Experience The Best Of Italian Design At Bloomingdale’s In New York

No need to purchase a ticket to Milan to indulge in stellar Italian design! Throughout September, Salone del Mobile.Milano and the Bloomingdale’s New York flagship are teaming up to showcase 23 made-in-Italy brands alongside a packed schedule of design talks. Curated by Ferruccio Laviani, the installation “Italian Design: from Classic to Contemporary” features an ethereal display that draws inspiration from the imagery and works of Giorgio de Chirico, Mario Ceroli, and Achille Castiglioni.

“We are happy to return to New York as the first stop on a new journey that will take us all over the world to present the Salone del Mobile.Milano as the event that enhances the quality, heritage, vision and passion of Italian design companies and all our exhibitors,” shares Maria Porro, president of Salone del Mobile, who adds that Laviani’s installation fuses “art, furniture, and theater engage in a dialogue that opens up new ways of understanding our industry.”

Located in Bloomingdale’s sixth-floor Home/Furnishing department, the installation invites viewers to experience each furnishing on a pedestal of sorts—quite literally—made of wood. Brands on display include Artemide, Foscarini, Living Divani, Minotti, Molteni&C, and many more standouts. Kevin Harter, VP integrated marketing, Bloomingdale’s shares that the collaboration with Salone del Mobile.Milano offers a unique opportunity to engage with customers. “Salone del Mobile is a remarkable embodiment of Italian culture and a cornerstone of the design world,” he says. “The site-specific installation at 59th Street pays tribute to Italian craftsmanship and its ability to unite influential voices within the space, completing our fall campaign concept From Italy, with Love.”

Italian design is synonymous with timelessness and craftsmanship, adds Kelley Carter, home fashion director, Bloomingdales. “It embodies a sensual elegance that transcends trends. Even when the designs are bold, they can still have a subtle feel,” she says. “The aesthetics rooted in Italian design keep inspiring us blending innovation with tradition and functionality seamlessly.”

Up next, Salone del Mobile.Milano plans to continue worldly travels with an installation planned in Shanghai during Art Week as well as a stop in Hong Kong to present the SaloneSatellite collection.

Read on to learn more about the making of “Italian Design: from Classic to Contemporary,” with insights from Laviani and Porro.

Behind The Scenes: Salone Del Mobile.Milano x Bloomingdale’s 

Interior Design: How did you arrive at the design vision for this exhibition?

Ferruccio Laviani: The design vision for this exhibition emerged from a deep appreciation for the metaphysical art of Giorgio De Chirico and the transformative power of Italian scenography. I was particularly inspired by De Chirico’s enigmatic piazzas, which, while quintessentially Italian, evoke a timeless and universal atmosphere. By translating the architectural forms of these piazzas into wooden screens, I sought to create a stage that echoes the haunting yet captivating emptiness of De Chirico’s work. Mario Ceroli’s wooden sculptures also were a source of inspiration and from where the idea of making bi-dimensional, De Chirico paintings in these two-dimensional screens came from. Additionally, I wanted to pay homage to the Italian theatrical tradition, particularly the work of Luca Ronconi, whose visionary set designs have always fascinated me. This fusion of art, design, and theater I think provided rich, multifaceted visuals for this exhibition.

ID: In what ways does the scenographic display you created strengthen the narrative of the objects on view?

FL: The scenographic display is designed to serve as both a backdrop and a narrative device, transforming the exhibition space into an interesting perception that elevates the objects on view. By using the architectural motifs of De Chirico’s piazzas as screens, the display recontextualizes the design objects, placing them within a surreal, almost dreamlike environment. This setting encourages viewers to see these everyday objects as monuments in their own right, worthy of contemplation and admiration. The homage to Italian cultural icons such as Ronconi , Ceroli, or Castiglioni further enriches the narrative, connecting the contemporary designs to a broader historical and artistic context. 

ID: What materials and color palettes can viewers expect?

FL: Viewers can expect to encounter a carefully curated selection of materials and colors that reinforce the exhibition’s conceptual underpinnings. The primary material is wood, used in both the screens and the sculptures, echoing Mario Ceroli’s work and providing a tactile connection to the past. The color palette is deliberately restrained, with earthy tones that recall the muted hues of De Chirico’s piazzas. However, this subtlety is contrasted with vibrant, pop-inspired graphics that draw on the radical design movements of the 1960s and the psychedelic illustrations of Keiichi Tanaami and Heinz Edelmann. The juxtaposition of these sharp, modern graphics with the more traditional, monochromatic natural backdrops creates a dynamic visual tension that speaks to the fusion of old and new, tradition and innovation, that defines contemporary Italian design.

ID: Where did the idea to create an international tour of Salone del Mobile.Milano originate?

Maria Porro: Last year, we launched our international roadshow with an evening in Shanghai, followed by four European stops, to share the Salone del Mobile.Milano’s journey, achievements, and new projects for the 2024 edition. This year, we chose to begin in New York with the event at Bloomingdale’s, marking the start of a broader tour. In November, we will continue to Shanghai during Art Week, featuring a significant installation at the Orbit exhibition center in the West Bund by Heatherwick. From there, we will head to Hong Kong to celebrate the 25th anniversary of SaloneSatellite, the event dedicated to young talents that takes place at Salone del Mobile.Milano.

The idea of a worldwide tour embodies the essence of the Salone, which is not only the pinnacle of the design industry but also a pioneer in exploring new markets, a preferred meeting place for the design community, and an incubator of new talent through SaloneSatellite. With the involvement of various keynote speakers and ambassadors, these events will keep the dialogue alive year-round, offering fresh perspectives on a design world that caters to increasingly discerning international audiences.

We are kicking off this new international tour as a roadshow featuring original formats aimed at reinforcing the Salone’s image as a catalyst for transformation, cutting-edge trends, and cultural innovation.

ID: What excites you most about collaborating with Bloomingdale’s for “From Italy, with Love”?

MP: First and foremost, there is a shared vision between Bloomingdale’s and Salone del Mobile.Milano, both iconic institutions that serve as reference points for quality, blending tradition with modernity. Additionally, Bloomingdale’s deep appreciation for Italy and its desire to celebrate and share the beauty of Italian culture with its customers further solidified this collaboration.

This partnership offers a unique opportunity to showcase Italian design excellence to a wider audience in the U.S., perfectly aligning with Salone del Mobile’s mission to promote the beauty, innovation, and cultural significance of Italian design on a global scale. By partnering with an iconic American retailer like Bloomingdale’s, Salone del Mobile can extend its influence and demonstrate how Italian creativity continues to lead contemporary design.

