Installation at Dior Homme, Paris

Nido Architecture co-founders Chiara Patrassi and Alexandra Bernaudin collaborated with hotel owner and director Carine Tissot and six contemporary artists to design the interiors of the Drawing Hotel in Paris. Tissot, also co-founder of the annual Drawing Now Art Fair, provided the artists with creative freedom to decorate the hotel's hallways. Despite initial unfamiliarity with contemporary drawing, Patrassi noted the artists' enthusiasm and willingness to work with new mediums. The hotel features five distinct floors, each showcasing a unique visual theme. Swedish painter Thomas Broomé utilized perspective grayscale lettering for wallpaper depicting an ideal library on the top floor. Watercolorist Françoise Pétrovitch designed the fourth floor with forest green walls, sophisticated paintings in simple frames, and variegated tufted wool carpeting. Draftsman Clément Bagot's abstract colorful splashes are embedded behind glass panes in all-black walls on the third floor. Muralist Abdelkader Benchamma hand-drew trees and plants on white walls for the second floor, and graffiti duo Lek & Sowat created a psychedelic environment spanning walls, ceiling, and floor on the first level. These vibrant corridors contrast with the calm, relaxed atmosphere of the 48 guest rooms, where artist-designed printed-fabric headboards serve as a transitional element. The hotel was an unexpected venture for Tissot, who discovered the building while seeking a location for a permanent gallery. Patrassi and Bernaudin joined the project in 2016, during the initial construction phase of the ground floor. Faced with the typical Parisian challenge of limited space, the architects made crucial alterations, such as replacing frosted-glass shower modules with transparent ones and substituting minuscule closets with glass-and-steel wardrobes to create separate toilet areas. The overarching design principle was _chaleureux_, meaning welcoming, prominently featured through tinted oak paneling and custom wood furnishings throughout the hotel. This included the lounge's leather sofas, reception desk, bar, and various tables. The ground level, spanning 1,900 square feet, posed a significant challenge, needing to accommodate the entrance, reception, retail space, and lounge. The reception area features an angular design with low shelves displaying books and objects for sale. A partition of oak rods, serving as a library, defines the adjoining lobby, which includes a bold black-and-white rug, a Neri & Hu loveseat, and a sculptural Philippe Nigro chair. Beyond this, the cocktail lounge overlooks a courtyard with red walls, a tribute to Luis Barragán. Stairs lead to the basement Drawing Lab, a contemporary gallery that was the genesis of the hotel concept. The exterior of the hotel more closely resembles a bookstore or art shop than a traditional hotel, reflecting the goal of achieving a gallery atmosphere rather than a 'deco' look. The roof terrace offers guests views of the surrounding Parisian mansard rooftops, furnished seasonally with tables, chairs, and umbrellas. The stairs leading to the terrace are currently painted white, with the possibility of future artistic installations. The project team included Magali Amblard for Nido Architecture, Maurice Azoulay as Architect of Record, Symbiosis for landscaping, Douet Design for lighting, Cap Structures for structural engineering, Innovation Fluides for MEP, and Ramos Catarino for woodwork. #NidoArchitecture #DrawingHotel #ParisHotels #HotelDesign #ContemporaryArt #InteriorDesign #ArtisticCollaboration #HospitalityDesign #CustomFurnishings

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

Paris Design Week 2024, held from January 18 to 22, showcased a diverse array of new launches in fabric, wallpaper, lighting, and furniture across various arrondissements of the French capital. Despite sub-zero temperatures, the event attracted significant crowds, with St Germain serving as a central hub for Paris Deco Off and Maison Objet In The City, hosting over 100 showrooms, apartments, and pop-up spaces. Key highlights included Dedar Milano's 'Contemporary Archives' collection, which featured an eclectic mix of classical and contemporary styles. Noteworthy were three new interpretations of their woven jacquard tiger’s skin, available in varying scales of deep orange tiger-print fabrics. Sahco, with its 200-year textile legacy, presented designs inspired by 'Neo-classicism in the North,' including 'Deedee' (a graphic polka dot), 'Fiorella' (an epic flower design), and 'Satora' (a vibrant leopard print). Loro Piana showcased new products focusing on personalization for various home areas, displayed in an apartment with Eiffel-designed ceiling beams. Their offerings included customizable tablecloths, placemats, runners, linen napkins with embroidery and openwork, organic cotton and linen bedding, and a cashmere blanket with chevron ribbon options. They also introduced the 'Sils Stripe' rug, handwoven in New Zealand wool, and new indoor fabrics like Harris Tweed interpretation (Hebrides), a cashmere and wool mix (Khangai), a hemp/jute/cotton/viscose blend (Tusco), and an ultra-soft cashmere and linen (Ponente). A selection of outdoor fabrics with high recycled content was also featured. Studio Liaigre presented a capsule collection of five pieces, including seating and lighting, originally designed by Christian Liaigre for Hotel Costes, embodying clean lines and simplicity in neutral palettes. Delcourt Collection celebrated its 30th anniversary with the 'Piece By Piece' series of contemporary furniture and new textiles, reflecting Christophe Delcourt's discreet French excellence, highlighted by the 'Nin' console and the 'Oko' side table. The Socialite Family curated 'La Scopa' in a classic Parisian apartment, drawing inspiration from a centuries-old Italian game. This temporary exhibition featured their latest furniture, homeware, and art, intertwined with items from Puces de Saint-Owen, with the 'Rotondo' modular sofa being a standout piece. Tolix unveiled the completed 'Patio' collection by the late Pauline Deltour, showcased at the Septieme Gallery, extending the iconic galvanized chair line with considered design, material finishes, and colors. Ligne Roset announced a series of 18 designs by midcentury designer Pierre Guariche, to be released through Cinna. Creative director Michel Roset emphasized Guariche's natural fit with Ligne Roset's avant-garde ethos, with pieces like the 'Vallée Blanche' chaise longue expected to launch in May 2024. Project 213A, founded in 2020, debuted at Paris Design Week with sustainable, well-crafted furniture and homeware, including lighting, artisanal ceramics, and handcrafted wooden pieces like the 'Mirror' lounge chair and 'Porto' modular sofa, made by local craftsmen in Northern Portugal. Little Greene introduced 'National Trust Papers IV,' its fourth collaboration with The National Trust, featuring eight wallpaper designs from historic properties in freshly imagined, contemporary colorways. Rubelli, under new creative directors Formafantasma, launched the 'Gardens' collection, a botanical-themed range with literal and abstract designs in sherbet hues. Hermès unveiled a new tableware collection by Benoît-Pierre Emery, featuring fine drawings by Virginie Jamin inspired by equestrian braiding, colored in tangy hues of lemon, mint, and petrol blue alongside natural leather shades. Fromental collaborated with Marta Sala Éditions for 'The New Guilded Age,' showcasing four distinctive wallcoverings—Haiku, Molten, Equus, and Kiku Garden—in curated rooms with Marta Sala Éditions furniture. #ParisDesignWeek #InteriorDesign #FurnitureDesign #TextileDesign #Wallpaper #HomeDecor #LuxuryInteriors #DesignExhibition #FrenchDesign

