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Atlanta’s art scene speaks in many vernaculars, unfolding across converted industrial spaces, artist-led initiatives, university museums and a network of independent studios that have shaped the city’s distinctive cultural cadence. Atlanta Art Fair houses that energy, returning to Pullman Yards for its third edition with more than 80 galleries – its largest line-up yet – alongside installations, performances, talks and special exhibitions. This year’s edition also expands its international reach while keeping Atlanta and the wider American South firmly at its core. With the 2026 edition taking place from 1-4 October, five of the city’s artists, curators and cultural figures share the cafés, bars and restaurants they return to beyond the fair.

Where to eat and drink in Atlanta, the insiders’ guide

Alicia Felder

Morning treat at East Pole Coffee Co

‘I don’t need caffeine, so for me a cappuccino is a dessert treat I’m very serious about – which means I’m incredibly picky about getting it right. I’ve been known to try a cappuccino and throw it away after one sip if it’s bad. I usually pair mine with an almond croissant from The Little Tart Bakeshop on Krog Street – they’ve had me in a chokehold forever.’

East Pole Coffee Co is located at 676 N Highland Ave NE, Atlanta, GA 30306, United States

Wine o’clock at VinoTeca

‘VinoTeca is the perfect place to do a wine flight and discover new wines, have a meeting, or simply go for the atmosphere. The environment is comfortable and welcoming, the crowd is always great and open to interacting if that’s what you want, dogs are allowed; and their sommelier, Jeanine, is fantastic. The wine selection is also incredible for a shop of its size.’

VinoTeca is located at 299 N Highland Ave NE, Atlanta, GA 30307, United States

Dinner at The Consulate Atlanta

‘The Consulate is a proper elite dining experience in Atlanta. The global cuisine is always authentic and sublime, while the atmosphere and décor are sexy perfection. Every 90 days, they literally spin a globe and select a random country to inspire an authentic new menu. The mixologist also creates masterful, limited-edition craft cocktails to coincide with each new concept. Although a few fan favourites have made it onto the permanent menu, I always try the new one because the food is consistently outstanding.’

The Consulate Atlanta is located at 10 10th St NW Ste P200, Atlanta, GA 30309, United States

Kevin W. Tucker

Morning treat at Alon’s Bakery & Market

‘As a city of the South, Atlanta is more of a ‘biscuits for breakfast’ hub rather than a place known for its pastries, but Alon’s Bakery & Market is my neighbourhood ‘go-to’ for a croissant or pain au chocolat and a cappuccino. For the complete vintage diner experience and Southern breakfast complete with biscuits, try the Silver Skillet on Westside. Decidedly unfancy, but a true flavour of the city.′

Alon’s Bakery & Market is located at 1394 N Highland Ave NE, Atlanta, GA 30306, United States

Wine o’clock at Lucian Books and Wine

‘Lucian Books and Wine is a relaxing and elegant spot in Buckhead that, as its name suggests, brings together these two great things. Enjoy their French-inspired bites, sip a Spanish Tempranillo, and peruse an art book (of course) or three for a wonderful evening experience. For cocktails, I enjoy seeking out hidden spots around the city, from inspired gin creations at Whoopsie’s in Reynoldstown to rum-infused tiki cocktails at Trader Vic’s only East Coast location in the downtown Hilton Atlanta.’

Lucian Books and Wine is located at 3005 Peachtree Rd Ste 300, Atlanta, GA 30305, United States

Dinner at Elise

‘Elise, next to the High Museum of Art, is a new favourite for its beautiful setting and its refined menu crafted by chef Craig Richards. Try the risotto cacio e pepe or the roast chicken and savour the presentation, service, and flavours of one of Atlanta’s best dining spots right on the museum’s piazza in midtown. And be sure to check out their dedicated vermouth menu as an aperitif to an excellent meal.’

Elise is located at 1280 Peachtree St NE, Atlanta, GA 30309, United States

Sarah Higgings

Morning treat at Aurora Coffee

‘For coffee, Aurora Coffee in Little Five Points is my stop. They’re not pastry-oriented, but my morning order does include a chocolate chip cookie. In summer, it’s a large iced coffee; in winter, a hot dirty chai latte. But really, Atlanta is a sit-down breakfast city, and visitors shouldn’t skip that experience. My favourite, by a mile, is Homegrown on Memorial Drive. I even met my fiancé there, sitting at the breakfast counter! Be warned, though: their comfy chicken biscuit will send you straight back to bed for a nap.’