Moreover, this collaboration allows us to create a dynamic and engaging experience that merges Italian tradition with modern innovation, reinforcing Italy’s reputation as a design leader and fostering meaningful cross-cultural connections.

13 Belgian Creatives Featured at the 2023 SaloneSatellite

Belgium Is Design, a group of the country’s 13 emerging creatives, is among the up-and-coming talent show­cased at this year’s Salone­Satellite in Milan, the Salone del Mobile program laser-focused on the under-35 set. Among the highlights: Marianne De Cock uses lacquered larch for her jaunty Fold stool; Ahokpe + Chatelin encourages circularity with Ku do azò, a hammock made with secondhand sweater yarn; curves delineate Fersasos founder Pauline Vercammen’s Shell light; and childhood games inspired a tapestry by Manuel Leromain. Narcissus by Studio Matta is a polished-steel mirror integrating a shelf and vase. Notadesk’s laid-back lounge chair pairs an ash frame with a recycled-cotton sling seat. Playful Piédestal 1 by Tim Somers mixes wood species, and textile artist Emma Terweduwe contributes Gradient, a reversible felted rug that’s endearingly wonky. We love, too, how the mirrored top of Joe Sterck’s Speculum table separates from its base to become a stand-alone art piece.

12 Brazilian Design Highlights from the Milan Furniture Fair 2023

Home to an immense diversity of tree species and a rich variety of natural stone, Brazil has a wealth of material for savvy product designers to bring to life. The sensitivity lies in achieving good design while preserving natural resources and preventing deforestation.

At this year’s Milan Furniture Fair, Brazilian design with a sustainable focus shined at Salone del Mobile, as well as its young designer platform SaloneSatellite. However the biggest presentation of design hailing from South America’s largest country was at “ApexBrasil: Temporal (Storm).” The exhibition, held in the graceful arcades of the Portico Richini at the University of Milan, was curated by entrepreneur Bruno Simões for ApexBrasil, The Brazilian Trade and Investment Promotion Agency. With a particular focus on sustainability, the exhibit featured 50 contemporary products made by Brazilian designers. From a chair made entirely of laser-cut stainless steel to one inspired by a native anaconda to nesting tables developed after examining the behavior of gorillas, here are 12 of our favorite Brazilian designs from the Milan Furniture Fair 2023.

The Best of Brazilian Design at Milan Furniture Fair 2023

1. Ancestral by Pedro Franco for A Lot of Brasil

Mirror-polished and made entirely of laser-cut stainless steel, the Ancestral armchair by Pedro Franco is limited edition and made to order. It’s part of the collection Ancestralidade, in which Franco questions beauty and the ‘instagrammable’ phenomenon.

2. Sucuri by Érico Gondim

A flexible, snake-like braiding of hardy carnaúba straw wraps the Louro Canela wood and brass Securi armchair by Érico Gondim. The braiding serves as a flexible backrest and references the Securi, a green anaconda native to Brazil.

3. Mono by F. Studio Design

Pondering the rigid posture and social and sharing behavior of gorillas, F. Studio Design conceived Mono. The powder-coated aluminum nesting tables can also be stacked into interconnected shelves.

4. Pampa by Estúdio Fabiano Salbego

Exotic emerald and jade crystal with natural striations—Brazilian quartzite with the J’Adore brand name—tops a base of carbonized wood for Pampa by Estúdio Fabiano Salbego, part of the Biomas collection. Since each slab of crystal is unique, each coffee table is one-of-a-kind.

5. Arreio by Tavinho Camerino

Open-air markets selling traditional cattle-herding tools in northeastern Brazil are the source of the materials used in Arreio by Tavinho Camerinois, featured in SaloneSatellite. The armchair’s seat is made of leather cowbell harnesses, which also strap in a back cushion.

6. Aro Table by Leandro Garcia

Joining a wall-mounted version, Aro Table by Leandro Garcia are a collection of Tauart wood mirrors with varying attachments. Three different types of table mirrors are possible—fixed support, rotating support, and handheld.

7. Cuckoo by Platform4 for Enele

Continuous curves define plush armchair Cuckoo by Platform4, a pairing of FSC-certified pine, plywood, and upholstery. A revolving base ensures an air of flexibility to sumptuous lounging.

8. Fan by Roberta Rampazzo for Pemagran

Fan by Roberta Rampazzo highlights the beauty of Brazilian stone—renowned for its abundance of diverse geological formations. Formed from slabs of São Miguel black granite and Mont Blanc marble, the side table, part of the Graphic collection, doubles as a table base.

9. Fish Dies by the Mouth by Bia Rezende

Talking too much can cause you problems—or so implies the Portuguese saying “A fish dies by its mouth” referring to the aquatic creature’s demise by baited hook. The Fish Dies by the Mouth sugar bowl and teapot is designer Bia Rezende’s cheeky porcelain interpretation of the warning, and two storage containers for foods which must be consumed with caution.

10. Forma Vases by Suka Braga

Suka Braga joined slabs of Quartzite crystal with resin for Forma, a collection of stone vases that is part of her A Silent Object Series. Natural white and orange striations point to earth’s rich history.

11. Tessa by Índio da Costa Design for Munclair Lighting Brasil

On one side of pendant light Tessa by Índio da Costa Design, ripples of painted aluminum recall the surface of a body of water. The other side is curved screen-printed opaque glass, which eliminates the glare that can come with exposed LEDs.

12. Glow Up by Rodrigo Laureano for Studio Ronega

A base that widens at its feet distinguishes the wood lounge chair Glow Up by Rodrigo Laureano. The durable foam seat is upholstered in cotton fabric.

10 Questions With… Marco Sammicheli

For Triennale di Milano, entering its centennial has coincided with a few turning points. After announcing local design curator and critic Marco Sammicheli as the director of its Design Museum, the temple of Italian design recently launched its 100th year celebration with an archive exhibition that spans the institution’s breadth with cherry-picked pieces from its 1,600-item permanent collection.

Marco Sammicheli Talks About the Evolution of Italian Design

Interior Design: What prompted the institution to open its archives on its anniversary?

Marco Sammicheli: One of our most ambitious projects this year involves our archives. This has, for sure, a celebratory intent, but it is also meant to provide people—and not just insiders—with an educational aspect. To give a better value to our archives, we will create a dedicated, permanent space in one of the originally most representative areas of the Palazzo dell’Arte to host numerous historical materials, covering the extraordinary perspective from the entrance to the spiral staircase, and bringing it back to its original appearance after more than 30 years. This new set-up represents a place for research open to everyone. It can be considered as a magnet to attract ideas, reflections, and curious people in general. We will also reactivate the research center of Triennale Milano, which was founded in 1935, and brought Triennale to be recognized as research institution in 1949. This links its activity to this new physical space which will open at the end of 2023.

