The Milan Design Week 2025 Review
Milan Design Week has come and gone, and once again captivated those in our industry (and beyond) with a wide-ranging programme of innovative, forward-thinking exhibitions.
This year’s theme was ‘Connected Worlds’, and with a long list of potential interpretations, we were keen to see how many brands attempted to reflect at least one of them and how many ignored them altogether.
Last year’s theme, ‘Materia Natura’, was reimagined as ‘Connection between humans and the environment’, exploring how brands and humans can reduce their environmental impact. This, along with ‘Connections between people and communities’, were probably the most widely acknowledged themes, with most people steering clear of topics such as AI altogether.
Critically, last year saw very little effort by brands to address environmental impact, so we were hopeful that the design world had taken a step forward, and we did see some small signs of hope. We explore this more later in the article.
Despite being in the city for several days, we did, as always, fail to see everything, and FOMO is still as real as ever. However, insane queues frustrated most visitors – 3 hours to see Google’s installation this year alone – and while companies may be thrilled to see popularity, the overall brand experience is a negative one for most visitors who have walked miles only to be thwarted by time and patience.
It did, however, allow us to explore some different brand experiences as we stumbled across many interesting displays in the nearby backstreets, as well as some of the more popular installations.
So, with our notes at hand, we’ve digested the reviews, had conversations with our journalist friends, and scoured the socials to provide an overview of emerging trends and the conversations influencing the design world moving forward.
The intersection of fashion and design
Milan, for most of the year, is the fashion capital of the world, so it should come as no surprise that, as with every year, there is an intersection between this sector and that of architecture and interior design. The usual suspects, such as Gucci, Miu Miu, Loewe, and Louis Vuitton, debuted homeware lines, quirky collaborations, and milestone anniversary collections, whilst others made their first forays into the design world.
Fashion and design are two fields that often converge, creating a dynamic and innovative space where creativity flourishes. The intersection of these disciplines allows designers to push boundaries, merging aesthetics and functionality, encouraging the exploration of new materials, techniques and technologies.
In the run-up to Milan Design Week, the FT questioned if the presence of major fashion houses would encourage design brands to raise their game, to match the bold nature of a Hermes or Dior showcase.
Source: Marimekko
But has Milan Design Week become another stomping ground for influencers? Perhaps for those who are less interested in design but still want to be seen attending events at this calibre? The queue to roll around on the Marimekko bed linen range and capture that Insta moment seemed to far outweigh the people genuinely interested in the new patterns, the brand story, and those who might purchase the pieces. It would be interesting to see what ROI objectives were set by the brand and whether it justified the prime location and social media ‘moment’.
Press coverage since the event has certainly questioned the value that many of these high-profile brands brought to the event this year. The consensus seemed to be that fashion brands promised a lot but tended to deliver little in terms of innovation. Instead, they focused on having a ‘moment’ without considering the purpose. Perhaps the design world’s version of fast fashion?
Those that explored materiality, such as Gucci, provided such examples. Who was off the mark, and who nailed the brief on exploring materials?
Celebrating the connection between mankind and the natural world
Another theme explored by several designers and brands was the profound connection between humanity and the natural world. There was an abundance of furniture, lighting and accessories which wove in natural materials, including Gucci’s ‘Bamboo Encounters’ that explored the grasses’ application in contemporary design and showcased the versatility and cultural significance of the material, and ‘The Forest of Space’ by Sou Fujimoto in which the Japanese architect highlighted the harmony between architectural design and natural forms - creating a mobile amphitheatre from natural pine beams, emulating the layered canopies of a rainforest.
Source: Gucci
Most people felt that Gucci’s installation was not reflective of the brand's quality that people expect, and fell short of expectations.
By contrast, some of our favourite executions of this theme were to be found in Alcova, which has fast become a “must-see” on the agenda, despite the schlep outside the city.
