Fendi’s latest Design Miami showcase collaboration brims with curiosity and intrigue

Design Miami/ Basel returned for its 13th edition, showcasing a diverse collection of new creative projects, iconic designs, and conceptual interpretations within the design genre. The event, held in the Herzog & de Meuron-designed fairgrounds, featured 43 international galleries representing modern and contemporary design, alongside ten special Curio presentations and large-scale installations, marking a significant celebration of both culture and commerce. This overview highlights several key installations and collections that captured attention. One notable presentation was the ‘(Con)temporary Home’ by Brazilian brand ETEL, designed by Italian architecture firm Superluna. This Collectors Lounge was conceptualized as a domestic environment, enclosed within a steel frame that subtly separated it from the fair's activity. The interior featured a curated mix of contemporary and historical Brazilian design pieces, complemented by photographs from Ruy Teixeira. A significant portion of the furniture offered to guests for relaxation, accompanied by champagne, included pieces by Jorge Zalszupin, honoring the Brazilian master on his 96th birthday. New York gallery Friedman Benda presented Nendo’s 'Watercolour Collection,' a series of 18 pieces designed to evoke the illusion of watercolor paintings on paper. Crafted from folded metal sheets, these objects utilized a special finishing technique to mimic paper, then hand-painted to create a light blue watercolor effect. The collection reimagined traditional furniture forms into abstract compositions, with the paint interacting with the shapes to produce a poetic, illusory quality. Belgian gallery Maniera collaborated with Dutch architect Anne Holtrop to present new works, including furniture, lighting, and accessories. These pieces formed micro-architectures that reflected Holtrop's distinct aesthetic, characterized by his unique sense of shape and material. Maniera's ongoing commitment involves commissioning architects to translate their signature styles into smaller-scale design objects. Design at Large, the annual initiative by Design Miami/ Basel, was curated by photographer François Halard in 2018. Halard explored the enduring impact of design through a series of nine diverse projects from the 20th and 21st centuries. The exhibition featured architectural elements by Jean Prouvé, interiors by Gaetano Pesce for the Dujardin children’s store, and a micro-architecture by RDAI. Halard's curatorial vision aimed to connect past influences with present and future design trends, emphasizing the continuity of ideas in art and design. ‘A New Layer Taiwan,’ presented by Spazio Nobile Gallery, showcased an initiative by the National Taiwanese Craft Research and Development Institute. This project fostered collaborations between Taiwanese craftsmen and international designers. Curator Lise Coirier brought together seven designers who worked with local artisans to produce a range of pieces, including ceramic works by Anton Alvarez and BCXSY, bamboo furniture by Sebastian Herkner and Jin Kuramoto, and lacquer objects by Julie Richoz and Wonmin Park. Olivier van Herpt, an Eindhoven graduate, presented 'Blue and White' for VIVID. This collection highlighted his unique ceramic 3D printing technique, which creates a distinct aesthetic. The series drew inspiration from the Delft tradition of blue porcelain, with cobalt pigment applied by hand before extrusion, resulting in a radial gradient pattern that symbolizes the collaboration between human interaction and machine precision. This project was initially commissioned by the Gemeentemuseum Den Haag. Calvin Klein made its debut at Design Miami/ Basel with an installation featuring Gaetano Pesce’s 'Feltri' chair, designed in 1987 for Cassina. The installation, inspired by a barn, was reinterpreted by creative director Raf Simons using vintage American heirloom quilts from the 19th and 20th centuries. It showcased 100 limited edition numbered chairs, marking a unique cross-disciplinary presentation. Lastly, 'Origins: Design from the Ancient World' was presented by Galerie Chenel and Oscar Humphries. Following his successful Curio installation from the previous year, Humphries, in collaboration with Paris’ Galerie Chenel, displayed Roman design for the first time at a design fair. The collection featured Greco-Roman artifacts, design, and architectural elements from 200 BC to approximately 200 AD, including columns, capitals, urns, and fragmentary sections from interiors and furniture. This exhibition aimed to introduce this material to a new audience and provide a fresh context, demonstrating the fundamental synergy and enduring influence of ancient design on contemporary genres. #DesignMiamiBasel #CollectibleDesign #ContemporaryDesign #DesignExhibition #ArchitecturalDesign #FurnitureDesign #ArtAndDesign #InteriorDesign #Craftsmanship

Daniel Lalonde, CEO of Design Holding, discusses the company's vision and strategic plans, emphasizing its mission to be a global leader in high-end design by focusing on innovation, accessibility, and sustainability. Lalonde, who joined Design Holding in 2021, brings extensive experience from luxury brands like Nespresso and Louis Vuitton. His strategy aims to build a solid business plan and achieve global leadership in high-end design through a portfolio of complementary brands, reaching both designers/architects and end consumers via a multi-channel approach. The core of Design Holding's strategy is to allow its brands, such as Flos, B&B Italia, and Louis Poulsen, to maintain their individual heritage and DNA while fostering collaboration to leverage natural synergies. This approach has proven successful in expanding their contract business across retail, hospitality, corporate, and residential sectors. The company is committed to promoting organic growth within its existing brands while also exploring opportunities to integrate new brands that align with its high-end positioning and values. Accessibility to customers is a key pillar of Design Holding's growth strategy. Lalonde aims to make the high-end design experience less intimidating and more accessible by investing in an omnichannel approach that bridges online and offline interactions. This includes opening directly operated stores (DOS) and mono-brand stores in key global destinations like Miami, New York, Washington, Boston, Shanghai, and Tokyo. These physical spaces provide curated environments that inspire both customers and the architecture & design (A&D) community. For example, a new retail hub is planned for Manhattan’s Madison Avenue, and a B&B Italia Design Studio in Miami will showcase multiple brands. Over the next five years, Design Holding plans to pursue a four-point strategy: enhancing brand desirability through innovative products, pursuing a direct-to-consumer journey with more store openings and e-commerce investments, expanding geographical reach into North America, Greater China, and the Middle East, and strengthening its leadership in the high-end contract business. Illustrious examples of their contract work include projects for Bulgari Hotels and Rolex Stores. Sustainability is deeply ingrained in Design Holding's ethos. Lalonde emphasizes that crafting beauty must be done sustainably, viewing durability as a true embodiment of sustainability. The company challenges its brands to design long-lasting pieces with minimal environmental footprints, focusing on a circular economy model. This involves transforming frameworks and systems across the entire value chain, from sourcing and production to consumer use and end-of-life recyclability. Examples include the B&B Italia ‘Bambole’ collection and Flos ‘Almendra’ by Patricia Urquiola, which utilize recycled materials and facilitate recyclability. Additionally, Louis Poulsen’s 'PH 5' take-back scheme demonstrates a commitment to upcycling and reusing existing materials. Looking ahead to Salone del Mobile 2023 and Milan Design Week, Design Holding plans to showcase numerous new designs, with a particular focus on Maxalto. Flos will present new decorative and architectural designs at Euroluce, while B&B Italia and Fendi Casa will display their latest collections at their respective showrooms in Milan. The company's participation highlights its ongoing commitment to innovation and engagement within the global design community. #DesignHolding #DanielLalonde #LuxuryDesign #SaloneDelMobile #MilanDesignWeek #BrandStrategy #Sustainability #RetailExpansion #InteriorDesign