Aurora Coffee is located at 468 Moreland Ave NE, Atlanta, GA 30307, United States

Cocktails at Whoopsie’s

‘Whoopsie’s is my favourite for excellent boozy cocktails, delicious food and impeccable vibes. Whoopsie’s is like the fanciest dive bar – or a fancy bar that has slid, ever so slightly, into grittier times. It’s like a switchblade with a crystal handle. For the vino sophisticate, I’m also a fan of Lucian Books & Wine. It’s the perfect place for those who want to pair their glass with a beautifully designed art book in an elegant yet relaxed setting.’

Whoopsie’s is located at 1 Moreland Ave SE Ste c, Atlanta, GA 30316, United States

Dinner at Ticonderoga Club

‘I love sneaky, hole-in-the-wall places. Not quite speakeasies, but restaurants that feel cosy and a little eccentric, with a sense of discovering a hidden oasis. Ticonderoga Club on Krog Street is a favourite. My cocktail is the Horsepower – bourbon, apricot eau-de-vie, lemon, ginger and bitters. I’d start with the steak tartare, served with daikon medallions, then follow it with the S&S chargrilled pork steak with green papaya salad, nuoc cham, fresh herbs and sweet-and-sour tamarind sauce. Obviously, this is a place for carnivores. I’d finish with the chocolate mousse and maybe a nightcap.’

Ticonderoga Club is located at 99 Krog St NE, Atlanta, GA 30307, United States

Tiffany LaTrice

Morning treat at Portrait Coffee

‘My favourite place to grab coffee and a pastry in the morning is Portrait Coffee. It’s a short walk from my house and a Black-owned coffee shop in Atlanta’s West End, so it feels like a true neighbourhood spot. I always order the Aunt Viv with an extra shot of espresso, along with a chocolate croissant for a little sweet treat. I usually sit inside and enjoy both because I almost always run into a friend. What starts as a quick coffee often turns into sitting around and catching up, which is one of my favourite parts of going there.’

Portrait Coffee is located at 1065 Ralph David Abernathy Blvd SW # A, Atlanta, GA 30310, United States

Wine o’clock at JoJo’s Beloved Cocktail Lounge

‘My favourite cocktail bar is JoJo’s Beloved Cocktail Lounge in Midtown. It’s a cute, swanky speakeasy tucked inside Colony Square, with great cocktails, good music and an effortlessly fun atmosphere. It’s one of those places that feels special without taking itself too seriously.’

JoJo’s Beloved Cocktail Lounge is located at 1197 Peachtree St NE, Atlanta, GA 30309, United States

Dinner at Poor Calvin’s

‘I’ve been a huge fan of Poor Calvin’s for more than 10 years, and it’s still one of my favourite dinner spots in the city. My go-to order is the lobster crawfish wontons, followed by the country fried chicken with lobster mac and cheese and collard greens. And you absolutely have to save room for the toasted pound cake for dessert. Everything on the menu is incredible, but those are my must-orders.’

Poor Calvin’s is located at 510 Piedmont Ave NE, Atlanta, GA 30308, United States

Victoria Dugger

Morning treat at Little Tart Bakeshop

‘I love Little Tart Bakeshop for coffee and pastries. I’m pretty simple with coffee – usually a latte with oat milk – and then whatever pastry looks best that day. I have a hard time saying no to a sweet treat.’

Little Tart Bakeshop is located at 437 Memorial Dr SE, Atlanta, GA 30312, United States

Wine o’clock at Madeira Park

‘I like places where you can actually sit and talk and stay for a while, and Madeira Park has that kind of energy. I’m usually a wine person, but I would get a good cocktail if something interesting is on the menu.’

Madeira Park is located at 640 N Highland Ave NE, Atlanta, GA 30306, United States

Dinner at Antico’s Pizza

‘Antico’s Pizza is one of those places I always want when I’m in Atlanta – casual, loud, a little chaotic, and just really good. I usually get something with mushrooms.’

Antico’s Pizza is located at 1093 Hemphill Ave NW, Atlanta, GA 30318, United States

While Palm Springs, California has no shortage of marvellous midcentury architecture, not all of these historic homes were created equal.