Sten Studio invited visitors to explore a totem-filled room where they had stacked naturally sourced materials in a tactile exhibition that befitted the space. Terraformae took over one of our favourite locations, the Pasino glasshouses, to the side of Villa Bagatti. They shared beautiful examples of claywork in the space. And the haunting “Ghost Orchid” were a fascinating encounter too - 3d-printed PLA sculptures designed by Marcin Rusak.
Ghost Orchids by Marcin Rusak
Another highlight was Avau Perfumery, a family-run business and third-generation ‘noses’ who have created a brand that taps into naturally sourced scents and combines them based on personal preference. The alchemy lesson, again in the greenhouse, encouraged visitors to mix each one to decide whether they felt a connection to the aroma. The founders eloquently shared the brand story, and the passion that had been passed through the generations was easily felt. A charming and thoughtful display that many larger brands could take note of.
A final stop before returning to the city centre was the SNIA Factory, a disused and highly atmospheric location near the station. Ranieri had taken over the first display with a volcanic construction taking centre stage, entitled Under the Volcano, which explored the primal power of the volcano through matter, sound, and space. This led through to tiled pillars that sat well within the vaulted ceilings and felt like they were trying to escape the previous history of the space.
Ranieri at Alcova, SNIA Factory
Exploring new ways to use materials often goes hand in hand with innovation, and we saw some creative and engaging brand displays to represent this.
Sustainable innovation
As we mentioned, with the help of journalist and subject expert Katie Treggiden, we questioned where the Design Week theme, ‘materia natura’, sat within the installations, exhibitions, and design showcases we saw in 2024. This year’s offering aimed to offer visitors more in terms of environmentally conscious design, new material innovations, and a focus on circularity.
Now, not just a nice-to-have, but a necessity, sustainability is becoming a driving force in the industry, with many designers and product creators focusing on reducing their impact. This is often presented in two clear categories: circular products and innovative materials.
There was a notable increase in designers showcasing pieces that were created with their whole lifecycle front of mind - made from recycled materials, biodegradable components, and pieces that could be disassembled for easy recycling.
In terms of material innovation, one of the most forward-thinking segments we saw was the second edition of ENHANCE, a concept launched by DesignWanted, “spotlighting projects that go beyond furniture and lighting to confront urgent social and environmental challenges”. Highlighting the importance of research into not only the matter that makes up the materials we use to create products and build our homes, but also how they are used - the longevity, functionality and durability. From discarded seashells to storm-felled trees, and cellulose and lignin, the projects showcased a wide range of organic materials without compromising on aesthetic quality, of course.
Interestingly, fast-fashion giant Zara was also present, collaborating with Circ to showcase a capsule collection of garments made from recycled polycotton waste. As one of the most significant global contributors to water pollution, greenhouse gas emissions, and microplastic contamination, this partnership marks an important step, introducing circular design (albeit in fashion, not homeware) to the masses.
Lavazza at Palazzo del Senato
New to Fuorisalone, Lavazza had an impactful installation in Palazzo del Senato, titled ‘Sources of Pleasure’ and featuring the tagline ‘The Future is 100% coffee’. Their new pods, Tablì, are packaging-free, compacted discs of coffee that serve you that important Milan Fuel—espresso! Visitors were invited to walk through the ‘inside’ of their pod, leading to a dark and moody rainforest-scape, with water tumbling from the ceiling. Here, visitors were asked to consider a future where all you need is coffee and water—an easy sell in a city like Milan! You then walked through to a contrasting, light, and bright coffee-making area, where uniformed staff invited you to choose between two discs and experience their new coffee pod for yourself. It was well-executed, and people walked away having enjoyed both the brand experience and the beverage. Job well done for a B2C brand like this, we’d say.
Technological advances and the rise of AI
There is no hiding from the advances that are being made globally through new technologies. As the industry becomes more adaptive and perhaps more often shaped by technology, the fusion of digital tools with traditional craftsmanship has emerged as a significant trend. We saw some interesting examples of brands and designers leveraging 3d printing, digital modelling, and, of course, AI, to enhance and preserve artisanal skills. The result is a blend of innovation with tradition.
