All the Fashion Highlights at Milan Design Week 2025

Milan Design Week is back—and once again, the fashion world’s presence could be felt everywhere. The annual celebration of interior design, taking place across the city in parallel the Salone del Mobile furniture fair, has become a hotspot for labels looking to flex their muscles in the homewares space. (And far beyond: projects from fashion brands this year included an ice-cream shop, a mini-music festival, and a restored historic train in Milan’s Centrale station.

) In truth, it would probably be quicker to list the major brands that weren’t showing than those that were. But where fashion week sees a phalanx of editors and buyers move from venue to venue en masse, the pace of Milan Design Week is entirely different: you can set your own schedule, meander around the various presentations all morning and afternoon, then head for a leisurely dinner of ossobuco and saffron risotto to discuss the highlights of everyone’s choose-your-own-adventure days—and finally, make plans to visit tomorrow’s must-sees over a negroni sbagliato (or two) at Bar Basso. Yes, it’s a serious business—the post-pandemic interiors boom is showing no sign of letting up—but it’s also a whole lot of fun.



Here, find all the fashion highlights from Milan Design Week 2025. Louis Vuitton Throughout the Neoclassical halls of the grand Palazzo Serbelloni this week, Louis Vuitton went big. First, the maison presented their new Objets Nomades homewares collection, which spanned elegant furniture designed by the likes of Estúdio Campana and Patricia Urquiola, all the way through to a Pharrell-branded pinball machine and an extremely luxe record player crafted from layered petals of butter-soft leather.

A particular highlight was a room featuring rugs and ceramics using adapted designs by the early 20th-century Futurist artist Fortunato Depero, which took whimsical motifs from Italian folklore and transformed them into dazzling patterns of flowers and fish. But Louis Vuitton also had a surprise up their sleeve, having reconstructed Charlotte Perriand’s celebrated La Maison au Bord de l’Eau in the central courtyard, providing a focal point for a blow-out party on Monday night that also served to inaugurate their Via Montenapoleone store. There was plenty to toast to.

—Liam Hess Hermès The unveiling of Hermès’s new homewares collections is a perennial Milan Design Week highlight, and this year was no different. Operating out of their usual home base of the La Pelota Jai Alai, a former swimming pool turned event space in the heart of Brera’s design district, the maison’s latest outing marked a radical departure from the moody atmosphere and complex, interwoven historical narratives of previous years. The space’s interior had been painted a stark white to become an almost clinical backdrop for the objects on display, which sat pride of place in enormous white boxes suspended from the ceiling, subtle pools of colored light glowing underneath.

This hallowed white-cube atmosphere was intended to allow the objects to truly shine—and shine they did. Highlights included colorful striped cashmere throws hung vertically like a totem pole and a Tomás Alonso glass side table with a playful cedar box top that resembled the world’s most elegant dim sum basket. —L.

H. Gucci Within the breathtakingly beautiful 16th-century cloisters of San Simpliciano church this week, Gucci staged their most ambitious Milan Design Week project yet. Titled Bamboo Encounters, the exhibition paid homage to the material that has been a staple of Gucci’s designs since the mid-1940s, when Guccio Gucci suggested it to his Florentine studio as a material for bag handles after being inspired by his son’s collection of bamboo walking sticks.

That starting point was reinterpreted in a variety of forms, from an actual live bamboo forest planted just for the event, to a series of found bamboo objects assembled by artist and architect Dima Srouji and then adorned with glass details hand-blown by the Twam family, a dynasty of Palestinian artisans based in the village of Jaba'. The most delightful pieces of all? Those would be the exuberantly colorful ripstop nylon kites created by the Dutch collective Kite Club, which nod to the historic origins of kites as made from bamboo and paper—at the opening cocktail event on Sunday night, a particularly forceful gust of wind blew through the cloisters, as if encouraging them to take flight. —L.

H. Loewe With Jonathan Anderson having recently exited Loewe, and Jack McCullough and Lazaro Hernandez of Proenza Schouler now preparing to put their own stamp on the storied Spanish fashion house, this year’s Loewe presentation arrived during a period of transition. But the project—which was overseen by Anderson, and thus serves as something of a swan song for his craft-led vision at the house—was as impressive as any that have come before it.

