Building on the success of the fair’s Spring TECH EDEN theme, TERRA COSMOS will explore the intersection between earthly elements and cosmic visions, creating a unique blend of products featuring natural inspiration and futuristic imagination.

Curated by Peclers Paris, a consulting agency in creative strategy and trend forecasting, TERRA COSMOS is poised to transform how we think about our living spaces. By merging the fantastical allure of space exploration with the tangible beauty of Earth, the theme aims to inspire awe and creativity. 

“Our primary mission is to decipher and highlight the market trends that will drive the success of our customers in the future,” says Mélanie Leroy, Managing Director of Maison&Objet. “This means highlighting new markets and growth markets, and curating brands and products, as well as colors, materials, motifs, and inspiration, through experiential and useful events. With TERRA COSMOS, we are bringing another angle to bear on the re-enchantment of everyday life through the cosmos, the earth, and even our relationship with the beyond.”

Designer of the Year: Lionel Jadot

“My parents’ chair-making workshop was a playground where I collected treasures from discarded pieces,” says Jadot. “These rejects were like Kapla building blocks for me to build forts with. I also crafted my first stool at six.” Courtesy Maison&Objet

Maison&Objet will recognize Belgian designer Lionel Jadot as the Designer of the Year in the hospitality category. In addition to receiving his prize during the upcoming Maison&Objet edition, Lionel will be granted a carte blanche opportunity to create a space to reflect his practice during the fair.

“[This year] I am going to create a central pavilion that will illustrate my philosophy of hospitality, but in a more radical and experimental way,” Lionel says. “A whole series of artists will intervene, each with different techniques for processing recycled material. The idea is to appreciate the design and the way it was produced.”

 A Preview of Paris Design Week Highlights

During Paris Design Week, Garnier & Linker will present TARA, their inaugural chair crafted entirely from cast aluminum. Monolithic in appearance, TARA features a comfortable, enveloping, pivoting shell supported by a central leg. 

garnieretlinker.com

The Solstice collection, borne from a year-long collaboration between Modern Metier and Léa Zeroil, draws inspiration from celestial bodies that herald seasons and mark the passage of days. Symbolism from mythology and subtle natural shades are reflected in the collection’s enveloping forms, using polished metals, noble wood, silk, and ceramics. 

“Coming from Corsica and Western Australia respectively, Léa and I both grew up close to the ocean, where the atmosphere is very relaxed and endlessly sunny. The inviting spirit of coastal cities, woven with Mediterranean history and culture, was a departure point for the collection,” says Minh Ngo, founder of Modern Metier.

modernmetier.com, leazeroil.com

Project 213A’s chair is part of the Foot collection, which is hand-carved by skilled artisans in Northern Portugal. Courtesy Project 213A

Project 213A will present their latest pieces and objects, including the Foot side table and the Foot chair, at the welcoming apartment of Arrogant Verneuil.

project213a.com

Fleur Delesalle’s work is a hymn to freshness, finesse, and lightness. Courtesy Fleur Delesalle

Fleur Delesalle will be debuting her new space opposite the Sorbonne for a press presentation at the occasion of Paris Design Week. She will unveil Odeon, her new collection inspired by Madeleine Castaing and Victor Hugo’s Hauteville House. With its rich fabrics and bold colors, the Odeon collection features some Fleur’s key pieces and includes some striking new ones, such as a console in leopard-print velvet and a large sofa covered in a richly colored fabric. 

These new pieces are crafted in the Paris region by the talented hands of Entreprises du Patrimoine Vivant and in close collaboration with Pierre Frey, Métaphores, and Elitis houses.

fleurdelesalle.com

The fair will take place September 5-9, 2024. Tickets are available at maison-objet.com.

3daysofdesign began in 2013 as a small event held in an old warehouse in Nordhavn, a harbor area overlooking Copenhagen’s waterfront. Four Danish brands launched the event as a joint initiative: Montana, Erik Jørgensen (now owned by Fredericia Furniture), Anker & Co, and Kvadrat. Today, the 3daysofdesign festival extends to the entire city of Copenhagen and is considered the most significant annual design festival in Scandinavia.

This year’s festival offered an array of events throughout the three days, from breakfast offerings from local cafes to showroom parties and cocktail hours. When you weren’t witnessing a product debut or relaunch, you found yourself mingling with other design enthusiasts in the streets, all eager to experience the excitement. The 25hours Hotel hosted a spectacular party on the festival’s second night, where tables were lined with glasses of champagne and hors d’oeuvres were plentiful. Pink balloons tied outside of showrooms added a festive touch, making the entire week feel like an ongoing celebration.

While wandering through showrooms and biking between locations, these were some of my festival highlights:

Jamie Wolfond’s Set Lamp for Muuto

Inside their two-floor showroom, Muuto’s new outdoor collection, Settle, celebrated the impact of biophilia on our daily lives. Displayed in the showroom’s courtyard, the collection aimed to explore neuroaesthetics. “The science of neuroaesthetics is something we’re working on quite a bit,” said Mikkel Friis Ovesen, global PR manager at Muuto. “We usually call it ‘a space that feels just right.’ We’re really focused on how to use color, light, and plants. Things we all love about design, but don’t necessarily put into words.”

Muuto’s Shaping Ideas exhibition also featured the Set lamp by Toronto-based designer Jamie Wolfond. Taking visual cues from a screw thread, Set features a spinning plate that rotates up and down above the light fixture. In the showroom, it was impossible to walk by without wanting to spin it. Jamie says he designed the lamp to inspire new (yet relatable) ways of interacting with lighting.

“The way I work is experimental and empirical,” he says. “It is something I call ‘backward design,’ meaning that we start at the end. We experiment with a process or detail until we find an application that allows us to make something useful or culturally meaningful.”

The Muuto Design Contest also launched during the fair, an open-call design competition seeking fresh perspectives on accessories and small furniture. The competition invites innovative, forward-thinking designs that challenge traditional notions, whether it’s a vase, stool, coat stand, or a new home object entirely. (Applications will be accepted here through October 12, 2024.)

“We know it’s difficult for less established talents to succeed with more commercial products,” says Line Brockmann Juhl, Muuto CMO. “We’re hoping to bring in new designers, give them a platform, and hopefully launch a new product next year for 3daysofdesign.”

muuto.com

Maxwell Ashford’s “Tag” Project for Kvadrat

Kvadrat’s Rethink exhibition invited 12 designers to explore the potential of textiles as a medium for expression. Designer Maxwell Ashford’s project, titled Tag, featured 10 tote bags made from Kvadrat fabrics, each with unique environmental characteristics. Some bags addressed water reduction and utilized dry processing, while others employed post-consumer feedstocks to create recycled materials. Additionally, some bags were designed to be more durable for outdoor use, meeting more stringent demands. Each tote bag’s label detailed its environmental credentials through Life Cycle Assessment data.

Tote bags, commonly seen at trade fairs and exhibitions, were chosen to give viewers a relatable item through which to understand this information.

“I hope this project contributes to the topic of sustainability by encouraging communication through transparency and pushing the development of ecologically adaptive materials that can benefit everyone,” Maxwell says.

kvadrat.dk, maxwellashford.co

HAY x ASICS

A Copenhagen local since 2002, HAY’s vision at this year’s festival was to invite color into all parts of everyday life. Over the last two decades, co-founders and creative directors Mette and Rolf Hay have worked with some of the world’s best designers, artists, and makers, creating everything from toothbrushes to chairs and sofas.

While walking through HAY’s massive 4-floor showroom, I felt the brand was driven by both design curiosity, and a unique vision for color. The group showcased the best of that vision through the ASICS x HAY collaboration. Both teams re-envisioned an iconic pair of shoes—the Skyhand OG, which dates back to 1994—through HAY’s eye for color. The collaboration also included matching branded socks and an ASICS x HAY logo bag.

