'Japanese design has this ability to combine precision with a poetic dimension. Minimalism is not a stylistic choice, but a way of thinking – removing what is not necessary to give more clarity and strength to what remains.' Maria Porro, president of Salone del Mobile, was speaking to Wallpaper* about the ever-growing influence of Japanese design in Milan – and true to her words, the city was awash with high-quality projects from Japan. Design innovations spanned the spectrum: from architectural rugs, quiet paper innovations and crafted chairs designed to “not to be noticed” to textiles created by sound.

Japan's creative output has perhaps never been more relevant, according to Porro: “Japanese design offers clarity at a moment of global complexity. It demonstrates a strong ability to translate cultural values into contemporary forms, while maintaining continuity. For me, its relevance lies not only in its aesthetics, but in a way of thinking that is rigorous, responsible and increasingly necessary in shaping the future of design.”

Here, Wallpaper* highlights a fraction of the many Japanese projects that left an imprint on Milan’s designscape this year.

Best Japanese design at Milan Design Week 2026

‘bit by bit’ by Haruka Misawa at ADI Design Museum (until June 7)

Paper – with thread, wood, wire, nail, leaves, stones, pencils, glass beads, acrylic pipes. These ingredients shape the quiet beauty of ‘bit by bit’, Haruka Misawa’s first solo exhibition in Italy. Spanning long rows of steel displays are time-slowing creations – cut, pasted, stitched, layered and minutely crafted. One paper work has tiny squares containing the miniature intricacy of staircases; another has a small missing segment – the cut out part transformed into a cloud-like puff of light paper shreds. A highlight? Tiny paper shapes that dance, float and spin – the otherworldly result of a meticulously researched combination of washi paper containing metal powder with a hidden magnetic system. 'Paper is thin and flat yet it has many possibilities,' Misawa, a respected designer who helms Misawa Design Institute at Nippon Design Centre, tells Wallpaper*.

Koyori at Salone del Mobile

Sunrise – or hinode in Japanese. This is the inspiration behind Vincent Van Duysen’s debut collection for Koyori, a Japanese furniture brand rooted in quality craftsmanship and contemporary design, launching at Salone for the first time. Showing Wallpaper* his warm T-shaped chair and tables with softly twisted wood edges, Van Duysen explains: 'Hinode is about new beginnings and a homage to nature. Wood is a material I carry in my heart. Natural. Timeless. Real textures. The beauty of imperfection. In terms of executing details, the craftsmanship at Koyori is on another level.'

Ronan Bouroullec also unveiled the pared-back beauty of his Ichirin chair, its structural purity and lightly sensual edges sharpened by a clean-lined wood grain. 'I wanted this to be a chair you don’t notice,' he explains. 'You just feel good in the room. Like a teabag in a glass of water. It’s almost nothing. Just function.' Added to the mix were GamFratesi’s latest Koyori pieces, including their playful Kinomi side tables – acorn-like forms balancing lightly on tripod legs. 'Not everything needs to be big,' says Enrico Fratesi. 'We want to create a memory and an emotional connection.'

Oke by Junichiro Yokota Studio at SaloneSatellite

Oke – or wood bucket. This everyday Japanese object is the inspiration behind the Oke chair, a curved sweep of vertical wood components, rising in clean lines around two minimalist panels – crafted from leftover wood. The chair was created by Junichiro Yokata, a Tokyo product designer, who explains: 'the feeling of being enveloped in the surrounding wood teaches us the inherent richness of materials.' Also exhibited was his atmospheric Toi table lamp (a pendant version launched last year), a softly-curved glow of organic washi paper; plus Extra, a contemporary basked shaped by two interlocking circles – all explorations of the 'ordinary' in everyday life, anchored in a pared back beauty and minimalist simplicity.

Unseen Objects / Overflow by We+ and Heiwa Gokin at Galleria Rubin

Burr – the surplus metal removed during traditional casting processes – shines in the spotlight in Unseen Objects / Overflow, a new furniture collection brought to life in an innovative collaboration between Tokyo design unit We+ and century-old foundry Heiwa Gokin based in copper casting hub Takaoka. A contemporary excavation of traditional craftsmanship, the project taps into the 'imperfect' formations that trace material surfaces during large-scale metal castings in sand moulds – delicate fringes of metal known as burrs which are typically removed in the making process. Leaving these material imperfections in place, cast panels were layered into a puzzle of aluminium panels to create unique shelving and low-level tables – creating structural furniture imbued with an elemental, primitive and organic essence. The furniture launch follows last year’s launch of small objects such as vases, using the same technique.

NII at Salone del Mobile

Playful, contemporary, flexible: NII is a high-end new office furniture brand created by Itoko, a long respected Japanese office solutions company dating back 125 years. Its launch collection included the clean Lego-like modularity of sofa system Bitmap by Todd Bracher; light filtering shingle-like wood screens Pigna wrapped around seating, by AMDL Circle; the transparent river-like flow of glass table Connexa, on a structural base with hints of shrine gates by Rodolfo Agrella; the organic curves and ergonomic modularity of Parlamento sofa system by Jun Aizaki of Créme; and the super-smooth glide of Allround stools with clean modern silhouettes in glossy shades (red, blue, beige).

'It’s about ingenious design,' says Hirotaka Tako, creative director at NII, his red socks matching the red stool he is gliding on at Salone while chatting to Wallpaper*. 'The boundaries between office design and hospitality design are increasingly blurred. There is flexibility and freedom in these spaces – and furniture needs to adapt to this.'

Faces by Kengo Kuma for Jaipur Rugs at Crespi Bonsai Museum

Architecture and rugs don’t often tangibly overlap – yet Faces is a new Jaipur Rugs collection designed by Kengo Kuma, which translate facades from his building designs into woven rug creations. Handwoven surfaces are imbued with the Japanese architect’s spatial language, expressed through light, shadow and rhythm motifs. Launched with an atmospheric installation at Crespi Bonsai Museum on the outskirts of Milan, the new rugs were scattered among light-filled greenhouses and gardens.

Five designs include Sukima – the space between forms, allowing light and air to flow – inspired by the Suntory Museum of Art in Tokyo, with subtly shifting linear planes; while small square motifs imprint the surface of Chirashi, a reimagining of the stone structure of the Museum of Kanayama Castle Ruin and the Kanamaya Community Centre. Jaipur Rugs MD Yogesh Chaudhary tells Wallpaper*: 'These are all inspired by actual buildings. But it’s not just the facades – it’s how it interacts with light and air. It’s a way of seeing.'

Wave Weave by Hosoo with Carsten Nicolai at Hosoo Milan

A sublime mesh of textiles, music and technology shapes Wave Weave, by centuries-old (and ever-innovating) Kyoto textile company Hosoo, with German sound artist Carsten Nicolai. Unravelling the auditory poetry of textiles, the exhibition – unfolding in the intimate elegance of Hosoo’s Milan flagship – centres on a 22-minute film of Hosoo’s workshop. Nicolai’s soundtrack was then translated into a textile design, with sound visualised as a sonogram – resulting in an exquisitely otherworldly silk obi (kimono belt), with cloud-like woven abstractions (a minimalist installation light moves just above the textile, matching the exact musical notes being played to the material).

Nearby is another digital expression reborn in material form: new textile collection Raster Gradient. Monochrome silk panels are peppered with a gradated spectrum of tiny white dots emerging from deep black oblivion before dissolving into pure light – the result of years of experimentation (each handmade panel contains 9,000 warp threads alternating black and white). 'Technology and textiles are very close,' explains Masataka Hosoo.

Karimoku Case at Salone; Karimoku Research at Capsule Plaza

Intimate, minimal and quiet, it had all the ingredients of a hotel – from the wooden front desk and calm lobby to a spacious suite. Karimoku Case created 'A Thoughtful Stay' at Salone del Mobile, tapping into its holistic philosophy of designing objects and spaces in harmony, as envisioned by Norm Architect and Keiji Ashizawa Design. Layers of wood harmonised with natural materials (paper, stone, textiles), alongside signature triangular lanterns and the smooth crafted lines of Karimoku Case furniture. 'The goal was to showcase the brand in a holistic boutique hotel environment,' says Frederik Werner of Norm Architects.

Across town at Capsule Plaza, a different rhythm shaped 'Research Published as Furniture'. Shoji paper screens and bright colour pops were the backdrop for the Milan debut of four new brands developed through Karimoku’s research projects. Among them was a structural glass table from CMPT by Lichen, plus the soft olive leather textures of ZE Sofa from Karimoku Re:issue by Lichen, reimagining an iconic 1982 design; alongside stacked formations of modular wooden containers from Stakko, a brand created with Postalco. A second space was filled the modern playfulness of sculptural shapes in jewel tones by wagetsu わ月, a brand made with LA-based Waka Waka – including angular low tables with high-shine surfaces, made using a technique typically used for pianos.

Meeting Horizons at Time & Style Milan

A light tangle of wood curves floating like a cloud. Solid wood shelving with softly tapered edges and traditional joinery. Cantilevered chairs, hovering above stone floors. Time & Style unveiled the Meeting Horizons collection in the near temple-like serenity of their Milan flagship, with a thoughtful layering of Japanese and Western influences. There is Yoshino Breath Armchair, its clean-lined cubic cedar form assembled without metal fittings; Soe, by Wohl Hütte, its layered planes and vertical bamboo element riffing on traditional Japanese alcoves; a lightly hovering mobile of steam-bent wood by Drill Design and a natural new textile of cotton and wool by Noriko Tsuiki. An exhibition in the paper-wrapped vaulted basement also showcased the minimal white curves of stone artist Ayako Ueda on wood blocks with traditional Japanese joinery.

Future Memories by Roberto Sironi with Sansui at Rossana Orlandi

Picture a circle of light-reflecting polished steel, its water-like surface floating above an angled base of sturdy pine beams darkened with time – fragments of wooden carpentry from an abandoned house in rural Japan. This mix of new and old, lightness and strength shapes Future Memories, a contemporary installation of sculptural objects which gives a fresh lease of life to salvaged beams from Japan’s empty kominka farmhouses, by Italian designer Roberto Sironi in collaboration with Sansui, a century-old Japanese carpentry company. Centre stage in a vaulted stone space are fragments of beams reconfigured to create sculptural objects, chairs and tables. Written into the material are traces of time, with nail-free joinery and hints of human touch on hand-carved surfaces. 'Each beam has its own story,' Sironi tells Wallpaper*. 'There’s no painting, no vanishing, just the patina of time.'