The vast residence at 650 E Tachevah Drive – completed by architectural designer Howard Lapham in 1966 and spanning 9,445 sq ft – is one of the largest and most impressive properties from the era within the city limits. A real estate developer bought it and, along with his girlfriend, hired Los Angeles-based interior designer Jessica Ayromloo to reanimate its capacious entertaining spaces and no less than 12 bedrooms 'They were looking for somebody who could re-envision it, but still keep the original aesthetic and bones,' Ayromloo tells Wallpaper*.

The sheer scale of the interior spaces could have been daunting. 'They're enormous,' said Ayromloo, whose initial thought was: 'What am I going to do with this giant gallery-sized living room that’s 60 feet long?' But she approached the project like a small boutique hotel, treating the main social space as a lobby.

Here, Pierre Paulin chairs that the clients had already bought at auction and various configurations of B&B Italia’s Camaleonda modular sofa – a design the clients dreamed of owning – are arranged to invite more intimate moments. 'If you're hosting a party, you want it to be conversational,' Ayromloo says. 'You can either sit and face the pool, or the fireplace. And if you get bored of this layout, you could always change it up.'

While retaining the classic mid-century features, Ayromloo dialled up the drama a few notches to live up to the 'party house feel.' Located in Palm Springs’ Movie Colony neighbourhood, the home lent itself to her aptly cinematic references. These included the 1968 sci-fi film Barbarella, whose sets and costumes inspired the home's mirrored and metallic finishes, curvaceous forms and highly textured surfaces. In the living area, these manifest as a fireplace clad in metal panels set against a reflective wall, amorphous coffee tables with shiny surfaces and a custom rug that stretches the full length of the room. 'I sometimes think of myself as more of a set designer than an interior designer,' Ayromloo says.

On the back wall, a trio of disc-shaped sculptures by LA artist Nicholas Biddle – one of which the designer discovered at Rhett Baruch Gallery, with the others commissioned in slightly different warm colour gradients – offers another movie nod, according to Ayromloo. 'In the really kitschy sci-fi film Total Recall, with Arnold Schwarzenegger, there's a woman with three breasts, and it reminds me of that,' she says.

Continuing in the dining room, a glass-topped table with mirrored legs and matching chairs all reflect a patterned Kyle Bunting area rug to create 'trippy' illusions. A Slinky-esque pendant light helps to resolve the tall ceiling height, while a mirrored-mosaic Space Curtain from Paco Rabanne presents a disco motif that will reappear later.

In terms of spatial reconfiguration, the kitchen received the most attention. Appliances were shifted around to improve the flow, with the stove landing below a cut-glass, mosaic-tiled hood. A long central island is accompanied by 'ice cream parlour' bar stools that could’ve been lifted straight out of The Jetsons, while the distinctive cabinet colour required a compromise. '[The client] wanted a green kitchen but super faded, and I actually wanted a darker green,' Ayromloo shares. 'So we met in the middle, and eventually landed on this desaturated pistachio.'

The same pistachio shade appears in the numerous guest bedrooms across Flavor Paper wallpaper, paired in geometric patterns with silver to match the patent leather bed frames and metallic linens. Meanwhile, the family room at the end of the property received a punchier injection of colour thanks to a painting by Ozzie Juarez sourced from the Frieze art fair, which informed the furniture choices. 'Here, the desaturated colours get a little more saturated,' Ayromloo explains. 'You’re dabbled in colour through the other spaces, and then come to the end of the rainbow.'

For the primary bedroom, a custom white-lacquer and polished-steel bed, silvery carpet, chainmail curtains and more metallic accents reinforce the Barbarella theme. This is taken even further in a stand-out powder room, where original gold mosaic tiles were replaced with silver—evoking the inside of a disco ball. 'We wanted to pay homage, but do our own thing in a way that goes with the rest of the house,' says Ayromloo. 'It's a disco ball party!'

Meanwhile, the mosaic tiles that surround the outdoor bar and lounge are iridescent, creating a mother-of-pearl backdrop for glowing Artemide Alphabet of Light numbers that divulge the home’s address. 'Who doesn't want to be inside of a seashell? We just need a mermaid posted up in there,' Ayromloo says.