The article explores Qatari-American artist Sophia Al-Maria’s video installation, \"Gravity & Grace,\" which served as the backdrop for Miu Miu’s S/S 2024 collection during Paris Fashion Week. The artist drew inspiration from the Palais d'Iéna, a classical brutalist building by Auguste Perret, which has been Miu Miu’s show venue for several years. Al-Maria aimed to transform the rationalist structure into a surreal, multi-dimensional space, enhancing the audience's viewing experience of the show. Al-Maria's involvement with Miu Miu began after her work, \"The Future Was Desert,\" was exhibited at Fondazione Prada’s Venice outpost in 2023. This film explored themes of environmental devastation, fossil-fuel dependency, and geopolitical complexities within the Gulf Region, featuring 'delirious, post-apocalyptic dreamscapes.' This previous work established a shared interest with Mrs. Prada in human history and deep time, questioning what is real versus what is not. This connection led to her current collaboration, aiming to reflect this shared sensibility in the S/S 2024 show's visual narrative. Her latest film, \"Gravity & Grace,\" is conceptualized as an old fairytale with a new twist, depicting the 'ending of the world' through the dynamic interplay of a court jester and a royal guard. Both roles are played by stuntwoman Ayesha Hussain, who engages in a sword and crossbow battle over conflicting perspectives on whether life is a tragedy or a comedy. The film’s soundtrack features an original piece by the Melbourne-based band Divide and Dissolve, with arrangements by Asma Maaroof, Daniel Pineda, and Joshua Fay, which complements the surreal and dramatic atmosphere of the visual art. The installation, displayed on screens interspersed among the Palais’ columns, featured a moody, cloud-filled sky before the show, transitioning to images of a samurai sword-wielding protagonist and futuristic versions of the building's pillars during the show. The accompanying notes characterized the film’s setting as \"a landscape of technological ruins, an imaginary history invented inside the Palais d’Iéna.\" This description aligns with Al-Maria’s intent to create a surreal extension of the classical brutalist architecture, blurring the lines between reality and imagination. Despite not having seen the full collection prior to creating the film, Al-Maria noted a \"serendipitous symmetry\" between her work and Mrs. Prada’s S/S 2024 collection. The collection itself explored an \"explosion, redressing\" of contemporary notions of beauty, seeking a \"radical expansion, a rich plurality.\" It combined glamour with everyday elements, such as a golden brocade dress over a sweater and shirt, or a lace petticoat with a blazer, alongside Miu Miu’s signature abbreviated mini skirts and exposed logoed waistbands. Al-Maria noted that the collection felt like an embodiment of a sensation she had felt in the air around the present moment, aligning with her film's themes of questioning reality and embracing the surreal in the quotidian. #SophiaAlMaria #MiuMiu #ParisFashionWeek #VideoInstallation #ArtAndFashion #SetDesign #ContemporaryArt #Prada

