Salone del Mobile 2024 in Milan stands out as the premier global furniture fair, demonstrating why it’s regarded as the best in the world. This year, the event showcased a blend of innovation, tradition, and forward-thinking that appealed to designers and enthusiasts alike.
This year’s Milan Design Week (April 15-21) was the arguably the best in years. Anchored by the primary fair, the Salone del Mobile, the event had leading global brands present their newest collections, and offering a platform for showcasing trends and innovations. It was a record year, over 370,000 visitors came to the fair (53.9% from abroad), closing the fair 20.2% up over the previous year (and 110,000 more than in 2022). 1,950 exhibitors came from 35 different companies, and the over 5,500 accredited journalists covered the fair.
Maria Porro, President of the Salone del Mobile.Milano, had this to say: “The 62nd edition of the Salone del Mobile.Milano exceeded all expectations: it was a record edition. We saw exceptional results, thanks to the confidence of an ecosystem that, yet again, recognised the international leadership of the event. With an amazing 370,824 presences, the Salone has reconfirmed its position as a matchless bridge for dialogue with the new market geographies, an intercontinental city open to innovation, in which competition stokes the competitiveness of a key sector for the country’s economy and more besides,” she said. “The celebrations for our own SaloneSatellite, which has been intercepting and promoting new young talents for 25 years, is confirmation of this. The success of this edition is also due to the success of the Kitchen and Bathroom Biennials, in which research and development are the synthesis not only of innovation processes but are also an expression of the ability of both sectors to intercept the habits and desires of daily living. We have already started to plan for 2025, conscious that the Salone del Mobile is an opportunity for everyone, for the wood-furnishing supply chain, for Milan and for the entire Made in Italy system.”
The presence of American companies at the fair is still small: Knoll and Tuuci were the only US furniture companies at the fair; with American kitchen and batch companies — Kohler, House or Rohl, Kallista, and Graff — rounding out the American presence.
Kohler showed at the Fair and also offsite at the Palazzo del Senato where in complete contrast, London artists Samuel Ross’s Terminal 02 captured the imagination for its ginormous scale as well as turning the surrealist lens on the humble toilet. Ross and Kohler constructed a maze-like brutalist installation featuring a giant orange lavatory and twisting industrial pipes to mark the launch of his first product, Formation 02.
That being said some of the best exhibitors came from smaller, privately owned European furniture bands, many of which have a presence in the United States. [Text Wrapping Break][Text Wrapping Break]Abstracta, for example, has the US as its second largest market, and typical of these smaller brands, sustainability is at the forefront for these companies. Exhibitors highlighted the use of sustainable materials and showcased recyclable goods and furniture made from reclaimed wood, reflecting a broader commitment to environmental responsibility.
Brands often created story-telling narratives which explained their installations. The Sancal booth, for example, was arranged around the theme of the “UnRoom,” a non-space that is an opportunity for reflection, experimentation and reinvention. It calls for an eclectic fusion of the classic and contemporary.
Another trend that was visible throughout the fair and offsite, was the daring use of vibrant colors and patterns. Moving away from neutral tones, this year’s fair featured bold colors and playful patterns. This trend marked a shift towards more vibrant, dynamic interior design choices that stand out and express individuality. In general, furniture tended to focus on comfort and coziness. In response to a growing desire for homes to be retreats from the outside world, there was an emphasis on designs that prioritize comfort, such as plush furniture and warm, inviting color palettes.
And when it comes to design and the Integration of Technology, smart furniture and tech-integrated designs were significant, with products like smart mirrors and furniture incorporating charging docks, which marry functionality with clean, modern aesthetics.
The Triennale, anchored design activities with great exhibitions on Alessandro Mendini, a retrospective of Emeco furniture, and an installation by Inga Sempe—this year’s “It Girl”—who designed a speculative house on how we should live.
Throughout the the week, Milan simply buzzed with design activity, and the vibrant districts of Brera, Tortona, Isola, and beyond hosted pop-up installations and exhibits, with evening parties and dinners flowing into the night. As was the case, some exhibits were seemingly further and further outside the city center. Design platform Alcova, for example, moved to the Vardedo district to take over the spaces of Villa Borsani and Villa Valsecchi, where they showcased the work of over 80 independent creators. Here the work tended to focus on limited edition pieces and one offs that highlighted artisanal craftsmanship. This resurgence in the appreciation for handcrafted items is a trend we’ve been seeing for the past few years, and handmade furniture feautured emphasized personal touch and quality.
Another big trend was the influence of fashion, which arguably had a greater presence than ever before. Long-time Salone stalwarts such as Hermès, Ralph Lauren, and Loewe all debuted their latest collections across the city, but there was a crop of notable newcomers too. Sabato De Sarno unveiled his first furniture collection for Gucci in his trademark glossy burgundy—or “Ancora red”—riffing on the work of a series of Italian design titans, while Thom Browne continued his forays into homewares with his first linen collection with Frette. Showcased in an 18th-century palazzina in the heart of the Parco Sempione.
Milan Design Week highlighted the importance of collaboration in creativity, with designers, manufacturers, and artisans coming together to create innovative and experimental designs. Collaborative activations were key: and this year, the café was the key. High-end luggage brand rimowa had a café, and Marimekko took over a bar where their Marimekko products were just about everywhere.
Milan Design Week is the the opportunity for brands to show their very best, but also a time for sharing of ideas, and proposing how design can help become a catalyst to create a better society to work, play and live. US trade shows like NeoCon and ICFF have much to learn from how all levels of the government work together along with the main trade show and offsite exhibitors to create an amazing week of design discovery and education.