The importance of a well-conceived lighting plan in home design is often underestimated, frequently being an afterthought rather than an integral part of the initial concept. Good lighting significantly contributes to an inhabitant's well-being, optimizes functionality, and elevates the overall aesthetic of a room, transforming an ordinary space into something remarkable through strategic fixture selection and placement. This principle was vividly demonstrated at the recent WOW!house design exhibit held at the Design Centre, Chelsea Harbour in London, England. The exhibition featured 22 unique rooms, each crafted by leading interior designers, where lighting often took center stage. The WOW!house exhibition, open to the public for a month in June to support the United in Design charity, was not a traditional house but an innovative installation. It comprised a series of exterior and interior spaces within the atrium of the Design Centre. These spaces were diverse, ranging from entries, kitchens, dens, bars, and dining areas to libraries, bathrooms, bedrooms, and outdoor courtyards, all brimming with originality and creative design solutions. Across most of these spectacular settings, lighting played a prominent role in defining the ambiance and functionality. One of the most striking examples was the grand entry of the installation, which featured an dramatic leaf chandelier by Cox London. Victoria Davar, founder of Maison Artefact, specifically requested a five-meter ceiling height to ensure the fixture was not only accommodated but also given pride of place, asserting its visual dominance upon entry. Davar emphasized that this height aligns with classical design principles. Her design philosophy for the entry embraced a blend of classical and modern elements, where the chandelier was framed against a traditional-surround fireplace. This approach allowed each element to balance the other, creating a dialogue between the old and the new. Davar intentionally utilized negative space, leaving the wall above the fireplace blank, to allow the chandelier to stand out as a sculptural piece without visual interruption, fostering a sense of airiness. Another innovative approach was seen in the courtyard room designed by Emma Sims-Hilditch. This multi-functional space, envisioned to support various aspects of country living such as a boot room, dog wash station, and gardening area, integrated classical elements of heritage country homes with modern touches. Sims-Hilditch positioned an oversized Charles Edwards lantern as a focal point above an island, drawing inspiration from classical English country house lanterns. The lantern received a contemporary update through its coloration, painted in Farrow & Ball's Lulworth Blue. Wall lights, inspired by carriage lanterns, and pendant lights with fabric shades in corner spaces were strategically placed to layer the lighting, ensuring both functionality and comfort. Sims-Hilditch underscored the importance of soft lighting and avoiding bare bulbs, opting for a layered system that included John Cullen Lighting for downlights and Soane Britain for wall lights. The bathroom designed by 1508 London exemplified how lighting can transform a functional space into a luxurious retreat. The design studio incorporated an advanced lighting system by John Cullen Lighting and Lutron, offering three distinct illumination programs: Ritual, Revitalizing, and Revery. Paris Albert, an associate at 1508 London, explained that “Ritual” supports daily cleansing routines, “Revitalizing” enhances vanities and showers for rejuvenation, and “Revery” creates a dreamlike state for relaxation. These options, accessible at the touch of a button, elevated the bathroom experience from mere utility to a restorative escape. Interior decorator and antiques dealer Daniel Slowik presented his morning room design, emphasizing subtle, layered lighting rather than bright, centralized fixtures or intrusive task lighting. He advocated for side lights, often converting decorative vases or antique items like Arts & Crafts candlesticks into lamps, to create ambient illumination. Slowik aimed for a subdued, not overlit, atmosphere, focusing on objects that also serve as beautiful design elements. While generally disliking overt task lighting, he integrated a brass floor lamp discreetly next to a reading chair, chosen for its distressed appearance that conveyed a sense of history and permanence. The unifying theme across all these designs is the necessity for lighting to be an intrinsic component of the overall design strategy. A thoughtful approach to illumination enhances comfort and functionality, highlights the aesthetic, and can dramatically transform a room into a unique and spectacular environment. #HomeDesign #InteriorDesign #LightingSolutions #WOWHouse #DesignExhibition #ArchitecturalLighting #DecorativeLighting #SmartLighting