The premise was relatively simple: 25 artists, designers, and architects had been invited to create teapots that would sit in the underground space of the Palazzo Citterio, the grand residence in Brera that Loewe has called home during Milan Design Week for the past few years. But the head-spinning variety of techniques and aesthetics on show ensured the end result was satisfyingly complex, from the playful riffs on British Royal Albert china sets crafted by artist Rose Wylie with words scrawled across the pot, to a supremely elegant jet black design by the legendary architect David Chipperfield, to a series of charming tea cosies hand-knitted and crocheted by the in-house ateliers to resemble hedgehogs and ducks. Loewe may be entering a new chapter, but the house’s commitment to supporting the work of the world’s most accomplished and inventive craftspeople isn’t showing any signs of wavering.

Long may it continue. —L.H.

Loro Piana The award for most theatrical outing at Milan Design Week? That would have to go to Loro Piana, who once again hosted their presentation within the striking brutalist courtyard of their headquarters on Via Moscova. This time, however, there was little indication you were stepping into an office building: with the help of some clever scenography, visitors were ushered into a lobby lined with David Lynch-worthy red velvet curtains, and then into a vast darkened space where two attendants implored us to “enjoy the show!” Soon, flickering lights began to reveal the outlines and shadows of a breathtakingly beautiful Milanese apartment that had been mysteriously abandoned; between the plinky piano melodies of the soundtrack created by Nicola Guiducci, you could hear (and then, as the lights came up, see) an overflowing bathtub, and a stack of the house’s new Limoges porcelain tableware collection smashed on the ground. Who were the glamorous occupants of this space, and why did they leave in such a hurry? It felt like the beginnings of a gripping novel or movie.

Even the title, La Prima Notte di Quiete, had a certain cinematic sweep—and Loro Piana leaning more heavily into the art of storytelling was a pleasure to witness. —L.H.

Saint Laurent It was a big week for Charlotte Perriand. Up near the Quadrilatero della Moda, you could find Louis Vuitton’s reconstruction of her design for La Maison au Bord de l’Eau; all the way down in the buzzy Tortona district, Saint Laurent took over a cavernous industrial space to showcase four furniture designs, conceived between 1943 and 1967, that never went beyond the sketch or prototype stage. The limited edition pieces are set to be sold on a made-to-order basis, but this week, they were there to be enjoyed by the long queues of visitors there to witness a slice of design history in the flesh.

Most striking was La Banquette de la Résidence de l’Ambassadeur du Japon à Paris: in 1967, Perriand was commissioned to design the furniture for the revamped Japanese ambassador’s residence in Paris, and developed this ingenious five-seat sofa, whose monumental presence is artfully balanced by its appearing to float a few inches off the ground. It was a pleasure to see these lesser-known design treasures given a new lease of life. —L.

H. Prada All aboard the Prada express! The fourth edition of the house’s annual symposium, Prada Frames, found its theme amid an ever on-the-move world, under the title “In Transit.” The cross-disciplinary talks were curated once again by the Milan-based design and research studio Formafantasma, with conversation topics spanning the infrastructures of migration, surveillance, space travel, and climate control.

These intimate discussions took place in the impressively marbled Padiglione Reale, once the Milano Centrale station’s royal waiting room, and aboard the Gio Ponti-designed Arlecchino train, chicly restored by the Fondazione FS Italiane with forest green and cream upholstery and panoramic lounges. —A.C.

Ralph Lauren Ralph Lauren’s presentations at their almost impossibly elegant palazzo on Via San Barnaba always offer a moment of respite from the Salone chaos, and this year was no different. Visitors wandered through the building’s hushed halls sipping Champagne and taking in the brand’s latest homewares collection: titled Canyon Road, it served as a cinematic journey through Lauren’s lifelong obsession with the American West. Most beautiful were a series of pieces created in collaboration with the Indigenous American seventh-generation weavers Naiomi and Tyler Glasses: inspired by their homeland of Dinétah (Navajo Nation), the dazzling textiles offered a fresh perspective on historic Indigenous patterns and motifs.

The end result was subtle, smart, and very, very stylish. —L.H.

