The global design community gathered recently at Bloomingdale’s flagship store in New York to celebrate the opening of the Salone del Mobile.Milano’s installation Italian Design: From Classic to Contemporary.
Curated by renowned architect Ferruccio Laviani, the exhibition brings together an array of both iconic and contemporary Italian furniture pieces from 23 leading brands, offering a tribute to Italy’s design heritage at its finest: Artemide, Edra, Flexform, Flou, Foscarini, Frigerio, Gallotti&Radice, Gessi, Kartell, Lema, Living Divani, Minotti, Molteni&C, Oluce, Porro, Riva 1920, Scavolini, Sigma L2, Tacchini. The installation is open to the public until September 29th, 2024, with accompanying talks titled Conversations about Italian Design curated by Annalisa Rosso, inviting further dialogue on the past, present, and future of Italian design.
(According to the Federlegno Arredo, the USA is the third-largest export market for the Italian Wood Furniture Sector, which in the first four months of this year posted a 5.2% increase in exports to reach over $735.4 million.)
As part of its 2024-25 global journey, which includes upcoming stops in Shanghai and Hong Kong, Salone del Mobile.Milano chose New York as the initial destination for the exhibition, a nod to the enduring influence of Italian design in the United States. The installation showcases Italian classics as well as newer pieces, demonstrating the synergy between craftsmanship and innovation that defines Italy’s design ethos.
Panel Discussion Offers Insight into Design, Craftsmanship, and Culture
At the heart of the event was a lively panel discussion with key figures from the world of design: Maria Porro, President of Salone del Mobile.Milano; Kelley Carter, Fashion Director of Home at Bloomingdale’s; Marva Griffin Wilshire, founder of SaloneSatellite; and Ferruccio Laviani, the exhibition’s curator.
Italy’s Consul General in New York, Fabrizio Di Michele, opened the conversation by reflecting on the deep cultural ties between Italy and New York. “New York City is deeply imbued with an Italian lifestyle,” he said, adding that this relationship extends beyond the usual associations of food and fashion. “There is something deeper, a connection to beauty, craftsmanship, and culture, which makes this event so meaningful.”
The panel then had an engaging discussion that touched on Italian design’s reputation in the U.S. market, the role of craftsmanship, and the growing intersection between fashion and design.
Maria Porro emphasized the strategic importance of the U.S. market for Italian furniture, noting that “the U.S. is the second-largest market for Italian furniture, and our presence at Bloomingdale’s allows us to bring Italian design to an even wider audience.” She added that this event exemplifies the shared values between Italy and New York: “Salone del Mobile.Milano is more than a business event—it’s about synergy, culture, and the way we live and create together.”
Laviani’s Theatrical Vision for the Installation
Ferruccio Laviani, a Milan-based architect who is also the Kartell’s art director, spoke extensively about the vision behind the installation, explaining how he wanted to create a theatrical experience for visitors that felt both dynamic and accessible. “I wanted the installation to feel like a stage where each piece of furniture plays the role of an actor,” Laviani said, underscoring his desire to make the history of Italian design visible and understandable at a glance.
“I drew inspiration from the surrealist works of Giorgio de Chirico and the minimalist stage designs of Luca Ronconi, which allowed me to blend elements of theater and architecture,” he continued. Laviani emphasized the importance of conveying a sense of history while maintaining a modern sensibility. “It’s about balancing a respect for the past with an eye toward the future, ensuring that the design resonates with today’s audience.”
Laviani also spoke about the crucial role that craftsmanship plays in Italian design. “Craftsmanship is not a relic of the past—it’s an integral part of the future of design,” he said. “This installation was produced entirely in Italy, and it reflects the ongoing collaboration between craftsmen and industrial designers, which has always been the hallmark of Italian design.”