The article discusses the collaboration between fashion label COS and American light-based artist Phillip K Smith III for an installation titled 'Open Sky' at Milan's Salone del Mobile. This project, featured in the 2018 edition of the design fair, marks a significant departure for both parties: Smith's first brand collaboration and his initial foray into a dense urban setting, moving away from his usual desert landscapes. COS, known for its annual design collaborations since 2012 with talents like Sou Fujimoto and Studio Swine, aimed to create an experience that transcends traditional art and design boundaries. Karin Gustafsson, COS' creative director, emphasizes that the brand's collaborations are driven by passion for the artists' work rather than a desire for increased presence. She highlights that COS provides a broad brief, focusing on brand values but allowing artists creative freedom. The choice of Phillip K Smith III was influenced by the shared values of tactility, modernity, and functionality, as well as Smith's meticulous attention to detail and the timeless quality of his work, which resonated with COS' aesthetic. 'Open Sky' is strategically placed within the 16th-century Palazzo Isimbardi, an exhibition venue previously unused. Smith's sculpture, a circular mirrored structure angled at 43 degrees, reflects the sky and surrounding Italian Renaissance architecture, drawing fragmented views into the courtyard. This design aims to create a unique and personal experience for each visitor, influenced by the time of day and atmospheric conditions. The installation encourages contemplation, offering a quiet respite from the bustling Salone del Mobile. The ambitious structure, an 11ft-tall concrete form with 34 chemically polished stainless steel panels, was fabricated by UAP, an international studio specializing in public art projects. The components were manufactured at UAP's Long Island City facility, then shipped to Milan for on-site assembly. The installation's journey begins with visitors encountering the imposing concrete form, which contrasts sharply with the classical palazzo. A single opening guides them along its circumference, eventually revealing the mirrored inner surface that reflects the Renaissance architecture and the sky. Additionally, smaller freestanding sculptures by Smith are installed in the palazzo's outdoor gardens, further exploring the distillation of his larger concepts into abstract, smaller-scale works. Smith notes that COS's support was instrumental in realizing his vision, allowing the concept to remain remarkably true to his original proposal. He describes the collaboration as akin to a museum offering space and budget, indicating COS's commitment to supporting artistic ideas. With degrees in both architecture and fine art from the Rhode Island School of Design, Smith effectively merges these disciplines in his practice, creating art at an architectural scale. His architectural training informs his approach to context and detailing, ensuring the concept and experience are pure. 'Open Sky' represents a significant development in Smith's practice, allowing him to explore his ideas on an architectural scale within an urban environment, an opportunity that he suggests would have been much smaller without COS's involvement. #SaloneDelMobile #COS #PhillipKSmithIII #ArtInstallation #MilanDesignWeek #ArchitecturalDesign #ReflectiveArt #ContemporaryArt #DesignCollaboration

The Milan Design Week showcased a strong and growing synergy between luxury fashion and home décor, with several high-profile fashion houses extending their design expertise into interior furnishings. This trend highlights the increasing influence of fashion aesthetics on home design, offering consumers opportunities to incorporate runway-inspired pieces into their living spaces. Seven notable collaborations and collections stood out, demonstrating diverse approaches to this cross-industry integration. Fendi's new Casa collection, under the direction of Silvia Venturini Fendi, featured Christina Celestino’s “Ottavia” chairs. These chairs, inspired by the Roman landscape, boast a rounded back for comfort and sophistication, along with stained wood that accentuates the natural grain. The collection also included Piero Lissoni’s modular Taiko sofa system, the “Blow Up” modular seating by Controvento Studio under Gabriele Chiave, and a logo-adorned “Artichoke” pendant lamp by Louis Poulsen, reimagined in metal and yellow glass. Fendi's offerings emphasized fashion-forward color palettes such as yellow micro bouclé, pink velvet, and grey bouclé. Missoni unveiled a new line of poufs, bringing their iconic zig-zag prints and geometric patterns to life. The brand described its display as a "surreal space with decorative visions that overcome the force of gravity," offering more artistic than purely functional pieces designed to add glamour. A notable item was a circular stool embellished with Swarovski crystals, exuding a disco-inspired aesthetic. Dior Maison continued its collaboration with renowned designer Philippe Starck, presenting the latest iteration of the Monsieur Dior’s armchair at Milan’s 18th-century Palazzo Citterio. This modern reinterpretation of the classic medallion design was showcased through a sound and light extravaganza, available in various colors and materials, including a fluorescent orange toile de Jouy. Versace introduced the “Zensational” sofa, a modular seating system characterized by the brand's signature swirls and Medusa head adornment. This luxurious piece is offered in two distinctive options: crocodile-embossed leather or Baroque-print jacquard, embodying classic Versace style. Loro Piana's collection, developed with Argentinian designer Cristián Mohaded, featured 12 towering stone structures wrapped in the house’s archival interiors fabrics. The art-inspired furniture collection highlighted the transformation of raw materials into desirable items, emphasizing preservation and natural beauty. Materials like chiseled wood, undyed raw cashmere, silk velvet, and vicuña were prominently used. Loewe, under designer Jonathan Anderson, presented a collection that reimagined Welsh stick chairs. Anderson, an avid collector of these chairs, collaborated with artisans globally to transform these humble pieces into haute design objects. The chairs were adorned with various materials such as paper, twine, shearling, leather, raffia, and even emergency insulating foil, creating unique, emotionally resonant pieces. Marni collaborated with Belgian brand Serax to launch its first tableware collection, "Midnight Flowers." This 120-piece hand-illustrated porcelain set features whimsical florals and a fresh color palette, inspired by Marni's quirky-elegant runway collections. Creative director Francesco Risso noted the shared ground between ready-to-wear and tableware in their emphasis on dialogue, materiality, tactility, and sensorial emotions. These collaborations collectively underscore the expanding boundaries between fashion and interior design, bringing high fashion sensibilities into the home décor market. #MilanDesignWeek #LuxuryFashion #HomeDecor #FashionInteriors #DesignerCollaborations #FendiCasa #DiorMaison #VersaceHome