Talking from Triennale’s perspective, this project will ride the wave of our centenary but it actually rises from the deeper need to make culture more available to a different range of audiences in present tense. People and society are demanding it, and culture is completely involved in this process of changing. They are asking us to rediscover our past, they require having a more down-to-earth approach, and we are completely willing to embark on this journey.

ID: What connection do you see between the oldest and most contemporary pieces from the archive?

MS: There actually is a strong connection between these seemingly different objects, and it is the will of Italian design to respond to the evolution of people’s behaviors. Whether it is in the office or on a motorcycle circuit, Italian design has always shown an innate feature of shaping itself on the consumer’s life, combining technological advancement with the capacity to listen to people’s desire, and the ability to include an artistic and aesthetic approach in the whole process.

ID: Given technological advancements over the years, how do you see the archive as a chronicler of these developments?

MS: Archives, by their establishment, work as gatherings, as galleries of topics that have already happened. They are extremely useful to avoid repetitions and to provide the present with the advantage of history, with a collection of shapes and methods along with a representation of the technological advancements over the years. Archives are made of connections, and ours here at Triennale makes no exception—from the engineer Giulio Natta’s diary, where a note describes his discovery of polypropylene, to a Kartell chair made of a transparent and recyclable type of plastic, objects are continuously linked to one another. In this case, the link is commissioning (Kartell’s founder Giulio Castelli was very close to Natta), manifesting the spirit of Milanese design, and relevancy of an archive today.

ID: Italian design is synonymous with many moments in style, from radical to sleek. How do you see the element of exploration across these 1,600 objects?

MS: It is important to stress the three elements crucial to Italian design: the importance given to technological advancement, the capacity to listen to people’s desires, and the ability to include an artistic and aesthetic approach in the whole process. Italian design does not have an industry type of background, and, in its early stages, it was not taught at school. It comes instead from experimentation. In this open field, with almost no rules, some visionary entrepreneurs met up with some architecture students willing to reduce the scale of their projects, and with art students wanting to give up the unicity of a work of art in favor of mass production. This is the main key, the main lens through which one can really understand Italian design and our collection here at Triennale.

ID: You come from an editorial background. How do you see this part of your resumé engaging with Trienniale’s mission and role?

MS: The design publishing industry has been fundamental for many years, gathering research projects and ideas that did not find their place in academies or in factories. Magazines had an extremely open approach, educating both readers and future commissions. For the future, I hope that the publishing industry can keep on with this approach, stimulating ideas and suggesting future developments, offering a new access point to design that’s different, by definition, if compared to the one proposed by museums.

ID: Design has gained new meanings after covid and our altered relationship with interiors. How do you see this aspect being reflected in the exhibition?

MS: The willingness to focus on interiors comes definitely from the post-pandemic repercussions on our lives. Interiors regained a new value after that moment, by glimpsing at the different bookshelf backgrounds in our colleagues’ houses during video calls. By looking at the layering of books, objects, and stories, we could understand other people’s interests and taste in terms of decor. Today, when we buy a lamp or a chair, we know that these objects might become part of our daily working life, and this makes us consider them from a different perspective, where life and work are strongly linked. This has also taught museums that the “real,” as opposed to the digital, is gaining a new momentum in the contemporary debate, and the new exhibition set-up for our Museo del Design Italiano perfectly reflects this aspect.

ID: Fittingly, another upcoming show “Home Sweet Home” looks into the idea of domesticity through design. How does this exhibition delve into our relationship with interiors?

MS: The exhibition, curated by Nina Bassoli, curator for Architecture, Urban Regeneration, Cities at Triennale, puts archives at the very center of its research, attributing different thematic units to new and upcoming design and architecture studies. It will show the changes in the home and the evolution of the idea of living through the works dedicated to this theme in a century of Triennale Milano exhibitions and International Exhibitions. The themes of past shows are reinterpreted from a contemporary perspective, overturning the conflict between home and work, male and female, production and reproduction, public and private space. The historical narrative is interwoven with some wholly site-specific environments which are actual exhibitions within the exhibition, created by contemporary designers.

ID: Triennale was born out of the Decorative Arts Biennale 100 years ago. How do you see the role and impact of such ambitious biennials and other global affairs have changed over the decades?

MS: Triennale has been the first institution to understand that these global moments could become occasions to reflect on different disciplines on an international level. As many global appointments like biennials are increasingly becoming territorial marketing moments today, Triennale, thanks to its 100-year experience, can still spark new creativity in the process. For example, on the occasion of its International Exhibition, the institution fosters every three years the presence of international pavilions. They are meant as ways to discuss on different topics of the contemporary debate from different geographical and political perspectives, and we noticed the strong impact these different voices have; to mention just one example from last year’s 23rd International Exhibition, the Planeta Ukraine project aimed at promoting contemporary Ukrainian culture with a rich program of talks and exhibitions.

ID: Triennale is an important part of Milan’s design community. What are your thoughts on Milan’s current design scene and what are your plans in terms of connecting with the community through programming?

MS: I would assign a very specific role to an area of Triennale’s building: its garden. Inside, one can find many sculptures, many traces of past International Exhibitions, and it represents a link with the city itself. The garden welcomes public program events, but also a bar where people can stop by and have drink together, maybe during a concert. This makes Triennale as a place of encounter, open to everyone. Of course, our programming emphasizes our role within the design community as well. It stresses the importance of our past, as it should, and use the International Exhibition as a three-year appointment on the present. Even when we talk about established architecture or design names, however, we put a different twist that helps rediscovering new narratives.

Archival Pieces from Triennale di Milano’s Design Museum

9 Bold Color Highlights from Milan Design Week 2023

There is a springtime following winter, and we are in it. Color can match our emotional state. Bold and bright, it seizes a room, lifts us up, and comforts us. For the first time since the global pandemic, international furnishings event Salone del Mobile and the coinciding Milan Design Week returned to their former April time slot, for the most part back to the usually scheduled program. 

As Interior Design jaunted around town and the fairgrounds, we saw color, color, and more color. And this makes sense. Would a gray or neutral beige really express what we have gone through? Now, in this moment, color should shout. Or perhaps, wrapped up in our own spaces for so long, we know ourselves better. Color is about individualism, after all. From a pastel outdoor sofa system to a balloon that won’t float away and pendants that climb to the heavens, here are nine of our favorite, colorful finds from Milan Design Week 2023.