The shoes are available in three colorways: Soft Pink, Soft Blue, and Emerald Green. The company says it hopes the block color design will give the reinterpreted Skyhand a “contemporary feel.”

hay.com, asics.com

Bodum’s 80th Anniversary Collection

The Bodum story began in Copenhagen, Denmark, where Peter Bodum founded the company in 1944. The company’s mission is straightforward: to bring high-quality coffee and tea solutions, as well as household accessories, to everyone. In celebration of its 80th anniversary in 2024, Bodum debuted a special collection to honor its legacy of “pure and simple” design. This milestone also marked the group’s first appearance at 3daysofdesign.

bodum.com, ceciliemanz.com

Cecilie Manz’s Monolit Chair for Fritz Hansen

The Monolit chair by Cecilie Manz for Fritz Hansen is supremely comfortable and derives a deep character from its monolithic shape. The back of the seat is similar to a round protective shell that embraces the user, giving a sense of personal space. Designed for dining or lounging, the Monolit comes in two heights with diverse upholstery options selected by Cecilie.

“I wanted to do a nice, comfortable, and useful chair that didn’t take up too much space and would simply work well,” she says. “The name Monolit has a lot embedded in it. I wanted it to be really reduced, drawn like a quick sketch, without too many details. I wanted people to read it as one shape, a monolith, but in two defined parts, top and base.”

Comfort was imperative, ensuring people can spend an entire evening in the chair. The designer notably made the lounge chair higher than typical chairs to enable getting in and out with ease. The seat also has a small cut-out on the side at the front to allow for movement.

“The challenging part is to get the two points: comfort and aesthetics, to meet,” she says “We tried tons of shapes, different angles, different front contours, heights. We have boxes full of paper patterns where we were working out the cut-out of the front, so that you can twist around a bit in the seat. That was very important to me because human beings want to move around and change position, your body does not want to be locked in. With this slight opening you can move but still feel embraced.”

fritzhansen.com, ceciliemanz.com

&Tradition’s “Studies of a Bench”

Danish furniture brand &Tradition unveiled a four-story showroom during 3daysofdesign, featuring a complete apartment and rooms designed by Jaime Hayon and Space Copenhagen. In an exhibition titled Under One Roof, &Tradition’s design team transformed the interior of a century-old townhouse.

The top floor of the house captures a feeling of home with the &Tradition Apartment, showcasing a mix of products from various international designers. A collection of artworks, both commissioned and found by &Tradition over the years, is interspersed among the products, creating the ambiance of a collector’s home.

Following the Studies of a Table project from 3daysofdesign in 2022, this year’s exhibition also explored the bench through a hybrid art-design collaboration with five international designers and studios. Studies of a Bench rethinks everyday perceptions of the bench, exploring materiality and form in unexpected ways.

andtradition.com

Erwan Bouroullec x raawii’s “Happy Sobriety”

French designer Erwan Bouroullec and Copenhagen-based brand raawii joined forces for Happy Sobriety, an exhibition featuring both collaborative and personal works. This collaboration aims to empower designers in the production and distribution of their creations. Described as “a man-made ideal shop,” the installation blended elements of a lab, a bazaar, and an art gallery, offering a welcoming environment where everything is accessible, touchable, and useable.

The exhibition showcased Erwan’s graphic works and handmade furniture alongside raawii’s vibrant collection of objects and small furniture. Additionally, the installation marks the beginning of a new collaboration, highlighted by the introduction of the Arba lounge chair designed by Erwan for raawii.

“We started from a simple principle and then spent a few days welding, drilling, sewing, and painting in my countryside studio,” Erwan says. “We wanted to engage into a positive minimum: Being fast and lightweight, both mentally and physically, using available resources without needing to plan for more, discovering through the process of making, and finalizing by intuition.”

bouroullec.com, raawii.eu

Tableau’s “Domestic Pleasure”

Tableau is a creative studio and exhibition space renowned for its multidisciplinary and disruptive approach to design. Founded in Copenhagen in 2018 by floral designer Julius Værnes Iversen, the studio has collaborated with Hermés, Tom Dixon, and Vogue, among others. Tableau’s Domestic Pleasure exhibition posed a thought-provoking question: What makes a place a home? A diverse group of artists and designers curated bespoke works for the exhibition, challenging traditional ideas of belonging and inviting viewers to explore emotions woven into the concept of home.

Tableau focused on functional art as a reflection of intangible elements that turn a space into a sanctuary of belonging. For this year’s selection, the group handpicked bespoke collectible designs from their community of artists and designers such as Ali Gallefoss, Forever Studio, Jacob Egeberg, Laurids Gallée, Lino Gasparitsch, Onno Adriaanse, and Sigurd Nis Schelde.

tableau-cph.com

FRAMA x Toogood’s “Collage”

Exploring the intersection of art, design, food, and human connection, FRAMA and Toogood joined forces for a collaborative exhibition at FRAMA’s space titled Collage.

At the heart of Collage is a reimagining of FRAMA’s adjacent eatery, Apotek 57, where visitors were welcomed to dine amidst tactile sculptures and engage with Toogood’s sculptural furniture, playfully challenging perception in every room. These sculptural pieces intertwine to form layered tables, surfaces, and screens, inviting exploration and interaction. Sculptural food presentations complemented these installations, inspired by Toogood’s classic shapes and thoughtfully placed around FRAMA’s tableware collections.

“I’m a form-led designer, and I like to question function,” says artist Faye Toogood of Toogood. “Why does a chair need to be that shape, height, proportion? Why do the pockets on your coat need to be in those positions? In all my work, I trust people to find the function. Make it personal. Figure out what works for you.”

framacph.com, t-o-o-g-o-o-d.com

Poppykalas’ Magical Garden Rugs for Layered

Following the success of the Secret Garden collection launched in 2019, Swedish rug company Layered debuted its second design collaboration with Danish florist Poppykalas, unveiling her enchanting Magical Garden collection during the fair. Inspired by the beauty of a garden in full bloom, each piece from the collection is set to evoke the feeling of strolling through a lively garden.

layeredinterior.com, poppykalas.dk

Signe Hytte Studio’s “Enter the Salon”

The fair’s Enter the Salon exhibition by Signe Hytte Studio transported attendees to a bygone era, reminiscent of the famous salons of Paris, London, Berlin, and beyond. Housed in The Conary, an old townhouse in the heart of Copenhagen, the exhibition celebrates the gatherings where intellectuals and creatives once exchanged fresh ideas and challenged societal norms.

Unlike a typical fair stand, Enter the Salon felt like a culturally savvy, tasteful and timeless private residence, rich with layers waiting to be explored. Walking through the exhibition, attendees found a carefully curated selection of brands seamlessly blending together.

signehytte.com, karimoku-case.com, ladiesandgentlemenstudio.com

Form Us With Love x Stolab’s Alt Chair

Swedish design studio Form Us With Love collaborated with Stolab, a Swedish manufacturer of solid wood furniture, to modernize the classic stick chair. The team’s goal was to blend tradition with contemporary design to suit diverse public spaces and modern offices. This resulted in the Alt collection, offering versatile chairs that transition smoothly across various areas.

“Form Us With Love was really into making something into solid wood,” says Martin Johansson, Stolab CEO. “We have a first and second version of this collection, and now we’re going to do a third one. We named the collection Alt to show that we can create a lot of alternatives. There’s one with a wooden base and top, and upholstered base and top, for example. I have a hard time sitting still—so I told my people we needed to make a swivel base as well.”

stolab.se, formuswithlove.se

Foscarini x Felicia Arvid’s Pli Lamp

Pli is a pendant lamp in which the light source becomes a support structure: like a needle crossing a thin sheet.‎ Photo courtesy Foscarini

I encountered Felicia Arvid in the Foscarini showroom, a young Danish designer making her debut in the world of lighting design. Her creation, the Pli pendant lamp, stood out among the exhibits.

