6 Trends from the 2023 Milan Furniture Fair
At the recent Salone del Mobile fair, the global design industry had one foot in tradition and the other in innovation
Every year at the Milan Furniture Fair, we see trends come and go, but some of them gradually stick. This year’s trends seem to be here to stay, as they’re the natural evolution of projects developed over the past few years that are now fully mature.
This maturity is not only evident in the design ideas, which we will explore here, but also in the success of the latest edition of Milan’s Salone del Mobile (18 to 23 April 2023) itself, steadily growing year after year. More than 300,000 visitors attended this 61st edition (15% more than in 2022), alongside more than 2,000 brands, 34% of which were international, and 28 design schools and universities from 18 countries. 65% of the buyers and professionals present were from overseas, led by China and closely followed by Germany, France, the US, Spain and Brazil.
This maturity is not only evident in the design ideas, which we will explore here, but also in the success of the latest edition of Milan’s Salone del Mobile (18 to 23 April 2023) itself, steadily growing year after year. More than 300,000 visitors attended this 61st edition (15% more than in 2022), alongside more than 2,000 brands, 34% of which were international, and 28 design schools and universities from 18 countries. 65% of the buyers and professionals present were from overseas, led by China and closely followed by Germany, France, the US, Spain and Brazil.
Many of them replicated textile patterns, materials or techniques specific to a region, and then projected them into an international context. One example was Japanese architect and designer Taiju Yamashita, whose brand, DAFT about DRAFT, has an almost exclusively local production strategy. “In my mind,” he said, “I have a young buyer who wants objects with a story, who likes to mix different styles and pieces from different origins, just like I do.”
The question Yamashita asked himself was where do young Japanese people live, or dream of living? The result was a hybrid style that straddles East and West with a distinctly cosmopolitan flavour. It’s a minimalism that says, “Japanese Zen revisited, choosing materials that instil positive, pleasant feelings”.
The question Yamashita asked himself was where do young Japanese people live, or dream of living? The result was a hybrid style that straddles East and West with a distinctly cosmopolitan flavour. It’s a minimalism that says, “Japanese Zen revisited, choosing materials that instil positive, pleasant feelings”.
Mangiafuoco tables designed by Daniele Bortotto for Moroso.
Moroso’s new tables, meanwhile, draw inspiration from the design and craftsmanship of north-eastern Italy, which are inextricably linked to the region’s local traditions. The Mangiafuoco table is made from copper coated with vitreous powder and fired at a high temperature, so it takes on myriad iridescent hues.
“Each piece is marked with a code, so we can keep track of the batches,” designer Daniele Bortotto said. “Each table may have to be fired up to five times. For us and for Moroso, human sensibility and craftsmanship are incredibly important – the people behind the products.”
Using a technique employed extensively in the 1960s and 1970s by masters such as Paolo De Poli, which has been revised and updated for modern production by removing all traces of lead from the glaze, Bortotto explained, “Our aim is to create iconic pieces, not fast design.”
Moroso’s new tables, meanwhile, draw inspiration from the design and craftsmanship of north-eastern Italy, which are inextricably linked to the region’s local traditions. The Mangiafuoco table is made from copper coated with vitreous powder and fired at a high temperature, so it takes on myriad iridescent hues.
“Each piece is marked with a code, so we can keep track of the batches,” designer Daniele Bortotto said. “Each table may have to be fired up to five times. For us and for Moroso, human sensibility and craftsmanship are incredibly important – the people behind the products.”
Using a technique employed extensively in the 1960s and 1970s by masters such as Paolo De Poli, which has been revised and updated for modern production by removing all traces of lead from the glaze, Bortotto explained, “Our aim is to create iconic pieces, not fast design.”
Blok wooden sofa designed by Andrea Steidl for Woak.
The work of Serbian brand Woak, such as the sofa pictured, is inspired by the simple silhouettes and imposing volumes of Blokovi (the urban neighbourhoods in Belgrade). The pieces reflect the brutalist style, but mixed with the softness of padding.