Paris Design Week 2025 showcased a diverse array of innovative and luxurious home decor and furniture designs from various international brands and designers. The event featured installations and new product launches across different venues, including Maison&Objet; and Déco Off, attracting interior design professionals and enthusiasts. Pierre Frey transformed the historic Hôtel de Guise into an immersive experience, presenting its first in-house furniture line, the sand-dune-inspired Déserts collection, and Chroma, a plush cotton velvet created in collaboration with India Mahdavi. The installation was enveloped in scenography by French artist Elizabeth Leriche, showcasing a rich array of patterns and textures. Design Rendezvous, a pop-up on Rue Guénard, featured collaborative works. Jiun Ho's Piedra chair was displayed with JG Switzer’s hand-felted upholstery, alongside Sarah Von Dreele’s metallic cork Ascend wallcovering, and Parete’s new collaboration with Scottish rug designer Wendy Morrison, highlighting unique textures and artistic expressions. Lala Curio's founder, Laura Cheung Wolf, unveiled the Feuillage collection at her private home. This couture-quality series of 10 intricately detailed wall panels, inspired by Japan's Yakushima Island, included designs like Fuki, Cabinet of Curiosities, and the namesake Feuillage, which incorporated wooden beadwork, raffia, and paillettes. Faye Toogood, named Maison&Objet;’s Designer of the Year 2025, presented “Womanifesto!”, a four-part retrospective. The exhibition featured archival furniture in surrealistic settings, such as drawing-room-inspired spaces with anthropometric lounge chairs and a forest-themed room adorned with tree-sized cardboard sunflowers and Toogood’s Woodlands wallcovering for Calico Wallpaper. Samuel & Sons collaborated with passementerie artist Elizabeth Ashdown for the vibrant Kaleidoscope collection. This line included 12 bold, multitonal woven designs, such as pom-pom fringes, scalloped braids, and tasseled borders, all crafted using centuries-old passementerie techniques. Tai Ping unveiled the Nakashima Edition, a collection of rugs that reimagines two original George Nakashima rug prototypes from 1959. The eight distinct designs included Migration I, Dark Moon II, and Bird Star II, paying homage to the late American architect and woodworker. De Gournay’s new introductions at Déco Off were inspired by avant-garde fashion designer Paul Poiret. The collections featured designs like the stippled, gilded silk Dunand and Pietra Dura, a colorful, vignette-style wallcovering accented with hand-painted blooms and birds, designed to evoke inlaid marble. Dedar showcased new textile designs, including the kid-mohair-covered Thank You for Sending Me an Angel velvet, the cloud-flecked Lilaz, and Queneau, a water-repellent wool satin available in over two dozen colorways. Aux Abris founder Karen Robert introduced the Alchemy collection, an old-world-style series printed on gleaming metal leaf grounds. Highlights included the Japanese mural-inspired Paradiso, the Italian Renaissance–driven Palazzo, the marbled Cosmo, and the olive-dotted Martini. The Pollack|Weitzner apartment featured playful patterns, with Pollack’s rhythmic Open Studio series and Spring 2025 additions to the Spring Street line. Lori Weitzner presented her Moorish architecture–inspired Alhambra as Muse collection, which included the polychromatic printed velvet, Intrigue. Zoffany’s previews attracted a notable crowd. The Indienne collection showcased block-print designs and collaborations with artists Charlie Calder-Potts and Melissa White. Upcoming launches included the historically informed Rare Textiles series and the pattern-rich Domino Velvets line. Féau Boiseries celebrated its 150th anniversary with a showcase from The Invisible Collection. The exhibition featured new Garcé & Dimofski–designed floorcoverings from Beni Rugs, sculptural pieces by Indian designer Ashiesh Shah, and newly acquired pieces from Mobilier National, such as Maison Leleu’s Panter chair. Fabricut presented Barry Dixon’s Elysium collection for Vervain, featuring designs like the marbleized ombre Pan Atlas, the pastoral Birds & Bittervine, and Cacao Nut, an enchanting trim with egg-shaped pom-poms. Schumacher’s showroom featured artisanal beauty, including a collection of fabric-sheathed light fixtures by French ceramist Elsa Foulon and a botanical fabric design, Flemish Tapestry, based on a 17th-century Belgian tapestry. Ralph Lauren Home released the Rue Bohème collection, a range of runway-ready textiles available through Designers Guild. The line, inspired by the fashion designer’s Spring 2024 fashion collection, included distressed cotton-linen florals, silk-blend ticking stripes, paint-splattered velvets, and botanical embroideries. CMO Paris introduced designs from its 2025 collection, including the braided Bamboo Petit Chevron wallcovering, the sheer, hand-spun Cashmere Degradé curtain fabric, and Wild Water Lily, a serene mural fashioned from all-natural aquatic fibers. Giobagnara showcased its latest designs, including Kelly Wearstler’s leather-accented Maris line, Glenn Sestig’s minimalist walnut Tanell bar table, and an Elie Saab monogram-stamped folding side table. The Vale London’s founder, Melinda Marquardt, unveiled the Maddox line, an homage to Bauhaus pioneers. The primary-color-drenched collection included 16 designs, such as the zigzagging Diana Stripe fabric, the Roman Holiday wallcovering, and the geometric Charlie upholstery. Belgian wallcoverings brand Omexco launched three collections: Light at Night, with 10 glimmering metallic designs like Stardust; Oase, featuring nine textural paper-weave patterns; and Pure, comprising a dozen soothing monochrome styles like Sensitive and Refined Earth. French furniture designer Franck Genser introduced the Morse series at his Parisian showroom apartment. The three-piece collection featured walrus-inspired designs, including a marble-topped coffee table with tusk-shaped legs and an iridescent neoprene-upholstered settee with a coordinating armchair. Arte’s Luster collection showcased four ultradimensional wall designs hand-inlaid with pearlescent capiz shells: Perula, Lucea, Abalone, and Cornice, available in multiple hues. Uchronia’s “What’s New? In Hospitality” installation, designed by Julien Sebban, featured a retro-fueled aesthetic with a hand-curated color palette by Tonester Paints. The display included a round, 1970s-style bed by Treca Paris and Diesel Living’s dinnerware for Seletti. L’Objet collaborated with South African artist Ruan Hoffmann for a highly collectible ceramic line. The 13 playful pieces, adorned with 24-karat gold finishes, included the three-dimensional Love You More plate and a three-wick candle with a mask-like lid. These debuts collectively demonstrated a trend towards luxurious materials, artisanal craftsmanship, historical inspirations, and bold artistic expressions, offering a comprehensive glimpse into the future of interior design. #ParisDesignWeek #MaisonObjet #DecoOff #InteriorDesign #HomeDecor #FurnitureDesign #TextileDesign #Wallcovering #LuxuryDesign