Noritake Design Collection at Alcova

Curved, flowing, fragmented, in earthy tones – just like the earth. This idea shapes the abstract beauty of Landscape, a debut ceramics collection by Michele De Lucchi of AMDL Circle for Noritake, a Japanese company dating back to 1904.

Studio Toogood also launched Kiln: a harmony of sculptural curves and lines, cleanly shaped in monochrome black and white. 'I wanted to bring some strong geometry to the Noritake table, taking influence from its incredible relics of manufacturing,' says Faye Toogood. The new Imperial Peacock Collection was also displayed, a collaboration with the Frank Lloyd Wright Foundation, inspired by stone carvings at the Imperial Hotel in Tokyo. These new additions to Noritake Design Collection were showcased at Baggio Military Hospital – where talented master artisan Masami Okada from Japan, sat surrounded by paints and brushes, showcasing his quiet mastery of ceramic painting, throughout the week.

Lesson in Relations by Takt Project at Chiesa di San Bernardino alle Monache

The atmosphere tilted at the threshold of Chiesa di San Barnardino alle Monarche: inside the empty church was Lessons in Relations by Takt Project, a conceptual exploration of nature, humans and materiality. Scattered on the ground were branches collected from forests in Nagano, completed with 3D-printed white elements – looping, knotted, tied, threaded, wrapped around the wood. Each 'branch' was placed in a delicate white circle of instructional text on the floor, in Italian and English – such as 'find a circular fragment within the branch'. The result was poetic record of a human-forest relationship – as the Tokyo studio explains: 'This project takes the branch as a motif to explore a contemporary way of relating to materials.'

Sur+Plus by Atma at Alcova

Sitting in a quiet concrete space in the basement of Villa Pestarini was a sculptural scattering of unique chairs created from fragments of material offcuts (stones, marbles, wood, tiles, carpet). Created by Tokyo studio Atma, the Sur+Plus chairs are made from a simple tilt of two panels, attached by a clean-lined metal fixture. Minimally visible design intervention amplifies the beauty of the pastel-toned textures, disparate fragments and organic material edges that shape the chairs, each unwaveringly unique. 'What emerges is a form of co-existence – elements connected while their differences remain,' explain the studio founders.

Hideo at Salone del Mobile

Behind a white curtain in pavilion 10 at Salone del Mobile was a small pocket of Japanese bath serenity. It was the Salone debut of Hideo, a company created by the so-called Japanese master of modern bathtub design Hideo Shimizu. The Japanese designer, based in Italy, has spent decades reimagining traditional Japanese design and craftsmanship into contemporary form. On display in the Time & Style-designed space were two white bathtubs designed in Japan and made in Italy, using a high-tech material rooted in a plant-derived bioresin – including keyhole-shaped Chiave and the curves of Infinity.

Lightness, minimalist rigour and precise silhouettes have been founding principles of Vincent Van Duysen’s work. Now the Belgian architect makes his debut into the B&B Italia collection with a new chaise longue that encapsulates his design ethos while offering a modern interpretation of comfort.

‘This collection explores how structure can shape comfort, and how comfort in turn gives meaning to structure,’ explains Van Duysen. The design is based on an elongated structure holding a rattan woven surface, which stretches into a loop to create a gentle reclining form. The material’s tactile warmth is at the core of the design, and it was chosen for its breathability and organic lightness.

The structure is conceived to remain discreet, as the seat’s sensuous curve is the star of the show. ‘Every piece begins with a gesture of structure, but it ultimately exists for the body and the way we choose to live with it,’ continues Van Duysen. ‘Sometimes a small detail can completely transform an object. A simple chamfer or a continuous line can redefine the way we perceive a familiar form. The project is about balance, between structure and softness, precision and comfort, architecture and the body.’

Find out more at bebitalia.com and vincentvanduysen.com

Follow the Wallpaper* editors’ updates from Milan Design Week 2026 with our live blog

Meteorological spring has officially begun in the Northern Hemisphere, and with it comes the return of outdoor living. Few launches capture the mood of the season quite like the new outdoor collection from Molteni & C. Faithful to the furniture brand’s philosophy, the collection does not treat exterior spaces as separate from the home, but as a natural extension of it – rooted in comfort, functionality and design excellence.

The 2026 collection is led by creative director Vincent Van Duysen, alongside long-standing collaborators Yabu Pushelberg and Studio Dordoni, and enriched by lighting developed in partnership with Spanish brand Vibia.

Conceived as a complete system of furnishings and accessories, the collection merges architecture, materials and light to form a cohesive, refined narrative. From modular seating to dining pieces and sculptural tables, each element balances structural lightness with formal rigour and meticulous detailing.

At the heart of the collection lies ‘Soleva’ by Vincent Van Duysen. ‘Rooted in the word sun, with ‘Soleva’ I wanted to evoke the warmth of daylight, the slow rhythm of light moving through space and tracing patterns across surfaces,’ he explains.

Spanning armchairs, dining pieces and a chaise longue, ‘Soleva’s’ architectural language is defined by a slender, continuous tubular frame that establishes precise proportions. Powder-coated in ‘Nuvia White’ or ‘Selva Green’, the lightweight yet durable aluminium structures are paired with vertical marine plywood slats finished with a soft-touch EVA coating. Concrete accents, seen in the ‘Louisa’ side tables and ‘Dalia’ tables, introduce a sculptural counterpoint.

The ‘Soleva’ sofa, available in two- and three-seat versions, combines supportive comfort with refined posture. Its rounded tubular aluminium frame is matched with vertical marine plywood slats in ‘Olive Green’ or ‘Siena Brown’, coordinated with ‘Selva Green’ or ‘Nuvia White’ structures. Cushions feature recyclable polyurethane inserts and water-repellent covers, while optional loose armrest cushions add flexibility.

The armchair and dining chair reinterpret the same architectural language in more compact proportions. A stackable sun bed, complete with adjustable mattress thickness and a linen-coloured Batyline backrest, is designed for both relaxation and practical storage. Completing the line, stools and tables combine aluminium frames with tops in gres or technical lava stone.

Elsewhere, the ‘Chelsea' outdoor collection extends Studio Dordoni’s interior aesthetic into exterior settings. Aluminium structures with die-cast legs are paired with distinctive woven polypropylene rope backrests. A modular sofa system, armchair, dining chair and side tables create flexible, convivial configurations.

Yabu Pushelberg introduces the foldable ‘Club’ chair – a lightweight, nomadic piece crafted in painted steel with a linen Batyline seat. Accessories complete the offering: ‘Dalia’ high and low tables in gres or cement; the ‘Fronda’ parasol in multiple technical configurations; and portable lighting pieces including ‘Closer’, ‘Meridiano’ and ‘Out’, developed with Vibia.

With these pieces, Molteni & C demonstrates that exterior living need not compromise on refinement or performance. The collection feels enduring: a sophisticated framework for living well, indoors and out.

molteni.it

Vincent Van Duysen and Zara have unveiled Zara Diagonal, a new concept for the Spanish company's store designs, making its debut with a Barcelona flagship.

The new concept is inspired by 'the intimacy of domestic life and the allure of cabinets of curiosities, the space seeks to awaken curiosity and encourage return visits, offering something new at every moment,' according to a release.

This new project marks a new chapter in the ongoing creative collaboration between Vincent Van Duysen and Zara, which started in 2022 with a collection of furniture and later expanded into textiles, lighting and objects.

The store is set within a traditional building on Barcelona's Avenida Diagonal. The exterior offers a sneak peek of the atmosphere inside, one where fashion and design quietly merge.

The store layout is arranged to reflect a domestic environment, with each display area designed as a separate room with a distinct visual identity and material palette.

Van Duysen's interiors are defined by natural wood, brushed metal, soft stone and matte finishes, materials that convey a quiet sophistication and set an elegant tone for the brand's offerings.

The rooms are clad in wood, and the exposed timber beams on the ceiling nod to domestic architecture, enhancing the intention behind the design ideas. Throughout, Van Duysen's architectural interventions are designed to frame artworks and sculptures that respond to the interiors.

The central space is imagined as a living room, where a voluminous bookcase accompanies a large sofa; all around, shelves and vitrines feature objects and curiosities that give guests the feeling of entering a richly layered home. The furniture throughout is all from Van Duysen's collections for Zara Home, blending the environment design with the retail experience.

For the clothing displays, the designer created discreet metal rails and glass cabinets, to highlight some pieces in the collection 'with museological sensibility.' Meanwhile, the fitting rooms are imagined as hushed personal sanctuaries where 'a rhythm of doors and passageways creates a sense of privacy, transforming the act of trying on clothes into a personal ritual.'

'Zara Diagonal is a destination designed for presence,' the design statement concludes. 'A place where exploration becomes discovery, and where each visit reveals something previously unnoticed: an unexpected texture, a hidden vignette, a corner overlooked. It is a retail space shaped by architectural thought, emotional sensibility and aesthetic restraint.'

Avenida Diagonal 584, Barcelona

This year, Zara turns 50, and to celebrate, the Spanish company enlisted as many creative friends as its years in business. Each creative was asked to create a piece that would encapsulate the spirit of Zara, and the group spans different creative fields that reflect the company's evolution over the past five decades, from a fashion retailer to a leading lifestyle brand. You can now shop the limited edition collection in full via zara.com.

The list of people (which coincidentally are also the names for the perfect birthday party guestlist) includes Rosalia, Es Devlin, Marc Newson, Alexandre De Betak, Naomi Campbell, Nick Knight, Pat McGrath and Vincent Van Duysen, among many more. The eclectic collection (available from 6 October 2025) features fashion, accessories, furniture and design objects, all united by a desire to celebrate Zara.

The fifty objects will be unveiled this week at a dedicated pop-up in Paris, and all proceeds from the collection will be donated to non-profit organisation Women's Earth Alliance, whose mission is to protect our environment by empowering women's leadership. Zara will match the donation, while also donating 20,000 euros to 50 charitable organisations chosen by the participating artists.

With great freedom granted to each creative for its tribute, the objects in the collection give us a great glimpse into their personal universe. Pierpaolo Piccioli's hot pink surfboard, Luca Guadagnino's dog-embroidered jumper, Sarah Andelman's book holder, Christy Thurlington's luggage are as unexpected and bold as they are intimate.

