Explorations

Salone del Mobile: When design takes over Milan

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How Milan Design Week transforms the city into an Instagrammable playground


The 63rd edition of Salone del Mobile—the world’s most prestigious furniture and design event—drew to a close yesterday. For one week, Milan becomes a sprawling stage for creativity, where even its hidden corners are transformed into must-see spectacles.

At its heart, the fair unfolds within the vast pavilions of Rho Fiera, a magnet for industry professionals showcasing the pinnacle of Italian and international design. Yet beyond the trade halls, the Fuorisalone spills into the streets, inviting enthusiasts, students, and the merely curious to explore immersive installations, pop-up exhibitions, and chance encounters with the creative minds behind them.

From Tortona’s industrial chic to Brera’s artistic haunts and Porta Venezia’s vibrant energy, the city thrums with life. The accessibility of the events—most are free and open to all—adds to the inclusive buzz. Though, let’s be honest: for some, the allure of a cocktail might just rival that of an avant-garde chair.

Milano: An Instagrammable playground


One language, however, dominated: the lexicon of Instagram. Countless installations seemed conceived less as design statements and more as backdrops for the ’gram. Brands competed for viral moments, and visitors queued for hours—not for insight, but for the perfect shot.

When did the aesthetic experience become so easily reduced to likes?

Highlights amid the hype


Trying to see it all is futile—Milan Design Week practically demands a sabbatical. Still, we found moments of brilliance.

Gucci’s Bamboo Encounters paid homage to the material’s timeless elegance—though one wonders whether its legacy will outlive Demna’s show.

A standout was Design for the Moon at Università Statale, a collaboration between NABA and the Design School at Arizona State University (ASU). The project took shape as a geodesic dome inspired by lunar landscapes, inviting visitors to imagine speculative habitats beyond Earth. Part lunar refuge, part poetic vision, it urged us to reflect on design’s role in humanity’s next frontier.

Salone del Mobile / Fuorisalone: Design for the moon at Università Statale
Design for the moon – Unversità Statale


Then came NonostanteMarras—always a revelation. Antonio Marras’ Chi Ama La Maestra reimagined the classroom as a poetic tableau, blending puppets and fragmented memories into an evocative homage to knowledge. Teaching became an act of love, and the space a vessel for the collective memory spanning generations. Stepping inside felt like embarking on a nostalgic, tender journey through the emotion of learning. We knew we’d find beauty—we always do with Marras—and missing it wasn’t an option. The installation, a stunning fusion of design and poetry, stood out as something truly special: warm, unconventional, and profoundly moving.

Nostalgic, tender, and utterly transcendent—our favourite.

Salone del Mobile vs. Fashion Week: A cultural litmus test


As design takes over the town, one truth emerges: Salone del Mobile draws a different kind of crowd. The public feels more discerning, more cultured, compared to those who flood the city during Fashion Week.

And yet, as Milan returns to its everyday rhythm, one can’t help but wonder: is design itself becoming a backdrop for performative consumption?

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The myth of cheap luxury and why it doesn’t exist

Reading Time: 2 minutes

Exploring why people fall for social media scams


The myth of cheap luxury—a byproduct of fashion’s democratisation and the rise of social media hype—persists stubbornly.

If luxury no longer guarantees quality, one truth remains absolute: a very low price guarantees its absence. You can preach ‘buy less, buy better’ until you’re hoarse—but few will listen. Yet post a ‘closing down sale’ with supposedly ‘discounted’ luxury? Suddenly, everyone’s a believer—regardless of their level of education or social status. They buy into it.

It’s the oldest trick in the book: the allure of “everything for (almost) nothing” overrides reason. And it’s disheartening.

The myth of cheap luxury and the psychology of the “sale”


When the journalist Milena Gabanelli investigated deceptive discounting scams on Facebook, the findings were grim. Tear-jerking stories of small Italian shops shutting down and selling everything at 70% off were spreading fast.

One such fake shop claimed to be liquidating stock through Facebook promotions: “We’re so sad to say we are shutting down — please enjoy our luxury stock at a discounted price.” These ‘sad shutting-down shops’ multiplied rapidly. A closer look revealed fake addresses in cities like Milan or Rome.

Gabanelli’s investigation uncovered the scam: the emotional stories were fabricated, the products were low-quality Chinese fast fashion, and a Dutch criminal organization was behind it all. Thousands of people were scammed — essentially buying cheap items from notorious platforms, resold at inflated prices. Forget quality! And yet, many customers still fell for it.

So why are people so drawn to low prices—even to the point of falling into obvious traps?