Draga Obradovic and Aurel K. Basedow, known as Draga & Aurel, are a design duo celebrated for their artistic approach to materials and composition, drawing influences from fashion to traditional craftsmanship. They are pioneers in upcycling, having started their journey by reinventing furniture and objects. An early open studio event, where people brought old furnishings for reinvention, quickly grew into a significant venture, leading them to establish Draga & Aurel in 2007. Their multidisciplinary studio and workshop focus on art, collectible design, and furnishings. Their debut at Milan Design Week two years later initiated collaborations with brands like Baxter, a partnership that continues to influence their design philosophy. According to Basedow, Baxter was instrumental in professionalizing their design approach. A significant milestone in their career was the launch of the Transparency Matters collection in 2019, which marked a departure from their earlier focus on vintage items and textiles. This collection utilizes resin as the primary material, valued for its interaction with light, and is continuously updated. Obradovic draws inspiration from everyday visual stimuli, capturing images to create mood boards that fuel her imagination. For their "Friday Five" feature, Draga & Aurel share five key inspirations. The first is artist Dan Flavin, whose work on light and color deeply resonates with their own. They admire his ability to transform a common object, the neon tube, into sophisticated art with a "maximalist" effect, despite its minimalist origins. They highlight a recent exhibition "Dedications in Lights" at the Kunstmuseum Basel, one of their favorite museums, and note a permanent installation in its yard. Secondly, they express their appreciation for Superduper, a "Made in Italy" brand from Florence known for its handmade hats. They are drawn to the brand's fresh, creative, and informal style, emphasizing that hats are essential accessories for both of them. Their third inspiration is Joseph Beuys, a German artist and sculptor and a significant figure in conceptual art. His quote, "Jeder mensch ein Künstler" (everyone is an artist), profoundly influenced their approach to painting and their belief in the universal expression of creativity. Beuys is also a reference point for expanding the meaning of art. The fourth point of inspiration is The Venice Venice Hotel. They describe Venice as a city that continually surprises them with its beauty. The hotel, housed in the renovated Ca’ da Mosto Palace overlooking the Rialto, is a synthesis of architecture, fashion, art, and design, showcasing influential avant-garde movements. It is an evocative place owned by the founder of Golden Goose. Finally, their fifth inspiration is their hometown, Lake Como. They find constant inspiration in this historic town, appreciating the peace, relaxation, and freedom the lake offers, particularly enjoying sailing and discovering hidden coves and villages. They feel fortunate to live in such a beautiful place. The article also showcases some of Draga & Aurel's works. The "Flare Collection," an exclusive project for Todd Merrill Studio, explores color and light refraction through Lucite, an acrylic resin. This collection is inspired by Jiyong Lee's study of color's three-dimensionality and Vasa Mihich's acrylic sculptures, focusing on the concepts of composition and breakdown of matter. It premiered at Design Miami in 2023. Their exhibition "Per Speculum in Aenigmate," in collaboration with Contemporary Cluster at Palazzo Brancaccio, Rome (2022), highlighted the dialogue between Aurel K. Basedow’s pictorial works and the duo's iconic design pieces. The exhibition title, drawn from a biblical passage, focuses on "mirror" and "enigma," reflecting their practice of material experimentation, artistic creativity, function, and aesthetics. The "Heritage collection" consists of one-of-a-kind upcycled pieces, born from their passion for vintage items. They collect original vintage furniture from thrift shops and markets, then reinvent them using techniques such as screen printing, embroidery, and resin covering, drawing from their backgrounds in fashion, textiles, art, and graphic design. Each item is restored in their Como atelier. Lastly, "The power of lighthearted design – Exhibition “Tinted Hues” at Nilufar, 2024" is a collaboration with Nilufar gallery, featuring a capsule of playful objects. This collection emphasizes resin, rounded shapes, and pastel shades, exemplified by their Bon Bon lamps, Dewdrops coffee tables, and Glaze table. #DragaAurel #DesignStudio #UpcyclingDesign #MilanDesignWeek #TransparencyMatters #DanFlavin #JosephBeuys #LakeComo #CollectibleDesign

The Jil Sander flagship store on Avenue Montaigne in Paris has reopened, featuring a minimalist design that aims to create a welcoming and serene retail experience. Located in the architectural heart of the 8th arrondissement, the store's design emphasizes the clothing pieces by making them the central focus. The interior incorporates elements that pay homage to the surrounding neighborhood, with benches along the walls inviting guests to engage with the space. Natural light plays a crucial role in the store's ambiance, streaming in to highlight the inherent qualities of the ready-to-wear materials and connect with a sense of nature. The store's design, a collaboration between Jil Sander creative directors Lucie and Luke Meier and architect John Pawson, is characterized by its 'minimal extravagance.' The first floor is uniquely segmented, offering distinct sensory experiences within the same space. One section features walls finished with Calacatta marble and plaster, exuding a sense of refined elegance and a stark, clean aesthetic. Another section utilizes timber walls and cherry wood displays, introducing warmth and a natural texture that complements the brand's aesthetic. This division allows for an 'intra-discovery' element, encouraging guests to explore different facets of the Jil Sander universe. The overall retail ambiance is carefully curated to reflect the brand's core values of sophisticated minimalism and high-quality craftsmanship. By integrating architectural elements that are both inviting and luxurious, the flagship store transcends a typical retail environment, positioning itself as an immersive brand experience. The thoughtful selection of materials, the strategic use of light, and the structured yet flowing layout all contribute to an atmosphere that elevates the shopping experience. This re-opening marks a significant moment for Jil Sander, reinforcing its presence in a key fashion capital with a store design that embodies its contemporary vision while respecting its heritage of understated luxury. #JilSander #ParisFashion #FlagshipStore #RetailDesign #MinimalistArchitecture #LuxuryFashion #JohnPawson #InteriorDesign #AvenueMontaigne

