Spectacular installation by Hermès, digital art by Nilufar and decidedly irreverent lunch


This week, the AD PRO team teamed up with our friends at AD Italy to do a field report at Milan Design Week and Mobile Fair, in their first editions since 2019. Below, the Italian editorial staff recapitulates the second day of festivities. This article originally appeared on AD Italy.

See the video.

There is an air of vacation, but the pace is lively. The queues are back for the featured exhibitions (we had forgotten them). Design Week insiders (among others) share tips on their must-haves, and so do we. Here are our highlights from Day 2, seen and endorsed by A D.

“What do I like this design week? There is a rediscovered human warmth, ”says Luca Nichetto, sipping an espresso at 10 am. Just outside are the windows of the Hermès store, a theater filled with mythological quotes created by the designer himself: fashion is fascinated by design’s ability to imagine new worlds. Meanwhile, in the streets and exhibition halls, many visitors looking for ideas (some even wearing Bermuda shorts and a cool tan, it’s early September!) Are adding to the buzz around the event. ‘event. The quest for beauty has just begun.

By Nina (Yashar), the lady of design

At the gates of Milan, in a former industrial space, is Nilufar Depot, the XL exhibition space for an unmissable show. The central space is populated by the artist Pietro Consagra Matacubi functional sculptures (they can be used as benches) made from 1985; in the basement, the “neo-Tiki” furniture by Khaled El Mays interacts vividly with the textile frescoes by Federica Perazzoli. On the other floors, there is a formidable mix of avant-garde and masters of the past. And at the top of the building is a space dedicated to the rising star of 3D design, Andrés Reisinger.

Bold Chair (Odyssey) by Andrés Reisinger.

With Raawii by Omar Sosa and Kvadrat by Peter Saville, the design is unconventional

If there is one thing that unites Omar Sosa, founder of the magazine Apartment, with Peter Saville, creator of memorable album covers like Joy Division’s Unknown pleasuresis that both come from the world of graphic design, and today they are making their debut as product designers. Saville’s collaborations with Kvadrat for the Technicolor textile collection inspired by the fleeces of sheep from the English countryside and the stackable Raawii ceramics by Sosa represent a different way of thinking about design that opens up new creative horizons.

Omar Sosa & # x002019; s ceramics for the Danish brand Raawii.  The photos are by David Luraschi, former creator of Jacquemus & # x002019; s campaigns.

Omar Sosa’s ceramics for the Danish brand Raawii. The photos are by David Luraschi, former designer of the Jacquemus campaigns.

Photo: David Luraschi

Hermès transforms a pelota court (indoor) into a world of its own

Bathed in a golden half-light, five “houses” decorated with colorful geometric patterns rest on a bed of orange sand (a spectacular setting designed by Charlotte Macaux Perelman and produced by a team of scenographers working for La Scala). Inside this small village, there are objects and fabrics for a house of pure refinement. One for all: the Sillage armchair designed by Bijoy Jain from Studio Mumbai in wood covered with papier-mâché, “tattooed” with fine lines like a tribal totem.

The installation of the Herm & # xe8; s in La Pelota, Milan.

The Hermès installation at La Pelota, Milan.

Photo: Maxime Verret

Marcin Rusak’s neo-art nouveau

“As the world came to a halt, the dynamic process of research and creation transformed into a process of slow and controlled growth, a thriving environment where endless possibilities open up,” explains Marcin Rusak. The Polish artist made his debut in Milan with the solo exhibition “Unnatural Practice” curated by Federica Sala, where an almost Art Nouveau aesthetic – made of plant materials coated with metal or resin – rests on a scientific foundation. It brings to Ordet’s exhibition space a large ecosystem in which the evolutionary process, although presented in its decline, opens up to new metamorphoses.

“Practice against nature,” the Marcin Rusak Studio exhibition curated by Federica Sala.

“Unnatural Practice”, the Marcin Rusak Studio exhibition curated by Federica Sala.

Photo: Studio ADSL

Toiletpaper Home: Irony is served

A narrow blue facade appears at n ° 4 of Via Balzaretti. Inside, on the three floors of the house-workshop, unfolds the irreverent and colorful universe of Seletti and Toiletpaper, which unveil their Home collection for the first time. An ode to maximalism, the tables are shaped like bars of soap, animal prints and even chickens roaming the garden. To welcome us Stefano Seletti says: “Here you are not clients but guests at a lunch for a few close friends. There is no lack of ironic objects for the table during lunch on the terrace. The menu consists of frog burgers, “big insult” tiramisu, and rivers of coffee spritzes. Needless to say, this is the most eclectic banquet of design week.

Toilet paper at home.

Toilet paper at home.

Photo credit: Alberto Zanetti

Originally appeared on Architectural Digest


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