Pops of Color at Milan Design Week 2023

1. BomBom Outdoor by Joana Vasconcelos for Roche Bobois

The pastel-hued facades of Lisbon’s Old Town sparked the idea for the exuberant color pallet of the curvaceous BomBom Outdoor sofa system by Joana Vasconcelos, upholstered in hardy outdoor fabric. Vasconcelos, who lives in Portugal’s capital, also designed the suspended ceiling installation in the same hues, as seen in the Milan showroom here. 

2. Bulla by Studio Thier & van Daalen

Evoking childhood memories of the excitement that comes with a balloon, Bulla wall lamps are crafted from glass in pastel hues mouth-blown without a mold—making each piece unique. The loop-shaped light element follows the form. 

3. Parallel Tube by Atelier Areti

There are times when limitations lead to the best results. A basic light could be considered three parts: base, stem and illuminating element. “The Elements collection is based on reinterpreting one or two elements of this archetypical three-component light,” says Gwendolyn Kerschbaumer, cofounder of Atelier Areti. Parallel Tubes, a new addition to the collection, is a wall lamp where this simplicity shines. 

4. Starglow Spiral by Eloa

A colorful floating stairway gracefully ascending to the sky, the Starglow pendant light by Eloa is a string of colored spheres of mouth-blown glass, each unique. Both color and height are adjustable—allowing the possibility of floor-to-ceiling rainbows for living rooms, stairwells, and more. 

5. Ray and Rainbow by Draga & Aurel for Rossana Orlandi Gallery

With a nod to Light Boxes by artist and composer Brian Eno, pendant light rods Ray and table Rainbow demonstrate with electrifying results the possibilities of acrylic resin. Irregularly-shaped swaths of color form Rainbow, while Ray drops enthusiastic hues from the ceiling. “I imagined a kind of waterfall or a curtain made of light,” says Draga & Aurel cofounder Draga Obradovic. “In this collection, we wanted color because it gives the sensation of lightness.”

6. Moiré by Objects of Common Interest for CC-Tapis

Rugs can also explore the natural beauty of wood grain, according to Objects of Common Interest. The design studio’s Moiré rugs, woven in a jacquard technique rare for the rug world, draw from the moiré-like patterns of grain and rings occurring in wood.

7. Bentar by Hendro Hadinata for Robries

Split gateways (candi bentar in Indonesian) are often found at the entrances of palaces and temples in Indonesia. Similar in form, the Bentar lamp by Hendro Hadinata is made from a material that recycles plastic waste. The light dims when its two pieces are pushed together. 

8. Otto by Yellowdot

The shimmering, hand-woven silk ‘kutnu’ fabric upholstering the blocky Otto bench by Yellowdot takes its wavy pattern from the Ottoman Empire, where it was used for royal kaftans and furnishings. Today, the technique is kept alive by a small group of craftworkers in the city of Gazientep, Turkey.

9. Binda by Raw Edges for Louis Vuitton

With piping accenting its backwards-sweeping, futuristic curves, the upholstered Blinda armchair and sofa elevate the average living room to the one you keep talking about. In addition to ‘cream and coral’—shown here—bold color options include ‘deep blue and violet’ and ‘orange and milk.’

10 Show-Stopping Installations at Milan Design Week 2023

“What have you seen that’s really, really fabulous?” Each year, Interior Design is asked this question during Milan Design Week, when countless design events coincide with Salone del Mobile. The answer changes by the day but often involves an installation—a temporary immersive experience that captures the senses and sends us into another realm of feeling: perhaps joy, perhaps excitement, or perhaps curiosity.

At Alcova, the offsite exhibition, an Italian cocktail emerged from a steampunk sculpture—and that wasn’t the only installation that grabbed us. In the Porta Romana district, a restored swimming complex with two large pools dominated Instagram for the week. In the Fashion district, towering trees and a secret garden at a Milanese villa made us wonder if we were still in the center of Milan. From a seemingly endless banquet spread on natural and semi-precious stone to an interactive scent laboratory and a plane made of denim, here are 10 of our favorite installations from Milan Design Week 2023.

Installations from Milan Design Week 2023

1. “Beyond the Surface,” by SolidNature

If we could give an award to this year’s most breath-taking spread of food, it would go to SolidNature, also winner of the Fuorisalone Award for Best Installation at Milan Design Week 2023. A star at Alcova last year, the stone purveyor moved to its own venue, and filled the basement and garden of the neo-Romanesque Casa Maveri, a villa in the Brera District, with commissioned natural and semi-precious stone pieces.

Designed by Ellen Van Loon and Giulio Margheri of architectural firm OMA, the basement level was reached by a dramatic backlit stair, with each step highlighting a different colored onyx. Backlit massive stone blocks overtook the entire underground floor space, which explored more stone possibilities.

In the garden, a large communal table used blocks of travertine treated with olive oil to display a seemingly endless spread of food by culinary artist Laila Gohar, from wild strawberries to shaved parmesan, figs, and cured meats as espresso was served up from a travertine bar. Both the table and the bar were designed by Sabine Marcelis. “I wanted to really celebrate the colors the travertine comes in—I didn’t even know that you could get orange or red,” Marcelis admits. “The surface of a table normally defines its function, but here I wanted to kind of blur those lines, so the feet are also places to rest food on.”

Studio Ossidiana designed the stone stage and podium and a semi-precious sculpture bursting with crystals was by Ward Strootman. In the grass, stone animals by Iranian artist Bita Fayyazi lounged—among them a sleeping cat and a rabbit.

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2. “Expériences Immobiles” by DWA Design Studio for Les Eaux Primordiales

At Alcova, a glass and wood interactive scent laboratory by DWA Design Studio made for a dramatic way to entice visitors. With mechanical fans, glass bulbs, vials—some containing whimsical sculptures by Natascia Fenoglio—and two glass towers, the captivating olfactory experience provided several different ways to breathe in perfume by Les Eaux Primordiales, whether by a squeeze of a plastic pump or a twist of a dial that spun a disc of paper, directing the scent towards you. Resting on a colorful carpet and housed within a wood frame that filled a room, the towers of stacked glass geometric shapes were inspired by factory chimneys and offered a fresh and new perspective from every angle.

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3. “Spirit of Design: Inspired by Nature” by Dedon

We’re not one to turn down a peek inside an Italian villa, an exclusive opportunity that increasingly comes with Milan Design Week. At the Fashion district’s 22,000-square-foot Garden Senato, German outdoor furniture manufacturer Dedon presented the exhibit “Spirit of Design: Inspired by Nature.” In the villa’s tucked-away garden, a path winded through the manufacturer’s furnishings, from swinging chairs dangling from leafy trees and light fixtures sprouting from leafy foliage. An open-air pavilion offered a spot to lounge with a cocktail, and a cluster of butterflies (actually powder-coated aluminum and mounted on rods emerging from the lawn) introduced a butterfly-themed chair, Papyon by Arnd Küchel. On a canopied loveseat, Orbit by Richard Frinier, it was also possible to spot Dedon’s new Mystique, a fiber which has a technologically advanced 3D-effect that allows it to shift in hue.