The new Gearbox studio in Montreal, Canada, designed by Patriarche, showcases an innovative approach to office design within challenging architectural parameters. The primary challenge was the building's distinctively long and rectangular floor plan. Patriarche, an agency that practices "augmented architecture" by integrating technical, sociological, and scientific knowledge into its design process, tackled this by employing high color contrasts across walls, ceilings, and furnishings. This strategy serves a dual purpose: it injects energy into the various spaces and aids in wayfinding throughout the office, making it easier for employees and visitors to navigate the expansive layout. The collaboration between Gearbox and Patriarche was a continuation of a successful previous project that had received an award from the Grand Prix du Design, ensuring a high standard of both functionality and aesthetic appeal for the new workplace. The office provides a diverse range of workspaces designed to support different modes of work, accommodating the varied needs of a video game development team. It includes 208 open-space workstations for collaborative or individual tasks, 11 enclosed offices for more private work, 12 dedicated meeting rooms for team discussions and presentations, and 11 lounge areas for relaxation and informal interactions. This variety offers team members the flexibility to choose an environment best suited to their current tasks, promoting productivity and comfort throughout the day. The intentional division of space through color blocking not only creates visually stimulating zones but also subtly guides occupants, ensuring that despite the large and linear floor plan, different functions are clearly delineated and accessible. Beyond functionality, the design draws inspiration from Montreal's Old Port neighborhood, known for its urban and industrial character. Patriarche integrated elements of street art and 90s pop culture into the office environment, moving away from conventional neutral office aesthetics. This creative direction is evident in unexpected details such as stools shaped like tree trunks, a transparent yellow curtain repurposed from a welding workshop, and colored glass doors. These unconventional design choices deliberately reject the notion that office spaces must be bland or understated to foster creativity. Instead, they aim to create an inspiring and dynamic atmosphere that reflects the vibrant and innovative nature of the video game industry, encouraging a more playful and imaginative work environment. The comprehensive design ensures that the Montreal studio is not just a place to work, but a stimulating hub that supports collaboration, focused effort, and creative thinking. #CommercialDesign #OfficeDesign #ColorBlocking #Patriarche #GearboxMontreal #InteriorDesign #WorkplaceInnovation #MontrealArchitecture

Carmen Haid, a former PR guru known for her work with fashion icons like Yves Saint Laurent, Alber Elbaz, Hedi Slimane, and Tom Ford, now splits her time between London, her interior design studio and home in Marrakesh, and a penthouse apartment in Paris. Located in the 7th arrondissement near Le Bon Marché, her Parisian residence reflects her passion for vintage curation and design. Haid identifies herself as a “vintage curator,” adept at discovering exceptional pieces in Parisian markets, particularly silverware, as she notes France's appreciation for "the art of the table." She finds continuous inspiration in Paris's fashion, art, and design scene. Haid's current endeavor involves operating as a "design detective," meticulously sourcing vintage items and crafting original designs for her Atelier Mayer label. Initially launched in 2008 as an online platform for haute vintage fashion, Atelier Mayer was re-established in 2022 as an interiors brand specializing in rare vintage objects. This venture operates from her Marrakesh studio, Kasbah Tameslohte, which serves as a private retreat, showroom, and creative hub. In Marrakesh, Haid collaborates with local artisans, recently transforming a warehouse at the Mandarin Oriental hotel into an art and design space with the help of artist/architect Idriss Karnachi, art dealer Martin Summers, and designer Romeo Gigli. The Paris penthouse showcases numerous Atelier Mayer products, including home fragrances, hand soaps, scented candles in jewel-toned ceramics, and hand-woven cushions. Haid's journey into vintage furniture began out of necessity during a period of frequent relocation, including a stint in New York after Brexit. This personal experience evolved into a professional passion, as she now furnishes entire rooms for clients exclusively with vintage pieces. The apartment's decor is a personal narrative, featuring signed cards from Anna Wintour and photographs with esteemed designers. Haid collects graphics from the Wiener Werkstätte and the late-19th-century Vienna Secession movement. A significant collection of Yves Saint Laurent's original "Love" posters, sent to friends each Christmas between 1970 and 2007, adorns her walls, symbolizing her belief that a home should be filled with love. Beyond fashion history, Haid's interests include esoteric art, exemplified by the _Pole Star_ copper, eye-shaped artworks by Balland-Galante in her dining area. These contemporary pieces, while reminiscent of surrealist 1930s Schiaparelli, are regarded by Haid as "holistic art" that enhances emotional energy, leveraging copper's perceived therapeutic properties. Haid faced a challenge arranging her irregularly shaped bedroom, which has five differently edged walls, making feng shui difficult. To address this, she commissioned French artist Christina Maximoff to create a large gold-leaf mural, transforming the space into a peaceful and surreal sanctuary. Her apartment, situated near St Germain des Prés, also features bedrooms accessible via a spiral staircase, often hosting family and friends. Haid enjoys entertaining, creating elaborate soirées where guests can help themselves from numerous dishes and enjoy cocktails on the balcony with views of the Eiffel Tower. She draws inspiration from figures like Robin Birley, appreciating his combination of old-world dining etiquette with fun and chic. For Haid, true luxury in entertaining lies in meticulous attention to detail, transforming an event into a distinct experience. The master bedroom features a mural by Christina Maximoff and Hollywood Regency gilt palm lamps, while the guest bathroom is adorned with L’Échappée Belle wallpaper by French artist Delphine Cauly. The balcony furniture, made in Marrakesh, consists of bespoke zellige-tiled pieces and terracotta pots from Atelier Mayer. #CarmenHaid #ParisPenthouse #VintageDesign #AtelierMayer #InteriorDesign #FashionHistory #MarrakeshStudio #DesignCurator #LuxuryInteriors