Pli is not just a lamp; it’s a fusion of function and form, where the light source serves as both illumination and structural support. At the heart of Pli’s design is a delicate interplay of light and shadow, reminiscent of a needle delicately piercing a sheet, creating soft folds and waves.

“The idea for this lamp was to combine the shade and light source in a single gesture,” she says. “The light source is the key element that holds the lamp shade together. If you unscrew the ends, the lamp’s shade falls apart. Because of my background in fashion, I often worked with flat materials rather than this light’s three-dimensional shape. We arrived at using paper because it gives a nice, even light output. I see the lamp as an embodiment of both Italian and Danish design.”

What set Pli apart was its versatility. Available in both wood and paper, each material offered a unique luminous effect. Though the paper option was my favorite—I loved how it allowed light to permeate through its thin sheet, casting a soft, diffused glow that gently illuminated our surroundings.

foscarini.com, feliciaarvid.com

Nuura x Jessica Vedel’s Florii

Artist and designer Jessica Vedel was inspired by the beauty of nature while strolling through a sunlit forest. This vision led to the creation of Florii, a lamp series for Nuura that captures the essence of falling leaves and their interaction with light. Each lamp in the collection merges organic aesthetics with modern design.

“I wanted this collection to feel soft and inviting,” Jessica says. “Everyone has their own experience with the lamps, and they all look different from different angles. I think this collection would fit nicely in both a simple Scandinavian setting and a more colorful space as well.”

nuura.com, mazo-design.com/jessica

3daysofdesign.dk

The Fortune Chair and SOS Stool for Heller

JUMBO was founded by Monling Lee and Justin Donnelly on the principle that “modern design is serious fun.” The Fortune Chair is a culmination of Justin and Monling’s love of food, mastery of material, technical skill, and their mutual love of simple yet expressive design that is rooted in memory. The chair was initially created as a one-off piece, but when Heller CEO John Edelman discovered it on social media he decided to bring it to the masses.

In addition to the Fortune chair Heller reintroduced the SOS Stool, a clever creation by designer Josh Owen originally created for a now-defunct Italian manufacturer in 2007. “Sometimes good ideas cease to be for no good reason,” says Josh. Heller stepped in and helped retool the piece, improving its texture and durability and increasing the amount of recycled material in its production. “Sometimes good things just need a second chance.” The SOS Stool is featured in collections at the Centre National d’Art et de Culture Georges Pompidou in Paris and the Philadelphia Museum of Art.

hellerfurniture.com, jumbonyc.com, joshowen.com

Ice Tables by Daniel Germani for Bernhardt Design and Terra by Yabu Pushelberg for Warp & Weft

Daniel Germani previewed three beautiful hand-blown glass tables (they will officially launch at NeoCon next month) created for Bernhardt Design. Yabu Pushelberg unveiled TERRA, a rug collection designed for Warp & Weft and inspired by the aerial landscapes of Earth.

bernhardtdesign.com, warpandweft.com 

Portraits by Martin Grasser for TRAME Paris

In his latest work, Portraits, Martin Grasser used generative algorithms to decouple letterforms from their prescribed shapes and instead assign colors to each letter in the alphabet. The result is a beautiful visual language, where words and phrases become new abstract forms. Collaborating with TRAME, Martin was able to produce his work in fine Venetian glass creating mirrors that interact with the viewer, inviting them to shape the narrative of the artwork.

trameparis.com, martingrasser.com

Mexa Design

When an architect and his designer wife needed furniture for their backyard, they decided to make it themselves, handcrafting a few Acapulco chairs and a side table. Those personal pieces soon spun into requests from friends and family. A decade later, Mexa Design has established itself as a company that designs and produces high-quality, contemporary furniture and decor accessories by fusing traditional Mexican craft techniques with innovative materials and technologies.

mexadesign.com

Iconographic by Terry Crews for Astek Wall Coverings

Astek Wall Coverings’ collaboration with actor and artist Terry Crews is a wallcovering collection titled Icongraphic, featuring images of various cultural figures illustrated in graphite drawings by both Terry and Astek’s design team. Terry Crews stopped by the Astek booth to see his Iconographic wallcovering in the flesh at this year’s ICFF. Iconographic is also a finalist in the NYCxDesign awards, and has been honored with an Editor’s Choice award by The NKBA.

astek.com

Michael Bennett’s PEWS sofa is a five-seat cushioned couch that was born out of his childhood days going to church. Photo by Chris Force

Michael Bennett’s PEWS sofa is based communal design. “Growing up in the South my grandfather was a preacher, my uncle was preacher, everybody was preacher. So church was a big part of my life. The closeness of black bodies in churches was always something very sacred. So when I was thinking about an object that fits in the living room, which is also sacred, I thought about those pews, and what it means to be close to somebody you love,” says Michael. PEWS is part of a collaboration with Costantini that began in 2022.

studioker.com, costantinidesign.com

Polli by Karim Rashid for Zachary A.

The Polli collection designed by Karim Rashid began its life with two designs, mirrored to create four stools. They are dynamic and standardized, allowing designers to use them individually or build a cohesive modular setup. ⁠Inspired by the word “polliwog,” Polli is a deliberate exploration of organic form and movement.

zacharayadesign.com

The Crossroads by David Rockwell for ICFF

Sustainability served as the focal point of  ICFF’s The Crossroads’ second iteration. This year’s exhibition spotlights the way designers seek to preserve long-honored craft traditions, together with how they push the boundaries of circularity to consciously re-think the legitimacy of material use. It also highlighted the different ways creative communities can make design more accessible to all, whether through more inclusive cultural representations or deeper community-wide engagement.

Teddy Sofa by OMHU for Teak New York

Brooklyn-based showroom Teak New York exclusively stocks home decor and furniture from Iceland, Norway, Sweden, Finland, and Denmark. As the North American partner for Scandinavian brands like OMHU, their showroom serves both the trade and the public looking for the best of Nordic design. First launched in 2022, the overnight icon Teddy Sofa served as a modular centerpiece of their ICFF debut.

omhucph.com, teaknewyork.com

The WANTED Launch Pad

WANTED’s Launch Pad is an international platform for emerging designers, showcasing innovative prototypes of furniture, home accessories, and lighting. It offers designers exposure to manufacturers, enabling them to present new ideas and potential products for development. The Tom chair by Reggyyy won the WANTED AWARDS: Best of Launch Pad for furniture/home accessories.

SCAD at WANTED Schools Showcase

The Schools Showcase gives students an opportunity to present their designs at ICFF. A stand out this year was student work from SCAD which included the Shmello chair by Bryce Moon and the Noodle Chair by Ruby Wrigley.

scad.edu

michikanostudio.com,  editions8888.com

2024 ICFF Editors Award Winners

Turf, an acoustics solutions company, consistently presents some of the most beautiful, and quiet, exhibits at ICFF. This year they won the 2024 ICFF Editors Award for materials & surfaces.

This is Design Miami’s first fair since launching their global rebrand, which strangely didn’t include shedding the city from its name, despite having expanded to Basel and Paris. For their debut on the west coast, DESIGN MIAMI.LA brought 24 exhibitors to an invite-only fair in a mansion built by architect Paul R. Williams. Built in 1938, during Hollywood’s golden age, the 30 acre grounds reignites its glamor by filling every inch of its pool houses, gardens, guest rooms, parlors, and with contemporary and mid-century modern design. In addition to these, the Design at Large program staged large-scale installations in unexpected spots, like the greenhouse and tennis court; and a special exhibit, Podium, organized by Curatorial Director Ashlee Harrison, wound through the house, juxtaposing vintage design with contemporary favorites from the stock of exhibitors.

