Milan Design Week is a fixture in my calendar, not just for the exposure to new product releases, but for the layered, immersive experience it offers. This year, I was particularly drawn to the emotional tone of design; how materials, lighting, and form shape not just a space, but a feeling. That is a central focus in our studio, so being in a city that lives and breathes design was creatively energising. It also helped recalibrate how we approach spatial detail and storytelling.

Were there any standout moments or installations from Design Week that left a lasting impression on you?

Absolutely. Dimore Studio’s immersive installation was unforgettable; entering a pitch-black space where scenes were revealed by carefully choreographed light felt like stepping into a cinematic moment. Their work balances nostalgia with theatre, yet remains grounded and tactile. Patricia Urquiola’s presence was, as always, quietly powerful, and Dedar’s fabric installations demonstrated how material can shape atmosphere with nuance and depth.

Lighting continues to be a defining feature in spatial storytelling. Which lighting brands or pieces particularly caught your attention this year?

Euroluce was a key highlight. Moooi’s sculptural pieces stood out; origami-like forms with atmospheric scale and emotional presence. There is a growing emphasis on lighting that is expressive and integrated, becoming part of the architectural story rather than a decorative afterthought.

Salone vs. Design Week: Did you find yourself more inspired by the fair, or by the installations and activations around the city? Why?

For me, the city always offers more inspiration. The fair is polished and expansive, but it is the quiet moments around Milan — in hidden showrooms, backstreet installations, or garden courtyards — that stay with you. There is a kind of intimacy in discovering design that does not announce itself, and that is where the real insight comes.

How do you see lighting trends evolving off the back of what was presented this year? Any materials, forms, or concepts you think will shape the next 12 to 24 months?

There is a clear move toward layered and tactile lighting; pieces that combine material richness with mood. We are seeing more translucent finishes, glossy metallics, and sculptural silhouettes that draw from both the 1970s and surrealism. Lighting is becoming more architectural; it is no longer only about illumination, but about anchoring the atmosphere of a space.

As a designer, what would you like to see from lighting brands in future international showcases like Milan?

More experimentation, more risk. I would love to see lighting brands pushing the boundaries with unusual materials, or collaborating with architects and artists to create hybrid experiences. It is often the unexpected juxtapositions that leave a lasting impression.

And finally, what is one thing you will be taking back to your studio from Milan 2025 — inspiration, learnings, or maybe even a new contact?

An appreciation for the emotional contrast that great design can create. This year, the most powerful moments were not found at the main fairgrounds; they were tucked away in Milan’s quieter corners — a hidden courtyard, a softly lit room, a spontaneous conversation. Those pauses between the noise offered the most lasting insight. What I am bringing back is a renewed commitment to designing for feeling; to creating spaces that invite people to slow down, to notice, and to stay a little longer. That sense of immersive calm, anchored by strong material presence, will continue to shape our work moving forward.