'I’ve learned that when I attempt to fill a void with art, I’m really encircling the void with practice, participation, and love,' Es Devlin told us of her concrete lamp, defined by a series of layers of materials around an empty core.

In its five decades, Zara has demonstrated its ability to speak different creative languages, adapting them to its accessible fashion and design approach. Recent collaborations with the likes of Samuel Ross, Guido Palau, Collagerie and Vincent Van Duysen are a testament to the company's wide reach.

Van Duysen in particular has collaborated on a wide interiors collection presented over the past few years, which distilled the designer's visual codes into new furniture and object designs. 'It gave me the opportunity to reflect on who I am – not only as a person but also as an architect and as a designer,' he told Wallpaper* at the time.

For the anniversary, he created a glass vessel whose starting point was 'the sensuality and femininity expressed through its continuous lines,' he told us. 'As you move around the piece, it reveals ever-changing textures and perspectives, much like life itself. This work is also a tribute to the excellence of Spanish craftsmanship: a celebration of singular pieces, each with its own distinct character. No two alike.'

Meanwhile, Bureau Betak founder Alexandre de Betak created a pyramid-shaped lamp: 'pyramids and moving lights have always been obsessions—from album covers of The Cure, Pink Floyd, and Earth, Wind & Fire since a kid, to elaborate light-and-buzzer contraptions guarding my teenage bedroom, all mixed with chic Gabriella Crespi–inspired brass dream objects of the time.'

'Zara’s wonderfully global reach and reputation for quality design has made for a hugely enjoyable collaboration,' adds Marc Newson, who created a set of colourful glasses. 'Here, as is often my way, I wanted to toy with material limits and expectations. These luminous glass tumblers exploit colour as a solid entity: we assume glass will carry a degree of translucence, but here the opposite is true. The result is a joyful and functional collection; pops of colour on your kitchen table.'

The anniversary collection is unveiled through a week-long pop-up during Paris Fashion Week, with an exhibition space curated by Sarah Andelman, which will include a bespoke soundtrack by Michel Gaubert and a café by We Are Ona, as well as a series of talks moderated by Derek Blasberg.

'It is an honour that these artists have chosen to mark our birthday with us in this way,' says Marta Ortega Pérez, Nonexecutive Chair of Inditex. 'Each is a leader of their field, in terms of imagination, innovation and integrity. They share the same passions as Zara have since the beginning: quality of craft and the joy of design.'

The anniversary collection is now available from zara.com

An ode to affordable furniture

Nick Vinson, Contributing Editor

This week was pretty special. After lunch with artist Dame Rachel Whiteread to celebrate the launch of her collection for Puiforcat Silver Set 2025 (more about that in a future issue of Wallpaper*), I headed to Antwerp for dinner with Inditex chair Marta Ortega Pérez and Vincent Van Duysen at the architect’s home to mark the launch of his fourth collection for Zara Home. Van Duysen filled his home with pieces from the collection, including rugs, sofas, tables, a desk, lamps and some fabulous cream-coloured carpets, and the garden with the outdoor collection. It’s good to see the brand hiring original talent and creating quality products with enduring appeal, and Van Duysen should be proud of this line of more ‘democratic’ and ‘accessible' furniture than that in his Italian collections. I have to admit I was slightly sceptical as I am not at all familiar with Zara Home, but instead was suitably impressed; there is a need for quality at a better price and design that will stand the test of time.

A Brooklyn food tour

Anna Solomon, Digital Staff Writer

A trip to manic Manhattan, which entailed as much sight-seeing as could be fitted into five days, ended with a much-needed escape to Brooklyn to visit a couple of friends with a knack for sniffing out great restaurants that have not yet been ravaged by a New Yorker review. Kellogg’s Diner in Williamsburg was their answer to my unimaginative demand for this quintessential American experience – a 24-hour spot originally opened in 1928 but taken over by chefs Jackie Carnesi and Amanda Perdomo at the end of last year. Now, obligatory pancakes sit comfortably alongside Tex-Mex at a bafflingly reasonable price point, among decor that tastefully reinterprets retro Americana. Beloved bistro Bar Tabac is an antique-filled slice of France in Cobble Hill, with live jazz and a chocolate fondant that will change your life, while Liar Liar, a natural wine bar in Gowanus (The New Yorker did get to that one), will serve you a fantastic steak frites and bottle of red at a price point that is, again, double take-inducing if you’ve come from Manhattan.

A moon-inspired omakase

Ellie Stathaki, Architecture and Environment Director

An evening at Luna Omakase in the City of London had me fall in love with this traditional Japanese feast all over again – ‘omakase’ loosely translates to ‘I leave it up to you’, and it's often a multi-course set menu prepared in front of you by an expert chef. The younger sibling of Juno Omakase, Luna is tucked away within Los Mochis in Liverpool Street and, just like its peer, offers a delicious, theatrical and immersive dining experience. Luna's concept is centred around the moon cycles; the number 12, symbolising the moon's journey throughout the year, informs the number of guests at any one sitting, the dishes served, the artworks in the room, and more. Executive chef Leonard Tanyag and his team have created a dining journey that nods to more traditional Japanese omakase (compared with Juno's Mexican-Japanese fusion) – there is mouthwatering nigiri (seafood, fish and melt-in-the-mouth wagyu), creative uses of wasabi, and contemporary interpretations of Japanese snacks and sandwiches. The flavours were strong, as my sitting aligned with June's 'strawberry' full moon, and the chef’s informative explanations for each dish made for a convivial atmosphere. Coming with bespoke sake pairings, it was a meal I truly savoured.

A techy trip

Jonathan Bell, Transport and Technology Editor

A busy week that involved not one but two trips to the US, starting with a visit to Big Sky, Montana, to sample Bentley's revised and updated model range, before heading to California (via London) to Apple's WWDC25. It was my first time at Apple Park and the experience didn't disappoint, with Foster + Partners’ stunning architecture – including the new Observatory – standing up to very close scrutiny. The attention to design detail was mind-blowing, appropriately enough for a company devoted to pixel-perfect perfection.

A music-infused anniversary

Charlotte Gunn, Director of Digital Content

I spent a fabulous evening celebrating 150 years of Audemars Piguet in London on Wednesday. Along with a dinner from Michelin-starred chefs Jeremy Chan and Sven Wassmer, the haute horologie brand had a surprise in store. As an extension of their AP x Music programme, they paired Mark Ronson and Raye together to record an original song. The result is ‘Suzanne’, a joy-filled summer anthem, and much to guests' delight, the pair appeared to perform the song.

A garden-inspired tea

Sofia de la Cruz, Travel Editor

I recently enjoyed a soothing and delicious afternoon tea at Jumeirah Carlton Tower, celebrating the launch of a new partnership with Cadogan Gardens in Knightsbridge – a private, verdant enclave in front of the property, home to over 5,000 diverse plants. The flavours and aromas of traditional English gardens were beautifully reflected in delicate pâtisseries, including an indulgent lavender chocolate barquette and a comforting strawberry honeycomb tart. Classical music played softly in the background set the mood perfectly.

A very east London summer party

Anne Soward, Production Editor

This week, I attended the Museum of the Home’s summer party, which celebrates the incredible work that the east London museum does over the year. It was a beautiful warm evening to be out in its stunning walled garden (actually a series of ‘garden rooms’ that chart the evolution of the English urban garden through the centuries), where we were treated to performances from Yuko Tsubame – who accompanies her Japanese folk songs infused with punk with the sounds of a sanshin, a traditional three-stringed instrument – and taiko drummer Akinori Fujimoto. Inside, we were able to get a private view of images from the World Food Photography Awards that explore the connections between home and food, which tied in nicely with the delectable morsels being plated around the party, including vegan spring rolls from local Vietnamese Sen Viet and mini bagels from Daniel’s. A DJ set from Minuscule of Sound rounded off the evening.

Jewels in Japan

Hannah Silver, Art, Culture, Watches and Jewellery Editor

This week I celebrated the launch of Chanel's beautiful new high jewellery collection, Reach for the Stars, in Kyoto. It was a joy to discover the collection, see some very special sights and enjoy lots of good food. The trip culminated with a spectacular dinner at Shogunzuka Seiryuden, complete with a drone light show, drawing Gabrielle Chanel’s favourite motifs in the sky.

Last week in Antwerp, Vincent Van Duysen opened the doors of his private home for an industry event – the first time he has done so since buying the old townhouse 27 years ago. The intimate celebration, which gathered the Flemish architect's close friends, clients and select members of the press, marked the launch of his fourth collection for Spanish megalith Zara Home – a collaboration first unveiled in 2022, bringing Van Duysen's elevated style to a broader audience for the first time.

Arranged across the townhouse's three floors in a muted palette of oak, dark heat-treated ash, limestone, marble, leather and stainless steel, the new and existing pieces from his Zara Home collection displayed all the hallmarks of Van Duysen's signature style: minimalist yet monumental, tactile yet restrained. Rather than appearing overtly 'branded', the pieces were carefully camouflaged into the refined interiors, shown alongside Van Duysen’s own vintage furniture and collected artworks – creating something of a game of 'spot the Zara'.

In the living room, a pale yellow loveseat ('Loveseat 01' from 'Collection 01') with an elongated seat invited guests to lounge, while underfoot the new 'Rug 05' – a white, deep-pile design that begs to be touched – came perilously close to glasses of red wine. Upstairs, in the main bedroom, a wall was lit by a book-like mirror-polished steel lamp ('Spotlight 01' – one of four lamps debuting in this fourth instalment). A leather-upholstered bench with a dark heat-treated ash frame ('Bench 01') sat at the foot of the bed, in sharp contrast to the white bed linen.

But the home’s most impressive space was surely the top-floor attic – beautifully renovated into a generous suite with an exposed timber roof structure, bathed in hazy light from integrated skylights. Here, alongside existing linen-upholstered pieces in muted shades, sat a new lounge chair ('Lounge Chair 03'), its dark ash frame softened by radius edges and a padded leather seat and back.

The design process, Van Duysen says, has been a deeply personal one – providing a rare moment of introspection that prompted him to reflect on his life’s work. It began over three years ago when Marta Ortega Pérez, daughter of Zara founder Amancio Ortega and now chairwoman of Inditex, approached him with a carte blanche offer to design a collection. The answer, he says, was an immediate yes. ‘It was something I never expected them to ask me,’ he recalls. ‘I had just turned 60, and it gave me the opportunity to reflect on who I am, where I’m standing – not only as a person but also as an architect, as a designer – and ask, “what is my DNA?”’