The setup was reminiscent of Felix Los Angeles, the art fair that takes over the Roosevelt Hotel, which meant that I peered into every bathroom to see which objects got placed onto porcelain. At Twentieth, two figurative plaster sculptures by Mattia Biagi were thrown into a green and brown marble shower, their large, graphic eyes registering mild surprise by passersby who caught them in the act. Gallery FUMI cleverly placed Max Lamb’s puddle-shaped tufted rugs around their bathroom, transforming a hygienic nuisance into a welcome surprise.

Salon94 in the Holmby Hills mansion. Built in 1938, during Hollywood’s golden age, the 30 acre grounds reignites its glamor by filling every inch of its pool houses, gardens, guest rooms, parlors, and with contemporary and mid-century modern design. Photo by Joshua White

Whether it be a signifier of current trends, or just a mass lean towards Los Angeles’s reputation as an extravagant, shallow, and showy city, the galleries brought plenty of color, texture, and ornamentation to the fair. Even the minimalist or monochrome pieces were disrupted by gradation in the patina, signs of handiwork, or swirls of raw material showing up on the surface. London’s Charles Burnand Gallery was the most muted booth, but still featured intricate variations within Mia Jung’s hand silvered Cloud Mirror (2021) and Kyeok Kim’s Second surface Lighting 1 and 2 (2024,) where swirls of copper wire were embellished with flecks of gold leaf.

Maybe it’s because we’re still mourning the recent loss of P22, the “Brad Pitt of mountain lions,” but animals were another notable motif running throughout the fair. The first thing I saw in the foyer was Lynx Table (1999) by Judy Kensley Mckie, part of the Podium series, a lanky, cast bronze wedge with feline features extruding from it. Upstairs, Monaco’s Lebretron Gallery showcased ceramics and vessels from French and European artists and designers, most of which took an anamalistic form. There was a hand glazed ram tea kettle, sculpted by Jacques Pouchain circa 1960, and a pitcher in the shape of a bullfrog, carved by Suzanne Ramie circa 1950.

All the critters personify Design Miami’s 2024 theme, “Living with Design.” devised by newly appointed Global Creative Director Henrik Purienne. Below, I’ve rounded up some of my favorites from the fair, which live and breathe luxury.

Southern Guild

The South African collective is new to Los Angeles, having moved into Melrose Hill in February, and is making sure everyone knows they’ve moved into town. At DESIGN MIAMI.LA, they took the centrally located living room, just beyond that lynx in the foyer, so their animalistic objects were impossible to miss. In the spirit of their collaborative ethos, there is no one artist to call out from their display. I was obsessed with Rifuwo (Wealth) (2023), a table by Rich Mnisi, in which an enormous bronze python ensnaring a table, its body changing into black and white glass beads when encircling the fringed skirting. The snake pokes out underneath the stainless steel surface, its head parting the curtain of beads. Another highlight was the dove-shaped lounger, Yoko (2023), by Porky Hefer, which calls for peace not just in form but by creating a solitary environment with its enclosed, sheepskin pod in the body of the bird. The outside is made from leather and stitched with wide thread, like a boxing glove. Accompanying the furniture were dark, high contrast portraits by photographer Zanele Muholi, who currently has a solo exhibition at SFMoMA. The artist activist uses her lens to amplify the presence of queer people in South Africa. This was a strong debut from Southern Guild, and I’ll be keeping an eye on their upcoming exhibitions.

southernguild.com

Nacho Carbonell / Carpenters Workshop Gallery

The Carpenter Workshop Gallery Presents Nacho Carbonell. Custom Trono (246/2023), a Seussian tree made from metal mesh, covered in pink paverpol and pigments to give it an additional texture. Within its mesh frame, pink-hued light bulbs pass for Himalayan salt lamps. Photo by Charles White

Nacho Carbonell is a Spanish designer based in the Netherlands, and he condenses fantastical, natural environments into single pieces of furniture. At the Carpenters Workshop Gallery, two of his works captured my attention. The first was the Custom Trono (246/2023), a Seussian tree made from metal mesh, covered in pink paverpol and pigments to give it an additional texture. Within its mesh frame, pink-hued light bulbs pass for Himalayan salt lamps. The tree sprouts from a concrete base, and embedded into that is a polished metal bench. The miniature landscape feels like a set piece from a play, bringing a park onto a stage. Nacho’s other highlight was Archaeological Folding Screen (TB 14/2022), another work that brings the outdoors inside. This one looks like a section cut from an ancient dig site, where pink concrete vessels are stacked and embedded into the screen’s rough slabs.

carpentersworkshopgallery.com
nachocarbonell.com

Carmen D’Apollonio / Friedman Benda

Carmen D’Apollonio combines humor, abstraction, and figuration to create little characters with big personalities. Photo by Joshua White

Friedman Benda often spotlights artists from marginalized backgrounds, and they continued to support this mission by prominently featuring self-taught artist Carmen D’Apollonio in their booth. Carmen combines humor, abstraction, and figuration to create little characters with big personalities. Let Me Pay My Taxes Today! (2024) slouches dejectedly, no doubt feeling pain from forking over her freelance earnings to the IRS. Just Being Me (2024), with its ceramic tentacles, is less figurative, but its title more relatable, as we all feel a little monstrous sometimes.

friedmanbenda.com
carmendapollonio.com

Erik Speer / Todd Merrill Studio

Todd Merrill Studio presents fiber artist Erik Speer’s first foray into furniture design. He applies his tapestry, made from cotton, silk, linen, and rayon, to a pair of swivel chairs to raise awareness about coral bleaching. Photo by Charles White

Nomadic artist Erik Speer has been spending most of his time at sea, learning to knit and crochet in between scuba diving expeditions. He’s combined these hobbies to make complex weavings of bleached coral reefs, a climate change-driven phenomenon that kills coral and upends ocean ecosystems. At Todd Merrill Studio, Erik shows off his first foray into furniture design. He applies his tapestry, made from cotton, silk, linen, and rayon, to a pair of swivel chairs. The plush, white forms have tons of dimension and texture, like fringe, frills, and ruffles, creating a haunting conversation starter.

toddmerrillstudio.com
esspeer.com

Bower Studios x Genesis Belanger / The Future Perfect

The Future Perfect shows a collaboration between Bower Studios and Genesis Belanger. Spindly bronze hands with bright, red nails emerge from the surface and pull back the opaque curtain to reveal a traditional mirror underneath. Photo by Joe Kramm

One of my favorites from DESIGN MIAMI.LA were these campy collaborations between artist Genesis Belanger and furniture designer Bower Studios at The Future Perfect. Genesis, inspired by pop art, often incorporates disembodied limbs into her sculptures; floating arms fold like spaghetti over chaise lounges. Bower Studios primarily makes sleek, precise mirrors. In this collaboration, The Space Between Certainty, spindly bronze hands with bright, red nails emerge from the surface and pull back the opaque curtain to reveal a traditional mirror underneath.

thefutureperfect.com
instagram.com/genesisbelanger
bower-studios.com

Raise the Moral

Raise the Moral’s “It’s not the Mushrooms, It’s Me Talking,” an exhibit that featured a variety of lanky ceramic sculptures that doubled as planters, clocks, and fountains. Photo by Joshua White

Earlier this year, we chatted with Moral Turgeman of Raise the Moral ahead of Frieze Los Angeles, and we were excited to encounter more of their sensory designs at the fair. Still working closely with industrial designer Kelsey Falter, Raise the Moral took over the estate’s greenhouse with It’s not the Mushrooms, It’s Me Talking, an exhibit that featured a variety of lanky ceramic sculptures that doubled as planters, clocks, and fountains. Some pieces incorporated image transfers from the artist Sandrine Abessera, coating the vessels with pictures of daisies or blackbirds. Moral and Kelsey actually created the majority of these works on site through an artist residency that made the greenhouse their studio.

raisethemoral.com
abesseraeditions.com

Nick Missel / Wexler Gallery

Nick Missel casts packaging materials in resin and silicone. Photo by Joshua White

A lot of designers have been playing with resin and silicone lately, and I found Nick Missel to have a unique take on the process. He likes to keep the process visible, holding onto messy edges that incidentally play with color and form. His Infrathin Collection of tables and benches, including Tiger Eye (2024), have drippy ridges, revealing the layers of cardboard which have been memorialized in a silicone skin. In the REM Collection, tables like Twisted Fantasy (2024) are enveloped in bumpy foam sheets cast in resin. Nick doesn’t hide the forms of his packing materials, instead leaning into their design like Duchamp did with readymades.

wexlergallery.com
nickmissel.com

Las Vegas is hailed as the home to experimental, no-limits hospitality design. Any concept you can imagine has been tested—or is currently being tested—in Las Vegas. For designers, architects, purchasers, developers, or any other design decision-maker, this makes HD Expo the place to be for hospitality.