Miu Miu For the second year running, Miu Miu took over the Circolo Filologico Milanese, a deeply atmospheric Art Nouveau building within a tangle of backstreets near the Duomo, housing a cultural association and library that focuses on foreign languages and cultures. It was an apt setting for the Miu Miu Literary Club: a two-day event curated by the writer and researcher Olga Campofreda which brings together a handful of celebrated women writers for a pair of panel talks, followed by an afternoon and evening of musical performances and spoken-word recitals over cocktails in the grand foyer. A particular highlight was the coming together of novelists Nicola Dinan, Naoise Dolan, and Sarah Manguso for a discussion of the Japanese writer Fumiko Enchi’s 1957 classic The Waiting Years, and how the book’s commentary on women’s education remains alarmingly relevant—the rich parallels they were able to draw between then and now (and their ability to do so with plenty of levity and humor) made for one of the most stimulating and delightful moments at this year’s Milan Design Week.

—L.H. Fendi The Fendi Casa 2025 collection coincides with the maison’s centenary year, making this a moment to celebrate its most iconic home pieces and innovate beyond them.

What does that look like? Sexy! Sumptuous furs and shearling and the striking Fendi yellow; Murano glass and intimate details like small belt buckles and braided suede. The concept and window displays at the sun-washed boutique in Piazza Della Scala were created by Lewis Kemmenoe, the British designer who recently collaborated with Fendi for Design Miami. There were dual, interpolating design ideas at play in the boutique: On one side, natural textures, bamboo, and fuzz, organic color palettes, and light wash wood; the other, sleek and sexy metallics.

An ensemble of collaborators played with this duality: British designer Lee Broom exclusively debuted the Fendi Idol chandelier, for example. But forget the chandeliers of Versailles: these are sculptural pieces of hammered glass, with sharp lines that allow the light to recreate the FF logo on the table below. Meanwhile, Botswanan designer Peter Mabeo presented the Efo coffee table, expanding the FF logo into softer, curvaceous shapes in rhythm with his own warm signature style.

The twist chair was new from Stefano Gallizioli, with elegant arms that looked like unspooling ribbon. Elsewhere, the plush, long Soho sofa’s coverings were changed every two hours in the boutique to highlight its endless customizability—when I visited, it was due its new clothes. The only question: Will the vibe be ’70s conversation pit piece or ’90s Berlin smoking room? —A.

C. MCM From designer’s HQs, hushed art galleries, and sleek boutiques, we next headed to..

.The dog park. The mastermind of this respite from the madness of Salone? MCM creative directors Alberto Biagetti and Laura Baldassari’s 11-year-old daughter Altea.

The MCM x Pet Therapy immersive installation took place at the open-air Giardino delle Arti, welcoming everyone’s furry friends to the launch of the vibrant new collaboration. Featured was a playful collection of (pet-friendly!) poufs coiffed into the shapes of dogs and cats, as well as some gigantic functional sculptures. Guests—both hirsute and human—got to explore the whimsical outdoor dreamscape, and across the week, took part in pet portraits, training sessions, and pet Pilates.

It was also an opportunity to try out their new, man’s-best-friend-inspired fragrance collection too, and celebrate the authentic charm that can proliferate in experiential design—one that both the German luxury brand and Italian creatives do with such gusto. —A.C.

Issey Miyake The considered and clear-eyed design ethos of Issey Miyake was founded with a simple acronym: APOC, or “a piece of cloth.” Within this framework, a small piece of fabric can be transformed into elaborate architectural designs—and with it, a sense of timelessness that reaches far beyond fashion. This year in Milan, the experimental, cross-disciplinary arm of the label articulated that into lighting.

Within the airy, calm space of Issey Miyake’s flagship store, the diaphanous and delicate lighting collaboration of A-Poc Able Issey Miyake and Swiss design studio Atelier Oï was unveiled. The TYPE-XIII Atelier Oï project exhibition showcased two of the lighting collections, the O Series and the A Series. Dynamic, unconventional, and elegant lamps and tables highlight restrained yet expert design techniques, like the ‘stretch seam’ fabric over the O Series sleek portable wire lamp.

