While fashion week may be the biggest item on the calendar for luxury fashion maisons, Milan Design Week 2025 is another event where they flex their meticulous savoir-faire and creative visions—tailored for your habitat. Here is where architects, interior designers, and product designers of the world frolic at the week-long trade fair. But calling it just a trade fair would be an understatement: museum-worthy pieces and installations pepper the iconic city, providing inspiration that will soon find its way to spaces such as restaurants, hotels, and even your abode.
The Best of Milan Design Week 2025
Louis Vuitton
The world has been blessed with the Objets Nomades since 2012. Now, Louis Vuitton has expanded their footprint in the design world with the introduction of the new Home Collections. A highlight from this newness? Of course, it’s Pharrell’s pinball machine. But throughout the Palazzo Serbelloni, where the Maison is showcasing their creative prowess, visitors are immersed in the origins of the house, from textiles and rugs to fanciful tableware.
As a way to celebrate the expansion of their reach into this territory, Louis Vuitton spotlights two designers throughout the staterooms. The first is futurist artist Fortunato Depero whose colourful graphic designs are transposed onto the textiles and plates within the new collection. Second, is a French architect and designer Charlotte Perriand and her debut textile collection, which can be seen in multiple rooms and the Palace courtyard, in a dialogue of materials and colours with other pieces of art.
Ralph Lauren
Ralph Lauren returns to Milan Design Week 2025 with Canyon Road—a collection that offers a fresh perspective on American living. Set within the elegant Palazzo Ralph Lauren, the presentation draws on themes of memory, comfort, and craft, a showcase that speaks to Ralph Lauren’s long-standing belief that design is a personal expression.
The Canyon Road collection is at the centre of it all—a warm, grounded tribute to the American Southwest. Earthy tones, handwoven textiles, aged leathers, and natural woods define the pieces you’ll see on furniture, rugs, textiles, and tableware. A standout is the collaboration with Diné (Navajo) artists Naiomi and Tyler Glasses, whose contributions—part of Ralph Lauren Home’s Artist in Residence programme—bring cultural depth and contemporary resonance.
Each room in the installation captures one of Ralph Lauren Home’s four signature aesthetics—Estate, Island, Penthouse, and Western—with Canyon Road stealing the spotlight. The idea is to show a home where stories are lived, not just told.
Longchamp
Curves have never looked this good. For Milan Design Week 2025, Longchamp continues its culture of championing creatives and proudly steps out with a collaboration with furniture designer and cabinetmaker Pierre Renart to create a truly design for the home.
But this isn’t the first time the fashion house has partnered with the young maker. In 2021, Longchamp commissioned his touch in the effort to revitalise its boutiques, and that is how the iconic Wave coffee tables made their way into the global zeitgeist. Now, they extended the collaboration and took it to the trade fair.
Crafted from American walnut and upholstered in sumptuous cowhide leather, the Wave leather bench and a set of eight Ruban chairs were grandly displayed in Longchamps’s Milan flagship for visitors to awe at.
Hermès
Holy moly, one of each, please, and thank you. Hermès’s latest for Milan Design Week 2025 is a collection of colourful homeware that could easily double as art objects in a gallery. Layers of light and colour come to life in these new creations, revealing themselves gradually through reflections.
The collection is imagined by Charlotte Macaux Perelman, architect and artistic director of Hermès’s home collections, alongside Alexis Fabry. But this isn’t just about objects; it’s about the aura they give. At the heart of the collection is glass—blown, cased, layered, fused. It’s a dive into traditional glassmaking techniques, each one breathing life into a series of vases, jugs, and boxes crafted for the home. Depending on the method, the colours and the transparency, each piece is truly one of a kind.
And the real showstopper? The Pivot d’Hermès side table. Designed by Tomás Alonso, it’s a clever play on balance, ideas and materials. The lacquered glass base brings together crisp lines and vivid colours—like a colour wheel in motion. Sitting atop is a circular box crafted from sugi (Japanese cedar), its band curved using an age-old Japanese technique. Off-centre and mobile, it adds a playful, unexpected twist to the table’s structure.
Saint Laurent
Until now, 20th-century designer Charlotte Perriand’s designs—handpicked by Anthony Vaccarello—existed only as prototypes or sketches. But Saint Laurent has brought them to life, meticulously reproduced and reissued in limited editions.
Three of the pieces were created by Perriand for her own homes around the world—the Bibliothèque Rio de Janeiro and the Fauteuil Visiteur Indochine—as well as for a diplomat’s residence in Paris, with the Canapé de la Résidence de l’Ambassadeur du Japon. But perhaps the centrepiece of the exhibition is La Table Mille-Feuilles (1963). For decades, it remained only a concept—too complex to manufacture, existing solely as a scale model on Perriand’s desk. Now, it has been brought to life in full scale, unveiled to the public at Milan Design Week. The table features ten stacked layers of contrasting rosewood and cherrywood, forming gentle concentric circles across its bevelled, recessed top. Thanks to the natural variations in the wood grain and the moulding process, no two are exactly alike.
This collaboration between Saint Laurent and Charlotte Perriand is the latest chapter in the House’s ongoing commitment to preserving and sharing design heritage. It offers the audience a chance to engage with timeless designs that are reimagined for the present. It also pays tribute to Yves Saint Laurent’s deep admiration for Perriand’s work—her stripped-back modernity echoed his creative vision. He collected her pieces throughout his life while Pierre Bergé championed major retrospectives of her work around the world.
Loewe
Of course, Loewe brings a touch of whimsy to the Milan Design Week 2025, and we didn’t expect anything less. At the Palazzo Citterio, the house brought out 25 incredibly unique teapots, each designed from the points of view of 25 artists, designers, and architects from all corners of the world.
And if you think there’s nothing to write home about when it comes to teapots, think again. With 25 creative minds re-imagining the vessel and its sculptural form, and drawing on the time-honoured traditions of tea-making, visitors are taken through a myriad of designs that are out of this world.
Aside from the exhibition, visitors can also peruse and shop the teapots produced in collaboration with Spanish artisans who use Galician clay. The best part? There are several animal-inspired covers that you can dress the teapots in and make it a conversational piece in your home.
Tod’s
In the world of Italian design, Tod’s Gomminos are the definition of laid-back refinement. The pebble-soled driving shoes have long been a staple for many—and this year at Salone, they got a luxurious refresh. But it wasn’t just about shoes.
Tod’s marks the occasion with a coffee table book—Italian Hands: Artisanal Stories From Italy—that acts as a tactile love letter to the country’s rich tradition of craft, where skills are passed down like generational heirlooms. Inside, you’ll find Murano glassblower Giberto Arrivabene at work, terracotta maestro Rosario Spina sculpting the sunbaked clay of Caltagirone, and Ernesto Carati, who coaxes poetic forms from brass and bronze. There’s even Christian Belforte, a pesto devotee who treats the Genovese classic with the same reverence others reserve for fine wine.
Oscar-winner Michelle Yeoh opens the book with a foreword that sets the tone: ‘The craftsman’s hands are a necessary contrast to the speed of our digital age. While artificial intelligence can produce countless objects, no algorithm can ever replicate the beauty of work done with heart and commitment. It is precisely this humanity, this depth, that we must learn to recognise and value, not only for the sake of a craft that is in danger of disappearing, but for the construction of a global community of true human content. A clear message must be sent to young people, for they are the future: never forget that craftsmanship is the bridge between the past and the future. It is what makes us human in an increasingly technological world.’
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