  • Scarcity illusion“Last chance!” triggers panic-buying.
  • Social proof“Others are buying on Facebook—it must be real!”
  • Cognitive dissonance: We want to believe we’ve outsmarted the system.

The cost of true quality


Real quality isn’t discounted. It isn’t frantic. It’s the antithesis of “everything must go.” True quality is never cheap because it involves good materials and fair wages for those involved in its production. It respects people and the planet.

True quality is measured in:

  • Materials: Natural fibres or innovative fabrics—not plastic masquerading as silk.
  • Labour: Fair wages—not exploited workers.
  • Time: Atelier craftsmanship—not factory conveyor belts.

In short: If it’s cheap, someone (or something) is paying the price.

The myth of cheap luxury: Final thoughts


The myth of cheap luxury isn’t going anywhere. Sadly, it’s here to stay—too many gullible people are still ready to support it.

But some things are worth waiting for. Full price. No tricks

Our curation is for those who’ve rejected the lie. No fake scarcity. No performative markdowns. Just garments that outlive trends—and the nonsense.

(Or keep waiting for that “closing down sale” that never comes. The choice is yours).

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Design and emotion: In the pause – A story for modern humans

Reading Time: 2 minutes

Spring-Summer is on hold, but creativity is quietly blooming


Design and emotion intersect — not always loudly, not always in the spotlight, but often in stillness.
Our Spring-Summer pieces are ready, yet stuck at customs. We, too, are here — stuck, still — but fully present. Watching. Listening. Because in the silence, ideas take root.

We live in an age of overwhelming noise: constant information, endless communication, widespread confusion. And yet, amid this chaos, one truth remains clear — our curation is unique. And intentionally so. We know it’s not for everyone. But we also know that those who know, prefer to wait for something meaningful rather than settle for what’s readily available, heavily distributed, and standardised.

Our work is a continuous exploration — a journey through ideas, cultures, shapes, and materials. It’s light in spirit, yet grounded in deep thought and tireless research. We’re drawn to design that resonates not just aesthetically, but emotionally. What fascinates us most is the culture behind the pieces — the stories, the intentions, the quiet revolutions that make them special.

So, we wait. Our Spring-Summer collection remains in limbo. But rather than rushing to fill the void with something meaningless, we embrace the stillness. Because creativity doesn’t respond to urgency or algorithms. Sometimes, it needs space. Silence. Delay. This moment — just before something new emerges — is sacred.

Meanwhile, we’ll attend Milano Design Week. Not to chase trends or “be seen,” but to observe. To absorb. To explore how design and emotion intersect. We seek multidisciplinary contaminations — art, architecture, fashion — with a conscious eye on ecology.

If Spring-Summer is on hold, creativity is quietly blooming.
This pause isn’t passive. It’s a prelude. A space for something deeper to unfold.

In the flow, ideas to connect through — and share with those who get it.

If this resonates, pass it on — forward to a friend who values slow, thoughtful design.

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British Fashion Council pivots: June LFW moves to Paris as brands seek global spotlight

Reading Time: 3 minutes

London steps back, Paris steps up: The BFC’s gamble to relocate brands reveals fashion’s widening power gap


The British Fashion Council (BFC) pivots: it will skip June’s London Fashion Week, opting instead to showcase menswear designers in Paris during the French capital’s event. The move, framed as a ‘strategic evolution,’ underscores the growing pressure on cities beyond Paris to justify standalone runways in an era of instability, where buyers and media increasingly prioritize fewer, high-impact events.

While the BFC emphasizes the benefits—including a dedicated London Show Rooms (LSR) space in Paris for emerging designers—critics warn that ceding the June calendar risks eroding London’s reputation as a cradle of innovation. The decision reflects broader shifts: the rise of co-ed collections, budget pressures, and the gravitational pull of Paris, where even British talent now flocks for visibility.

The Paris effect


Brexit stole the show from London Fashion Week—and gifted it to Paris,” titled Politico recently. The prophecy now rings louder. Paris Fashion Week, already a magnet for global designers, offers what London struggles to guarantee: buyer density, prestige, and a direct path to commercial success.

In fact, there has always been a creative dialogue between Paris and London. But after Covid and Brexit, keeping this dialogue alive became more challenging, said Serge Carreira from the Fédération de la Haute Couture et de la Mode. “London is a scene of revelations, where one puts down creative roots, whereas Paris is a destination once the brand is established, to reach a more global audience,” declared Carreira to CNN. “This dynamic isn’t new but Paris as a next step in a British designer’s career might feel like a more amplified move.” 