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4. Negroni Fountain by Mamo

A steampunk aluminum and plastic sculpture trumped all other opportunities to enjoy a cocktail around Milan this year. Also presented at Alcova, the interactive Negroni Fountain by Mamo drew an enthusiastic crowd, ready to catch the bittersweet tipple flowing from plastic tubes with Mamo’s tinted reversible glassware. The installation’s purpose was to “upend the usual interaction with design pieces on view during design week which you can only look at and not touch,” says Arley Marks, Mamo’s creative director and cofounder. We’d say: Mission complete.

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5. “Under the Sun” by Gubi

Beautifully restored thanks to crowdfunding, Bagni Misteriosi (“Mysterious Baths”) is a historic swimming complex and outdoor theatre in Milan’s Porta Romana district. Built in the 1930s, the sprawling venue includes several buildings, two pools, and poolside and rooftop bars—an area totaling over 100,000 square feet. During this year’s Milan Design Week, it was an easy place to linger and the ideal venue for Danish furniture manufacture Gubi to launch an expansion of its outdoor collection and celebrate 10 years of its iconic Beetle chair by GamFratesi. Curated by Marco Sammicheli, “Ten: Beyond the Beetle” presented 10 wildly unexpected variations of the Beetle, as conceived by 10 artists, from a tattoo artist, to a lighting designer. One, by Nathaniel Furman, is supersized and pink. Another, by Rachaporn Choochuey, soars through the air. “The Beetle chair was actually made for a creative exhibition – we were very young and did the product with the intention to express our philosophy,” says GamFratesi cofounder Enrico Fratesi.

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6. “More or Less” by Maarten Baas for G-Star RAW

A 50-foot denim airplane was the star of “More or Less,” by Maarten Baas for G-Star Raw. Conceived as a conversation on the challenges of sustainability and the benefit of small contributions, the exhibition also included a series of jean-shaped cabinets made of textile board material by textile manufacturer Kvadrat. Both the plane and the cabinets’ board material were crafted from recycled G-Star jeans collected via “G-Star’s Return your Denim” program.

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7. “Swing” by Stefano Boeri Interiors for Amazon and “Interni Design Re-Evolution”

Grab a panini we are heading to the University of Milan’s new supersized collective swing set for a sky-high lunch break. That’s a comment that makes sense during Milan Design Week. As part of “The Amazing Playground,” an interactive space by Amazon, “Swing” by Stefano Boeri Interiors filled a courtyard with a metal carousel of swings with wood seats. “Play is a basic component to Italian design history—if you look at Enzo Mari or Bruno Munari, for example,” says Boeri, who hopes to reinstall the swing in another part of the city following the event. “After spending hours watching, it’s not so bad to switch roles, and become an active participant.” At night, illuminated, Swing served as creative venue for a series of concerts. 

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8. “La Macchina Impossibile” for Sanlorenzo and “Interni Design Re-Evolution”

Boldly-hued flowers—actually propellers—stood out in the large metal structure that formed “La Macchina Impossibile,” also in a courtyard at the University of Milan. Demonstrating a sustainable revolution in the yachting industry, the installation’s propellers and wheels are powered by a methanol system developed by shipyard Sanlorenzo in partnership with Siemens Energy. The technology will start powering on-board services on yachts up to 240 feet from 2024.

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9. Sculpture by Raffaele Salvoldi for Salvatori

Italian artist Raffaele Salvoldi is known to take KAPLA, a stacking children’s toy of wood building blocks, to new heights in both creativity and form. But what could he do with stone? So thought Italian stone brand Salvatori. Despite a less-forgiving material, Salvoldi (who must be very, very patient and meticulous) had dazzling results, in the form of three towers built live in the Salvatori showroom during Milan Design Week. The towers find new life for hundreds of pieces of natural stone cut from production discards.

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10. “Assembling the Future Together” by IKEA

Mist on your skin, wind in your hair, and earth in your hands made for an intriguing experience at the IKEA installation, designed by architect and set designer Midori Hasuike and held at the 10,800-square-foot Padiglione Visconti, a historic building used for workshops for cultural venue Teatro alla Scala. The Swedish furniture manufacture used the occasion to toast its 80th anniversary. Visitors first encountered a nostalgic exhibition highlighting IKEA products dating back to the 1950s. New products were unveiled in ‘present,’ and the elements were unleashed in the ‘future’ section. “Here we wanted visitors to get interactive with the products that are in front of them,” shares Hasuike. This section included a pine tree“an homage to IKEA tradition,” Hasuike adds.

At night, the space turned into a nightclub illuminated by a lighting project by Anders Heberling, who incorporated over 1,000 glass carafes and colored glasses. Thanks to IKEA’s newly launched Artist in Residence program, star photographer Annie Leibovitz, the first recipient and there to unveil a series of portraits, was a notable attendee.

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12 Young Designer Highlights from SaloneSatellite 2023

Clever innovation was spotted all over SaloneSatellite, Salone del Mobile’s platform for young designers last week. From sustainable materials to unexpected forms, a fresh perspective dominated the 24th edition, which drew more than 550 rising stars under the age of 35 to the Fiera Milano exhibition center.

Each year, a few hot talents are singled out in the SaloneSatellite Awards program—and this year the top prize found new life for tatami mats. From a giant, free-standing lampshade to seemingly dripping cabinets and a compostable stool, here are 11 of our favorite finds.

SaloneSatellite Spotlights the Work of Young Designers

1. Haori by Atsushi Shindo

The graceful fold of a Japanese kimono sparked the idea for the aluminum and leather Haori by Atushi Shindo—after he found himself wearing the traditional garment for the first time. Inside the giant, free-standing lampshade, internal projection converts an LED light into a soft, soothing glow.

2. Melt by Antrei Hartikainen

“I tried to find a sense of water,” says Finnish master cabinetmaker and designer Antrei Hartikainen on his Melt furnishing collection, carved out of untreated Finnish pine. Paneling on the hand-built wall-mounted cabinets appears to be dripping—as if water is flowing along their surface or melting.