To find out, he delved into his archive, stretching back 40 years to the beginning of his career, analysing the pieces in his homes and identifying a red thread. ‘I identified all of these pieces, revisited each one individually, and gave them a new twist,’ he explains. Once presented to the Zara team, the production process was, he says, ‘unbelievably fast and efficient’ – the first collection was turned around and photographed in a matter of weeks.

Despite this efficiency, for Van Duysen, attention to detail and craftsmanship was non-negotiable. ‘I really wanted to have this as a guarantee,’ he reflects. All the pieces are made in Spain and Portugal, with textiles woven in India – the hand of the craftsperson clearly visible in the finish. Everything, he says, is made to last a lifetime, and the quality is reflected in the price points. Unlike Zara's clothing, where a dress might cost one tenth of a designer gown, here you can expect to pay up to £6,900 for a sofa. That’s still around half the price of a comparable designer Italian sofa, but it firmly distances itself from the throwaway logic of fast furniture. ‘All these pieces, they are singularly crafted by craftspeople. And you can feel that. You can see that the materials are really beautiful.’

In positioning itself at this more elevated tier, Zara Home is doing more than just showcasing design credentials. It reflects a wider shift: home brands across the spectrum – from mid-market players like Ferm Living, Soho Home and Hay to mass-market giants like Ikea (whose ‘Stockholm’ collection launched at Milan Design Week this year) and H&M – increasingly leaning into the language of ‘quiet' or 'affordable luxury’ in an attempt to reposition themselves, aesthetically at least, as purveyors of permanence.

Van Duysen’s fourth collection aligns neatly with this direction. While part of the ongoing series, it introduces a slightly more modern sensibility – most notably through the introduction of polished stainless steel and contemporary typologies such as a clean-lined modular sofa system. ‘My world is very sensorial,’ Van Duysen told Wallpaper* at the launch party. ‘I’m a modernist, a modern soul as well, even though I’m also conservative and like traditional furniture too.’

For Zara Home, what began as something of an experiment has grown into a global success – introducing larger-scale pieces to its audience for the first time and marking a turning point in the brand’s identity. ‘In my opinion, it’s brought in customers who may not have paid attention to Zara Home before Vincent,’ says Héctor Barrantes Torrús, from the brand’s Marketing and Communication team. ‘And I think, especially since the pandemic, people are more invested in their interiors. They’re willing to spend on something that feels crafted – something that carries meaning and quality.’

Available from zarahome.com from 12 June and in selected stores.

As a workout, Pilates is a notoriously heavy-hitter, targeting minuscule muscles and improving strength and alignment – but the popularity of design-led studios, like East London’s Studio Anatomy, is highlighting a growing desire for fitness which also prioritises mental wellbeing and physical comfort. ‘I wanted to fill a gap for people looking for more than just a place to exercise – they’re seeking somewhere that inspires them, recharges them, and makes them feel genuinely cared for,’ founder Lotti Benardout explains to Wallpaper*.

‘There’s been a growing demand for intentional, mindful fitness, and I wanted to create a space where people could feel strong, capable, and balanced.’ Studio Anatomy opened in 2022 as a dedicated Reformer Pilates space. In October 2024, it expanded to include a Functional Fitness room and an infrared sauna, ‘allowing us to offer a more holistic approach to movement and recovery,’ says Benardout.

A Studio Anatomy Pilates workout offers an ‘intentional’ approach to fitness

Studio Anatomy is located on a busy intersection in the London Fields area of Hackney. When I visited it was a gloriously wet and windy evening during the last working week before Christmas – not exactly the makings of a relaxing time, you might think. But all the chaos seemed to melt away as soon as I stepped up the stairs and into the studio, which is almost Balearic in its design, with gently curving arches and warm neutrals.

Spread over two floors and comprising two workout spaces alongside the sauna room and changing areas, Studio Anatomy is as much a space for serenity as for a muscle-burning workout. Classes leave your body aching in the best possible way. But the lime-plaster walls, bouclé couches and terracotta tiles transport your mind to a place of tranquility. ‘We’ve tried to create a space that blends minimalism with warm, welcoming textures. I wanted it to feel calming, but never clinical,’ says Benardout. ‘We chose raw, organic finishes and added subtle touches like mother-of-pearl into our resin floors, which catch and reflect the sunlight beautifully.’

‘We draw inspiration from designers like Vincent Van Duysen, whose work embodies understated elegance, as well as fashion houses like The Row or Khaite where luxury is rooted in simplicity and quality,’ Benardout adds. ‘That same ethos guided our choices, with the hope of creating a studio that feels timeless and inviting.’

This combination of influences has resulted in a space with a considered blend of materials: pale timber and porous granite, seagrass weave baskets and pearlescent tiles. The front desk features an ever-changing seasonal floral display in a sculptural vase by local ceramicist Lucy Loewenberg. Whilst natural light was a priority for Benardout, there are also stylish wall sconces which keep the studio looking beautiful into the night, perfect for the dinners and workshops which the team love to host.

Classes on the reformer are tiered, from Essentials, to Signature, and up to Power. As a first-timer I was welcomed into the Essentials class and was supported by Kylie, an instructor who explained the mechanics and made occasional corrections to my form. For those considering a new fitness regime for 2025, the Essentials class is an energetic but non-intimidating taster.

‘January is the perfect time to reset and refresh your approach to fitness,’ says Benardout. ‘My biggest piece of advice is to prioritise sustainability over intensity. Start with small, consistent steps and don’t be afraid to try something new. Fitness should always feel good. It’s not about punishing your body but about creating a routine that adds energy and positivity to your life. Let it be something you look forward to, rather than something you feel you have to do.’

Studio Anatomy really does make this kind of approach to fitness feel possible. After a 50-minute session (which I genuinely wanted to last longer) a visit to the infrared sauna was the ideal chaser – a moment to sit and catch my breath while still maintaining a sweat. The space is replete with showers with fresh towels and Hotel, Mike products; the changing rooms are also fully-equipped with hair styling tools, so you can leave ready to take on East London and beyond.

studioanatomy.com

Italian brand Molteni&C has teamed with Belgian architect and interior designer Vincent Van Duysen – its creative director since 2016 and the designer of a new pavilion at Molteni&C HQ in 2022 – to overhaul a historic palazzo in Milan. It's important to note that this is not a flagship store, showroom, or shop. Instead, Palazzo Molteni will serve as an open and flexible location – an 'urban pavilion', as Molteni&C puts it – that embodies its identity and values.

Situated in the heart of Milan, next to Piazza della Scala, Molteni&C's new address at 9 Via Manzoni combines neoclassical architecture with refined, modernist design elements. Van Duysen designed the interior as if it were the home of an art and design collector – an experience that unfolds over the building's seven floors and more than 3,000 sq m.

Since his appointment as creative director in 2016, Van Duysen has overseen the brand's global image, including the design of numerous flagship stores, exhibition stands, and new product lines. His influence has played a key role in defining Molteni&C's aesthetic and solidifying its standing in the design industry.

The opening rounds off what has been a busy year of 90th anniversary celebrations for Molteni & Co spearheaded by the release of 'Molteni Mondo: an Italian Design Story', a comprehensive monograph published by Rizzoli New York that showcases the brand's rich history, collaborations, and design philosophy.

Creating immersive 'brand experiences' rather than conventional retail stores is an approach that has gained popularity in the design sector in recent years, with companies such as Restoration Hardware, MetroEighteen and Vipp developing domestic or hospitality spaces that don’t sell so aggressively, but instead offer an opportunity to experience a lifestyle with room to relax, eat, drink, and enjoy art and design.

Palazzo Molteni at 9 Via Manzoni, Milan, is open now and will be officially inaugurated in April 2025, molteni.it

The Vincent Van Duysen Zara Home collaboration returns for a third collection, following a 2022 debut featuring essential furniture and a second collection dedicated to dining furniture and objects. The new collection is available worldwide (online and in selected stores) from 12 June 2024.

'[Our partnership] has evolved naturally due to the symbiotic relationship I have developed with them, but we also feel the journey is not over; there are still things to be said and put out there,' Van Duysen told Wallpaper* on the eve of the collection's unveiling. 

'The evolution of the collaboration also entails an organic and physiological development of the first two collections: with this third drop, we took a different approach from the previous two instalments. Unlike before, where we focused on specific themes like living and dining rooms, our third release blends elements in a designated space. The focus is on creating pieces that people would want to collect and desire. The result is a sophisticated yet highly legible design.'

Vincent Van Duysen Zara Home: Collection 03

For this collection, Van Duysen once again delved into his archives, revisiting some of his most iconic designs with a fresh eye and contemporary approach. 'The collection is based on natural materials that are dear to me, such as oak, ash, and linen,' adds Van Duysen. 'These choices are driven by my tactile nature and over 30 years of experience working exclusively with natural materials. These materials bring warmth and authenticity to my creations.

'Oak and ash, with their durability and distinct grain, offer both longevity and aesthetic appeal. Linen, with its soft texture and breathable properties, enriches the pieces in the collection with an organic and comfortable touch. By incorporating these elements, I aim to create a harmony between functionality and natural beauty.'

Alongside existing classics like Van Duysen's distinctive linen-upholstered sofas, armchairs and loveseats, are contemporary pieces that combine rigorous wooden frames and softer elements. These include the Daybed 01, almost Judd-esque in its essential composition, and the Library System, a storage module in solid ash or oak, equipped with metal storage containers.

On the more sinuous end of the spectrum is the Chaise Longue 01, in leather and stained oak, inspired from a chair from Van Duysen’s former residence in Antwerp. 

Like with previous collections, Collection 03 also includes accessories that enrich the offering, including a graphic kilim carpet and concrete objects and side tables. 

'I think these new pieces are universal and timeless hence they could go anywhere and juxtaposed to all different styles and ambiances,' says Van Duysen, who for the launch curated a series of immersive environments that reflect the collection's composed sensibility. 'That has been my will from day one, to create a collection with Zara Home that is prone to stay and go anywhere.'

zarahome.com
vincentvanduysen.com

Over the past three decades, Belgian architect Vincent Van Duysen has put his uncompromisingly contemporary stamp on a series of minimalist spaces and pared-back designs, from a white stone-clad country retreat in Belgium, to immersive showrooms and an elegant pavilion for Molteni & C (a company for which he works as creative director) and sought-after collections for Zara Home.