The Expo is more than just a gathering of industry professionals; it provides a glimpse into the future of hospitality design. Here, the creative minds behind these spaces gather to discover trends that will shape our future stays, dining, relaxation, and more for years to come.

Here are some emerging trends in hospitality I noticed during the show:

Colorful elements within the Icongraphic wallcovering collection include soccer jerseys, bold sunglasses, and architectural features. All showcase Terry and Astek’s artistic talents imbued with exciting details and hidden gems. Photo courtesy of Astek

Art in New Form and Scale

At HD Expo, Astek Wall Coverings’ collaboration with actor and artist Terry Crews, a wallcovering collection titled Icongraphic, featured images of various cultural figures illustrated in graphite drawings by both Terry and Astek’s design team. Playful graphic elements added pops of color and unexpected details to the portraits, from Michael Jackson in his Thriller jacket to Yayoi Kusama with her iconic bob.

“Terry chose to pay homage to people in pop culture he looked up to or inspired him, ranging from athletes to artists,” says Jeff Dey, director of business development at Astek. “Initially he began with three different portraits of each person, because he couldn’t necessarily copy someone’s photo. Eventually, those three portraits became what you see in the collection.”

Art had also evolved beyond traditional boundaries, embracing trends that blend fine art with functional design. Momentum Textiles & Wallcoverings, for example, unveiled its latest collection in collaboration with New York City art studio En Viu.

This Momentum x En Viu wallcovering, titled Dropcloth, introduces a unique monochrome mural design. The piece celebrates the interplay between chaos and order and blends organic forms with structured geometry. Photo courtesy of Momentum

En Viu’s artist partners, Chandler Noah and Diego Castaño, are renowned for their large-scale installations and paintings. Their debut wallcovering titled Dropcloth captures the essence of their mural-like paintings, making fine art accessible to the masses on a larger scale.

“This partnership with Momentum is really the first time we’re translating our paintings into a work of art in the digital realm,” says Chandler Noah. “Dropcloth is somewhat like a deconstructed skyscape. It’s multi-layered and retains the accidental mark-making you might see while you’re creating this in the studio.”

astek.com, momentumtextilesandwalls.com

Blurring the Indoors and Outdoors

Exhibitors also emphasized the importance of creating living spaces that extend beyond the confines of traditional interiors. Arhaus was among them, showcasing a full range of outdoor pieces from their Echoes collection including dining chairs, lounge chairs, bistro tables, and daybeds.

Their range of offerings gave a full sense of being able to seamlessly blend the indoors and out, creating a more cohesive environment.

“Everyone is moving toward outdoor areas that feel like another living room,” says Mary Ingersoll, Sr. account executive at Arhaus. “People don’t want steel furniture outside anymore. This collection is a little bit more upscale, and makes you feel like you’re indoors. Our Wilmar Fire Pit, for example, comes with a top cover making it double as a coffee table.”

Similarly, Arteriors’ outdoor line debut included pieces that mirrored the textures and silhouettes of their indoor counterparts, according to Terry Clayton, SVP of sales & marketing at Arteriors.

“The Margot outdoor lounge chair was the inspiration for the entire collection,” said Terry. “We originally created this piece in rattan for indoor use. I thought, ‘Why don’t we weave it in a synthetic fiber for outdoor?’ Now the whole collection is built around that piece.”

The products blended the familiar comfort and sophistication of indoor designs with the resilience required for outdoor use.

“We also created various fiber cement tables, which are useful for hospitality,” Terry says. “They can be used inside, outside, all over lobbies—you name it. With outdoor we tried to do things that were different, and wanted this collection to feel special.”

Ethnicraft’s (see our Salone coverage for more from Ethnicraft) addition to its Elements collection utilized a distinctive material known as microcement, created from a blend of fine aggregates and minerals.

The combination resulted in a unique finish that gives each piece an earthy, stone-like appearance. Despite being designed for indoor use, the pieces incorporate organic shapes and textures inspired by nature.

arhaus.com, arteriorshome.com, ethnicraft.com

Dedon reintroduced Cirql Nu, a chair model already in the Dedon lineup now revamped in a new colorway. Photo courtesy of Dedon

Refreshed Product Colorways

Color made a significant appearance during the Expo, notably through Dedon’s introductions, including the latest addition to Stephen Burks’ award-winning KIDA collection. Dedon’s use of color brought a dynamic visual element to the booth and made the products themselves more memorable.

“When we first launched the KIDA line, everyone thought ‘oh my god, it’s so colorful,’” says Dedon creative director Julia Shapovalova. “We were curious about how the market would react. Since functionality is key for outdoor furniture, we thought having a colorful chair might be challenging, but our customers immediately fell in love. People were coming to the booth and saying, ‘Wow, this is such a colorful chair—and I know immediately where I’m going to place it.’”

Dedon also reintroduced Cirql Nu, a chair model already in the Dedon lineup, now revamped in a new colorway. Previously offered in neutral fibers, Dedon’s “Invert Fiber” presented a distinctive bicolor composition.

“Color has always been a strong part of our portfolio, and we’re seeing a lot of interest in it right now,” says Nicole Ciminera, Dedon marketing manager. “That’s why when we brought back the collection, in addition to some ergonomic changes, we used the colorful inverted fiber. That technique enabled the fiber to feature complementary tones of blue on one side, and orange on the other.”

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Amplifying Local Artisan Voices

HD Expo also highlighted a growing emphasis on cultural and artisanal narratives, as seen in Wolf-Gordon’s El Muro project. This initiative focused on cel­e­brat­ing pat­tern­ing and murals through wall­cov­er­ings, with the goal of under­standing how artists from both sides of the Unit­ed States-Mexico bor­der process their lived experiences.

To do this, Wolf-Gor­don invit­ed sev­en cre­atives from north and south of the wall to explore themes of iden­ti­ty, cul­ture, and her­itage.

Artist Blanka Amezkua’s Echos of the Codex de la Cruz-Badiano highlighted the importance of preserving traditional healing practices and gives visibility to indigenous cultures’ contributions to society.

“For the past several years, Blanka has been researching and drawing medicinal plants from the Codex,” says Marybeth Shaw, Wolf-Gordon chief creative officer and curator of the exhibition.  “She worked with Wolf-Gordon Design Studio to compose a polychromatic mural that expresses the richness of indigenous knowledge, anchored at center by the magnificent and powerful agave.”

Camila Apaez’s Frontiers on the Land Are Bodily Frontiers explored the internal movements that may occur when one decides to cross a frontier—whether physical or subjective.