3. Tatami Refab Project by Honoka

Honoka nabbed first prize in the SaloneSatellite Awards. With the idea to repurpose tatami matts—frequently discarded in Japan—the Japanese design studio mixed them with biodegradable resin. With help from a large 3D printer, they then created a furniture collection. The transparency of knitted tatami-resin Sori and Muri, a pendant light and table, changes according to degree of light and angle viewed.

4. Shi-Tai by Hideyuki Yamazawa for Swarm

Decomposition and its method of breaking down particles into smaller pieces is behind the shape of the Shi-Tai, produced with help from Generative AI. Hideyuki Yamazawa mixed recycled cardboard and cushions with paper, resin, and green coloring to develop the chair’s new material, based on the traditional Japanese lacquer technique called “Shi-Tai.”

5. OCTA Twin by Diaphan Studio

Diamond-shaped projections emerge from the sharply-angled solid brass OCTA Twin pendant light, which has an internal floating diffuser for its LED lights. “All of our lamps are inspired by crystal structures,” explains co-founder Dominique Wolniewicz. “Working with rough and polished finishes—the exterior is always brushed and the interior polished–creates all of these reflections.”

6. Triplex 4.0 by Studio Ryte

Gothic architecture and plastic stools that are widespread in Hong Kong are behind the curves and fluted legs of Triplex 4.0, Studio Ryte’s fourth version of a stool and second prize winner in the SaloneSatellite Awards. The award also recognizes its new material, a biodegradable flax fiber. “Our intention was to create a furniture piece that is relatable, compact, and light enough for the nomadic lifestyle of the current era,” says Dennis Cheung, founder of the studio.

7. Céleste by Laure Gremion

With Céleste, designer Laure Gremion transforms LED strip lighting found in the average hardware store into an elegant chandelier that’s both modular and adaptable. Generally glued on a wall, the strips are instead looped on a steel frame. “LED strips are a fascinating material that is highly underestimated and only glued to rigid elements and most of the time hidden,” says Gremion. “But using its flexibility is much more interesting! So I started experimenting with it and noticed that when I twisted it in loops, it was creating tension, and with weight, it could make a curved shape, and become a totally new material.”

8. Sitzle by Yoomin Sun

Students of designer Stefan Diez—also a professor at the University of Applied Arts Vienna—had their work highlighted in the exhibition “Rethinking the Elements of Architecture.” For those of us who gravitate towards heat sources in cold temperatures, Sitzle by Yoomin Sun is a set of couches with a built-in radiator. The seating concept, which brings the heat source to you, allows more efficient use of heat.

9. Solarshades by Julian Paula and Paul Canfora

There’s no need for solar panels to be ugly, according to Julian Paula and Paul Canfora, also featured in “Rethinking the Elements of Architecture.” Made from transparent organic photovoltaic film, the design duo’s Solarshades are both decorative and functional, with the capacity to tap energy from limited light.

10. “Ku Do Azò by Ahokpe + Chatelin for Belgium is Design

European sweaters available at African markets are the source of the yarn in hand-woven hanging bed Kudoazò by Ahokpe + Chatelin, a design studio working out of both Belgium and the West African nation of Benin. Each bed—crafted from polyester warp and mixed-fiber weft (wool, acrylic, and polyamide) and held up by steel rods—is unique. “We wanted to make objects created on Beninese territory for export while questioning the flow of materials,” says Estelle Chatelin co-founder of Ahokpe + Chatelin, the third prize winner in the SaloneSatellite Awards.

11. Spiral by Peter Otto Vosding

Pondering the idea that cords aren’t usually the most attractive element of a luminaire, designer Peter Otto Vosding conceived floor and pendant light Spiral. The fixture’s visible cable is wrapped around a height-adjustable aluminum pipe, and both draw the eye when rendered in vibrant hues.

12. Biodesign Biomaterial by Gabriel Sotrati Angelo

A seed traditionally sourced for red food coloring is the unexpected ingredient in Biodesign Biomaterial, an experimental biodegradable material by Gabriel Sotrati Angelo. A substitute for plastic, the material is created by mixing latex with annatto, or seeds of tropical America’s achiote tree. 

Alcova Surprises in More Ways Than One at Milan Design Week

Held once more at a derelict urban site ripe for renewal, the wildly popular Alcova returns to Milan Design Week. There’s nothing so perfectly seductive as the contrast between a rough backdrop and pristine design objects, as the event’s founders Joseph Grima (Space Caviar) and Valentina Ciuffi (Studio Vedèt) are well aware.

For the fifth edition of the envelope-pushing contemporary design exhibition, the shiny new—or rather old and abandoned—venue was a former slaughterhouse, the sprawling Ex-Macello di Porta Vittoria, a departure from the former nunnery and military hospital of the previous two years. Coinciding with Salone del Mobile 2023, Alcova presented over 90 projects, April 17-23.

From light fixtures that look more like a cavernous yawing maw, radiator, or household pet to several objects inspired by the humble rock, here are 14 of our favorite finds.

14 Highlights from Alcova at Milan Design Week

1. Cor by Tom Fereday for Agglomerati

With expressive, yawning maws carved out of a single block of Roman travertine sourced from the Italian town of Tivoli, Cor tucks a warm LED light source inside a cavernous opening. Each of the six monolithic totems in the lighting series is a unique variation of the ancient stone, and ranges in height from 4 1/2 feet to 6 feet high. “They are bound by a single spherical cut,” says designer Tom Fereday.

2. Tralucid Bench 125 by Laurids Gallée

Made entirely of hand-cast polymer resin, Tralucid Bench 125 joins a family of blocky transparent architectural objects “designed to naturally interact with light sources to cast sharp and soft patterned shadows into a room,” says designer Laurids Gallée. “At the same time, these objects have the power to blend into any surrounding and magnify an interior with a colorful statement.” The bench was featured in an atypical examination of coastal relaxation, the collective exhibit “By the Seaside.”

3. Parmigiano by Anne-Claire Hostequin for Atelier Luma

Stool, table leg, storage bin, plant pot, or glowing lampshade? Parmigiano by Anne-Claire Hostequin is just as versatile as the Italian cheese. Fabricated from assorted bioplastic (some recycled), micro algae, plant-based additives, and plant-based dyes, they’re manufactured using rotational molding and were featured in “Atelier Luma Bioregional Design Practices.” The exploratory study and exhibit addressed bioregional design practices—or the best way to tap local resources for a sustainable economy.

4. Tempo by Kate Greenberg

It’s possible designer Kate Greenberg jumped for joy over her dark basement location—it was the ideal surroundings for Tempo, her collection of edgy furniture and lighting, all of which would slip right into a techno nightclub. Evoking warmth and similar in form and sultry red glow to iconic heating units of a bygone era, aluminum light fixture Radiator was presented in two versions. A study on time, the ceiling-mounted aluminum and glass pendant light Felled Sky rolled through a progression of hues emulating the sky’s transition from day to night.