'Vincent Van Duysen: Private' published by Rizzoli

Now a new book, published by Rizzoli, documents the source of his inspirations and ongoing laboratory: his own homes in Belgium and Portugal. Featuring beautiful photography by François Halard, ‘Vincent Van Duysen: Private’ aims to show a different side to the architect, exploring a dual domestic world and truly personal vision of his own practice.

Van Duysen is known for his use of tactile materials to create monolithic spaces that manage to be both monastic and sensual, brutal and elegant. But sometimes this stylistic approach is deemed cold and severe, something the architect is keen to refute through the examples of his own homes, a centuries-old former notary office in Antwerp, and his new-build Casa M in Portugal, where he lives with his beloved dachshunds Pablo and Flora.

‘They’re places for living, even though some people may think the opposite. My main house, in Antwerp, dates to 1870, with vestiges going back to the 17th century,’ writes Van Duysen. ‘The new construction in Melides, Portugal, is built into a dune with umbrella pines, in complete symbiosis with nature.’

The photo book is the result of a friendship between Van Duysen and Halard, a French photographer known for his interior and architectural shots. ‘I love being in Vincent’s spaces,’ writes Halard. ‘You feel good there; there’s something very human about them, which is quite different from the preconceived ideas about architectural minimalism: life, emotion, a special relationship to light.’

‘It was a challenge for me to represent this dichotomy between the muted white-grey mood of Antwerp and the exotic, marine atmosphere of Melides – the beating sun, the blue sky, the sea breeze, the saturated colours,’ explains Halard in the book. ‘I photographed these two houses in two distinct ways. I had to make people understand that Vincent’s work fits with all kinds of light in life.’

The peaceful, zen-like homes (where Van Duysen practises transcendental meditation) are best enjoyed barefoot, shares the architect. While his Antwerp base is filled with carefully chosen pieces from his art collection, including works by Sterling Ruby, Thomas Houseago, Katja Strunz and Nan Goldin, the Portuguese holiday home lets the surrounding nature take centre stage.

Van Duysen concludes: ‘My designs are demanding, very written, but life enters through the natural materials – in this case [in Portugal], the ipe wood, the sandblasted concrete, the tiny pebbles paving the exterior, the bricks made in Denmark; inside, the Belgian fabrics, the woven tribal rugs…’

‘Vincent Van Duysen: Private’ is available from Amazon

rizzoliusa.com

‘Monolithic yet sensual and sensorial’ is how Vincent Van Duysen, the Belgian master of minimalism, describes his latest collection of stone furniture, designed in collaboration with Mexican materials brand Arca. Titled ‘Gravitas’, the collection, unveiled during Design Miami 2023, comprises 18 elements ranging from tables and chairs to a library stand. 

Citing Isamu Noguchi as a primary inspiration, Van Duysen says, ‘I really admire the contemporary artists who work with natural stone in a very expressionist, evocative and emotionally sensual way.’ He also looked to classical Greek, Roman and Egyptian designs. ‘I wanted the pieces I designed for Arca to be very archetypal, to lean into primary forms from the past.’ 

Gravitas: Vincent Van Duysen for Arca

The collection features four stones – a Carrara marble and a rust-coloured porphyry stone, both from Italy, a sand-hued Cafecina from Spain, and a lava stone from Mexico – and the defining feature throughout is the juxtaposition of rough and polished surfaces, which gives a sense of the force of gravity versus lightness. The collection is largely handmade, with each piece taking between 40-90 hours to produce, depending on the hardness of the stone.

‘Vincent’s perfectionism pushed our boundaries and took us out of our comfort zone,’ says Gerardo Cortina, who founded Arca in 2001. ‘He can see detail from a mile away, he can see if something is not perfect. It was a big challenge to work with him. He has pushed us to look forward.’

The pieces combine different techniques, with the shapes carved using CNC machines (or by hand for the lava stone pieces made in Mexico), then hand-hammered to achieve the rough finish, and brushed to soften the final effect. Contrasting surfaces are then polished by hand. ‘The work of the hand is connected to our soul, this collection goes back to a time when handwork was the norm,’ says Cortina. ‘The textures that Vincent wanted are impossible to achieve even with the best machines of the world. And that is the soul of the project.’

The word ‘soul’ is also referenced by Van Duysen when recalling his collaboration with Arca, alongside the human connection and chemistry. ‘Without that, you cannot create pieces that have such a sense of humanity.’

Exploring a wide pool of inspirational references, he also looked to James Turrell’s visual optical effects, Roni Horn’s glass sculptures and the work of Anish Kapoor. ‘The pieces will not only dialogue with space, but also with other objects, with art,’ he says. ‘And they’re very versatile. They don’t belong to a single world, but to a universe that is much broader than a room.’

‘Gravitas’ is on show during Design Miami from 7-10 December 2023

Arca Wynwood
260 NW 27th Street
Miami

vincentvanduysen.com
gpoarca.com

A version of this story appears in the December 2023 Entertaining Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today!

Vincent Van Duysen unveils ‘I.R.O. – Italian Rational Objects’, a new body of work for Roman gallery Giustini Stagetti. This collection also marks Van Duysen's debut working with a gallery, and the works will be on view in an eponymous exhibition until 12 January 2024. 

As the collection’s name suggests, Van Duysen – whose past collaborations span Zara Home dining furniture and Molteni&C’s outdoor furniture debut – looked at Italian rationalist architecture of the 1920s and 1940s, exploring 'the distinctive characteristics of its aesthetics, [reinterpreted] in a contemporary form through the process of synthesis and subtraction'.

The collection comprises seating, tables and lighting, each piece defined by lightness and sleek proportions. Simplicity lies at the core of the designs, with essential modules made of bent aluminium with a satin, pearl-grey finish. Split edges characterise each piece, offering a sense of balance between the designs' refined silhouettes and their industrial vocation.

This also nods to the work of Brazilian artist Lygia Clark, whose sculptural pieces were made of metal planes arranged in abstract geometric compositions. 'The invitation to the possibility of interaction with the artistic object projects [Van Duysen]'s work into a performative dimension, inviting us to reflect on the relationship between the audience and the artwork,' reads a note accompanying the collection.

It's a project that reflects Van Duysen's passionate approach to objects, where different influences converge into new design ideas that are both familiar and innovative in their aesthetic treatment of materials and form. 

‘I.R.O. – Italian Rational Objects’ by Vincent Van Duysen is on view until 12 January 2024

Giustini Stagetti
Via Gregoriana 41
Roma

vincentvanduysen.com
giustinistagetti.com

Welcome to our Entertaining issue. It can feel frivolous and indulgent to talk of entertaining at a time such as this. However, the abiding message of bringing people together with love, warmth and generosity is something that we can hold on to, while still sharing our thoughts and wishes for a peaceful resolution to current events in the world.

I was reminded of this dichotomy on a recent trip to Rome, firstly with a magical dinner with friends at Villa d’Este, a Unesco World Heritage Site in Tivoli. The overwhelming outtake of the evening was of love and generosity, of bringing people together, of making time for each other, and creating unforgettable memories in the process.

The next morning I was privileged to be given an exclusive preview of the Don McCullin retrospective at Palazzo Esposizioni Roma, with the great man himself, as well as curator Simon Baker, and the Palazzo’s president, Marco Delogu. Sir Don McCullin is one of the most important photographers of the 20th century, and the show covers key themes of his work: Early Work in London and Berlin; Documentary Practice in the UK; International Documentary and Travel; British Landscapes and Still Life; and the Roman Empire.

The still life shown above, Plants Table, and Mushrooms, seen in our article on the exhibition, resonate with human emotion – they are so rich, calm and exquisite that they took my breath away. McCullin hand-developed all the works in his darkroom – an old shed in the garden at his home in Somerset. He describes his practice as ‘always searching for a new voice in my soul, new ways of expressing myself photographically’ and that ‘occasionally, I should be associated with peace’.

Elsewhere in the issue, we present four Design Miami previews – Vincent Van Duysen’s new furniture collection for stone specialist ARCA; Fendi’s fascinating collaboration with enigmatic duo Bless Studio, titled ‘Backfrontal’; Samuel Ross’ rethink of the bathroom tap for Kohler; and Lara Bohinc’s pastel-coloured organic forms, titled Utopia, for the Miami Design District. 

We showcase Dior’s Joaillerie’s ‘Bois de Rose’ jewellery collection, which pays homage to the classic flower, visit Casa Dragones’ tequila bar in Mexico, and indulge in the world’s most expensive chocolate, from Ecuador. Then we head over to San Francisco for Lindsay Gerber’s sensitive refurbishment of Camino House, an extraordinary house designed in 1969 by Goodwin Steinberg, once a student of Mies van der Rohe, before finishing off with 12 pages of bountiful cocktails and canapés for every performance.

I hope you enjoy the issue and find time over the coming weeks to spend time with your loved ones. 

Sarah Douglas
Editor-in-Chief

The December 2023 issue of Wallpaper* is available in print from 9 November, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

On the cover: From left, glasses, from £145, by Miranda Keyes. ‘Sky’ cocktail sticks, £48 for six, by Aurélien Barbry, for Georg Jensen. ‘Abyss’ vase, $13,810, by Jan Plecháč, for Moser ‘Dinner Service’ cup; plate, both price on request, by Donald Judd, for Puiforcat. ‘Poppea’ goblet, €125, by Sebastian Menschhorn, for Lobmeyr. ‘Amoir Fou’ fabric in 027, £158 per m, by Dedar. Paint in Carte Blanche: Au Lait, £93 for 5 litres, by Christopher John Rogers, for Farrow & Ball

Zara Home and Vincent Van Duysen launch a new collection, following their collaborative debut in 2022. The inaugural collection was based on the living room, with a focus on upholstered seating, tables, chairs and accessories. 

Meanwhile, this new chapter is dedicated to dining, once again merging Van Duysen's design ethos with Zara Home's DNA in a collection that expands the collaboration with dining tables, seating, a sideboard, a cabinet, as well as a full range of tableware and table linens. Like with the first collection, the pieces in this collaboration are born from Van Duysen's desire to dive into his own design archives, revisiting some of his most iconic pieces and styles. 'This ongoing collection reflects 30 years of my work,' he notes.