“Camila translated her three-dimensional work in Tapalpa clays, local to the Guadalajara region, into a two-dimensional surface with compelling visual depth,” Shaw explains. “The sensual, curvilinear form resembles a view of a canyon or natural borderland.”

“Following last year’s PROJECT: HI > AI exhibition, El Muro is the second in a series that Wolf-Gordon is excited to share with our design community.  We believe design is firmly rooted in the social, political and economic context of our time, and we seek to spark awareness and catalyze conversations on important issues that tend to not be covered.”

wolfgordon.com

The next HD Expo will be held May 6-8, 2025. hdexpo.hospitalitydesign.com

In its most basic form, the fair is a place to hawk the world’s most important furniture—with most of the wares coming from Italy and Europe—and ignite the industry’s economic engine. In its most advanced and truest form, the fair is the place to speak on design. Here, the major players influencing our everyday built environments come together to collectively share “how it should be done.”

This open-ended question has drawn the world’s most curious and inventive minds, spilling out into Milan Design Week’s programming, exhibitions, cocktail parties, home tours, bar nights, and private dinners where, at the root of each event, is a designer suggesting, “Hey, this is how you might want to live.”

With the draws of the city becoming more compelling, it’s harder to allot more than one full day to visit the fair itself. Despite staying nearly until the fair’s closing time (a first for me) I still felt rushed—there’s just too much to see, and the crowds make quick exploration nearly impossible. However, the fair remains the authoritative voice and main campus of Milan’s design education. If your goal is to swallow a taste of current design trends, it’s a must.

Well over 5,000 journalists covered this year’s fair, focusing mainly on trends, with recaps on new products and styles. While I’ve taken the same approach previously, this year, I’ve decided to share the most important things I observed: product, trend, or otherwise.

Perron Pillo Sofa for Knoll

Willo Perron is known as a French-Canadian creative director and designer. I think of him as the guy Ye brought home to edit his closet, so when I spoke with him at Knoll’s exhibition it was the first thing I asked him about. “When I first met Kanye, it was on a trip to Japan while he was shooting the ‘Stronger’ music video. When we got back, I went to Kanye’s house, and he told me to stake out everything I didn’t like. I was like, ‘Are you sure? Because you’re not going to like this,’” Willo told me. We chatted through the many high-profile musicians he’s worked with, including designing a sofa for Travis Scott that, after some iterations, become the Pillo Sofa for Knoll. The brand told me the sofa was designed to be “sat in, not on,” and they were right. It’s very comfortable, I recommend it.

Cosmic Collection by Faye Toogood for Tacchini

I like everything Faye Toogood does. When I learned she would be doing a collection with Tacchini, a brand I also adore, I was about as excited as you can get over new furniture.

The exhibition did not disappoint. The pieces feature names inspired by the cosmos, with standout pieces like the puffy Solar sofa and the Stellar padded mirror. Faye’s work masterfully remains playful without being foolish, and sophisticated without the pretension.

Origata Bench & Console by Nao Tamura for Porro

When I first started learning about Italian design, I overlooked Porro. Their design is subtle, functional, and easy to skip in favor of something louder. As I’ve followed their work more closely over the years, I’ve realized how precise and beautiful everything they make is. It’s elegant, but not stuffy.

The designer Nao Tamura, who first met Porro while exhibiting at Salone Satellite in 2010, debuted the Origata Bench and Console. “It was inspired by the method of kimono making. Kimonos are known for their distinctive ‘T’ shape. They’re usually made from a roll of fabric, cut in straight lines, and sewn together, it results in very little to no waste of material,” she said. Nao applied the same strategy to produce this perfect small bench.

Formafantasma’s Exhibition Designs

Andrea Trimarchi and Simone Farresin have a superior facial hair game going. They’re also the brilliant designers behind Formafantasma, who created a clever conversation pit for a series of design talks called “Drafting Future.” This year, a circular conversation pit made stumbling upon a talk, or perhaps sitting down for a few casual minutes, a thing of ease. The area ran adjacent to the Corraini Mobile Bookshop, which also offered a nice break to shop and flip through a well-curated group of design books. It was all very well-conceived and executed.

Highlights from Salone del.Mobile 2024

Karimoku Case’s flawless craftsmanship is also enjoyable to see in person. The brand emphasizes craftsmanship, sustainability, and innovation in its designs with a goal of “making people happy.” The exhibition was curated by Norm Architects, the brand’s design director, and the architect Keiji Ashizawa.

Spanish design company Nanimarquina specializes in high-quality, contemporary rugs. Founded in 1987 by Nani Marquina, they’ve produced works with Jaime Hayón, Inga Sempé, Ron Arad, the famous Spanish sculptor Eduardo Chillida (show here) and many others. Their exhibit felt like walking into a carefully curated gallery.

The Swedish brand Blå Station has been making interesting work, a mix of statement pieces, and functional furniture. They debuted an iteration of their BOB sofa that allows it to twist and turn as needed. The Oppo chair (slang for “buddy”) sits like a cartoon character just waiting to swivel. Fun. (See our previous interest in the anthropomorphic Max Armchair.)

Sancal created their exhibition with an “UnRoom” concept—the space was entirely raw. Their Remnant armchair looked fantastic in velvet as did the new variant of the Bold table by Studiopepe. Also updating a classic was a variation of the Steeve sofa, the Steeve Lou by Jean-Marie Massaud for Arper.

Sabine Marcelis created the Dew coffee table, an extension from her previously created Dew dining table for Arco (see our previous inclusion of Arco’s organic Close Plus chair.) The handmade Sonora Collection was a clear stand out from Patricia Urquiola for CC-Tapis.

Two unexpected things I enjoyed this year, David Franklin’s ceramic fish sculpture which was produced as part of Kohler’s artists residency program in Wisconsin, and a delicious pretzel baked by Chef Sophia Roe.

The DS-888 Collina sofa from de Sede has a clever patented moveable backrest and can be used indoors or outdoors. The successful Pi collection from Ethnicraft was extended to include the Pi dining chair. Dedon presented a variation on its iconic Kida chair, the Kida lounge chair, designed by Stephen Burks.

The Emerging Stars of SaloneSatellite 2024

The real highlight of every Salone are the emerging designers participating in SaloneSatellite. The 25th edition of SaloneSatellite featured 600 participants from 32 countries and 22 international design schools, including newcomers from Saudi Arabia, Serbia, the United States, and China.

The next Salone del Mobile.Milano will be held April 8-13, 2025. salonemilano.it

Terminal 02 by SR_A & Kohler

Lasvit created a serene escape at Palazzo Isimbardi. The Re/Creation event offered visitors a tranquil spot to unwind in the lush inner courtyard, be inspired by the fluid grace of molten glass, and occasionally be enveloped in a gentle, man-made fog.

The centerpiece was Porta, a monumental installation by Art Director Maxim Velčovský, crafted in Europe’s largest glass kiln. Also on display was the Nebula lighting collection by Claesson Koivisto Rune, merging Scandinavian design with Bohemian glass artistry, and Bois de Cristal by Maria Čulenová, a unique fusion of wood and glass. The event also celebrated the 10th anniversary of the Neverending Glory series by Jan Plecháč and Henry Wielgus with a special gold edition.

5VIE Design Week & Design Space AlUla

Nigerian designer Nifemi Marcus-Bello showcased Omi Iyọ, a stainless steel sculpture at 5VIE Design Week at Palazzo Litta, highlighting the perilous Mediterranean crossings faced by migrants. Named after the Yoruba word for saltwater, the piece is inspired by migrant boats and is designed to evoke reflection. It features salt slowly trickling out to form a pile on the floor. Proceeds from Omi Iyọ’s sale will support a migrant aid charity.