The A Series lamps twist and arc with wiring, contours caressed intimately by delicate knit fabric that you can cut and customize. The first prototype is a collaboration with the innovative Spanish lighting brand Parachilna—hopefully, the first of more discipline-blurring collaborations to come. —A.

C. La DoubleJ Benvenuto a StarQuarters—the new, mood-maximizing headquarters of Milan-based fashion and homewares brand La DoubleJ. In an aperitivo earlier this week, founder J.

J. Martin looked resplendent in the brand’s signature, floaty prints as she welcomed guests to explore the five-story building in the lively Navigli District and on the rooftop for golden hour and breathtaking Milano views. Inside, guests popped sweet pumpkin hors d’oeuvres, rosemary-infused water, and Champagne—exploring La DoubleJ’s signature collections of Murano glass and Italian porcelain, and the reimagined Napoli collection that foregoes its original bold Mediterranean palette in favor of a feminine blush colorway running through disk placemats, a serving platter, and squat teapot and espresso set.

Heritage techniques proliferate across the collections, as La DoubleJ works with Tuscan artisans to create hand woven raffia coasters and placemats for its homeware families. And while it was a big week for the brand, there was still time made for some spiritual activity with a program of sound healing sessions atop the rooftop gong temple (the gong was, Martin told me, made by a friend from rocks and ashes scattered around the banks of Sicily's Mount Etna), as well as moments for its Sisterhood program and fortune readings. An opportunity to elevate your aesthetic and your energy.

—A.C. Etro It was only Wednesday, and already, a table was talking to me.

But I wasn’t hallucinating from design overload (just yet)—this was at Etro’s 5 Threads, 40 Years exhibition in the Brera district. This Milan Design Week, the Italian house celebrated 40 years of its signature swirling Arnica fabric and pattern. The exhibit was conceptualized around the five bright threads—green, yellow, red, turquoise, and white—that when woven into the paisley jacquard articulate the deep earthy tone for Arnica.

The immersive show allowed visitors to explore a thread of rooms, following the carpets through the creation, the icon, and the journey of Etro’s most loved paisley pieces. The previously mentioned talking table narrated the story, while Etro trunks and suitcases became spaces for video projections. Guests who completed the exhibit also got free, Arnica print stools.

Smart design, made smarter. —A.C.

Marimekko Originally from Cairo, living in New York, and finding an ever-welcoming home at Salone Del Mobile, is Laila Gohar. Across a busy week that also included launching the Mediterranean port-inspired Table VII collection for Gohar World, the artist got into bed with Marimekko—quite literally. Their capsule collection was showcased at an installation in Teatro Litta: a larger-than-life bed featuring off-beat stripes and delightful colorways on bedsheets, pillowcases, throws, diaries, sleep masks, and pajamas.

“It’s always been a beloved brand in my family,” Gohar said of the Finnish design house. “My parents discovered it in the ’80s, we had it in the home and wore it as kids.” As we cozied up on the gargantuan bed, both Gohar and Marimekko creative director Rebekka Bay tell me that, while they first clicked as friends in New York, the beginning of the collaboration was conceptualized around a shared urge to, well, stay in bed.

It all began when Gohar would send Bay photos of herself in bed with her newborn baby. “We thought, when finally doing a collaboration together, we wanted to celebrate all the things you shouldn’t do in bed. Not just as a place to sleep but a place to imagine, dream, hang out.

.. eat!” One guest got under the sheets and slept for several hours, Bay told me.

And eat we did—on the Wednesday of Salone, guests were treated to a cornflower blue and yellow striped cake and cream atop the sheets. The prints (cake et al) referenced the brilliant late Marimekko founder Maija Isola’s archive of over 4,000 prints, kept at their printing mill and HQ in Helsinki. “Often production is so far removed from a business, but this is so woven into Marimekko and its culture,” said Gohar, “we delighted in imagining something new with these storied designers across Marimekko’s history.

” The collection will launch later in 2025. Laila made the bed—and you can soon sleep in it! —A.C.

