Designed for camping and outdoor life, the brand's new products are designed to be easy to use, intuitive, safe and truly inclusive, adapting to different needs and bodies.
On Old Bond Street, Ferrari redefines the idea of a flagship as a cultural device: a layered environment where architecture, display, and brand identity converge. Through interviews with Rocco Iannone, Formafantasma and Gonzalez Haase, the project emerges less as a store than as a staged Officina of design.
In Trento, the exhibition “Hit List 80. Design, interface, colour” revisits the 1980s through Memphis and a local scene where design, architecture, and image converge—revealing how our contemporary understanding of objects took shape.
At Collect art fair in London, ceramics, textiles, and jewelry highlight how craftsmanship is emerging as a conscious alternative to accelerated production and instant culture.
For decades photographic technology struggled to render darker skin tones accurately. TECNO turned that bias into a design problem — and a technological advantage that helped the company expand across Africa and other emerging markets.
From the return of color to the end of minimalism: how emotional design and the promise of wellbeing are redefining domestic interiors.
Sound systems move into museums, boutiques and even brutalist churches, shifting listening from background to space. We set out to understand what this shift really means.
Amid experimental galleries and radical objects, Collectible Brussels reveals a still-elusive collectible design, where the boundaries between art, craft, and research grow increasingly fluid and hard to define.
At Triennale Milano, the exhibition “Lella and Massimo Vignelli. A language of clarity” reconstructs a “biography through projects” that goes beyond style: from visual systems for companies and institutions to the grids that now structure interfaces and information, their method continues to organize the way we read the world.
From Pratone to Strum to the Piper-Pluriclub, a shared cultural matrix emerges: a Turin that functioned as a laboratory where design first took shape as experience rather than object.
At Triennale Milano, Andrea Branzi by Toyo Ito. Continuous Present does not attempt to bring the author into the present, but makes visible the distance he comes from: a time when design could be theory, critique, and the construction of imaginaries.
At Milan’s Castello Sforzesco, an exhibition retraces the work of Gianfranco Frattini through iconic furniture, glass pieces, and new editions produced by companies such as Cassina, Gubi, and Poltrona Frau.