A separate pool house was treated similarly, with pink and aqua decor and transparent furniture reminiscent of a life-size Polly Pocket toy. 'It speaks more to the outdoor lounge, with the iridescent pink tile and the blue of the pool,' Ayromloo says. 'We really had fun with it.'

Finishing touches included repainting the huge front doors beyond a pair of koi ponds in a peach melba hue. 'We wanted to go with something not as expected for Palm Springs,' said Ayromloo. 'This colour echoes the koi fish without matching too perfectly.'

The sculptural door handles that resemble Georg Jensen vessels were thought to be original to the home, but when they were removed to be repolished, Ayromloo discovered that they were in fact from a 1990s Ikea designer collaboration. 'That was a really unexpected surprise that really threw us all,' she says.

Now glistening anew, these pulls and a pair of custom vertical lights on either side of the entrance subtly hint at the exuberant sci-fi fantasy that visitors can expect to encounter inside.

Paris Fashion Week marks the culmination of a month-long season of shows, with previous stops in New York, London and Milan. Though it is by far the most substantial – and arguably, most significant – of fashion month so far, comprising a sprawling nine-day-long schedule and a line-up which includes fashion’s household names, among them Dior, Chanel, Givenchy, Louis Vuitton and Saint Laurent (there are plenty more besides).

And, while this season’s edition might lack the surge of newness which has defined recent seasons – one year ago, there were eight major creative debuts during the week, including Matthieu Blazy at Chanel and Jonathan Anderson at Dior – the week will, as ever, define the S/S 2027 season across its currently 68 shows and 33 presentations. That said, there will still be a handful of debuts, including former Burberry designer Drew Henry at Courrèges and Kai Nesselrath at Carven, who previously headed up womenswear at Saint Laurent.

Elsewhere, expect the reveal of John Galliano’s collaboration with Zara, the return of Maison Margiela and a celebration of 30 years of Acne Studios, alongside shows from emerging and established designers alike. All will make way for a no-doubt glittering finale from Nicolas Ghesquière at Louis Vuitton, who will provide this season’s final act on Tuesday evening.

Read below for all of Wallpaper’s moments to look out for at Milan Fashion Week S/S 2027.

Maison Margiela is back

Last season, Maison Margiela sat Paris Fashion Week out, choosing to show in Shanghai as part of a series of events which took place across China (these included exhibitions and immersive installations). For S/S 2027, it is back on the Paris schedule with a show late afternoon on Tuesday 9 September. It will also mark the first show from creative director Glenn Martens after the news that his S/S 2027 show for Diesel – held in Milan last week – will be his last as creative director (since his appointment at Maison Margiela, he has led both brands). This decision, he said, was to put his focus on Maison Margiela, which, alongside ready-to-wear, hosts annual ‘Artisanal’ shows – the house’s equivalent to haute couture.

Torishéju Dumi is our name to watch

Torishéju Dumi, who won the 2025 Savoir-Faire Award at the LVMH Prize, has been one of Wallpaper’s ones to watch for some time. Her expressive collections under her eponymous label Torishéju rework the contours of historical dress, influenced by her Brazilian-Nigerian upbringing and childhood spent within the Catholic church (she also draws parallels with the likes of Yohji Yamamoto, Hussein Chalayan and Rei Kawakubo in her intriguing approach to pattern cutting and form). ‘I have always been fascinated with the otherworldly. I’m always thinking: what else is out there?’ she told Wallpaper* when we profiled the London-based designer for our September Issue. This season, she will show off-schedule on Tuesday afternoon (29 September 2026) at Salle Wagram in Paris’ 17th arrondissement.

Paris’ landmark houses will all show on-schedule

No other city can rival the historic line-up of houses that populate the Paris Fashion Week schedule. This season is no exception, with Paris’ vaunted names – many of which are traditional haute couture houses – showing across the week. These include Chanel and Dior, arguably the city’s best-known houses, and both under relatively recent creative directors (both Matthieu Blazy and Jonathan Anderson, respectively, held their debut shows last September). As they enter their third ready-to-wear seasons, the focus will be on honing their vision for these two Parisian powerhouses (Dior will show 29 September; Chanel 5 October). The same applies to Givenchy and Celine (showing 3 October and 4 October), who are also under recently appointed creative directors Sarah Burton and Michael Rider. Elsewhere, expect shows from Louis Vuitton (6 October), Hermès (3 October) and Lanvin (2 October).