Discover Zara Home+ by Vincent Van Duysen Collection 02

This new chapter in the collaboration is 'a hymn to conviviality and the enjoyment of a new way of life, slower pace and a more balanced attitude', says Van Duysen. The collection includes objects and themes Van Duysen's has been living with in his own homes in Antwerp and Comporta. The shapes he describes as 'very rational, yet very aesthetic, they give away to simplicity and comfort.'

Timeless and versatile, the pieces in this new Zara Home collection by Van Duysen are imagined for a dining room set-up, but the designer stresses their versatility will see them at ease in every room in the home. The wooden tables and leather-topped chairs that have become a signature element of the collaboration return in different proportions and colours, while the storage furniture reveals Van Duysen's work in a new, uber-practical light. Upholstered seating, like sofas, armchairs and loveseats, return in new colours, including a new dusky pink in fresh linen. 

Van Duysen sees every piece in the collection as a multipurpose gesture: the tables are imagined for dining and working or as side tables, allowing for the creation of different hosting situations around them, transforming their functionality throughout the day and seasons. 

Similarly, the cupboard is a very special design for Van Duysen: 'It can contain whatever you'd like it to contain.' The freestanding, double-door cupboard has a serious sculptural volume to it, and its minimalist aesthetic is combined with the practicality of its shelves and drawers. Partly inspired by Shaker furniture and partly by old English kitchen cupboards, the designer imagines multiple uses for it, as kitchen storage or to keep books, or even as a bar, illuminated with a light and keeping its interiors exposed. 

Part of the collection's versatility was informed by Van Duysen's own approach to dining and hosting. 'I like the size of a more intimate kitchen, where you have a central table to sit with four people, because it's more about intimacy then,' he explains. 'But I have a large, 6m table in my living room, the same I designed for Zara Home: sometimes it's used informally, packed with books and objects, and we make space to have an intimate lunch or dinner. But I use the same table to host dinners for 18 people, or for food displays during standing dinners.'

He designed each piece thinking of this changing idea of conviviality, of furniture and objects that help diners experience each meal and present food beautifully. The dining collection is completed by glassware, tableware and flatware, presenting Van Duysen's own vision for the table. He describes Zara Home's approach as 'human centric', with a focus on creating not only beautiful and functional, utilitarian pieces, but also a well-crafted collection (produced across Spain and Portugal).

'It feels like a homecoming,' concludes Van Duysen. 'The dimensions, sensorial aspects, the look and feel all reflect my work. The collection is essentially about the conviviality, which for me is very important, but also the liberty of using and integrating the table the way you want to live with it.'

Zara Home+ by Vincent Van Duysen Collection 02 is available from zarahome.com and selected stores on 2 June 2023

Can the objects we surround ourselves with really have a positive effect on our wellbeing? Vincent Van Duysen and Gregg Cohenca, founder of the elevated activewear brand Jacques, believe they can, and have gone so far as to design a collection of wellness-promoting furniture and tools precisely with that goal in mind. 

The two designers met at Van Duysen’s home in Antwerp and discovered a synergy with their approach to minimal, functional, long-lasting design that nurtures a certain serenity. ‘During the visit, we connected deeply on the topic of mindfulness and his introspection of self through transcendental meditation,’ says Cohenca.

The duo discussed the idea of creating a ‘transcendental space that inspires you to do your inner work’, says Cohenca, but ultimately evolved the idea into creating a collection of instruments that live within this space instead. ‘Growing up with my aunt, Nevine Michaan, founder of Katonah Yoga, I was exposed to this field of products at an early age. Blocks and sandbags were always propped around my house, so in many of my conversations with Vincent, [we were] focused on the functional aspect of the design,’ says Cohenca.

This is the first time Van Duysen has consciously designed wellness-promoting items, although he acknowledges he has 'come very close to designing such products because some of my designs can be very soothing and calming'. 

Even though mindful movement was central to these objects, the design process didn’t much differ: 'My approach and modus operandi are always the same whether I design a product, a building, or an interior. However, in this case I wanted to create monolithic objects characterised by pure shapes able to instil a sense of serenity and tranquillity into the user. Like in everything that I do, I always select organic and natural materials, wood in this case, which I find an outstanding element thanks to its veins, warmth, texture,’ he says, referring to the natural oak and untreated linen used in the designs. 

The role of every item was deeply considered along with its ability to improve longevity and encourage tranquillity. The often versatile objects include a meditation chair designed to slow the breath and align posture; a ceremonial side table; a rounded block to support back, head and hips; a natural linen sandbag used for opening joints and deepening poses; an Italian wool- and silk-blend Savasana blanket; and a lightweight, tapered bō stick to encourage flexibility and blood flow. 

Available at jacquesnyc.com and The Shop, 50 Bond Street, New York

Molteni & C makes its outdoor furniture debut this spring with two complementary collections celebrating our connection to nature and a refined approach to the home. Giulia Molteni, Molteni Group’s chief marketing officer, sees this as a natural progression for the brand. ‘Nature is an integral part of our life,’ she says. ‘It’s a connection that aims at rediscovering seasons, colours and the pleasure of the outdoors.’

Molteni outdoor furniture by Vincent Van Duysen: heritage meets contemporary aesthetic

Overseen by Belgian architect Vincent Van Duysen, the collections merge sophisticated contemporary silhouettes with noteworthy older designs, touching upon the design codes that have defined Molteni & C throughout its almost 90-year history. In his six years as creative director of Molteni & C, Van Duysen has combined his minimalist rigour with the company’s Mediterranean roots, creating products and interiors that reflect what he calls ‘a broader cultural aura’.

This concept was taken to the next level in late 2022, when Molteni & C unveiled a new pavilion at its Giussano HQ in Lombardy, designed by Van Duysen. Framing a new showroom and restaurant for the company, the pavilion is punctuated by two cloistered gardens cultivated by Italian landscape architect Marco Bay, mixing plants with different textures and heights to express the idea of nature evolving over time. This space provides the perfect backdrop for the launch of Molteni & C’s outdoor furniture, which feels perfectly at home within Van Duysen’s rigorous architecture.

‘It was important for me to create collections that are really Molteni products, where I could really feel not only the heritage but also the core aesthetic we have developed in those six years,’ says Van Duysen.

The new offering encompasses two collections: Landmark, featuring sinuous seating based on an unrealised 1994 design by Luca Meda (who served as creative director for the company from 1968 until his death in 1998), and Timeout, an aluminium furniture range that expresses Van Duysen’s affinity with modernism. The outdoor catalogue also pays tribute to design masters, past and present, who have contributed to Molteni’s history, including Gio Ponti, Ron Gilad and Foster + Partners, whose ‘Arc’ table from 2010 has been reissued in a new outdoor edition as part of the launch.

A contemporary take on Meda’s design, the Landmark collection has a softer edge, characterised by a fluid frame and woven teak construction (also available in olive green EVA polyurethane) that encases the textile upholstery. Molteni’s carpentry savoir-faire comes to life in this modular seating system that adapts to different approaches to outdoor living.

Contrasting in style and proportions, the Timeout collection is a modernist-inspired series that includes a two-seater sofa, armchair, dining chairs and table, a sunbed, stool, bench and low table. Van Duysen was inspired by fer forgé (wrought iron) traditions to create an elegant language through slim profiles. ‘I am modernist in heart and soul, so this collection is more architecturally oriented, rigorous and linear,’ he says. His usual rigour is expressed through a bent aluminium band, coated with burnished paint that was chosen for the colour’s connection to the natural world. Wooden tops, woven elements and upholstery lend a touch of softness to the collection.

The launch is completed by two Gio Ponti pieces that bring the Italian architect’s distinctive silhouettes to the new outdoor dimension. The classic ‘D.154.2’ armchair, borrowed from the indoor catalogue, becomes a sophisticated addition to an open-air space. Alongside, the company has reissued the ‘D.150.5’, a sun lounger originally designed by Ponti for the Andrea Doria cruise ship in 1952 – a testament to Molteni’s ability to mix design history with modernity.

While the collections are independently conceived, Van Duysen stresses that they are intended to be combined, thanks to the rich series of textiles. Designed by long-term collaborator Marta Ferri, these match Van Duysen’s desire to connect the pieces with nature, through a series of woven textures, as well as geometric and organic patterns with a subdued, warm palette.

‘The outdoors has become extremely important,’ says Van Duysen, whose vision for Molteni & C encompasses every area of living. ‘To create this collection, I searched for an idea of softness and wellbeing, of organic playfulness with an architectural vision. I was inspired by modernism to recall that idea of permeability and transparency between internal and external spaces, and that intimate connection with light and nature.’  

molteni.it

A version of this article appears in the April 2023 issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

The Molteni & C compound in Giussano, 30km north of Milan, evolves constantly, making it a fitting representation of the furniture behemoth. Home to its HQ and factory since 1934, the compound is also an architectural treasure trove, where Molteni’s creative collaborators have left their marks over the years. Examples include Ron Gilad’s 2014 Glass Cube, which was recently transformed into the Molteni Museum, and Patricia Urquiola’s 2006 Spazio Q alla M (a multimedia centre dedicated to the company’s past and future), as well as a four-storey 1950s showroom, designed by Luca Meda with elements by Aldo Rossi, with whom he often collaborated.

‘The compound is a testament to the history of Molteni & C and the great names of design and architecture that have worked with the company,’ says Molteni’s chief marketing officer Giulia Molteni. 

Molteni & C has now unveiled a new chapter in the compound’s architectural history with a pavilion complex by its creative director, Belgian designer Vincent Van Duysen, adding a hospitality element to the brand experience. The starting point for the design, which is Van Duysen’s first architectural project for Molteni, was Meda and Rossi’s showroom, which is punctuated on one side by a discreet colonnade.

Those columns inspired the pavilion, which is designed to serve as a reception area and restaurant and hospitality space surrounded by cloistered gardens. The ground floor of the showroom has also been redesigned and has since been dubbed the Luca Meda Room, in honour of the designer’s work as Molteni’s creative director from 1968 until his death in 1998. Meda was instrumental in the company’s transformation from being a traditional maker of classic furniture to a global contemporary design brand.

