the market respectively, are chosen for their durability, lightweight properties, low maintenance, recyclability, and aesthetic appeal. The residential market holds the largest sales share at 60%, while the hospitality sector is also growing. Dining sets are expected to be the top-selling category, projected to cover 48% of the U.S. outdoor market by 2027. Research identifies increased affordability, rising demand for outdoor-oriented travel, new outdoor-conscious urban real estate developments, a renewed desire for outdoor living and shared natural spaces, and the availability of multichannel shopping options as key growth drivers. #OutdoorLiving #ExteriorDesign #PhigitalPlatform #BarcelonaDesignWeek #SustainableDesign #FurnitureDesign #BiophilicDesign #DesignEvents #LifestyleDesign

Livingetc's 'Design, Directed' dinner series serves as a unique platform for fostering connections and exchanging ideas within the design community. These salon-style supper clubs are intentionally structured to be informal, bringing together a diverse group of creatives, including interior designers, muralists, textile makers, and brand leads. The objective is to facilitate genuine conversations about the evolving landscape of decor, trends, and the future of design, free from the conventional constraints of industry events like press conferences or formal pitches. This intimate setting encourages the formation of new relationships and collaborations among passionate professionals, all while enjoying curated culinary experiences. The most recent installment of the 'Design, Directed' series, organized in partnership with Farrow & Ball, took place at Gold in Notting Hill. The event's atmosphere was meticulously crafted to enhance the experience, featuring a long dining table adorned with soft, desert-inspired hues and striking sculptural floral arrangements by Calluna. Each place setting was thoughtfully completed with bespoke matchboxes from Compton Marbling, adding a touch of charm and bespoke craftsmanship to the evening. These details underscore Livingetc's commitment to creating an immersive and aesthetically pleasing environment for its guests. The success and impact of the 'Design, Directed' events stem from their carefully curated guest lists, which comprise influential designers, editors, and creatives whose work significantly shapes contemporary taste and design trends. The attendees at this particular dinner included prominent figures such as Pip Rich, Tiffany Duggan, Margot Tsim, Suzy Hoodless, Joa Studholme, Lonika Chande, Charlotte Cosby, Natasha Lyon, Dhilnawaz Khan, Jason Orme, Georgia Farey, Pandora Taylor, Ellen Merchant, Kate Guiness, James Waterworth, Sarah Spiteri, Skye McAlpine, Andrew Griffiths, Queenie Ingrams, and Jo Le Gleud. Sarah Spiteri, Global Brand Director and Group Editor-in-Chief of Livingetc, highlights that the series originated from the brand's mission to 'bring life to design,' emphasizing the creation of genuine friendships and a strong community rather than just organizing events. While not a formal product launch, the evening subtly celebrated Farrow & Ball's latest color collection. This new palette is characterized by understated yet rich and historically-inspired shades, derived from everyday objects that possess a familiar beauty. Pip Rich, Livingetc's Executive Editor, noted the natural synergy between the event and Farrow & Ball, building on existing conversations about new hues among designers. The elegant tablescape naturally led to discussions about specific colors, such as Dibber, an earthy green reminiscent of aged garden tools, and Duster, a golden hue perfected over time. Marmelo, a deep, buttery orange, garnered particular admiration, with Joa Studholme likening its familiarity to morning toast. The enduring nature of the conversations and the reluctance of guests to depart served as a testament to the event's success. Even after the meal concluded, discussions continued, ideas were exchanged, and potential collaborations quietly began to form. This outcome aligns perfectly with the core philosophy of 'Design, Directed': to be a dynamic, salon-style gathering where leading figures in design can engage in meaningful dialogue, challenge perspectives, and enjoy themselves in an environment that fosters creativity and connection. The series aims to transcend the typical industry gathering, offering a more profound and enjoyable experience for all participants. #DesignDirected #InteriorDesign #FarrowAndBall #DesignCommunity #CreativeNetworking #ColorTrends #LuxuryDining #DesignInnovation #NottingHillEvent

The July London Victoria, an apartment-hotel located across from Victoria Station, offers a unique blend of residential comfort and hospitality services, catering to both short-term guests and long-stay digital nomads. Situated in a prime London location, this 114-key "urban retreat" integrates public-facing hospitality spaces, including The Idler restaurant and an associated deli, designed to provide a calming environment amidst the city's fast pace. These establishments offer urbanites an opportunity to relax and connect. The hotel's interior design, a collaboration between an in-house design team, the London and Los Angeles-based firm Fettle, and architects Studio Moren, skillfully combines comfort with adaptability. The design aesthetic pays homage to the Art Deco architecture prevalent in the area, incorporating sea foam greens, pale pinks, salmony oranges, and burgundy reds across various surfaces such as tiled walls, intricate crown detailing, and two-tone walls. The public spaces, like The Idler, feature plush banquette seating, a distinctive ceiling mural within bold molding, and herringbone-pattern parquet flooring accented with tile trim. White and black marble slabs top curved-edge counters, which are clad in tambour pattern wood slatting, adding to the sophisticated ambiance. Specific design elements like painted glass sphere pendants and select fabric upholstery contribute to the overall refined aesthetic. Accommodation options include guest rooms, suites, and two Family Apartments with interconnected rooms, alongside a co-working space, all equipped to support various aspects of guests' lives, from relaxation to remote work. The layouts are thoughtfully designed to facilitate these diverse needs. In the guest rooms, custom oak joinery provides integrated wardrobes, kitchenettes, and storage solutions. Bespoke brass pendants and discrete bedside lights with fluted shades further enhance the personalized and functional design. This thoughtful approach ensures that guests have all the necessary amenities for an extended stay, whether for business or leisure. Sustainability is a core value for The July brand, and this commitment is reflected in the material choices and furnishing strategies employed throughout the hotel. A notable aspect of the interior furnishing involves the careful sourcing and refurbishment of vintage pieces, aligning with contemporary trends in architecture and design that prioritize environmental consciousness and unique, characterful aesthetics. This approach not only supports sustainable practices but also imbues the hotel with a distinct personality that resonates with its historical context and the modern traveler's desire for authenticity. The July London Victoria differentiates itself within the hospitality sector by fostering a balance between private living and social engagement, a strategy it aims to replicate in its expanding portfolio across Europe. Andy Goodwin, co-founder and creative director of Fettle, emphasized that the design concept was developed to reflect The July’s brand values and its narrative, which is deeply rooted in the local area's history. He highlighted the multifunctional nature of the apartment-hotel rooms, which needed to accommodate relaxation, dining, and work within each apartment, complemented by dedicated meeting, flexible, and wellness areas. This holistic design ensures that the hotel serves as a comprehensive urban retreat, offering a seamless experience for its varied clientele while maintaining a strong connection to its London setting and a forward-thinking approach to hospitality. The hotel offers flexible accommodation options and shared facilities designed to create a vibrant community while still allowing for individual privacy. Its location near a major transportation hub makes it an ideal choice for a diverse range of travelers. Overall, The July London Victoria represents a contemporary solution for urban living, blending design, functionality, and sustainability to create a memorable stay experience. #apartmentHotel #LondonTravel #ArtDecoDesign #digitalNomad #sustainableDesign #interiorDesign #hospitality #urbanRetreat #fettleDesign