The brand itself also has strong local origins, rooted in its passion for working with solid oak and walnut and its “immense respect for sustainable raw materials”, Dalibor Petrovic, founder of Woak, said in the press release.
The work of Serbian brand Woak, such as the sofa pictured, is inspired by the simple silhouettes and imposing volumes of Blokovi (the urban neighbourhoods in Belgrade). The pieces reflect the brutalist style, but mixed with the softness of padding.
The brand itself also has strong local origins, rooted in its passion for working with solid oak and walnut and its “immense respect for sustainable raw materials”, Dalibor Petrovic, founder of Woak, said in the press release.
Cuina recycled plastic indoor or outdoor rug by Run Design for Calma.
Another example of ultra-local craftsmanship came from Catalan brand Calma. Its rugs replicate the classic adobe ceramic tiles used in the farmhouses and rustic homes of Empordà and in much of Catalonia. The result is an object suitable for both indoors and outdoors that combines local artisanal flavour with polypropylene made from 100% recycled bottles.
Another example of ultra-local craftsmanship came from Catalan brand Calma. Its rugs replicate the classic adobe ceramic tiles used in the farmhouses and rustic homes of Empordà and in much of Catalonia. The result is an object suitable for both indoors and outdoors that combines local artisanal flavour with polypropylene made from 100% recycled bottles.
Doge Laguna table designed in 1968 by Carlo Scarpa, reproduced as part of a limited edition for the Cassina iMaestri Collection. Sandblasted extra-clear glass top, steel frame. The rippled effect of the glass is reminiscent of the Venetian lagoon.
2. XXL design
At this year’s edition of the Salone del Mobile, there were also many examples of oversized furniture – both pieces created in XXL form from the outset and newer, bigger versions of past designs.
Primarily, this involved tables for commercial use or public spaces, but there were also several for the private sector, showcasing oversized proportions in excess of three metres long. This reinforces the role of the dining table as the very essence of the home, and as an important focal point that requires a large central space.
2. XXL design
At this year’s edition of the Salone del Mobile, there were also many examples of oversized furniture – both pieces created in XXL form from the outset and newer, bigger versions of past designs.
Primarily, this involved tables for commercial use or public spaces, but there were also several for the private sector, showcasing oversized proportions in excess of three metres long. This reinforces the role of the dining table as the very essence of the home, and as an important focal point that requires a large central space.
Fuoriscala by Piero Lissoni for Atlas Concorde.
With Fuoriscala, the table becomes a sculpture that combines contrasting functions. “We have taken the idea of large slabs used to cover walls and furniture to the extreme, creating iconic pieces that play with ‘out-of-scale’ dimensions,” Piero Lissoni explained during the press launch. “[It’s] a somewhat conceptual exercise that brings the table into an architectural dimension”, reminiscent of a precious gem through the medium of Atlas Concorder’s huge panels, which can be manufactured to heights of more than four metres.
With Fuoriscala, the table becomes a sculpture that combines contrasting functions. “We have taken the idea of large slabs used to cover walls and furniture to the extreme, creating iconic pieces that play with ‘out-of-scale’ dimensions,” Piero Lissoni explained during the press launch. “[It’s] a somewhat conceptual exercise that brings the table into an architectural dimension”, reminiscent of a precious gem through the medium of Atlas Concorder’s huge panels, which can be manufactured to heights of more than four metres.
Frank table by Robin Rizzini for Pedrali. Artistic direction by Studio FM; photo by Andrea Garuti; styling by Studio Salaris. The top is positioned on lightly curved, die-cast aluminium legs.
In their expansion into the oversized, tables can also change shape, just like this example by Pedrali. Inspired by architectural shapes, it combines logical lines with curves, morphing the viewer’s perception depending on where they’re standing. This table is part of the BacktoNature project, which presents interior pieces that can also be used in the garden, and vice versa, in a continuous mingling of inside and outside.
In their expansion into the oversized, tables can also change shape, just like this example by Pedrali. Inspired by architectural shapes, it combines logical lines with curves, morphing the viewer’s perception depending on where they’re standing. This table is part of the BacktoNature project, which presents interior pieces that can also be used in the garden, and vice versa, in a continuous mingling of inside and outside.