Gohar World I also managed to pop by Gohar World’s aforementioned preview of the forthcoming Table VII Collection, which was on display in the beautiful, oxblood-doored home and office of Michella Pelizzari, designed by Pierre Marie Studio. Interwoven with signature and fan favorite items like the whimsical laced baguette bags, the collection was inspired by Gohar’s love of Mediterranean port cities: They debuted mouth-blown glassware created by a family-run atelier in Egypt, earrings inspired by Turkish Delights, and salad spoons shaped like the pigeons that make their home in the ports. In Pelizzari’s space, guests roamed the rooms eating candy and studying the bowls of ceramic cigarettes—and getting up close to see if, yes, that was a lace-ensconced salami on the wall and a pile of enormous green beans on the dining table.

—A.C. Versace The art of living—the Versace way—involves plenty of jewel tones.

When I visited for the Monday opening evening aperitivo celebrating three decades of the house’s homeware and lifestyle pieces, guests lounge freely on the Harem chair. First debuted in 2010, the stacked cushion seat this year features layers of lapis purple, emerald, and gold, as well as a softer candy pink. Photography by Luca Grottol showcasing the home designs illustrated the space: A yowling cat sitting atop the Harem was a personal favorite.

We were also treated to a preview of new products set to launch in the summer, like butter yellow and hazy, hand-blown Murano glass vases stamped with the brand’s signature Medusa motif. —A.C.

Tod’s On Tuesday night, Milan’s glitterati descended upon the Tod’s Via Napoleone flagship to celebrate the brand’s latest project that honors the remarkable craftsmanship underpinning each and every shoe (and handbag, and sweater) that they make. This time, it was in the form of a coffee table book titled Italian Hands, offering a window into the workshops of Italian artisans producing world-class work in the fields of fashion, art, and food. We can all toast to that—and the lively crowd at their event certainly did.

—L.H. Stone Island Stepping into the dazzling white space of Capsule Plaza, a heavy set of dark curtains in one corner catches your eye.

Pull them back, and an undulating wall of textural sound will come to greet you. Here, you’d stumbled upon Stone Island Sound—the ongoing music initiative from the Italian label known for its iconic badge and the music industry men from Dave to Liam Gallagher that will proudly bear it. Across the week, the brand presented Friendly Pressure: Studio One, a cultural program that featured talks, live music sessions, and what became some pretty riotous evening DJ sets in the cosy, intimate setting.

Propelling the project from London to Somerset to Milano was Friendly Pressure, the bespoke sound system studio founded by Shivas Howard Brown—he and his team built the impressive audio system that inhabited the space back in Britain and transported it to Milan. Brown and Errol Anderson set the tone each day with their collaborative, free flowing A Loose Ting sets, from Mad Lib to elastic house and (later in the evening when things got looser) some syncopated techno and more enigmatic records as NINAFTERDARK and Lobo Sound took to the decks. The final day was a C2C festival takeover, with a moment to reflect on the mighty legacy of its late founder Sergio Ricciardone.

Guests could soak up the sounds and reflective conversations on the power of truly powerful sound while lounging on modular sofas by ANDA_BA and listening stools by designer Andu Masebo. —A.C.

Jimmy Choo Those passing by the Jimmy Choo store on Via Sant’Andrea this week were greeted by a window display a little out of the ordinary: a miniature bright-white runway on which an array of the brand’s signature stilettos had been arranged like an army formation, ready to enter a very fashionable battlefield. The project was the mastermind of creative director Sandra Choi and the avant-garde designer Harry Nuriev of Crosby Studios, conceived to create the effect of “a runway frozen in time,” in the latter’s words. The end result was just as arresting as Choi and Nuriev intended.

—L.H. Maccapani Margherita Maccapani Missoni is a careful and considered architect of her own brand—and now, the designer has brought it into the furniture space for the first time.

Revelling in her love of archival forever pieces, MaccaFinds: Airbrushed features both vintage and personal picks (some even from Maccapani Missoni’s own home, as well as a few flea market finds), made bold and bright through kaleidoscopic airbrushing. To do so, Margherita worked with a Varese-based artist who can usually be found customizing motorbikes and helmets. At Maddalena Tabasso Antichità, a historic Milanese antique store, visitors were able to preview 12 objects from the collection, including a bold purple gradient glass cabinet, a juicy pink and blue-bottomed stool, and a blossoming floral lamp.

Guests were also able to pick up a similarly toned granita from the Maccapani cart, to cool down in the balmier evening. —A.C.

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