As ever, Milan’s Salone del Mobile felt less like a trade fair and more like a slow-moving conversation—between past and present, technique and material, form and function. While much of the noise came from oversized installations and celebrity collaborations, a quieter, more thoughtful current ran through this year’s most compelling presentations. Here’s a selective look at the pieces that lingered long after the last Negroni.
Our Favourites from Salone del Mobile
Loewe’s Teapots: Function Meets Folklore
Loewe’s installation was a welcome pause. Twenty-five artists were invited to interpret the humble teapot—a shape so familiar it almost disappears into the background. The results were diverse, sometimes odd, always sincere. Whether in burnished bronze or hand-painted porcelain, each piece felt grounded in something real: ritual, memory, daily life.
Hermès: A Material Conversation
Hermès approached the home as a kind of landscape this year, layering terracotta, clay, wood, and stone into quietly monumental arrangements. There was the Diapason d’Hermès lounge chair, its leather frame balanced by softly hammered aluminium, and a series of cashmere throws so restrained they almost passed for architectural sketches. Nothing shouted; everything was carefully placed.
Bottega Veneta Reworks the LC14
For their ongoing exploration of heritage and material, Bottega Veneta turned to Le Corbusier’s LC14 Tabouret. The box-like stool—originally made from a whiskey crate—was reissued in woven leather and deep lacquer finishes, in collaboration with Cassina and the Fondation Le Corbusier. It’s hard to say whether it’s more art piece or furniture, but perhaps that’s the point.
Faye Toogood’s Cosmic Collection for Tacchini
Faye Toogood’s new range for Tacchini draws on celestial references but remains grounded in her usual earthy palette and tactile materials. The Solar Daybed and Stellar Mirror suggest something ritualistic without being overly stylised. It’s a collection that feels designed for living, not just for looking.
Pillo Sofa for Knoll by Willo Perron
With its generous proportions and rounded corners, the Pillo sofa sits somewhere between sculpture and upholstery. Willo Perron—better known for his work in music and fashion—brings a softness that doesn’t try too hard to be “designed.” The idea seems simple: comfort, without compromise.
Origata by Nao Tamura for Porro
Japanese-American designer Nao Tamura continues to work with a restrained hand. Her Origata bench and console for Porro reference the traditional art of paper wrapping, but rendered here in timber and metal. The joins are precise, the surfaces matte, and the overall impression is one of quiet efficiency.
Molteni&C: Light Touch, Heavy Craft
Molteni&C’s collection didn’t reinvent the wheel, but it did refine it. The Armchair and Sofa sit low and wide, with softened silhouettes that feel made for long evenings. The Mateo table and Picea coffee table—both in muted wood tones—resist trend and lean into timeless shapes.
B&B Italia’s Tufty-Time 20
Patricia Urquiola’s Tufty-Time sofa turns 20 this year, and the updated version introduces new curved modules and deeper padding. It’s a sofa that’s found a home in every kind of interior, from maximalist to minimalist. The redesign doesn't disrupt that versatility—it just softens it.
Minotti’s Coupé by Giampiero Tagliaferri
Minotti’s new Coupé collection echoes elements of mid-century Italy but with a sharper silhouette. Designed by Giampiero Tagliaferri, it’s comfortable without being overly loungy, structured without being stiff. It’s the kind of collection that would sit easily in a Milanese apartment or a brutalist LA home.
Poliform’s Owen Chair
Jean-Marie Massaud’s Owen chair for Poliform plays with the looped line of a Möbius strip. It’s not a piece that demands attention, but it rewards close looking—smooth curves, tight seams, and a floating backrest that adds just enough architectural drama.
Porro’s Tablo Table by Piero Lissoni
There’s a reassuring utility to Lissoni’s Tablo table for Porro. Inspired by industrial workbenches, it has a minimal profile in black metal, topped with painted glass. The idea seems to be clarity—form that doesn’t get in the way of function.
Kartell’s Belvedere Chair
In a nod to Viennese café seating, the Belvedere chair from Kartell combines Vienna straw with recycled plastic. It’s lightweight, stackable, and surprisingly elegant. Designed by Ludovica Serafini and Roberto Palomba, it shows how traditional forms can be made modern—without losing their soul.
If there was a theme at the Salone this year, it might have been restraint. Not in ambition, but in volume. From large brands to independent studios, the best work felt pared back, resolved, and rooted in craft. In a year full of noise, this was a fair that whispered.
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Last Updated on May 13, 2025 by Editorial Team