Zara will reveal its ‘creative partnership’ with John Galliano

Though his upcoming retrospective at The Metropolitan Museum of Art’s Costume Institute may be cancelled, John Galliano will have his moment at Paris Fashion Week with the reveal of his collaboration with Zara on October 1 (the exact timing, 10am CET). Though there has been no word as yet whether there will be an official event – whether a show or party – it will mark the first in what is expected to be an ongoing collaboration between Zara and the designer, who was formerly at Maison Margiela. In fact, details remain largely under wraps across the board; when the partnership was announced this past March, all Zara confirmed was that this was a ‘creative collaboration’ which will see him rework the Zara’s archives, ‘deconstructing and reconfiguring them into new seasonal expressions and creations’. Watch this space.

Drew Henry will debut at Courrèges

Courrèges will mark its latest chapter on Wednesday morning (30 September) as new creative director Drew Henry begins his tenure at the house (he succeeds Nicolas Di Felice). His first creative director role, Henry comes to Courrèges from Burberry as senior design director under Daniel Lee, having begun his career at Phoebe Philo’s Celine (he later joined her at her eponymous label, and also worked as design director for ready-to-wear under Jonathan Anderson at JW Anderson). ‘André Courrèges believed in clothes that make sense for how people live. That matters to me. I have always been drawn to work that feels modern, useful and direct,’ he said in a statement when he was appointed earlier this year. ‘I am excited to shape a vision for the House that is optimistic, clear and grounded.’

Acne Studios will celebrate 30 years

In 1996, Acne Studios began with 100 pairs of jeans, recognisable for their red stitching, that creative director Jonny Johansson and his then-collaborators distributed to their friends and creative community in Stockholm, Sweden, where the brand continues to be based. Three decades on, Acne Studios – an evolution of its original name, Acne, which stood for Ambition to Create Novel Expressions – is now one of contemporary fashion’s best-known names, showing twice-yearly as part of Paris Fashion Week. And, while 30th celebrations have spanned the whole of 2026 – including a campaign celebrating its foundational denim collection, shot by Nan Goldin (above) – the brand’s S/S 2027 show will be followed by a dinner and afterparty marking the landmark year.

Louis Vuitton will provide the week’s finale

There are a few scheduling shifts this season, including Miu Miu moving from the final day of fashion week to Sunday afternoon (4 October). More notably, though, is Louis Vuitton’s return to being the final runway show of the season, with Nicolas Ghesquière presenting his latest womenswear collection for the house at 6.30pm on Tuesday 6 October. As yet, the show’s location is yet to be revealed, though with Tuesday lacking in other major-name brands (it will be joined on the schedule by the likes of Christopher Esber, Situationist and Litkovska), Louis Vuitton will no doubt command all of the day’s column inches.

A visit to Helsinki Design Week in September should be prescribed to anyone feeling bleak about the future of humanity. Each year, as the light and leaves begin to turn, the Finnish capital reminds its population and a growing number of design advocates from elsewhere, how design makes life better. As with any design week, there are requisite furniture launches here too. But the real strength of Helsinki Design Week is its confident and relaxed demonstration of how design spills into everyday life; how it makes for a better urban habitat; how good design improves with age and use; how technology can hold hands with craft; and how long and short-term thinking work together to implement strategy into action.

Every year we return from Helsinki feeling existentially optimistic and wondering if a life amongst the berries and mushrooms, sauna and salmiakki, might in fact be the answer. This is not escape, it’s engagement. Helsinki’s design community is wielded effectively as a tool for improvement by the city in a way that is so refreshing. It’s no surprise to learn that Helsinki is one of the only cities in the world to have a chief design officer.

Instead of forests of press releases on the eve of Helsinki Design Week’s opening, we are pointed to an 84-page strategic planning document, commissioned by the City of Helsinki’s Economic Development Division within the Culture Department. In it, we are introduced to countless interviews with cultural leaders (Finnish and beyond) and international benchmarking analysis, resulting in nine actions for growing the creative sectors proactively and symbiotically with urban development. It’s not rocket science; it’s much more valuable.