This article introduces Shadé Akanbi, a Brooklyn-based freelance pattern designer and the Creative Director and Designer behind Printed Pattern People. Akanbi's design philosophy is rooted in her multicultural upbringing, which has instilled in her a passion for creating global fusion lifestyle and brands. Her work involves translating traditional ethnic patterns and textiles into contemporary interpretations suitable for everyday use. Akanbi's creative process often begins with identifying a specific motif or detail from traditional textiles. This chosen element then serves as the central inspiration, around which she constructs new patterns using fresh colors and additional details. She is prolific in her output, creating between one to six prints daily, drawing inspiration from personal collections, client ideas, or a combination of both. Akanbi is known for her collaborations with various brands, in addition to maintaining her extensive collection of global textiles. Her first major collaboration was with Anthropologie in early 2020, where her artwork was featured in an accessories and sleepwear collection. Since then, she has partnered with notable brands such as Intermix, Zuri, S'well, Chasing Paper, Netflix, and Target. Her most recent collaboration at the time of the article's publication was with Bounty Paper Towels, as part of their Inclusive Artists Project initiative. This partnership involved her artwork being featured on the Bounty Prints collection paper towels and her image appearing on the packaging, an experience she described as surreal due to the widespread nature of the household item. The article highlights Akanbi's ambition and future aspirations. As an avid traveler, she expresses a desire to collaborate with airlines and boutique hotel brands, specifically mentioning Delta, Jetblue, Kimpton, and Hyatt, envisioning these as platforms to showcase diverse art mediums. Her interest extends to athletic footwear brands like Nike, Adidas, Puma, and Vans, reflecting her passion as a sneaker collector. Furthermore, her background as a collegiate basketball player and a fan of the NBA/WNBA drives her dream to work with her favorite sports teams. Ultimately, Akanbi seeks to partner with brands with which she shares strong personal connections, aiming to utilize these collaborations as unique avenues for artistic expression. Her personal history significantly influences her artistic vision. Akanbi recounts how her upbringing, from her mother's styling choices to her father's Nigerian cooking, and her early travels, particularly her first trip to Nigeria, profoundly shaped her as an artist. These diverse experiences, encompassing sights, sounds, textures, tastes, and emotions, have cumulatively impacted her design sensibility. Her ability to blend cultural influences and her innovative approach to pattern design underscore her unique position in the design world. The article concludes by encouraging readers to explore more of Shadé Akanbi's work via her Instagram and mentions a past collaboration where she provided a Designer Desktop wallpaper for Design Milk. #PatternDesign #ShadeAkanbi #TextileArt #CulturalFusion #BrandCollaborations #ArtisticProcess #DesignInspiration #GlobalTextiles #CreativeDirector

The article reviews "Every Wall is a Door," Superblue Miami’s inaugural exhibition, which features large-scale, immersive artworks by teamLab, James Turrell, and Es Devlin. The exhibition builds upon the visionary ideas of new media pioneer Stan VanDerBeek, who in 1966 envisioned "intermedia experience machines" that would help people process the rapid changes brought by technological innovation. VanDerBeek believed in the importance of artistically cultivated experiences to foster a new, shared vocabulary, incorporating concepts from ecology and cybernetics alongside immersive and collective audience participation. teamLab, a Tokyo-based collective of over 400 "ultra-technologists," is presented as a modern-day realization of VanDerBeek's vision. Their interactive digital installations, such as _Flowers and People, Cannot be Controlled but Live Together - Transcending Boundaries, A Whole Year per Hour_ and _Universe of Water Particles, Transcending Boundaries_ (both 2017), are central to the exhibition. These works utilize darkened rooms, large-scale projections, and intricate visual effects to create immersive environments where visitor participation directly influences the artwork. Flower petals and water particles respond to movement, and luminous flora and swirling streams contribute to a sensuous, expansive illusion accompanied by a dreamy soundtrack. The collective's populist approach encourages audience engagement, ranging from taking selfies to observing the evolving scenery, effectively transforming the gallery into a technologically enhanced "black-box" where art is "democratized." In contrast to teamLab’s vibrant sensory overload, James Turrell’s _AKHU_ (2021) offers a more subdued, perceptual experience. This installation is an iteration of his "Ganzfeld" series, featuring a white chamber that uses high-chroma light to manipulate visual perception. The LED-halo color-cycling is so gradual that it creates an illusion of stillness and ambiguity in space and time. Viewers experience shifts in tonality that are products of their own minds, highlighting the role of perceptual agency in art. This piece emphasizes that the lack of conscious control over perception is not a flaw but a core element of the artwork itself. Es Devlin’s _Forest of Us_ (2021), a London-based stage designer's contribution, concludes the exhibition. Visitors first watch a video montage that draws parallels between fractal branching in nature, such as air movement in bronchial passages, and the interconnectedness of humanity with nature. Following this, they enter a recursive, curvilinear mirror-maze with winding corridors, stairwells, and bright white lights that create infinite reflections. The accompanying cinematic sci-fi synths and slow breathing sounds contribute to an ethereal atmosphere. While the thematic link between the video and the maze might become less apparent during the experience, Devlin’s meticulous execution and background in theatrical design are evident in the installation’s visual impact and spatial choreography. Superblue Miami aims to be a next-generation art space dedicated to large-scale, immersive art, seeking to challenge and transform visitors' understanding of themselves and their relationship with the world. The curated route of "Every Wall is a Door" guides guests through a diverse array of experiential poetics, balancing high-tech spectacle with analog immersion. The installations explore themes of illusion, reality, memory, forgetting, and human agency. The ultimate success of Superblue is presented as residing not just in the artworks themselves, but in their capacity to elevate the viewer's aesthetic sensitivity, leading them to recognize the immersive potential of art and everyday life beyond the confines of a traditional museum setting. Steven Pestana, a visual artist and writer, contributed this review, drawing on his background in digital media and art history. #ImmersiveArt #DigitalArt #NewMediaArt #ArtExhibition #InteractiveInstallation #StanVanDerBeek #teamLab #JamesTurrell #EsDevlin #SuperblueMiami