Tweed marble-top table by Garcia Cumini for Zanotta. More than two and a half metres in length with a fluid, irregular-shaped top made from Striato Olimpico white marble with distinctive grey veins.
Melty mirror made from overlapping glass by Lago.
But it’s not just tables that were transformed by this idea of “gigantification”: a series of mirrors also ventured into larger dimensions to become mirrored walls, creating unique optical effects.
But it’s not just tables that were transformed by this idea of “gigantification”: a series of mirrors also ventured into larger dimensions to become mirrored walls, creating unique optical effects.
Roopa coffee table and Shaal sofa designed by Doshi Levien for Arper. The sofa is available in warm grey, midnight blue, forest green or Jaipur pink. Roopa, which is made from European FSC-certified MDF without the use of glue, can be completely disassembled, making it easy to reuse and recycle.
3. Atmosphere and poetry
The past few years have seen a shift towards playful styles and fun designs. This year, design has evolved towards a very clear goal: to bring atmosphere and poetry into the home. It’s not about precise lines and materials, but about the feeling that’s created, which can even be rooted in the manufacturing process or sustainability considerations.
“We believe that everything you can’t see in a product, together with its overall aesthetics, its details, its feel, is crucial: it helps to create the atmosphere of the object,” Nipa Doshi of Doshi Levien explained. “There are new expectations when it comes to design, such as whether it makes the consumer feel good and its impact on the environment in general.”
This is reflected in aesthetics, too. There were many examples of ‘soft design’, created not only for utility, but also for pleasure, with lines stretched and modified to replicate the imprecise, rounded shapes of nature, mainly in the form of sofas.
3. Atmosphere and poetry
The past few years have seen a shift towards playful styles and fun designs. This year, design has evolved towards a very clear goal: to bring atmosphere and poetry into the home. It’s not about precise lines and materials, but about the feeling that’s created, which can even be rooted in the manufacturing process or sustainability considerations.
“We believe that everything you can’t see in a product, together with its overall aesthetics, its details, its feel, is crucial: it helps to create the atmosphere of the object,” Nipa Doshi of Doshi Levien explained. “There are new expectations when it comes to design, such as whether it makes the consumer feel good and its impact on the environment in general.”
This is reflected in aesthetics, too. There were many examples of ‘soft design’, created not only for utility, but also for pleasure, with lines stretched and modified to replicate the imprecise, rounded shapes of nature, mainly in the form of sofas.
Bombom Collection by Joana Vasconcelos for Roche Bobois, indoor and outdoor versions.
One example is the Bombom collection, created for Roche Bobois in collaboration with the artist Joana Vasconcelos, which exudes optimism with its soft, sinuous lines. Think sofas, rugs, cushions and side tables in pastel shades.
As with the aforementioned trend, local inspiration comes into play here, with the artist drawing on the colours of Lisbon’s old houses to create cheerful furnishings.
One example is the Bombom collection, created for Roche Bobois in collaboration with the artist Joana Vasconcelos, which exudes optimism with its soft, sinuous lines. Think sofas, rugs, cushions and side tables in pastel shades.
As with the aforementioned trend, local inspiration comes into play here, with the artist drawing on the colours of Lisbon’s old houses to create cheerful furnishings.
Glee lamp by Lago. Consisting of a double-sided glass sheet, with one side made from Xglass and the other in a colour of the customer’s choice, and the light source integrated into the edge. When reflected by the glass sheets, the light takes on endless, ever-changing shades and contours.
Fregio ceramic lamp by Andrea Anastasio for Foscarini. This project was developed in collaboration with artistic workshop Gatti di Faenza, whose archives inspired the designer when creating the lamp’s floral bas-relief design.
Setting the mood has been one of the main focuses for lighting brands this year. This is something we see in the Lago Glee lamp, specially developed with the goal of creating a cosy, theatrical ambience, and in the Foscarini Fregio project, too – a contemporary-style, suspended light infused with ancient artisanal appeal to inject poetic energy into the room with its ceramic bas-relief frieze design.