5. Ambra Toba by David Pompa

A country’s most average stone is an object of beauty under the creative eye of David Pompa. For his new lighting series Ambra Toba, he pairs aluminum with Toba volcánica, the most common stone found in Mexico. “Not typically used in design, the stone is so common that the name in Spanish is ‘stone’—but there was no public knowledge on it,” says Pompa. Teaming up with the geology department of the Universidad Nacional Autónoma de México, he discovered it is made of glass, minerals, and volcanic debris.

6. Ondula by Art + Loom

The humble rock is once again a source of inspiration for “The Art of Formation,” an exhibition of rugs and furnishings experimental in both form and material. Ondula, one of four new rugs by Art + Loom, is a textile study of tectonic plates rendered in merino wool, linen, and allo. “We try to use as many natural fibers as possible—“the allo comes from a nettle plant,” explains Art + Loom designer Samantha Gallacher.

7. Baby Beloco Side Table by Bea Pernia

Toasting the allure of two natural materials, the Baby Belco Side Table—also featured in “The Art of Formation”—is an addition to the Atus collection of custom furnishings. Each piece in the collection pairs solid white oak, black walnut, or weathered teak wood with raw marble cutoffs from quarries in Portugal.

8. Acropora by Sangmin Oh for Textiel Museum, Tilburg

Fishing line, elastic yarn and glow-in-the-dark yarn are transformed into a glowing snake-like pendant light referencing threatened coral with Acropora. The light is a new addition to Sangmin Oh’s Knitted Light series, which breaks boundaries with yarn. “Light and textiles can combine to create magical stories,” says Oh. “The textile is stretched as it is knitted, and after I decide on the shape, I fix it by stitching it by hand.”

9. Sea Project by Polcha

Adroitly siezing the bounce of light on water, Sea Project by Polcha is a collection of glazed terracotta tile pointing to the precious resource that is our oceans, according to designer Charlotte Tarbouriech, one half of the French duo behind Polcha. “We enjoyed playing with the depth of color and reflection lines,” she reveals.

10. Peel by Prowl and M4 Factory

Introduced as the world’s first compostable injection-molded chair, Peel is made entirely from hemp bast fiber, a byproduct of hemp and cannabis industrial processing. Hemp-based biodegradable plastic forms the frame and hemp leather-upholsters hemp foam cushions. While the cushions and the packaging—that’s paper pulp and hemp fiber—can be composted at home, the frame must be industrially composted.

11. Appuntito by Project 213A

Evoking a quilled mammal, Appuntito (‘Pointed’ in Italian) evolved from “playing around with shapes and exploring different ways of creating textures that hold the glaze in an unexpected way,” according to Theresa Marx, co-founder of design studio Project 213A. Hand-crafted spike detailing on the base of the brass and ceramic lamp is rendered in clay glazed a translucent red, while the expansive 19-inch shade is a wool-nylon blend.

12. Manifesto by Stormo for Pulkra

What at first glance appears to be a massive support base is revealed to be a precise, graceful composition with Manifesto. Balanced on a base with a prominent void, the table reveals new developments in concrete—its composite material, pigmented with fine marble sand, is both strong and lightweight.

13. Of the Origin by Isabella Del Grandi for Slalom

Silence can be beautiful, Isabella Del Grandi demonstrates once again. With “Of the Origin,” the designer returns to Alcova to showcase the acoustical sound absorbing possibilities available from acoustic system manufacturer Slalom. This year, Del Grandi conceived a series of stacked primary forms, some stretching to the ceiling. In addition to wool, the forms were upholstered in two experimental PET fabrics, one from plastic bottles collected around Milan.

14. A Lamp Fur You by Xaver Kuster

The best warm light creates a warm and fuzzy kind of atmosphere, according to Xaver Kuster, the designer behind the (literally) warm and fuzzy A Lamp Fur You. Crafted from faux fur and foam, the LED lamp resembles a furry pet. “The idea was to create an object that, besides the warm light, makes us feel comfortable with its presence in the room,” says Kuster. “It feels familiar, keeps us company, and calms us when we stroke its fluffy fur….some say it might even be human’s best friend.”

10 Questions With… Gio Pastori

Gio Pastori Shares Insights into His Design Career  

Interior Design: What are your earliest memories of design? What sparked you to pursue a career in illustration?

Gio Pastori: My father is an actor, and theatrical sets are my first memories of design. I was fascinated by the illusion of spaces built from wooden structures, drapery, and lights. Another memory is the surfaces of wardrobes at home with 1980s textures like Ettore Sottsass’s Bacterio, hypnotic and rich fields of action for the imagination. Until the 2000’s an uncle ran a paint factory. Being able to visit as a child certainly influenced my career and the decision to never stop drawing.

ID: Why collage as a medium?

GP: Collage makes extreme synthesis possible. It enables me to not get lost in the details and forces me to keep my lines clean. I’ve always been a paper hoarder. When I started studying illustration, I was looking for a very graphic and clean, almost geometric style. I experimented with digital and vector illustration, aiming for maniacal perfection that ultimately wearied me.

ID: Milan is arguably the center of design, and you work in many of its aspects—from fashion to music, stage design, and furnishings. What is unique to each when working across these varied platforms.

GP: I’ve been working with style offices for only a few years. I love to observe the dynamics that enable the same design to become embroidery, print, or fabric. The metamorphosis from drawing to wearable garment. I see that the times are long but the approach to work more hectic than, for example, the design of a set or a simple image.

ID: How did you collaborate with Leftloft, another Milan-based studio involved in communication and branding?

GP: It was Leftloft that included me in the proposal for Salone del Mobile Milano campaign. I long wanted to work with them and what better opportunity. The work took several months of continuous exchanges of ideas.

ID: What are you saying with the Salone campaign? 

GP: The goal was to create an alphabet of objects that would invite the public of Milan and the world to relearn to read them, to look into their souls and free themselves from trends or brands. To achieve it, I identified a brilliant color combination, at some points disturbing, to hinder an immediate focus on the subjects. Clean lines and discreet volumes are inserted in a dreamlike and fluctuating atmosphere. The result is imagery different from my usual work. This led me to free myself from my own style. Not an easy operation.

ID: Where will these 26 alphabet posters be displayed in the city?

GP: They will appear in various places: urban advertising spaces, stations, LED walls, and probably publications. I’m pleased to know that they will be tram walls, my first work to end up on a tram.

ID: What are you working on now?