Cuff Studio, based in Los Angeles, has unveiled its Common Ground collection of furniture and lighting as part of the Virtual Design Festival (VDF) x Sight Unseen collaboration. This collection is featured in Offsite Online, a virtual exhibition curated by Sight Unseen, a digital magazine focused on contemporary design. The Common Ground series includes two tables, a bench, an armchair, and a light, all designed to showcase the studio's distinctive design philosophy that merges angular, architectural forms with playful, feminine elements. The studio's co-founder, Kristi Bender, explains that Cuff Studio consistently integrates curves and edges, formality with casualness, and femininity with a sense of 'testosterone' into their designs. This approach is evident in the Arc bench, chair, and console table, which incorporate the classic architectural arch. For the seating designs, this typically masculine architectural element is softened by luxurious leather or pink velvet upholstery. The Arc console table, while possessing a solid volume, features brass-filled channels that allow light to pass through and hand-chiselled grooves on its exterior, providing an organic counterpoint to its geometric shape. Another piece, the Paddle table, modernizes a traditional material, solid oak. The oak is bleached to achieve a clean white tone, and its thick edges are rounded, giving it a playful, substantial silhouette. The Five Track Surface Light, conversely, utilizes a flexible material—rope—which is meticulously wrapped around a rigid, tubular frame. This light fixture can be installed on walls or ceilings and is available in natural white cotton, as well as a variety of other colors. Wendy Schwartz, the other half of Cuff Studio, emphasizes that the collection aims to demonstrate how contrasting design elements can coexist harmoniously, reflecting a broader message of unity. The studio believes that the creative process can bring people together, particularly in a world marked by political polarization. The Common Ground collection was initially launched in early 2020 at the duo's new studio in Hollywood. This launch was intended not just for press or buyers but as a celebration with fellow makers and artisans, fostering in-person connections within the design community in Los Angeles. This initial gathering highlighted the value of direct interaction and shared passion among creatives. #FurnitureDesign #LightingDesign #CuffStudio #VirtualDesignFestival #SightUnseen #InteriorDesign #ContemporaryDesign #ProductLaunch #DesignPhilosophy

The "Innesti" series, developed by designers Alexandra Denton and Sofia Lazzeri, introduces a collection of vessels that seamlessly integrate glass and textiles. The name "Innesti" is derived from the Italian word for grafting, a botanical process involving the fusion of tissues from two distinct plants to cultivate new varieties. This concept serves as the foundational principle for the project, which aims to merge disparate materials to generate novel forms and aesthetic experiences. The core idea behind Innesti is to combine the inherent qualities of a hard, rigid material like glass with the soft, pliable nature of textiles. This juxtaposition results in a compelling visual and tactile harmony, where the seemingly contradictory characteristics of the materials complement each other, creating a sense of belonging and unity. The designers intentionally chose these materials to highlight their individual voices and to stimulate an aesthetic appreciation that thrives on contrasts. This approach celebrates the unique properties of each component while showcasing how they can be harmoniously integrated. Innesti is not merely about combining materials; it is also a deliberate exploration of knowledge and tradition within design. By drawing inspiration from the ancient technique of grafting, Denton and Lazzeri infuse their contemporary design with a reverence for established practices. The project underscores the potential for innovation when traditional methods are reinterpreted through a modern lens, emphasizing the enduring relevance of craftsmanship and material understanding. The series was prominently featured at Greenhouse during Stockholm Design Week, an event recognized for showcasing emerging talent and innovative design concepts. Its exhibition there highlights the project's significance in the broader design landscape, drawing attention to its inventive use of materials and its thoughtful conceptual framework. The public presentation allowed for a wider appreciation of how Innesti challenges conventional perceptions of material compatibility and opens new avenues for design exploration. Through Innesti, Alexandra Denton and Sofia Lazzeri offer a compelling narrative about the transformative power of material synthesis. Their work demonstrates that by thoughtfully combining diverse elements, designers can create objects that are not only visually striking but also imbued with deeper meaning, fostering a richer aesthetic and intellectual engagement with everyday objects. The project serves as an example of how designers can push boundaries by exploring the interplay between contrasting textures and forms, ultimately enriching the discourse on material innovation and design artistry. #InnestiVessels #AlexandraDenton #SofiaLazzeri #GlassTextileDesign #MaterialFusion #DesignInnovation #StockholmDesignWeek #ContemporaryDesign #HomeFurnishings

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 article discusses the collaboration between artist Cj Hendry and Jeni’s Splendid Ice Creams, which resulted in a limited-edition black ice cream called OPAQUE and an immersive pop-up installation in New York City. This project challenges the conventional perception of ice cream as a visually colorful treat by removing color to emphasize other sensory aspects. Cj Hendry, known for her artistic evolution from hyper-realistic drawings to immersive experiences, aims to manipulate context and transform the familiar into something novel. Her previous works have encouraged reconsideration of everyday objects, and with OPAQUE, she extends this philosophy to ice cream. The jet-black color, achieved with cocoa, espresso fudge, and balsamic cherry, compels consumers to engage with the flavor and texture without the usual visual cues, thereby heightening their awareness of the other sensations involved in tasting. The pop-up installation in SoHo featured a monochrome ice cream shop, where all elements, including waffle cones and interior walls, were black. This stripped-down environment aimed to minimize visual distractions and highlight texture, form, and sensation. Seven new artworks by Hendry were also displayed, all continuing the theme of chromatic void and exploring how context influences consumption. This design choice serves not as an absence of experience but as a removal of noise, amplifying sensory perception. Beth Stallings, Jeni's director of innovation, described the OPAQUE flavor as “layers deep…an excavation of flavor,” a sentiment that aligns with Hendry’s artistic approach. Jeni's, recognized for its innovative and visually appealing ice cream creations, proved to be a suitable partner for Hendry, whose art practice focuses on transforming consumption into a multi-sensory experience. The collaboration effectively redefines a product launch as a sensorial performance. Hendry's long-standing interest in consumer culture focuses on observing rather than critiquing. Through OPAQUE, she encourages consumers to pause and re-evaluate routine transactions, particularly how visual expectations shape the experience of a common indulgence like ice cream. By eliminating color, the collaboration succeeds in making a familiar product feel new and encourages a deeper appreciation of taste, touch, and attention. The jet-black scoop serves as a reminder that sometimes, less visual information can lead to a richer sensory engagement. #CjHendry #JenisIceCream #ArtCollaboration #ImmersiveExperience #SensoryDesign #PopUp #ColorTheory #ConsumerCulture #ProductInnovation