Setting the mood has been one of the main focuses for lighting brands this year. This is something we see in the Lago Glee lamp, specially developed with the goal of creating a cosy, theatrical ambience, and in the Foscarini Fregio project, too – a contemporary-style, suspended light infused with ancient artisanal appeal to inject poetic energy into the room with its ceramic bas-relief frieze design.
Seating system from the Ralik range, designed by Ichiro Iwasaki for Arper. All pieces can be combined and the covers can all be removed. The legs are made from recycled polypropylene.
4. (Even more) sustainable
While sustainability has been a key focus over the past few years, the 2023 exhibition took it even further, showcasing a clear awareness among manufacturers, companies and homeowners, who are now asking for clear certifications and a responsible approach.
“The word sustainability is often overused and misplaced. As designers, we have to work meticulously to produce objects and products that will truly stand the test of time,” designer Piero Lissoni said, explaining how durability and the creation of long-lasting valuable objects that can be handed down through generations is one of the main goals when it comes to sustainability.
Many companies began their transformation several years ago. One of these is Arper, adopting a pioneering approach by adjusting the manufacturing processes and creating a department entirely dedicated to sustainability.
“We choose to speak to our clients as transparently as possible, at the cost of being ‘anti-business’,” Andrea Mulloni, head of sustainability at Arper, explained. “What’s important to us is that people know not only that our products are made from recycled plastic, but the exact percentage of post-consumer plastic, too. This way, our customers are more conscious of what they’re buying and our pieces acquire more substance and value.
“Above all, sustainability for us is about people’s entire wellbeing, including those who work in the production chain: a circular economy that considers the product from when it’s first born through to when it’s thrown away,” she said.
4. (Even more) sustainable
While sustainability has been a key focus over the past few years, the 2023 exhibition took it even further, showcasing a clear awareness among manufacturers, companies and homeowners, who are now asking for clear certifications and a responsible approach.
“The word sustainability is often overused and misplaced. As designers, we have to work meticulously to produce objects and products that will truly stand the test of time,” designer Piero Lissoni said, explaining how durability and the creation of long-lasting valuable objects that can be handed down through generations is one of the main goals when it comes to sustainability.
Many companies began their transformation several years ago. One of these is Arper, adopting a pioneering approach by adjusting the manufacturing processes and creating a department entirely dedicated to sustainability.
“We choose to speak to our clients as transparently as possible, at the cost of being ‘anti-business’,” Andrea Mulloni, head of sustainability at Arper, explained. “What’s important to us is that people know not only that our products are made from recycled plastic, but the exact percentage of post-consumer plastic, too. This way, our customers are more conscious of what they’re buying and our pieces acquire more substance and value.
“Above all, sustainability for us is about people’s entire wellbeing, including those who work in the production chain: a circular economy that considers the product from when it’s first born through to when it’s thrown away,” she said.
HOA table by Bartoli Design for Lago. The top is available in XGlass, Wildwood or lacquered glass. The legs are made from pewter steel.
Italian company Lago has also made sustainability one of its core strengths, establishing the Lago Sustainability Circle, which covers topics from supply chain to employee health and wants to promote a circular and inclusive culture.
Italian company Lago has also made sustainability one of its core strengths, establishing the Lago Sustainability Circle, which covers topics from supply chain to employee health and wants to promote a circular and inclusive culture.
Nemo’s Cabanon lamp designed by Le Corbusier. Photo by Alberto Strada.
5. From past to present
A sign of design maturity is its ability to calibrate past and present and, while inventing the new, bearing in mind what has already been done. The aim is a “sustainable” approach that doesn’t strive to eliminate the past, but rather to recreate what has worked in years gone by.
So many artists have reinterpreted the past, producing new iterations of works by great historic designers. One case in point is the Cabanon table lamp by Nemo, propelling an original design into modern reality. A previously unreleased design, it was born out of the mind of Le Corbusier in 1952 for his shed or “cabanon” just a few steps from the beach: a refuge for the architect during the last few years of his life.