The emerging designer trade-off


The BFC’s LSR initiative in Paris grants emerging designers valuable buyer access—but at what cost? London’s identity as a cradle of avant-garde experimentation is increasingly sidelined. With PFW boasting over 100 shows across nine days, and London’s calendar shrinking, the capital risks becoming a feeder system rather than a rival.

Yet signs of rebellion stir. Off-calendar British brands like Corteiz may point to a new generation that rejects the spectacle of traditional runway shows. Instead, they favour creative drops, limited-run capsules, and collaborations—questioning the fashion system itself.

This hints at an alternative future: another avant-garde is emerging, one that rejects the old system entirely.

Alternative futures


Some of the most compelling moments during London Fashion Week came not from the main stage, but from smaller, off-schedule presentations. These intimate settings—less about commercial splash, more about authentic expression—felt both innovative and grounded.

Perhaps that’s the real shift worth watching. In an age of climate anxiety and economic instability, the next generation of designers may no longer aspire to put on hyper-expensive shows filled with endless outfits. Instead, they might choose meaningful connections, slower processes, and sustainability-first design.

British Fashion Council pivots: A warning for New York?


London’s struggle mirrors NYC’s: both risk becoming satellites to Paris and Milan. If even British talent—nurtured by institutions like Central Saint Martins—flees homegrown runways, what hope remains for cities without that legacy?

Final thoughts: Business over romance


The British Fashion Council pivots. The decision to relocate June’s LFW to Paris is a business-first gamble, a bet on survival prioritising global reach over tradition. Therefore, an attempt to stay relevant in a market that increasingly rewards consolidation. The shift highlights fashion’s uneven power balance, with Paris solidifying its dominance. 

But as Paris tightens its grip, London faces an existential question: Can it remain a creative capital in a system that increasingly prioritises commerce over risk-taking?

It’s a surrender to Paris’ dominance, yes, but also a referendum on whether creativity alone can sustain a fashion capital today.

The answer may lie off-calendar—in intimate presentations, climate-conscious design, and disruptors—brands unafraid to break the mould. 

Ultimately, fashion’s future cannot be just more Paris. Fashion’s future belongs to those brave enough to imagine something else entirely.

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Trump slaps 20% tariffs on EU imports: Is Europe the parasite in his trade war?

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The long-feared tariffs are here: who really pays the price?


The hammer has finally fallen: Donald Trump slaps 20% tariffs on European imports, branding the EU ‘friends who stole money from us.’

“The European Union, our friends, have stolen money from us,” declared Donald Trump last night, unveiling punitive tariffs of up to 20% on European goods (Politico)

Ah, grazie mille, Donald—here we were, believing we were allies, only to learn we’re just a gang of pickpockets in Prada shoes.

Trump slaps 20% tariffs – The math of misery


Who Pays? You do. All of us.

Consumers—yes, even Americans—will see prices rise. Analysts warn of across-the-board hikes, from Italian leather to Vietnamese sneakers.

But the damage won’t stop at checkout counters. Exporters will bleed market share. Workers—from Milan’s textile mills to Ohio’s factories—will face slashed contracts and hiring freezes. Inflation, already biting, will get new teeth.

This isn’t protectionism—it’s collective punishment dressed up as policy.

Within hours, European markets nosedived—predictably. But the real spectacle was Nike, Adidas and Puma plunging 10%, their Vietnamese and Chinese supply chains now in the crosshairs. 

Nothing screams “patriotic revival” quite like sabotaging the very offshoring model US corporations pioneered.

The perfect storm: fashion industry’s worst-case scenario


The European Union had braced for this blow, but the fashion sector still gasped. Textiles, clothing, accessories: all now face a tariff war they can’t afford. This is an industry already on its knees, battered by inflation, supply chain chaos, and the whims of geopolitics. Now, add Trump’s Trade Tantrum to the list.

In fact, Italy’s textile and fashion sector braces for inevitable collateral damage.

The bigger question


As Trump slaps 20% new tariffs like punitive badges of honour, we’re left to ask: what’s the vision here? What’s the endgame? A world where commerce is treated as conquest, where long-standing allies are recast as economic villains, and where the true villains—according to this logic—aren’t the billionaires monetising division, but the artisans stitching handbags? Spare us.

Europe’s fashion industry isn’t “stealing”; it’s competing. Trump’s tariffs won’t magically resurrect American manufacturing; they’ll just subsidise its race to the bottom. The ‘Made in USA’ tag still relies on poverty wages and migrant exploitation—but sure, let’s pretend Europe is the problem.

This isn’t protectionism—it’s economic masochism with a flag pin on its lapel.

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