Back in Brera, Dutch architecture studio Cloud and designer Sabine Marcelis created a lounge promoting AlUla, Saudi Arabia. The lounge features a large seating area with a central table by French design studio Hall Haus and ambient sounds from fabric-covered speakers. Sabine and her partner Paul Cournet of Cloud added a large overhead cylinder light that mimics AlUla’s downward-facing lights to limit light pollution.

The lounge also included sculptural chairs by Leo Orta, lamps by Studio Raw Material, and furniture made during AlUla’s design residency. A massive steel screen by Bahraini Danish and wooden platforms by Leen Ajlan served as the background for the space.

Biophilic Series by Tai Ping at Milan Design Week

Tai Ping launced the Biophilic Collection, offering 16 carpets made from undyed, natural, and sustainable materials, inspired by organic forms and landscapes. The collection consists of hand-tufted carpets with intricate techniques and finishes, such as gradations and multi-level pile heights. Named after essential oil plants and influenced by the Japanese tie-dye technique Shibori, these designs reflect Tai Ping’s commitment to sustainability and creativity.

Saint Laurent Honors Gio Ponti with Exclusive Plate Collection

Saint Laurent Rive Droite presented an exclusive collaboration with the Gio Ponti Archives. Photo courtesy of Saint Laurent

Saint Laurent Rive Droite presented an exclusive collaboration with the Gio Ponti Archives and the Fundación Anala y Armando Planchart. Curated by Anthony Vaccarello, the exhibition at Chiostri di San Simpliciano showcased a unique plate collection originally designed by Gio Ponti in 1957 for Villa Planchart in Venezuela.

In 1953 Anala and Armando Planchart commissioned Italian architect Gio Ponti to build an avant-garde villa overlooking Caracas. For the interior Gio Ponti collaborated with Italian artisans, including Ginori 1735, to create porcelain tableware featuring motifs like the sun, crescent moon, polar star, and the letter “A,” honoring the villa’s owners.

Saint Laurent Rive Droite, in partnership with Ginori 1735, has reissued 12 original plates from the Villa Planchart Segnaposto collection.

Interzone by Muller Van Severen

BD Barcelona, in collaboration with Belgian design duo Muller Van Severen, presented Interzone at Capsule Plaza. Photo courtesy Capsule

BD Barcelona, in collaboration with Belgian design duo Muller Van Severen, presented Interzone at Capsule Plaza. Founded by Fien Muller and Hannes Van Severen in 2011, the duo is known for blending surrealism, sculpture, and architecture. Capsule Plaza, a hybrid fair and collective exhibition, brought together designers and companies from various creative fields, merging industry and culture. The show was co-curated by Alessio Ascari and architect Paul Cournet.

The Topography of Matter by Hermès

Hermès presented a new home collections around the theme, “The Topography of Matter.” The show mixed new work with heritage objects, showcasing timeless designs inspired by raw materials like bricks, stone, slate, wood, and compacted earth. The display features items such as the Diapason d’Hermès armchair, with its modernist design and hammered aluminum frame, and the Voltige d’Hermès lamps, characterized by their equestrian-inspired slender stems in braided two-tone leather.

L’Appartamento by Artemest

Fashion house Loewe unveiled an exhibition featuring 24 lamps created by international artists. Photo courtesy of Loewe

Fashion house Loewe unveiled an exhibition featuring 24 lamps created by international artists, displayed at Palazzo Citterio during Milan Design Week. Each lamp was crafted from unique materials. South African ceramicist Andile Dyalvane presented a clay and glass pendant light with tentacle-like extensions inspired by acacia trees. Scottish artist Jennifer Lee used salvaged washi paper and walnut to create a geometric lamp, drawing inspiration from Japanese culture. Anthea Hamilton contributed a kimono-shaped stained-glass lamp, while Italian artist Enrico David designed a curved lamp resembling a human profile.

The next Milan Design Week will be held April 7-13,2025.

Odile and Claire’s partnership began in 2011 when they launched WantedDesign, a trade event blending design commerce and culture, which led to their collaboration with ICFF in 2019. Officially assuming the role of Brand Directors at the end of 2022, their focus for ICFF 2024 centers on fostering meaningful connections, aiming to sustain and expand impactful industry connections.

“We are building upon the foundational principles of WantedDesign, which emphasize bringing together the right people and bridging different design communities,” Claire explains.

Observing a disconnect among various design spheres, their goal this year is to unite individuals around shared ethos and values, transcending mere product showcases. The following is a conversation between Sixtysix’s editor-in-chief Chris Force, Claire, and Odile. – introduction by Gianna Annunzio

Chris Force: How did you two originally meet and begin your partnership?

Odile Hainaut: It’s a nice story. In 2007 I owned a gallery of collectible design next to the Flatiron building in New York City. I met Claire in November 2010 while she was working as the marketing director for Roche Bobois North America. A friend of ours introduced us to each other, and we had a three-hour conversation at the gallery.

We realized we had a shared vision for the design scene in NYC. While ICFF was considered the design week, there was no official celebration of design in the city. We were both thinking, “Wow, this is crazy. We’re in New York City, and there is no big celebration for design.”

We saw an opportunity to create a platform that combined design, commerce, and culture and create a moment in New York where we could bring together the entire industry, from young designers and students, to museums, cultural institutions, schools, and manufacturers from all over the world.

Many designers based in New York were frustrated that they weren’t branching into the international market, and in Europe no one understood the design landscape in the US. That’s one of the reasons we started WantedDesign; to create an international rendezvous for the industry.

We worked like crazy, convincing people to support what we were doing. The first year, we had 30 exhibitors and three key elements: exhibitions, workshops, and conversations. The event was well-received, and year after year, it grew.

In 2019, ICFF told us they were interested in bringing WantedDesign on as part of the fair. They wanted to bring back some creativity, a younger audience, and more discoveries in emerging design. It was a quick decision, but we decided it was a win-win opportunity. We were missing the outreach power that ICFF had, and the financial support — and ICFF was missing two crazy, passionate people like us who would bring new energy to the fair.

At the end of 2022, the director of ICFF, Phil Robinson, left his position. Claire and I were asked to take over this role as brand directors. It was sudden; we had never considered something like that. We thought it over for 24 hours and finally we said, “Let’s do it.” We knew there was an opportunity there for us to implement the vision that we had for this show.

This year, 2024, is the 35th anniversary of ICFF, so it’s a very important new chapter. We have been working for months now with the team to redefine what ICFF can be, should be, and will be.

Our vision is that ICFF is more than just a show. It’s also an organization that supports the industry all year long, hosts multiple events during the year, and is a communication channel for promoting designers and brands.

We also want to put design at the heart of the show, which is really our main goal. When we say that, it means curating the show, selecting the brands, designing the fair itself, and working to design the experience of the show.

We also launched our ICFF rebrand two months ago, and I think it really highlights the vision we have. We want to be relevant; we want to be pioneering; we want to bring the best of what’s coming. I hope that is something everyone will see and appreciate in May.

The 2024 version of the installation titled At The Crossroads of American Design: Sustainability in Practice and Spirit is located at the heart of ICFF. Creative direction by David Rockwell, Rockwell Group, co-curator Pei-Ru Keh, Odile Hainaut, and Claire Pijoulat. There are also contributions from Daniel Michalik, Elodie Blanchard, Kamilla Csegzi, Lichen, LikeMindedObjects, Madeline Isakson, MushLume Lighting, Sahra Jajarmikhayat, and thehighkey. Photo courtesy of Rockwell Group

Why do you think America lacks a strong, defined design voice, especially in comparison to other industries like fashion and technology, despite its robust economy?

Claire Pijoulat: That’s a question centered around a few things—around the culture of design, which is very different from other countries. It’s also a question of the size of the country and just how geographically complicated it is to implement something in the US.

There is an economic theory around design. In Europe, you find small brands that bring design to the forefront. In the US, we have this gap between Ikea, who brings design down to the people, and MillerKnoll or the very expensive brands.