One afternoon, taking a dip in the surprisingly temperate Baltic after a sweat in the transcendental Kulttuurisauna, a calm clarity of mind and body emerged, such that it’s almost impossible to master in our torrid times of cluster crisis. People take note: the Finns do it better.

12 uplifting discoveries from Helsinki Design Week 2026

A new brand of summer house

The Finns love their summer houses or mökki, and Architect Pekka Airaxin launched a new company Kainuu while we were in town, delivering summerhouses made from cross-laminated timber. With Kainuu, Airaxin can bespoke design, ship, construct and deliver turnkey-ready houses for clients. The economic, temporal and stress efficiency of centralising a process that normally spans several parties with ramped-up costs is significant. The environmental boon of CLT, which at Kainuu all comes from managed forests in an 80 km radius from the factory where the timber is processed, is admirable. Kainuu has delivered ten houses already, with 20 in the pipeline. Smart homes indeed.

A properly circular pop-up

Last year we learnt that local architecture behemoths JKMM had won the contract to design the new Architecture & Design Museum in Helsinki, which is scheduled to open its doors in 2030. Until then, a temporary space overlooking the construction site is open for events and gatherings of all scales and flavours. The three-floor building has been designed by Studio Joanna Laajisto with one of the most laudably scrupulous commitments to circularity and reuse that we’ve seen in the interiors industry. Over two decades, Laajisto has worked on sizeable commercial interiors, but felt she needed to put her practice where her mouth was, and use circularity as her definitive lens through which every decision is made. ‘The construction industry is so old-fashioned, we need to unlearn and relearn how we approach what we do,’ Laajisto said. She estimates that 99% of everything in this project is reused, bar the paint and picture frames. Ample proof that beauty is more than skin deep.

Juhanni Pallasmaa’s library

Finnish architect and theorist Juhanni Pallasmaa is a visionary – not a word we use lightly. His seminal work, The Eyes of the Skin (1996), gently held a mirror up to the fallacy of architecture that doesn’t engage the entire sensory realm. Pallasmaa turns 90 this month, and has bequeathed his entire 10,000-strong book collection to Helsinki’s Architecture & Design Museum. At the temporary space, 10% of this collection is on show for reading and reference in a beautiful sitting room area. ‘Have good books around you; they are your best friends,’ Pallasmaa said, rather poignantly.

The Kämp revamp

Hotel Kämp is Helsinki’s grande dame. Built in 1887, for a century it was a cosy safe haven from the bitterly harsh winter and a soothingly dark friend in the oppressive summer daylight. And then suddenly it felt just a little tired and fusty. A painstaking refurbishment and expansion has been undertaken, and we were spoilt to stay in the new bedrooms on the 8^th floor (in the former spa area). All bedrooms have been masterfully designed by Helsinki-based design studio Fyra, who can claim to be shifting the needle on new Nordic interiors. The Kämp’s bedrooms are grown-up in the best sense: comfortable, smart, durable, beautifully lit, money spent cleverly on the materials and details that matter.

Björn Weckström’s villa (and world)

This summer, the Espoo Museum of Modern Art (EMMA) opened Villa Weckström on the Espoo archipelago shoreline to the public by appointment for guided tours. Björn Weckström has had an extraordinary life as a jeweller, sculptor and mixed-media artist. Born in 1935, he still practises today and his villa is part-retrospective show, part-peek into the extraordinary mind and hands of the marvellous virtuoso. His jewellery was worn by Princess Leia in the original Star Wars, but it was the words of his wonderful wife Marja-Liisa as she showed us the basement of the house they share that will stay with us: ‘He’s a rather fantastic guy; I’m always surprised by him. Still.’

Ervin Latimer x Finarte

Helsinki-based fashion designer Ervin Latimer of Latimmier teamed up with local rug supremos at Finarte to design three hand-knotted and hand-tufted, gloriously saturated, three-dimensionally sculpted rugs. ‘They are inspired by my Afro-Nordic heritage, drawing from textile traditions on both sides of my family, from the Siikajoki Valley in Finland to regions of West and West Central Africa,’ Latimer explains. ‘At the same time, they explore what a contemporary design language might look like for people like me, whose family histories span multiple cultures and whose ancestries are not always easy to trace in detail.’