The article details the creation of a stone home in North Oaks, Minnesota, designed to evoke the charm of an old-world fairy tale. Homeowners Elaine and Claud Morgan, having moved from Atlanta, sought to recreate the wooded and natural environment they cherished while raising their children in Wisconsin. Their vision for a stone cottage in the woods, featuring abundant windows to connect with nature, guided the design process. They collaborated with City Homes, a builder, and Kathryn Alexander of Alexander Design Group to realize this dream. Elaine Morgan's specific requests included a European cottage aesthetic, incorporating stonework, curved rooflines, wood shutters, an octagonal sunroom, and a weather vane-capped cupola. These intricate details were crucial for achieving a timeless look. The exterior combines two types of stone, Fond du Lac Buff and Eden stone, selected for their light and dark variations by Rebecca Remick of City Homes. The roofline's gentle curves and painted shutters contribute to a soft, romantic, fairy-tale appearance, reflecting Elaine's background as an interior designer in Atlanta with a distinct Southern flair. French pane windows were chosen for their traditional style, allowing ample natural light into the interiors. The design emphasizes natural light and exterior views, transforming them into a form of art within the home. The Morgans also aimed to integrate meaningful art and antique pieces collected during their travels, necessitating spaces designed to accommodate these items. Elaine describes her interior style as a blend of soft contemporary and traditional, enriched with special antiques and diverse art, including pieces from European travels and a ceramic bust by Wisconsin artist Susan Strand-Penman. A key area of the home is the kitchen and adjoining sunroom. The kitchen features raised-panel, powder-blue cabinetry, providing a classic look and extensive storage. Expansive counters topped with Chiffon quartzite offer a durable and contemporary workspace, complemented by slab backsplashes. The sunroom, accessible from the kitchen, boasts walls of windows and French doors, offering natural light and scenic views. Inside, comfortable seating surrounds a cast-stone fireplace, while outside, turret-like architecture adds to the romantic, castle-like ambiance. The homeowner expressed immense satisfaction with the outcome, considering it her "happy place" and her home. #HomeBuilding #ArchitectureDesign #CustomHome #EuropeanCottage #InteriorDesign #NorthOaks #TimelessDesign

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

Dimore Studio has completed the refurbishment of Fendi’s Sloane Street boutique in London, drawing inspiration from the late 1960s and 1970s aesthetics. This collaboration marks the first Fendi boutique designed by Dimore Studio, following their previous acclaimed work on the Fendi apartment in Rome in 2016 and a design pieces collection for Fendi at Design Miami in 2014. The enduring partnership between Dimore Studio, led by Emiliano Salci and Britt Moran, and Fendi is attributed to a shared vision of luxury, emphasizing craftsmanship and attention to detail, alongside the creative freedom granted by Fendi. The renovated Sloane Street outpost aims to evoke the ambiance of a luxurious Roman aristocratic apartment, infused with contemporary sophistication. Key design influences include works by designers such as Paul Evans, Pierre Paulin, and Gae Aulenti. The boutique spans two floors, characterized by soft textures, rounded edges, and a warm color palette. Textile-covered walls are prominent, and floors are bordered with onyx marble, suggesting exotic travel. Ceilings feature light pink Plexiglass prisms or oxidized alpaca, contributing to the distinct atmosphere. The ground floor is dedicated to women’s accessories and bags, which are showcased on thick shelves made of brass and Plexiglass, illuminated by parchment backlighting. The upper floor houses ready-to-wear and fur collections, displayed against walls backlit by a window adorned with luxurious silk-fringed curtains. A central design element connecting the two levels is a striking staircase. Its double-height walls are lined with mohair and velvet, while the bannister incorporates wedge-shaped panels crafted from various metals, mirroring the geometric rugs used on the ground floor. On the upper floor, the space is segmented into distinct rooms for men's and women’s collections, separated by a corridor. One side of the corridor is finished in powder pink plaster, and the other in black wood paneling. To enhance the intimate, homely feel, Dimore Studio meticulously curated a blend of vintage furniture and contemporary art and design pieces. Examples include 19th-century Chinese bamboo armchairs paired with an 'Artona' series dining table by Afra and Tobia Scarpa. A standout feature of the boutique is the intimate VIP room located on the first floor. This exclusive area offers bespoke services for bags and furs, alongside private changing rooms. Hidden behind Vienna straw screens, the VIP room envelops visitors in a warm golden glow, achieved through carefully layered patterns and shimmering textures. Fendi CEO Pietro Beccari praised the design, noting that Dimore Studio successfully translated Fendi’s brand codes into an ideal London apartment setting, emphasizing its distinctive, sophisticated, and intimately luxurious character. #DimoreStudio #Fendi #SloaneStreetBoutique #InteriorDesign #RetailDesign #SeventiesStyle #LuxuryFashion #LondonDesign #VintageFurniture