5. From past to present
A sign of design maturity is its ability to calibrate past and present and, while inventing the new, bearing in mind what has already been done. The aim is a “sustainable” approach that doesn’t strive to eliminate the past, but rather to recreate what has worked in years gone by.
So many artists have reinterpreted the past, producing new iterations of works by great historic designers. One case in point is the Cabanon table lamp by Nemo, propelling an original design into modern reality. A previously unreleased design, it was born out of the mind of Le Corbusier in 1952 for his shed or “cabanon” just a few steps from the beach: a refuge for the architect during the last few years of his life.
Teatime tray by Philippe Starck for Kartell. In gold, bronze, chrome and pink.
The Teatime tray by Philippe Starck for Kartell also offers a playful nod to the past. It’s made from recycled PMMA with exquisite detailing recalling delicate crochet patterns.
The Teatime tray by Philippe Starck for Kartell also offers a playful nod to the past. It’s made from recycled PMMA with exquisite detailing recalling delicate crochet patterns.
Multicoloured limited edition of the Sciangai clothes stand, designed by De Pas, D’Urbino and Lomazzi in 1973.
Red Maralunga sofa by Vico Magistretti, re-edition by Cassina
6. Seated, but never static
At the Salone del Mobile, we saw it all, from adaptable and transformable backrests to swivel chairs and armchairs. The future of the armchair and sofa is… flexible!
Similar to the previous trend, our next example takes a design from the past and revisits it within the context of modern-day living. Designed in 1973, the Maralunga sofa has since become an instantly recognisable icon on an international scale. The innovation is hidden in the headrest, which can be raised and lowered thanks to an internal mechanism.
6. Seated, but never static
At the Salone del Mobile, we saw it all, from adaptable and transformable backrests to swivel chairs and armchairs. The future of the armchair and sofa is… flexible!
Similar to the previous trend, our next example takes a design from the past and revisits it within the context of modern-day living. Designed in 1973, the Maralunga sofa has since become an instantly recognisable icon on an international scale. The innovation is hidden in the headrest, which can be raised and lowered thanks to an internal mechanism.
Forest Wandering textile collection with upholstery in Kvadrat Febrik, by Moroso in collaboration with Front Design. This installation shows the transformation of the classic sofa into a modular design with a clear nod to nature.
Moncloud sofa by Patricia Urquiola for Cassina. Metal frame with elastic webbing, upholstered in fabric with removable inserts made from recycled PET fibres; seat cushion padded with recycled PET fibres.
Big slouchy dimensions with soft lines and a welcoming embrace – that’s Moncloud, the new sofa system designed by Patricia Urquiola for Cassina. A metal skeleton, a wooden structure and contours carved into the recycled PET fibre padding made of Circularrefoam, which contains a minimum of 15% recycled raw materials.
The idea behind these inserts is that they can be separated from the other materials, so they’re easily recycled and reused. For this same reason, all parts are also made without the use of glue. And the end configuration is entirely up to its owner, as the components can be combined to create numerous compositions.
Tell us…
Which of these design trends inspires you? Share your thoughts in the Comments.
Big slouchy dimensions with soft lines and a welcoming embrace – that’s Moncloud, the new sofa system designed by Patricia Urquiola for Cassina. A metal skeleton, a wooden structure and contours carved into the recycled PET fibre padding made of Circularrefoam, which contains a minimum of 15% recycled raw materials.
The idea behind these inserts is that they can be separated from the other materials, so they’re easily recycled and reused. For this same reason, all parts are also made without the use of glue. And the end configuration is entirely up to its owner, as the components can be combined to create numerous compositions.
Tell us…
Which of these design trends inspires you? Share your thoughts in the Comments.
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1. Local goes global
From Japan to the Venetian lagoon, many of this year’s designs nodded to micro-local cultures and amplified them for a global audience, drawing inspiration from traditional techniques with a link to a specific context or region.
Countless small and medium-sized businesses chose to share the processes and artisans they’d worked with, out of a sense of pride, but also to differentiate themselves from other designers.