The Intersection of Fashion and Design
The conversation then shifted to the intersection of fashion and design, with Kelley Carter highlighting the growing overlap between the two industries. “Fashion and design are both reflections of culture,” she explained. “Fashion changes with the seasons, responding quickly to cultural trends, while design is more about longevity. However, we’re seeing more and more influence from fashion in the way people think about their homes.”
Carter pointed out recent examples in popular culture where Italian design has been showcased, such as rapper Lil Baby’s home featured in Architectural Digest, which prominently displayed Italian furniture including chairs by Gaetano Pesce. “Italian design is a status symbol,” she said. “It’s a ‘flex’ in the way that people see it as representing quality and taste.”
When asked what fashion could learn from the design world, Carter emphasized the importance of sustainability. “Design has always been about creating pieces that last. Fashion can learn a lot from that approach, especially as consumers become more conscious of sustainability and the impact of their choices,” she said.
Maria Porro added, “Sustainability is not just a trend—it’s an obligation. At Salone, we are committed to reducing our environmental impact, and we’ve been certified as a sustainable event. It’s essential to think about the lifecycle of the products we create, not just their immediate use.”
Marva Griffin was pleased to point out that the while there are some similarities in both the fashion and furniture sectors with an emphasis on passion and creativity, the fastness of the fashion world doesn’t exist in the furniture world, and instead a piece of furniture can become more interesting as time passes.
The Future of Italian Design
As the conversation progressed, the panelists turned their attention to the future of Italian design. Marva Griffin Wilshire, who founded SaloneSatellite as a platform for young designers, spoke about the importance of nurturing new talent. “Over the past 25 years, SaloneSatellite has helped launch the careers of more than 14,000 young designers,” Wilshire said. “It’s our responsibility to give them the opportunities and support they need to thrive in this industry.”
She also reflected on Emilio Ambasz’s iconic 1972 MoMA exhibition Italy: The New Domestic Landscape, which introduced radical Italian design to an American audience. “That exhibition was groundbreaking, and it helped to cement the relationship between Italian design and New York,” she said. “Events like this one at Bloomingdale’s build on that legacy, showing how Italian design continues to innovate and inspire.”
Laviani echoed this sentiment, noting that Italian design is constantly evolving while remaining grounded in its roots. “The beauty of Italian design is that it knows how to adapt without losing its essence,” he said. “We are always finding new ways to blend tradition with modernity, to create something that feels both timeless and current.”
Porro added that the future of Salone del Mobile.Milano will continue to focus on sustainability, innovation, and storytelling. “At the heart of Italian design is the idea of creating products that tell a story—whether it’s the story of how they were made, the materials used, or the people behind them,” she said. “That’s what makes Italian design so unique and why it continues to resonate across the world.”
Cultural Impact and Craftsmanship
The panelists also discussed the broader cultural impact of Italian design, particularly how it transcends mere aesthetics to become a way of life. “Italian design is about more than just beautiful objects,” said Porro. “It’s about creating environments that enhance our lives, our homes, and our well-being. At the end of the day, it’s the simple, well-crafted objects that make our lives better.”
Laviani expanded on this, explaining how craftsmanship and industrial production coexist in Italy in a way that elevates both. “The collaboration between craftsmen and industrial designers is what allows us to produce something that is both high-quality and accessible,” he said. “When you have many hands working together—craftsmen, designers, producers—it creates a product that is far greater than the sum of its parts.”
Porro concluded the discussion by referencing the architect Rem Koolhaas’s seminal “Delirious New York” book about New York, and compared the Salone with New York City, and how both have the capacity to reinvent themselves every year. She ended by reflecting on the continued relevance of Italian design in today’s global marketplace. “Italian design has always been at the forefront of innovation, and it will continue to lead the way,” she said. “Whether it’s through sustainability, craftsmanship, or storytelling, we are always looking toward the future. And that future is bright.”
From left: F. Burrichter, F. Laviani, M. Porro, F. Di Michele, M. Griffin, K. Carter, C. Cook, F. Berman.