The article introduces the Diesel Home Collection, a collaboration between fashion brand Diesel, lighting brand Foscarini, and furniture brand Moroso. This collection, showcased at the Salone Internazionale del Mobile in Milan, features a range of furniture and lighting designed to express the Diesel style through ironic, irreverent, and creative means. The lighting collection, developed with Foscarini, offers lamps inspired by various themes, from rock music to retro aesthetics. The Graf collection, for instance, draws inspiration from pop music, featuring graphic representations of DJ consoles and natural elements on its opaque weave fabric. These lamps are available in hanging, table, or floor versions and provide a warm, diffused light. The Rock lamp, a standout piece, is an artistic interpretation of a split volcanic rock, with a rough, dark exterior and a shiny, iridescent interior that creates dramatic visual effects when illuminated. Stud, another lighting design, embodies rock energy with metal nails on its base and a chrome-plated diffuser reminiscent of mirrored sunglasses, offering variable lighting effects. Cage lamps are inspired by old lanterns, featuring a luminous body protected by a decorative metal cage with an irregular structure. These come in white, black, and light green, offering different moods and visual transformations when switched on. Glas reinterprets classic work lights found in warehouses and factories, using innovative materials like glass with a silver-colored surface to create a unique decorative element with a retro feel. The Fork lamp is an ironic nod to camping, with a canvas shade resembling tent stitching, available in floor and table versions. Tri-p is a portable floor lamp with an umbrella-like structure, designed for easy transport and featuring a changeable elastic fabric shade. For furniture, the collaboration with Moroso resulted in the "Successful Living from Diesel with Moroso" collection, designed to embody a relaxed and comfortable informal lifestyle. This collection targets consumers who appreciate simple shapes combined with high-quality materials and distinctive, pure-lined designs. Patrizia Moroso, who oversees the design projects, explains that the collection explores two coexisting aspects of contemporary trends: a darker, underground-inspired aesthetic with an aggressive and enigmatic feel, and a lighter, nature-inspired one with soft, welcoming shapes. This approach led to the creation of the Camp and Rock collections. The Camp collection includes the Nebula Nine Sofa, described as soft like a large cloud with generous shapes and stonewashed linen covers, providing an ideal space for relaxation. The Cumulus Chair offers similar comfort with its large cushions. This collection also features hand-painted wooden furniture such as the Overdyed Lounge Chair, Overdyed Side Chair, and two tables (rectangular Overdyed Table and round Overdyed Side Table). The painting technique, known as ragging, reveals the natural wood streaks and creates a special vintage effect, complemented by black-painted steel support structures. The Rock collection takes a different direction, drawing heavily from music, concerts, and visual idioms. The Xraydio 2 Disc occasional table features an X-ray print of a DJ console on glass, using electric blue and black shades to create a strong, evocative, and iconic effect. The Xraydio 1 Razza table uses a similar process with an image of a ray fish. The 3-panel screen, Xraydio 3 Natura Morta, displays a photographic image playing with the archetype of a seventeenth-century still life. Further rock-inspired elements include the Bar Stud stools, available in two heights, and the Ego Stud mirror, both adorned with studs on leather. A special item is the Flightcase storage unit, inspired by musician's instrument cases, available with two or three doors. The entire collection aims to create an alternative and distinctive mood, where each product possesses a strong identity that is further enhanced when combined, resulting in a laid-back, fun, and rock-inspired atmosphere. #DieselHomeCollection #FurnitureDesign #LightingDesign #MilanDesignWeek #Foscarini #Moroso #InteriorDesign #ContemporaryDesign #ProductLaunch

For the past three decades, Imprimerie du Marais (IdM) has been the go-to printing house for Paris' discerning brands, handling a variety of intricate projects, including offset-printed invitations for Dior's haute couture show and magazine production for Samuel Ross with unique printing techniques. As of June 2021, the company has relocated from its historical Marais district base to a new 1,500 sq m facility in Cité Griset, a 19th-century industrial complex in the 11th arrondissement of Paris. This new home, a former foundry and factory building, has been meticulously redesigned by the French architecture studio Ateliers Saint-Lazare (ASL). Mélody Maby-Przedborski, IdM’s communications director, refers to the new location as a “forgotten treasure.” The building, originally opened in 1825 by Antoine Griset, a renowned precious metal founder, was a purpose-built operation that included worker apartments and industrial spaces. After Griset moved in 1920, Cité Griset was segmented into various factories and workshops. IdM specifically took over a former cardboard box factory that necessitated a full structural overhaul. They commissioned Ateliers Saint-Lazare, co-founded by architect Antoine Ricardou, who is also a long-standing client of IdM. ASL, known for its comprehensive approach spanning branding, architecture, and interior design, has an impressive portfolio that includes prominent establishments such as the Merci concept store and Le Pigalle hotel in Paris, and the NoMad hotel in New York. Ricardou drew inspiration from IdM’s “audacious courage” in establishing a center of craftsmanship within central Paris. His vision was to create a contemporary creative factory that honored the building's historical roots while simultaneously looking to the future. Maby-Przedborski highlights Ricardou’s intention to restore the building’s manufacturing purpose, utilizing wood and glass extensively instead of steel. ASL designed and incorporated precise bespoke cabinetry, contrasted against pristine white walls and exposed ductwork, resulting in a bright, modern interpretation of a pre-war workshop that avoids mere imitation. The renovated building functions as a grand atelier, comprising eight interconnected workshops capable of handling a wide array of printing techniques, including lithography, foiling, embossing, four-color printing, letter pressing, and screen printing. This interconnectedness was a primary driver for the relocation, facilitating a seamless flow of work between different processes. Beyond its functional aspect, IdM’s new home also serves as a showcase for advanced printing and paper-based arts. A significant structural modification implemented by Ricardou was the introduction of a large, open staircase. This design not only connects the building’s three levels but also enhances natural light and provides a unique viewing platform, immediately immersing visitors in the dynamic energy of the workshops. The expanded space is designed to host live events and discussions exploring the intersection of art and craft. Crucially, the design emphasizes collaboration; IdM aims to provide a transparent environment where clients can observe the printing processes, grasp the capabilities, and engage in creative partnerships with the printers. This approach allows clients to be inspired by IdM’s expertise, fostering a collaborative atmosphere where ideas can evolve through interaction and observation. Surrounding the workshops, Ricardou designed a series of wood and glass offices, offering both views of the industrial activity and a comfortable, warm working environment. Maby-Przedborski notes that Ricardou successfully balanced industrial function with creative inspiration, aligning with the creative energy found in leading fashion, design, and music studios. The additional space also enables brands to document the workshops through videos, allowing them to share and promote their dedication to craftsmanship with a wider audience. IdM recognizes that in an increasingly digital world, printed materials have become critical tactile touchpoints, symbolizing craft, care, and materiality. This focus on the physical experience of print, especially evident in the performative nature of unboxing videos on platforms like YouTube and Instagram, highlights the enduring value of high-quality printing and packaging. IdM’s expertise is deeply rooted in Paris’s local economy, where luxury brands consider packaging and printed materials integral to their brand identity, demanding the same level of precision and artistry from their printers as from their seamstresses. Founded in 1971 by Charles Przedborski, IdM initially focused on books and stationery. His son, Jacky, joined 20 years later, steering the company toward creative experimentation, tackling complex commissions for leading fashion and luxury brands. IdM has since expanded its reach, establishing relationships with creative agencies and galleries globally, including an outpost in London and plans for expansion into the US. Maby-Przedborski emphasizes IdM’s commitment to innovation and sustainability, showcasing samples of unique materials like paper made with glucose (to attract bees), compostable wood fibers, seed-impregnated paper, and paper derived from powdered stone. The company also utilizes natural inks for screen-printing and upcyclable foils, offering new tactile and sensory experiences that enrich the printed product and align with modern environmental values. #ArchitectureRenovation #IndustrialDesign #ParisArchitecture #AteliersSaintLazare #ImprimerieDuMarais #PrintingIndustry #SustainableMaterials #Craftsmanship #InteriorDesign