Vincent Van Duysen and Molteni & C: minimalist rigour and Mediterranean flavour

When Van Duysen joined the company in 2016, the scope of the collaboration was to merge his minimalist rigour with a Mediterranean flavour, something he has demonstrated over the years with products and interiors. ‘Molteni is interested in seeing its pieces come alive in the context of architecture, placing them within a much broader cultural aura,’ says Van Duysen. ‘This interaction and synergy between architecture and furniture relates to the art of living in a very modern way.’

The designer feels that the new building blends well with the original 1950s architecture. ‘It’s a continuation of that language that I took over in a modern but not obstructive way. It has a lot of respect for the existing building. The extension represents Molteni’s determination to create a holistic, all-round experience.’

The design encompasses a series of covered walkways, lined with thin black columns, that lead visitors around the complex, from the security check-in area to the reception and restaurant and to the ground-floor showroom. The cloistered gardens are by Italian landscape architect Marco Bay, who created a discreet composition, mixing textures and heights to express the idea of nature evolving over time. The outdoor spaces will also be used to showcase the brand’s outdoor furniture collections, launching next year.

Molteni restaurant: redefining hospitality at the Giussano HQ

The restaurant will be a key aspect of the pavilion, and will form an innovative approach for Molteni & C: overlooking the gardens, the space is both minimal and warm, featuring glass and concrete, with light oak walls. ‘The collaboration with Vincent has always followed the evolution of living,’ says Giulia Molteni. ‘Since the pandemic, we have deemed it a necessity to reach a simplicity of forms, shedding the superfluous and looking to incorporate warmth, lightness and attention to detail.’

Everything in the space was designed by Van Duysen, from the benches inspired by his ‘Paul’ sofa to new tables designed for the occasion and the ‘Janet’ chairs, a 2022 addition to the Molteni & C catalogue. The architect also conceived the lighting in collaboration with Nemo Lighting.

The restaurant’s details create an atmosphere that reflects the Italian » approach to hosting, and its interiors ‘represent the soul of the company,’ explains Giulia Molteni. For the table settings, Molteni & C enlisted Italian food writer and television personality Csaba dalla Zorza, who worked closely with Van Duysen to select objects that connect with his aesthetic vision, while the food offering was entrusted to the Bergamo-based Vicook, a branch of local three-Michelin-starred restaurant Da Vittorio, whose gastronomic offerings include Italian classics such as paccheri al pomodoro (a pasta dish served with generous helpings of slow-cooked tomato sauce and Parmesan) and cotoletta alla Milanese (deep-fried breaded veal cutlets).

‘We are proud to host within our compound a piece of architecture designed by our creative director,’ says Molteni Group chairman Carlo Molteni. ‘A contemporary addition that is integrated into the historic site and signals the company’s path towards the future.’

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vincentvanduysen.com

A version of this article appears in the December 2022 Entertaining Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Zara Home announces a new collaboration with Vincent Van Duysen, featuring furniture and home accessories in the distinctive sophisticated style of the Belgian architect. The first of a series of collaborative pieces (part of an ongoing collection scheduled to be updated with new designs twice a year) focus on the living room, with sofas, armchairs, tables, desks and consoles, as well as lighting, ceramics and textiles.

Zara Home meets Vincent Van Duysen

The collaboration was born from a connection between Van Duysen and Marta Ortega, chair of Zara’s parent company Inditex. A visit to the architect’s Antwerp home inspired Ortega to invite him to create a collection for Zara Home, upgrading the brand’s offering with his creative vision. ‘I didn't have to reflect too much for too long,’ says Van Duysen, who immediately accepted the offer. ‘I turned 60 in April, so it was the right time for me to introspect in my work and who I am, trying to find my DNA. So I looked back and seriously reflected on my past works.’

This will be the first time that Van Duysen’s designs are made more accessible: usually part of luxury collections for the likes of Molteni & C, of which he is creative director, or created for private clients, his designs have often been defined by an exclusive aura. ‘I am democratic, heart and soul,’ he says. ‘And I love the philosophy, the attitude and the positioning of Zara in the world to make beautiful things accessible for any of us. I wanted to see what that would look like for my furniture.’ Starting from 30 June 2022, the collection will be sold all over the world, instantly making his work available globally at an unprecedented scale. 

A debut collection for Zara Home

This first collection is inspired by the evolution of Van Duysen’s own Antwerp homes: his living room in the 1980s, when he had just moved back to Belgium from Milan, and his space now. Some subtle, distinctive motifs define these spaces, and they come back in the collection: purity of lines, geometries, natural materials including wood, stone and linen and a palette of neutral colours (bone, midnight blue, dark green) that give a peaceful and meditative tone to the environments.

The designs, just like his own attitude to creation, embody a sense of living, the Italian concept of abitare: ‘It’s about everyday spaces, what people live with, how they approach the pieces they love.’ This is a collection to be touched, embraced and lived with, featuring generous forms and simple silhouettes that make each piece easily at home in any environment. 

Each piece was simplified in its essence, maintaining the characteristic Van Duysen touch. The sofas and armchairs are inspired by typical British upholstered seating (or, as he calls it, ‘the archetypal comfortable sofa’), upholstered in neutral linen or bouclé textile, while the oak tables have the chunky spirit of many of Van Duysen’s interiors. Featuring a suspended leather seat, the stools have a modernist attitude, while side tables in ash and Galician limestone feature a cross-shaped base whose edges form a motif on the tabletop. Throughout the collection there are subtle nods to the designs of Luis Barragán, Alvar Aalto and Jean-Michel Frank. 

‘The collection reflects the way I am living, it’s really me,’ says Van Duysen, who plans to release a second collection with Zara Home in October 2022 and eventually, through this collaboration ‘cover everything that belongs to the art of living.’

Making his work accessible at a new level, Van Duysen concludes, ‘is an opportunity to fit the dreams and desires of anyone. Because we all need to dream’.

INFORMATION

The collection Zara Home + Vincent Van Duysen is available worldwide from 30 June 2022

zarahome.com
vincentvanduysen.com

Vincent Van Duysen’s latest table lamp design for Flos combines cutting-edge lighting technology with an intuitive aesthetic and a dynamic functionality. 

Originally conceived as an office lamp, Van Duysen’s ‘Oblique’ is an evolution of the classic swing-arm model. ‘The starting point for the design process was a completely new technology developed by Flos,’ comments the designer. ‘An ingenious combination of LEDs and lenses that only need a thin amount of space to produce an extremely bright and bundled beam of light that falls “obliquely” from the luminaire head onto the table. I designed this luminaire around this core.’

The minimalist, compact lamp delivers a powerful asymmetric light beam, a patented technology making it the perfect tool to illuminate a workspace, but an equally practical light elsewhere in the home. The design’s functional approach is developed through well-considered elements such as the exceptional anti-glare tool, a flat head for minimal visual impact (possible thanks to Flos’ own patented ultra-flat lens), the integrated wireless charging system and a USB-C port to charge additional devices.

Created with versatility in mind, the ‘Oblique’ lamp is available with two different fixing bases for flexibility around the home, and comes in five finishes, from minimal black and white to warm pastel sage and rust. 

The lamp is the latest in a series of lighting products created by Van Duysen for Flos, including the ‘Infra-Structure’ architectural lighting system, a tubular lighting network with an industrial feel, taking cues from the Bauhaus aesthetic; and the outdoor ‘Casting’ lights, inspired by lamps created by Le Corbusier for the city of Chandigarh. 

With ‘Oblique’, the Belgian architect adds a versatile domestic lamp to his lighting portfolio, completing his vision of a timeless design aesthetic that encompasses architecture, interiors and products. 

INFORMATION

flos.com

Molteni&C has unveiled a virtual portal that offers guests an immersive experience of its new showroom, designed by the company’s creative director Vincent Van Duysen at the Giussano headquarters and now available through an online portal.

‘Daily life pushes us to perceive the spaces also in a virtual way, dreaming and imagining of crossing the two worlds,’ comments Van Duysen, who was tasked to imagine a multifunctional space that represented a domestic environment and gave a context to the company’s timeless design collections. 

‘We thought of creating a house, alternating all the domestic spaces, such as kitchen, living area and sleeping area, in the same way as we design private homes,’ says Van Duysen. ‘The central theme was the transition between one room to the next: just like in the Milanese palaces, we emphasized the doors as portals between the rooms, working with metal finishes and a sober and elegant design.’ His approach is apparent in the showroom’s entrance, a sort of visual manifesto for his work at Molteni&C: ‘for me it is important to enter and feel immediately in a safe and welcoming space, it is from here that you start taking in Molteni’s soul and house.’

The inspiration for the project, the architect explains, came from his several talks with the Molteni family, and from their desire to open to new horizons and markets, while looking at the cultures of the world. ‘We worked on the spatial hierarchy of environments, with architectural elements such as columns or fireplaces, stairs and double heights to enrich the visual and sensory experience,’ continues the architect. Each room is discreetly designed to represent different interpretations of living and being, as he calls them, ‘different souls’.

One of the key pieces from this year’s collections which features in the space is Van Duysen’s Hector bookcase. ‘For me this is definitely the protagonist, a versatile system with infinite configurations designed to be a room divider or wall mounted, that lends itself well to become an integral part of new environments.’ The space also includes the new Half a Square table by Michael Anastassiades, characterized by a minimal design based on a triangular shape that gives structure to the piece. 

Just as important as the physical visit, the immersive virtual tour (available via molteniexperience.com) discreetly guides visitors through the showroom, allowing them to explore its rooms freely or through a floorplan – replicating the experience of navigating a space in person and understanding its context. Clicking on the rooms’ contents opens up a detailed guide which includes accurate information on each piece complete with information on the design, technical drawings and data sheets. The virtual showroom is developed on the fine line between experiential and informative, becoming an escape as well as a practical tool to explore the furniture collections by Molteni and Dada kitchens. 

The experience of a global pandemic and working in isolation has informed Van Duysen’s design as well as the dual fruition of the space. ‘It was a reflective and introspective moment, during which we thought about the essence of design and the importance of wellness and wellbeing, sustainability and the beauty of inner peace.’

INFORMATION

A tour of Molteni's new showroom is available through molteniexperience.com

A design heavyweight arrives on London’s Brompton Road in the form of Molteni&C | Dada’s latest flagship shop. Spanning five windows stretching over a prime corner spot across from the V&A, this latest locale offers up a refined backdrop to showcase the Italian brand’s sophisticated designs. Dreamed up by creative director Vincent Van Duysen, the new flagship pulls from Molteni&C | Dada’s long history as a stalwart of Milanese style. Following long-standing locations in Fitzrovia and Covent Garden, Brompton Road clocks in as their third destination in the city.