Dana Harel, a San Francisco-based Israeli designer, has launched her inaugural lighting collection under her studio, White Dirt. Harel's career trajectory showcases a diverse artistic exploration, starting with architecture and extending into ceramics and line art before her current venture into luminaires. The new collection, dubbed "Ora," comprises three tented table lamps—Ora I, II, and III—and a suspended, trapeze-like floor lamp, Ora IV. These pieces draw inspiration from Harel’s existing body of work, particularly her vases and vessels, which inform their hand-carved sculptural aesthetic. The lamps are crafted using a combination of gypsum cement, muslin, and brass, materials that contribute to their unique visual and tactile qualities. The design intentionally evokes the imagery of draped wedding gowns, suggesting moments of concealed intimacy and exploring the delicate balance between revealing and hiding forms. This interplay of materials and forms allows the collection to convey a sense of fluidity and softness, a departure from more rigid sculptural traditions. Harel describes the process of working with fabric—folding, pleating, and draping—as a refreshing experience, contrasting with her previous work that often involved tools like chisels and hammers. This shift towards softer, more pliable materials allowed her to experiment with light in a new way, focusing on how textiles interact with illumination to create ambiance and shape. The collection's design ethos embraces a certain spontaneity, reflecting Harel’s approach to her creative process. Each piece in the Ora collection stands as a testament to her evolving artistic language and her ability to translate diverse inspirations into functional art. A notable and unconventional source of inspiration for Harel was a scene from the HBO series *Succession*, where characters Tom Wambsgans and Cousin Greg consume a rare delicacy with napkins tented over their heads. This seemingly obscure reference underscores Harel's willingness to draw from unexpected cultural moments, transforming them into artistic concepts. The designer interprets this act of "masking shame" or "heightening pleasure" as a metaphor for the lamps' ability to create intimate, almost cloistered, environments through their draped forms. The sculptural swagger of the lamps is deeply rooted in these varied influences, bridging architectural precision with textile softness and cultural anecdotes. The collection as a whole is an exploration of form, light, and material, reflecting Harel's multidisciplinary background and her continuous quest for new creative expressions. #DanaHarel #LightingCollection #SculpturalLighting #InteriorDesign #WhiteDirtStudio #ProductDesign #TextileArt #ContemporaryDesign

Pininfarina of America, a multidisciplinary design studio, has recently opened its new headquarters in Miami, marking a significant expansion of its North American operations. This strategic move aims to enhance accessibility to projects in South America, where the company has seen a surge in collaborations. The Miami office, inaugurated on October 1st, 2024, is characterized by its glass-centric design, open-plan spaces, and lush surrounding greenery, with views of the sea, fostering an environment conducive to creative collaboration. The leadership team, including General Manager Claudio da Soller, Senior Vice President of Design Paolo Trevisan, and Chief Architect Officer Samuele Sordi, discussed their approach to design and recent projects in an interview. In 2024 alone, the firm unveiled several major projects, including the Primeclass Pacifico airport lounges in Santiago de Chile, the Unica residential tower in Buenos Aires, and the Maringa Tower in Brazil. These projects share a common thread: biophilic design, which Pininfarina of America interprets as more than just incorporating plants. Instead, it is an integrated approach that connects individuals with nature to improve their living environments. This is manifested through elements like rounded architectural edges, terraced plant arrangements, and facades inspired by natural water patterns, along with the use of natural materials like wood to create an earthy feel. Pininfarina of America's portfolio extends beyond architectural projects to include mobility, country club design, lighting design, and kitchen collections. In the marine sector, they designed the NX 44 boat, featuring expansive living spaces and connected interiors. For land mobility, they developed the Electric Transformer House, an RV with an expandable cabin and a solar roof. An automotive country club in collaboration with the Concours Club in Miami is also nearing completion, designed as an events campus and gateway to the club’s facilities. The firm also partnered with ARCO to create a nature-inspired kitchen collection, distinguished by its aluminum construction and curved glass pantry doors. Further demonstrating their diverse capabilities, Pininfarina of America is collaborating with VISO on a lighting installation for Design Miami 2024, themed around childhood dreams. This project aims to evoke a sense of wonder and reflection through sculptural lighting elements and a video experience. The team emphasizes that art is central to their design ethos, viewing architecture as a form of art and frequently collaborating with contemporary artists to gain new perspectives and deliver innovative solutions. The core design principles guiding Pininfarina of America include elegance, defined by harmonious proportions and attention to detail, and essentiality, which involves stripping away unnecessary complexity to achieve purity and clarity. They aim to humanize innovation by focusing on how people interact with and create memories within their designs, a philosophy championed by their founder, Paolo Pininfarina. The firm prioritizes projects that align with their vision for qualitative and innovative design, choosing clients who share their commitment to creating lasting, impactful solutions. Their high rate of repeat clients, nearly 70%, and a Net Promoter Score of 95, underscore their success in building strong, long-term relationships based on mutual respect and shared objectives. The company also emphasizes fostering a positive internal culture, as evidenced by its Great Place to Work certification for four consecutive years. #PininfarinaOfAmerica #BiophilicDesign #ArchitecturalInnovation #DesignPrinciples #SustainableArchitecture #LuxuryDesign #MiamiDesign #CreativeCollaboration #HumanCenteredDesign