French designer Claire Lavabre has created an innovative mirror called "Reflet" that distinguishes itself through its unique activation mechanism. Unlike conventional mirrors, Reflet's reflective properties are fully realized only when positioned over a dark, matte-painted shape on a wall. While a partial reflection is discernible against a white surface, the mirror's true clarity emerges when the ultra-reflective, yet highly transparent, glass overlaps with a dark background. This effect is akin to observing one's reflection in a darkened window at night or from a well-lit room when the exterior is dark, where the contrast enhances visibility. Lavabre's design exploration delves into the interplay between reflective and transparent surfaces, aiming to create new visual perspectives by superimposing images. To facilitate user customization and adaptation to various environments, she proposes a series of six distinct geometric shapes and colors that can be painted on the wall to accompany the mirror. This allows individuals to personalize the mirror to their preferred aesthetic and integrate it seamlessly into different spaces. The Reflet project originated during Lavabre's studies at École Nationale Supérieure de Création Industrielle (ENSCI) in Paris, where she completed her graduation in December of the previous year. The mirror is slated for exhibition at the Design Parade 8 festival, held at Villa Noailles in Hyères, France, from July 5th to 7th, as part of a showcase featuring works by ten emerging designers. This innovative approach to mirror design follows other recent explorations in the field. For instance, New York designer Joe Doucet developed the "Fathom" mirror as a tribute to Hurricane Sandy victims, which creates an illusion of partial submersion for the viewer. Similarly, Canadian studio The Practice of Everyday Design crafted a mirror that presents ghostly reflections through its buffed stainless steel surface, highlighting the diverse creative directions within contemporary mirror design. Lavabre's "Reflet" project contributes to this evolving landscape by challenging traditional perceptions of mirrors and introducing an interactive element that relies on the surrounding environment to unlock its full potential. The system comprises a wood frame, the specialized glass, and the wall paint, allowing for variable shapes and sizes of the geometric backdrop. #ProductDesign #HomewareDesign #MirrorDesign #FrenchDesign #DesignInnovation #InteriorDecor #InteractiveDesign

Dimorestudio, in collaboration with Loro Piana, unveiled an immersive installation titled 'La Prima Notte di Quiete' at Milan Design Week 2025. This unique presentation explores the blurred lines between reality and cinematic fiction, set within the evocative backdrop of an elegant, fictional 1970s villa. The experience was designed to showcase new furniture pieces from Dimoremilano – Dimorestudio's furniture brand – for Loro Piana Interiors, alongside existing studio classics re-imagined with Loro Piana fabrics. The installation, located in the Cortile della Seta courtyard at Loro Piana's headquarters, begins with guests entering a foyer designed to resemble a vintage cinema, complete with red velvet curtains and leopard-print carpet. Visitors are then guided through a series of holding areas before entering a pitch-black space. The core of the experience unfolds as individual rooms of the villa are dramatically illuminated, synchronized with a soundtrack composed by Nicola Guiducci. This multisensory approach creates an atmosphere of suspense and intrigue, leaving attendees to ponder the narrative of the villa's unseen inhabitants. The setting is a stormy night, emphasized by the sounds of thunder and water cascading down glass panels. Intermittent voices add to a sense of commotion, subtly reflected in the disarray of the interior spaces: crumpled bed sheets, scattered grapes, and misplaced throw pillows. The meticulous attention to detail is evident in elements like a half-read book on a sofa and faint suggestions of mold on the ceiling, all contributing to the plausibility of the scene. Dimorestudio emphasizes that this realism is achieved through a balanced curation of diverse objects, mirroring the sophisticated taste one would find in a genuinely lived-in home. Among the featured pieces is the 'Varallo' round bed, characterized by a tubular steel frame integrated with a Mohair velvet-upholstered headboard. The 'Valsesia' oval dining table also incorporates the same tubular steel for its legs, supporting a lacquered wood top with an Altai wool and cashmere fabric center. The installation also includes various other luxuriously crafted items, such as cabinets, seating, lighting, and decorative objects, all seamlessly integrated to appear as if they were collected over time by the villa's residents. Classic Dimoremilano designs like the 'Tavolo 089', 'Dega', 'Sciura', and 'Patty' armchairs are reinterpreted using Loro Piana Interiors fabrics, underscoring a commitment to tactile luxury and harmonious design. A notable debut within the installation is Loro Piana's 'Punti a Maglia' porcelain tableware, handcrafted in Limoges, which is presented dramatically shattered, adding to the installation's narrative of disruption. Antique sculptures and artworks, sourced from various galleries including Tornabuoni Art and Cardi Gallery, are strategically placed throughout the vignettes and in metal and glass vitrines, further enriching the environment. Dimorestudio's reputation for a cinematic design approach is evident, with influences from filmmakers like David Lynch and Federico Fellini. The installation, which intentionally raises more questions than it answers, serves as a masterclass in set design, inviting visitors into a thought-provoking experience that culminates in a golden, engraved key as a parting gift, subtly implicating the visitor in the unfolding mystery. #MilanDesignWeek #Dimorestudio #LoroPiana #InteriorDesign #FurnitureDesign #ImmersiveInstallation #CinematicDesign #LuxuryInteriors #ItalianDesign