‘The Molteni&C | Dada stores have to follow the same principle as my architecture,’ explains Van Duysen of his process in arriving at the shop’s design, ‘pure, getting to the core, while achieving an authenticity. The store is in synergy with the architecture, the location surrounding it and the brand interacting with it.’

Made up of 700 sq m spread over two storeys, the shop’s upper level is articulated by a series of imposing arches left in situ from the original architecture, a typical Knightsbridge-area home. Van Duysen then washed the plaster walls with a sober palette of roughly stuccoed grey, diffusing the space with a staid Milanese elegance that brings to mind the city’s stone-lined streets. Laid out like a lush apartment covering kitchen, living room and bedroom concepts, projects including the ‘VDD’ kitchen, the ‘Gliss Master’ wardrobe system and collections by Jean Nouvel and Patricia Urquiola, all sit pride-of-place in the shop’s vast picture windows.

‘We use noble materials,’ explains Van Duysen of the sublime interiors, ‘[they] refer to the earth tones and colour palettes that are reflected in the frescoes of northern Italy.’ This reference carries seamlessly through from Molteni&C | Dada’s New York flagship, newly opened in May. Both locations speak largely with the same vocabulary, drawing on opulent materials like marble-travertine and richly hued walnut sourced from the brand’s northern Italian home base.

A grand walnut wood staircase leads to the shop’s lower floor, an intimate space that makes excellent use of a series of small, structural alcoves and striking spotlighting to create a series of mise-en-scènes showing off some of the brand’s most celebrated collections. Here, Gio Ponti’s covetable ‘D.156.3’ armchairs, part of Molteni&C | Dada’s heritage collection, sit alongside a ‘Turner’ sofa in grey and Foster + Partners sleek ‘AVA’ bookcase.

Adding an ounce of colour amongst all the tranquillity, Milanese art curator Caroline Corbetta devised a selection of contemporary paintings for the flagship, part of The Collector’s House project that launched last year at Salone del Mobile. Six budding painters from Rome’s Galleria Operativa were chosen to line the walls, lending an experimental flourish to the well-polished space.

INFORMATION

For more information, visit the Molteni&C Group website

ADDRESS

245-249 Brompton Road
London
SW3 2EP

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Although it has a home in almost every port, Molteni & C’s newly opened New York showroom knows no comparison. As the largest of the Molteni Group’s spaces, the Madison Avenue flagship brings Molteni & C, Dada and UniFor together under one roof for the very first, and only, time.

Designed by Vincent Van Duysen, the new jewel in Molteni’s crown brings extra sparkle to an already chic stretch in Manhattan’s NoMad district. Surrounded by furniture and kitchen showrooms, Molteni’s concept to create an elegant Italian home assures that it stands out.

‘From the beginning, we tried to bring a contemporary interpretation of an Italian palazzo to Madison Avenue, with a reference to the company’s Italian heritage,’ says Van Duysen. ‘You feel like you are not in New York anymore. The store transports you to an Italian environment through the use of materials and the mixture of textiles, all based on the perception of a real Italian palazzo. The travertine on the floors and the monumental arcades emphasises the rigorous architectural aspect without forgetting the warm and welcoming environment. Throughout the space, the colour palette refers to old frescos found in the Lombardy region.’

With over 12,500 square feet at its disposal, the flagship boasts four storefront windows and two levels that are connected by an elegant wood-hewn staircase inlaid with travertine marble. Peppered by luscious, glass-enclosed gardens, the space has been carved into areas dedicated to the living room, office, bedroom, kitchen and dining room, which seamlessly transition from one to another at a natural rhythm.

‘The central walnut staircase is the masterpiece of the whole store [and] the most prominent architectural element within the space,’ states Van Duysen, who is also the creative mastermind behind the brand’s memorable booths at Salone del Mobile and several other retail locations. ‘Although the existing retail spaces were very generous in scale, the presence of very large round concrete columns from the tower building above created an extra difficulty since these structural elements were located in very random positions.’

He adds, ‘The challenge was to work around these elements in order to create an interesting flow of different rooms and experiences. In most cases these columns are hidden [but] in some rooms we assumed their presence as part of the design becoming a feature within the space and the result is very interesting.’

In such environs, Molteni not only showcases its newest and most celebrated designs, but also the fruit of its cultural initiatives that also adorn the space. Curator Caroline Corbetta has assembled an assortment of artworks by young artists born in the 1970s and 80s, together with sculptures by Santo Tolone and pop hieroglyphics by Stephen Felton.

INFORMATION

For more information, visit the Molteni & C website

ADDRESS

160 Madison Avenue
New York
NY 10016

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Arclinea

Kitchen: Convivium
Designer: Antonio Citterio
Key features: Units by Maxalto, suspended glass cabinet, vintage steel worktops, flush-mounted hob, hood and sink that ‘disappear’
Contact: Arclinea

Valcucine

Kitchen: Artematica 30th Anniversary
Designer: Gabriele Centazzo
Key features: Created to celebrate the 30th anniversary of Valcucine's first use of glass in its kitchens. The large sink is made from a single block of cardoso stone, while the tap is installed on the bridging framework above the sink, giving it the look of a fountain. The cabinet pattern is created using graphic vitrum, a new digital technique for customising glass
Contact: Valcucine

Armani/Dada

Kitchen: Slide
Key features: Light sassafras wood doors, bronze steel worktop and sink, champagne marble tops and black panel, monolithic C-shaped island with innovative sliding system that reveals hob and worktop
Contact: Armani/Dada

Modulnova

Kitchen: Twenty Royal Grey
Designer: Andrea Bassanello
Key features: Island constructed using multiple layers of marble to create a unique light and dark effect. Large suspended peninsula made of eucalyptus wood
Contact: Modulnova

Cesar

Kitchen: N_Elle
Key features: Worktop in brushed grey saint laurent marble, doors in rovere termocotto, and framework in rovere bruno and stainless steel. Sharp, clean-cut lines, 2.2cm thick doors, easy to mix and match with other Cesar systems
Contact: Cesar

As originally featured in the July 2017 issue of Wallpaper* (W*220)

Bosco Verticale, Milan’s ‘multi-storey intensive living façade’ – winner of the 2015 Best Tall Building award and designed by Stefano Boeri Architetti – is being furnished by Molteni&C and Dada.

The high-rise residence building, on the edge of the Isola district, is famously known for the presence of 2000 plants, including tall trees and bushes, distributed over its many floors.

The Italian company is furnishing 27 apartments in one of the buildings, one of which, on the 22nd floor, was conceived by interior designer and architect Matteo Nunziati.

The architecture in Nunziati’s sophisticated space has been designed in order for the windows to be exalted, showcasing breath-taking views of Milan.

Woody tones, ecru textiles, pale grey-whites and the transparency of glass decorate the day-time area, featuring furnishings such as 'Who' chairs by Rodolfo Dordoni, Jean Nouvel’s 'Graduate' bookcase and the 'Grado°' glass cabinets designed by Ron Gilad.

The kitchen is a customised version of the Dada 'Tivalì', designed by Dante Bonuccelli. This newly bespoke version enables the kitchen to be turned into a white monolith, functionally separating from the rest of the space.

For the night-time area, Nunziati chose 'Gliss Master' wardrobes by Vincent Van Duysen and the 'Night & Day' bed by Patricia Urquiola, along with small 'Domino' tables designed by Nicola Gallizia.

A pearl in Milan’s executive centre, the apartment is the perfect mix of work and play, both comfortable and spacious, where residents can spend their leisure time exclusively and eclectically. 

INFORMATION

For more information, visit the Molteni&C website

Photography: Max Zambelli

It's fairly common for visitors to Graanmarkt 13, Antwerp's most chic shopping and dining destination, to talk about how they want to move in. That was, after all, the original intention of husband-and-wife owners Tim Van Geloven and Ilse Cornelissens when they first opened their townhouse-of-wonders in 2010, a place 'where everyone would feel at home'. The good news is, now they can. The pair - who until now have been living on the top two floors of the traditional building - have moved out, and have launched the space as a striking rentable apartment.

Graanmarkt 13 is located in the middle of the city, on a pretty cobbled square lined with tall trees. From the outside it's another neo-classical residence, with no shop windows or restaurant signs to speak of. It's only when entering that you discover the poured concrete stairwell and stunning interior architecture by Belgium's starriest architect Vincent Van Duysen.

At the back of a building there's an old ginkgo tree overlooking a rooftop garden and beehives, providing herbs and honey that the award-winning chef Seppe Nobels uses in his dishes in the restaurant, which is located in the basement. On the ground floor is the concept store, selling fashion and accessories sourced by Cornelissens and Van Geloven on their travels around the world, alongside covetable designs such as homewares by Michaël Verheyden and notebooks by Astier de Villatte.

The duo have always had the intention to add an apartment to this mix, though few people knew about it until now. 'It's been a well-kept secret,' says Cornelissens. Now that the project has proved successful, and their children have grown, the time was right to make the move.

With four bedrooms, two bathrooms and a living and dining room and fully equipped kitchen, the duplex apartment is homely and very sophisticated, a showcase for Van Duysen's signature brutalist style, but also for the city, with its panoramic windows and vast terrace with treetop views. 'I look to achieve sensibility of working harmoniously in merging and combining volumes,' explains Van Duysen. 'It's about creating warmth, atmosphere and beauty through a careful attention to the inherent qualities in materials and how they sit, both with one another and in the space itself.'

The Apartment has not been redesigned since Cornelissens and Van Geloven's departure. 'We just packed our bags and kids' toys and left it as we knew how well it worked,' explains Cornelissens. 'Living on top of everything was great and allowed us to give the whole project the personal touch we always wanted for it. Now people can really stay here and experience the creativity, calmness and beautiful design of Vincent Van Duysen at his best.'

So can we expect to see their Midas touch elsewhere in Antwerp or around the rest of the world? 'We will never create a new Graanmarkt 13 on another spot, you can only create such a personal place once. But we are always open for new ideas and new addresses,' says Cornelissens. 'We already opened a little shoe shop just around the corner. The look and feel is very similar, but it is just a new address.'

ADDRESS

The Apartment
Graanmarkt 13
2000 Antwerpen
Belgium

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