Benjo Hamo, founder of Benjo Interior Design, discusses the journey and motivations behind establishing her own interior design business. After relocating from Tel Aviv, Israel, to Miami, Hamo sought creative autonomy to implement her design concepts fully. The establishment of Benjo Interior Design was driven by a vision for unique design and the pursuit of creative freedom, leading her to invest extensive effort in brand development, networking, and skill refinement. Benjo Interior Design specializes in crafting distinct, functional, and inspiring spaces, prioritizing designs that are both visually appealing and deeply personalized and practical. The company differentiates itself through its dedication to integrating contemporary aesthetics with innovative applications of textures, patterns, and materials, ensuring each project is unique. Hamo expresses pride in the client trust she has garnered, finding reward in the positive impact her designs have on clients' daily lives. She emphasizes the ongoing opportunity to innovate, whether by incorporating advanced technology or transforming underutilized areas into extraordinary spaces. Building the business in a new city presented considerable challenges, including establishing a brand, networking, and navigating an unfamiliar market. Hamo overcame these obstacles through unwavering passion and faith in her process. Key lessons learned include the understanding that success is a result of consistent effort, learning from setbacks, and cultivating strong professional relationships. She advocates for maintaining one's core vision while remaining open to collaboration and new ideas. Benjo Interior Design is portrayed as an extension of Hamo's passion for transforming environments and enhancing lives, a journey marked by calculated risks, reliance on intuition, and a continuous drive to create lasting design impact. When asked about showing a friend around Miami, Hamo outlines an itinerary that highlights the city's vibrant culture, diverse culinary scene, and inspiring design elements. The plan includes exploring neighborhoods such as Wynwood for its street art and Little Havana for its Cuban culture, alongside relaxation at Miami's beaches. As an interior design enthusiast, Hamo would also guide her friend through the Perez Art Museum Miami and the Art Deco District in South Beach to appreciate the city's architectural heritage. Dining recommendations feature Planta, a vegan restaurant known for its dishes and chic ambiance, reflecting Miami's dynamic energy. The overall aim is to provide an inspiring experience that showcases Miami's creativity, diversity, and vivacity. Hamo acknowledges Michal Shaish, an interior designer from Israel, as a significant mentor who profoundly influenced her career. Shaish provided essential guidance, encouragement, and shared knowledge early in Hamo's career, establishing the foundation needed to pursue her passion and entrepreneurial endeavors. Shaish's mentorship extended beyond technical skills, instilling confidence in Hamo to trust her instincts and foster creative thinking, lessons that continue to guide her work daily. Hamo expresses gratitude for Shaish's belief in her and the substantial impact she has had on her professional journey. #InteriorDesign #Entrepreneurship #MiamiLifestyle #CreativeFreedom #BusinessJourney #DesignInnovation #Mentorship #BenjoInteriorDesign

This week, Paris is hosting a diverse array of art and design events, with the return of Art Basel Paris and Design Miami Paris for their third editions. The French capital's historical venues, including _hotels particuliers_ and landmark apartments, are showcasing collectible design that explores experimental and multidisciplinary approaches, from textile-like treatments of solid surfaces to the integration of music with design. This roundup highlights the most compelling design exhibitions available to explore during this period. India Mahdavi presents a triple bill of collaborative exhibitions. Her Project Room #20 features 'Parenchyma,' a solo exhibition by studio Kauani, displaying cactus-shaped sculptural lights, an intimate study of xerophytic plants, created by Inés Llasera and Inés Quezada. Her Tiny Room gallery hosts an exhibition of anthropomorphic chairs by Serban Ionescu, reflecting his Balkan origins and an improvised approach to wood. Additionally, Mahdavi collaborates with culinary collective We Are Ona for _Rose C'est La Vie_, a flower-clad restaurant pop-up with Mexican chef Jesús Durón, whose interiors evoke Mahdavi's iconic APT club in New York. Perrier Jouët returns to Maxim's for the second year with its 'Parenthèse Belle Époque,' transforming the legendary Art Nouveau venue with stained glass windows, Émile Gallé anemones, and vintage posters. This event includes exclusive gastronomic pairings by Maxim's chef Yann Meinsel and Maison Belle Époque executive chef Sébastien Morellon. Charles Zana unveils his new _In Situ_ furniture collection within a 500-square-metre Directoire apartment, formerly home to the Swedish Circle. The exhibition presents a 'fantasy' interior that mixes Zana's works to create an emotional experience rather than just an aesthetic. The display also features a coffee bar by pastry star Yann Couvreur and a soundtrack by Sébastien Tellier and Ray Mang. The Contributions design festival, curated by Anna Caradeuc and Élise Daunay, hosts its second edition, intertwining design and music through five installations. Highlights include Nifemi Marcus-Bello's M2 Shelf with an integrated speaker, in collaboration with La Boîte Concept, and Italian musician Andrea Laszlo De Simone's audiovisual piece _Una Lunghissima Ombra_, accompanied by a natural wine bar and micro-cinema by Harold Mollet and the design collective Metals. The inaugural Salon des Nouveaux Ensembliers, held at the Galerie des Gobelins under the patronage of France’s manufactures nationales (Sèvres and Mobilier national), brings together a new generation of interior architects. Under the theme ‘L’Ambassade de demain’ (the embassy of tomorrow), ten architect-decorators reinterpret diplomatic spaces, focusing on how design can embody representation, openness, and exchange while addressing ecological and social responsibility. Salon 94 Design showcases Massimiliano Locatelli and Fabio Zambernardi's 'Nullus Locus,' a collection of objects featuring embroidery on timber, transforming wooden vessels and furniture into unexpected canvases for floral designs, realized with the expertise of Graziano Ricami. Additionally, 'Un Souffle De Vent' by Yves Salomon Editions X Dimorestudio presents an immersive installation inspired by Georges Perec’s novel _Les Choses_, emphasizing contemplation of objects through tactile surfaces and a rich material palette. Nilufar and Métaphores present 'In The Mood for Touch,' an immersive installation exploring the tactile and emotional potential of interiors through their respective design and textile works. CØR Studio, Harold Mollet, and Monument present 'Im Zwischen,' a group exhibition exploring the 'in-between' as a bridge between historical and contemporary design, featuring a 10-metre light wall by François Chapuis and iconic designs by Ron Arad and Ingo Maurer. LVH Art showcases Donald Judd's minimalist work within a grand Parisian residence, providing a compelling contrast with ornate French interiors. Finally, Invisible Collection and Féau Boiseries exhibit 'Period Rooms of the Future,' where previously unseen Art Deco elements form the backdrop for contemporary pieces, bridging the cultural continuity between the 1920s and today's collectible design. Galerie Patrick Seguin hosts 'Saint Laurent – Charlotte Perriand,' where Anthony Vaccarello has selected and recreated four of Perriand’s lesser-seen works, produced in limited editions from archival drawings and original models. #ParisDesignExhibitions #ArtBaselParis #DesignMiamiParis #InteriorDesign #CollectibleDesign #IndiaMahdavi #CharlesZana #ContemporaryArt #FrenchDesign