Promoting the work of Estonian, Latvian and Lithuanian designers, Tactical Baltics showcased the integral link between heritage, culture, innovation and circular design practices. The exhibition showcased furniture, lighting, textiles, tableware and accessories by 21 creatives from these regions that reinterpret classical techniques, weaving new methods and materials, and modern technology into the process.
Preciosa confronted generative computer function head-on, presenting a cutting-edge visualisation tool to visitors that encourages customisation, flexibility and versatility. Using the brand’s signature designs, the tool allows designers and architects to adjust and modify different pieces to suit various project specs, and to visualise the result. This was presented alongside their new Crystal Links creation—a concept that marries the structure and fluidity of urban landscapes with the geometry of modern architecture.
We searched elsewhere for direct nods to AI, following the announcement of Fuorisalone’s theme - ‘Mondi Connessi’ - described as “a vision that promotes participatory generative design, celebrating the art of engagement through design and forms of artificial intelligence” but from what we saw, very few brands tackled it front and centre. It was more subtly woven into the conversation, with brands like Grohe discussing innovation through technology to improve performance, functionality, and design.
Emotional design and the art of storytelling
One thing Milan excels at is weaving a design story. Some, more than others, manage this well, of course. There were a few times when we would read something several times and still not be clear on what they were trying to say, either with the explanation or with the exhibit itself!
Es Devlin’s ‘Library of Light’ promised an atmospheric setting, emotive words spoken and a rotating library of books. The installation invited users to reflect on the transformative power of the written word, a direct contrast to the world of AI we are now increasingly being surrounded by.
Es Devlin’s Library of Light
Interestingly, it made us think about Meta, which is currently in legal hot water with several authors as they have allegedly stolen books to train their AI platforms.
Anyway, the installation was certainly impressive and we did enjoy it, but it was a bit of an Instagram vs Reality moment where the press image showed an empty, evocative experience and the in-person one was largely spent stepping over and around people chatting noisily over the words.
US tariffs and the impact on the design market
Before concluding our experience, one thing that was inescapable as it was happening in real-time was the ever-present threat of global tariffs. We didn’t make it to Euroluce, but with it being such a significant international fair, we can well imagine that buyers were suddenly more considered and cautious than perhaps they expected to be. Back in the city, conversations over dinner or an aperitivo invariably turned to that.
There is no denying that it will have an impact. Perhaps we will see this more at next year’s Salone as it starts to have an effect. Time will tell, that’s for sure.
As Debika Ray fittingly put it in Apollo Magazine,
“These hard realities are a sharp reminder that, while it may have the atmosphere of a cultural festival, this event is ultimately a site for business: the lavish installations, immersive experiences and brand activations are there to bolster the bottom line of a service sector that offers its products and ideas to consumers and other businesses.”
Final Thoughts from Sandford
Milan Design Week 2025 once again reminded us why this event sits at the heart of global creativity. From the quiet genius found in a greenhouse alcove to the headline-grabbing grandeur of fashion crossovers, what stood out this year was not just innovation, but intention.
We saw a growing maturity in how brands approach sustainability, a hunger for authenticity in storytelling, and an ongoing tension between spectacle and substance. The interplay between technology and tradition, particularly with AI, is clearly in its early stages but holds immense promise.
“Design doesn’t need to be about something, or to reference social or environmental issues in an abstract sense – the design is the point. The specific skills, ways of working and thinking, and the role that design practitioners play in fulfilling human needs, not only deserve to be celebrated but must thrive in a world where solutions to existential problems are desperately needed.” Apollo Magazine
At Sandford, we came away not just inspired but also reminded of our role in helping brands cut through the noise with thoughtful, purposeful storytelling. As the boundaries between design, tech, and culture continue to blur, our job is to help ensure those “connected worlds” feel less fragmented—and more human.
Here’s to next year’s Design Week, and to continuing the conversation until then.