GP: I’m illustrating the campaign for an opera season and designing collage workshops for children and adults. Between commissions, I’m designing a series of big collages and paper sculptures to enter the universe of galleries.

10 Questions With… Lani Adeoye on the Multifaceted Nature of African Design 

Lani Adeoye can’t get enough of Lagos, Nigeria. After all, she spent the first 12 years of her life in the country before moving to Canada. “How is Lagos?” is the first question she asks when we get on a Zoom call for this story. With a hint of amusement in her voice, I sensed she was referring to the heat. “Lagos is fine,” I said and we burst into laughter because Lagos isn’t always fine— but we love the city regardless. Since establishing her career in design four years ago, Adeoye has become one of Africa’s standouts, shining a light on the continent’s cultures and traditions.

Adeoye’s biggest design ethos centers around creating contemporary furniture inspired by African heritage—a phrase, she notes, people within and beyond the continent still find difficult to grasp. There’s more to African design than Ankara fabrics and furnishings reminiscent of artifacts, a fact she vocalizes often.

Design has always been Adeoye’s instinctual language. She recalls leaving her job as a management consultant in Toronto to study at New York’s Parsons School of Design. Through exhibitions, she realized there was a high demand for her product and Studio-Lani, her design firm, was born. But Studio-Lani isn’t just a design firm, it reflects Adeoye’s approach to deconstructing the monolithic conceptions about African designs and serves as a space for exploration.

There is a rareness about Adeoye’s designs, which are structurally-defined, elegant, and possess extraordinary shapes that bask in the synergy of architecture, geometry, and Africa’s history. With such an incredible oeuvre, Adeoye has earned several accolades. Recently, she became the first African designer to win the Salone Satellite award for her ‘RemX’ piece at Milan Design Week 2022. 

Interior Design sat down with the designer to learn more about the evolution of her career and brand.

Interior Design: Can you tell me about your latest collection “Ekaabo”?

Lani Adeoye: The Ekaabo collection was something we recently launched in Milan, and it’s really a celebration of Nigerian heritage. It incorporates several things from different ethnic groups in Nigeria. I was very much inspired by the different cultural celebrations across the country, especially the bold materialities that exist in these different cultures and places. I’m also very much inspired by leather craftsmanship that happens up-north, even the Aso oke and Adire fabrics and also bronzes from Benin. The Ekaabo collection was a celebration of different things that have mattered to me over the years—materials I have always wished to conceptualize and play with. I do a lot of research and experimentation, [I] travel within the country to places with good artisanal appeal and talented craftsmanship, like Abeokuta, and just watch the way they use their skills to craft perfect materials. This collection was unique because it dealt with exploring different techniques, it was a very labor-intensive process and I was committed to it fully. 

ID: Tell me about your journey as a designer?

LA: When I first started designing furniture, I would go around telling people I’m designing contemporary furniture inspired by African heritage and people were always like: “What are you talking about?” People weren’t getting me, they would tell me to mix something with Ankara because involving Ankara would make it African and that to them was very understandable of my vision.

People have this monolithic idea of what they want to see from Africa. So for me, it is about broadening people’s perspectives and showing we can do many things that come from within. My work as a designer is very much inspired by several skills beyond the design world. When I make furniture, I don’t necessarily look for carpenter because the furniture I make is not made in a traditional furniture manner, so I reach out to people that are good with their hands, like shoemakers and hairdressers, because they mostly have a different approach to style and design that is extraordinary, technical and artistic.

I look at the industries that I feel have exceptional skill value, understand their mindset, work together and do something in furniture—so that has always been my approach. I find that it has helped and I really wanted to design something with a futuristic aura. Sometimes when people see you are doing something African inspired, they always expect you to create something that is already in the museum and for me, I want to be very explorative.

ID: The shapes in most of Ekaabo products are very refined, rare and unique, was this your intention to make it this way?

LA: Yeah, for me, shapes and forms speak volumes in my work. “Ekaabo” means “welcome” in Yoruba, so I wanted the forms to feel very open and soft. I even conceptualize the chair arms to be opened up, ready to receive the seater or the viewer. I just wanted it to have that overall warmth and roundness, also with the materials and choice of color. So it’s contemporary but it should also be full of warmth, especially that West African hospitality that makes you feel at home. 

ID: Who did you create this collection for, as in who is your target audience?

LA: I don’t think I design from that perspective, especially because most of my collections are driven from an artistic sort of approach. So those who connect with my designs, just connect with them. 

ID: For the creation of this collection, who did you work with and did you employ artisanal skills?

LA: I worked with hairdressers, shoemakers, weavers—it was a combination of people from different skill industries coming together to create something spectacular. 

ID: Tell me the story behind your brand Studio-Lani?

LA: Studio-Lani is part of my beliefs in sharing our heritage, looking back at traditional ways of doing things or older techniques. It’s one of the places that resuscitate dying art and craft where you kind of look at a lot of things that have been done before and ask questions of how to give the old a contemporary feel. It’s inspired also by my curious nature and my interest in researching and digging deep into things and exploring them, so that was the first core. I started doing exhibitions to showcase works and it grew into business. The market responded to our perspectives and we pulled a lot of effort into doing things differently and doing things we feel connected with. I feel that people are always excited to see new things. When I started doing this, I didn’t know about any design shows in Lagos, there wasn’t a lot of interest so I kind of continued doing my job for a while. But thankfully, I think things are changing— there is social media and I think young folks coming up are witnessing these changes too. 

ID: What has owning a design business in Nigeria’s biggest city taught you over the years?

LA: I mean it’s the same story across the creative industry. I would say infrastructure; you wake up one day and there are electricity issues. There are a lot of challenges and I think a lot of times for a lot of us designers operating in international space, it makes it challenging when you have constraints. 

ID: What do you think about the design industry in Nigeria, is it growing?

LA: I think it’s really growing. When we started out, we had to work extra hard to find an audience and even build the industry to a reputable place. Now, there has been a massive support from both local and international spaces and there is availability of materials. Not like they don’t get to work hard as much, don’t get me wrong but I just think a lot of things have changed between now and then. I believe that designers are making more incredible designs and structures that would hopefully serve better purposes to the ecosystem.  

ID: What other projects are you hoping to work on in the near future?

LA: There are always a lot of things I’m interested in working on, I feel like I’m the kind of person that gets bored easily. There are so many things on my mind, whether it’s testing out different materials or different production techniques. It’s always one or the other that I’m interested in exploring but it may not always come out right away. I really love things to sit in my head. So I’m not necessarily in a rush to put things out. I have been working with a lot of different designers, so if there’s one thing now, it’s collaborations and exciting conversations that I’m anticipating.