Japanese design studio Nendo presented their solo exhibition titled “Dancing Squares” at the Art Stage gallery in Singapore, which ran from January 13th to January 16th, 2011. The exhibition showcased a collection of furniture pieces including a bookshelf, a lamp, a stool, and a table, all characterized by a design aesthetic that gives the illusion of distorted or tumbling squares. This collection aims to imbue a sense of motion into static objects. The core concept behind the “Dancing Squares” series involves assembling square elements in a way that suggests dynamic movement. For instance, the bookshelf in the collection features a design where a part of its structure appears to be frozen in a cascade of tumbling planes. This creative approach introduces variation in how books can be stacked and displayed, moving beyond traditional linear arrangements. Another piece, the stool, is designed with a distinctive twist, providing it with a visually playful appearance. This design choice contributes to the overall theme of dynamic forms within the collection. The lamps in the exhibition are engineered to roll and remain stable, thanks to their carefully arranged planes, which also allow them to cast light in multiple directions, enhancing their functional and aesthetic versatility. Perhaps one of the most striking pieces is the table, which gives the impression of leaning or falling away. Despite this precarious visual effect, the table maintains its full functionality. The design also creates an optical illusion where objects placed on its surface appear to sink into its folds and sways, challenging perceptions of stability and form. These various movements and distortions are intended to create a fascinating interplay between balance and unbalance, making the planes of the furniture seem to dance. Nendo’s exhibition at Art Stage, located at Basement 2, Hall D at Marina Bay Sands, Singapore, was open to the public without an admission fee. The photographs of the collection were captured by Masayuki Hayashi. This exhibition provided insight into Nendo’s innovative approach to design, where everyday objects are reimagined with a fluid and dynamic sensibility, transforming conventional furniture into artful expressions of motion and form. #Nendo #FurnitureDesign #Exhibition #ProductDesign #ArtStageSingapore #SquareMotif #InnovativeDesign #InteriorDesign #JapaneseDesign

Jessica Davis, founder of Atelier Davis and creative director of Nest Studio, shares her current design inspirations, which are heavily influenced by Miami's oceanside landscape and Art Deco architecture. Her approach blends sophistication with a playful whimsy, seeking a balance between intriguing elements and lighthearted touches. Davis draws specific inspiration from the pattern play found in Streamline Moderne buildings and the nautical motifs prevalent during the heyday of steamships. Her color palette, while acknowledging Miami's perpetually warm climate, incorporates grounding browns and moody blues to provide a sense of escape and depth. She describes these as "complex browns with purple or red undertones" and "inky tones that remind me of the turbulent ocean," ensuring they remain interesting despite their moodiness. To offset these deeper hues, she integrates naval-style elements, such as ropelike cord and hardware featuring porthole designs. This circular motif is subtly echoed in her choices of embroidered fabric and printed wallpaper, creating a cohesive visual theme. Davis highlights several specific items that embody her current aesthetic. For textiles, she selects Zak+Fox's Temari fabric for its Japanese-inspired feel and subtle yet provocative colors. Maharam's Firma fabric is chosen for its durability and intriguing weave, mixing blue and purple in a textural wool. The Kettlewell Collection's Vera fabric, a large-scale cotton patchwork, appeals to her for its compelling nature, while Knoll Textiles' Cato fabric in green provides an impactful and unexpected pop of chartreuse. Larsen at Cowtan & Tout's Tanago fabric in ivory is favored for its nubby, nautical texture and durability. In terms of hard surfaces and architectural elements, Davis is enthusiastic about Townsend Harbor Brown paint by Benjamin Moore, appreciating its rich, complex brown tones. She expresses a particular interest in sophisticated glass blocks, specifically the Thickset 90 Endura Glass Block by Seves Glass Block, moving beyond standard wavy 1980s styles. Adelphi Paper Hangings’ Viennese Trees wallpaper, a 1920s pattern, is admired for its blend of architectural and organic Art Deco aesthetics. For stone, she opts for Rosso Luana marble by ABC Stone, seeking a dark and moody, high-impact stone with significant movement, departing from white-background marbles. Custom metal samples with cooler finishes are also incorporated to add to a project's distinctiveness. Her own Nest Studio Aperture handle in waxed white oak is chosen for its integral yet interesting linear and minimal design, suitable for wood cabinets. The Shade Store’s Waterfall woven wood shade in Sienna Almond is included to introduce texture and soften interiors dominated by hard surfaces. A custom textured rug by Marc Phillips, made of wool, serves as a sophisticated yet durable base layer. Finally, nylon cord in gold and blue from Knot & Rope Supply offers a fun element for custom furnishings, and Bilbao tile by Bert & May provides a patterned, muted, and weathered floor option that feels both historic and contemporary. #InteriorDesign #JessicaDavis #AtelierDavis #NestStudio #MiamiInspired #ArtDeco #StreamlineModerne #MaterialSelection #ColorPalette