There are now so many small brands in the US, so many makers, so many entrepreneurs that are filling that void. We want to put the spotlight on them.

We’ve seen a huge evolution since we started WantedDesign. There was this movement of makers, entrepreneurs, and smaller companies that were starting to make a difference. It’s been beautiful to see them grow.

Odile: The way it works is so different from Europe. In America, there is such a big market; studios often have their clients locally. There is an ecosystem in the US. But nowadays, American designers are starting to go outside of the US.

Coming from France, it was interesting for us to see all the European brands viewing America as the place to develop their brand and business — without really understanding how the market works.

The reality is you have to spend time here. If you want to develop something in the US, you have to live here and appreciate the methodology. We say that to any international brand who tells us they’d love to develop in the US.

Both Claire and I adapted very well to the speed of the American market. The culture of when you say something, you do it. As soon as you say you have an idea, you better be ready. If you are not, you’ll kill yourself. It’s very bold. It’s very concrete.

WANTED, previously known as WantedDesign Manhattan, is dedicated to emerging design and returns with Look Book, an in-person portfolio for the A&D community to connect with high-end North American designers and makers and source original designs and beautifully crafted products for their next projects. Photo courtesy of INDO-

How do you perceive the challenges of taking on an ambassadorship role to the American and global design communities, especially considering the unique characteristics and size of the market? 

Claire: One of the things we learned through WantedDesign was to focus on the people and the connections. We’ve been working on scaling up the foundations we established with WantedDesign, which is based on bringing the right people together.

The design world can be disconnected at times, but we love to bring people with the same ethos and values together. It’s not so much about the products at ICFF, but the people behind the products. We want to create a space to nurture that conversation.

We hope that New York becomes the Milan of North America in terms of design.

Odile: We strongly believe people need to meet in person. How else will you understand what they’re trying to do? For us, it’s about making sure ICFF continues beyond the fair to make those conversations translate into business. We want everyone to succeed.

The fair is at the crossroads of so many people and facets of the industry. When we talk about scale, I very much believe in the scale of things, scale of moments, scale of architecture, and scale of events.

With ICFF, we’re creating multiple destinations under the same roof. The show is “edited.” I really like that word “edited,” as if it were a magazine. We help people navigate and not only find what they’re looking for but discover things they didn’t expect to discover.

ICFF aims to enhance attendees’ experience by creating new and appealing spaces, a focus that will continue this May. Pictured: The WANTED Lounge designed by Rodolfo Agrella from Rodolfo Agrella Design Studio (RADS) in 2023. RADS is returning to design the physical experience of the fair in 2024. Photo by Studio Caribe

How do you balance growing a fair to meet increasing demands while also navigating partnerships?

Odile: As we took over this new role for ICFF, we have been able to bring something new to the fair, even companies who never thought about joining before. We are proud of that. We want to ensure this is something that really serves and responds to what’s needed.

This year we’re launching ICFF Night Out on Friday evening in Flatiron NoMad, building on the success of last year’s celebration with Moooi, as a way to invite visitors to explore this new vibrant design destination. Last year we also had successful events with Natuzzi and Poliform. We found this way of bringing ICFF outside of the Javits Center, and we are excited to serve.

Can you share any of the other new brands that are exhibiting for the first time this year?

Odile: Home Spirit is one, it’s a French brand. They usually do Maison&Objet. They have a showroom in Miami but they’ve never participated before. We are also bringing back Ethnicraft.

The Bespoke section is also a new feature. For that, we aren’t bringing companies that are presenting product, but instead they’re presenting their savoir-faire. We have a few firsts, including Neal Feay, an amazing company creating high-end aluminum products from small scale to architectural implementations. ­­

A part of WANTED, Launch Pad is an international platform for emerging designers to introduce new concepts and showcase furniture, home accessories, and lighting prototypes. Photo courtesy of Lisa Sacco Design

For people who are beginning to plan their trip, are there any things that you want to highlight or don’t-miss to see at this year’s show?

Odile: We are bringing back At The Crossroads of American Design this year. It was maybe the most covered part of the show last year. We’re bringing back some prior participants, in addition to 18 new companies that are based in the US.

We also really want people to explore the programming. We have a very rich, daily program, customized with a specific focus. We’ll have the main stage, but we’ll also have daily talks.

We will have more cafe lounge seating areas, so people can plan to spend the day at the Javits. They will have a qualitative time, they will have a creative time, and an inspiring time. That’s really what we want people to remember.

ICFF registration is now open, May 19-21, 2024, at the Javits Center in NYC.

Future on Stage offers buyers — always in search of newness — the chance to discover all the vitality, dynamism, and creativity of these new talents who are creating the future. A discerning panel of experts in the decor industry will select three young brands to participate. Winners will receive expert guidance in preparing for the fair, forge connections with industry leaders, secure orders, and propel their brand to new heights. Selected participants will also receive complimentary stand costs and promotional activities.

This exclusive opportunity is tailored for brands established within the past three years, offering products that embody the essence of decor, design, or lifestyle. Future On Stage’s second edition winners from March 2023 included Sas Minimum/Le Pavé, Noppi, and Gwilen — three young brands who exemplify innovation, and revolutionary design. If you’ve defined your brand identity, tested your products, and are ready to expand globally — this adventure is your next step.

This year’s theme, Terra Cosmos, will focus on novelty, creativity, and innovation. The theme deciphers these new desires and the expectations of consumers in search of awe-inspiring experiences. 

To apply, fill out the Future on Stage application form by April 26, 2024.

At the annual concert, which took place on February 28, the audience was treated to a live set by 17-time Grammy winner Sting, who played guitar alongside JAZZ HOUSE KiDS artistic director, composer, and bassist Christian McBride, who’s netted 8 Grammies of his own throughout his career. For their final song, the two were joined by a group of young musicians who’ve developed their talents through JAZZ HOUSE KiDS.

“I’m so glad Sting was able to join us for the annual RALPH PUCCI Jazz Set for JAZZ HOUSE in 2024,” says JAZZ HOUSE KiDS artistic director, composer, and bassist Christian McBride.

“I’m so glad Sting was able to join us for the annual RALPH PUCCI Jazz Set for JAZZ HOUSE in 2024,” Christian said in a statement. “He is a dear friend of mine and someone full of knowledge and wisdom. I was honored to play bass on his album All This Time and in his touring band and look forward to playing with him again in February.”

This year’s performance raised over $800,000 for the creative organization. To date, RALPH PUCCI has brought in more than two million dollars of funding, while giving audiences an unforgettable experience nestled among their furniture.

A trio of young musicians stood in front of a Giant Visage Light Sculpture and a trio of Visage Sconces mounted above the busty Scarp Wall Mounted Console.

Behind a teenager playing the upright bass was a velvet Neo Chester Sofa, its winged armrests dramatically framing the performers. Above them hung the Lustre Galatee 507, in which a hunk of veined alabaster hangs from panels of patinated bronze, an inverted diamond crowning the stage. Another trio of young musicians stood in front of Ralph’s quirky Giant Visage Light Sculpture, a large face rendered with plaster, and a trio of sleepy looking Visage Sconces, made from plasterglass, that were mounted above the busty Scarp Wall Mounted Console.

Ralph was proud to use his showroom as a jazz venue for the eighth year in a row.

“I have loved jazz since I was a child and I always wanted our clients to experience art in all its forms at our galleries, and music is an important part of that vision. Sting is a musical legend and we were excited to welcome him to the gallery. I believe JAZZ HOUSE KiDS is a brilliant and important organization and I’m pleased to help raise funds to nurture jazz for the next generation.”

For their final song, the two were joined by a group of young musicians who’ve developed their talents through JAZZ HOUSE KiDS.

ralphpucci.com
jazzhousekids.org