On the power of textiles to hold and tell stories Latimer, also the professor in practice at Aalto University, eloquently expanded: ‘Textiles have an incredible ability to hold stories. They carry them not only through patterns or colours, but through materials, techniques and in the ways they are made and used. After all, much of what we know about past cultures, and what we continue to learn about cultures today, is told through textiles. With this collection, I was interested in textiles as carriers of memory and the past, but also in their ability to create new memories and new futures. When parts of your heritage are impossible to trace, sometimes you have to create a new visual language and, in a way, a new heritage to carry forward.’

Habitare – the fair itself

With so much fun in town you’d be forgiven for thinking the fairground might be a damp squib by comparison. Far from it, in fact. Habitare gets better and better, year on year, with ever-more relevant curation and participators that demonstrate the nation’s strength in new material development and quality, enduring craft. In Finland, these mindsets go hand in hand - the mighty Artek is a portmanteau of ‘art’ and ‘technology’ after all. Habitare’s current success lies in its ability to present a serious and rigorous industry facing event that is as warm and accessible for both commercial and cultural audiences, simultaneously. Here are our highlights from this year’s fair.

Minestrone’s wooden temple

Minestrone Workshop is a collective of nine Helsinki-based designers specialising in material-led, experimental work. And wood. All specialties came together for this pavilion. The task was to create as large a space as possible using as small amount of wood as possible. The reusable frame is clad in a 2mm-thin wood veneer, resulting in 566 cubic metres of space, from just three tree trunks. The space is filled with prototype furniture and lighting made from their workshop materials, in honour of the learning-through-work-in-progress approach of their collective culture.

New Talents

Four new talents are presented each year at Habitare, which always feels refreshingly focused. This year’s crop were notable for their deft skills spanning material, form and narrative. We enjoyed Waltter Mahlberg’s joyful wooden festivities that might be conjured from man’s hands, machine’s motors or computer’s chip. We loved Iina Kettunen’s brooding chainsaw-carved and burnt pine forms. And we were charmed by Carlo Raymann’s naïve fishy forms, fantastical folk objects of devotion from another time.

Wood weaving wonders

A collaboration between interior architecture studio Sistem and circular economy expert Niimaar, has resulted in Tyyne, a series of acoustic panels made from weaving oak strips left over from the manufacture of Finnish Swan sailboats. The oak strips are handwoven in Salo, on Finland’s west coast, while its acoustic performance comes from Aisti Oy’s next-generation acoustic panels, also made from Finnish wood fibre. Tyyne is also available in birch and without the acoustic filling. There is something so exquisitely Finnish about all of this: an interior solution that looks like a work of art, and is healthy in craft, manufacture, function and afterlife.

Extreme carbon negativity

Finnish material technology firm Elementic unveiled MO6 – a carbon tile made from lignin, a by-product of the forestry industry that is usually burned. Elementic claims the carbon tile is the most carbon-negative building material in the world. Transforming the lignin into carbon is a patented process that the team won’t be drawn on, but the resulting material is lightweight, resistant, durable and stores twice the amount of carbon as wood. MO6 was launched as a brand itself at Habitare and tiles already being used in interior design projects in Finland and Europe, with the hope that it will scale and broaden its use imminently.

Furniture for life

Tebian is a small furniture brand, founded by Teppo Lakaniemi in 2011, with studio and showroom in Helsinki and all furniture manufactured in Finland. Tebian today has an extremely covetable collection of beautifully designed and carefully made furniture and home accessories. They are simple, with elegant forms and spare yet confident material use, so as to appear reassuringly robust and charmingly characterful at the same time. Such quality, soulful furniture is a rare find nowadays, where brand and marketing typically stand in the way of form and function, or skill and love. As if to win our hearts yet further, Kia Arpia (Teppo’s partner) baked fresh cinnamon twists for visitors to their stand, veritably drenched in butter with a sprinkling of salt. This is marketing we wholly endorse.

In a shift in scheduling, this season’s Milan Fashion Week began with Prada’s latest womenswear collection – a fitting position for co-creative directors Miuccia Prada and Raf Simons’ status as fashion soothsayers (all too often they set the agenda for the entire season with their collections, which are designed with an intellectual rigour). For S/S 2027, they honed in on the skirt, with all 63 looks featuring an iteration of the garment which has long been part of the Prada lexicon. Though we didn’t undertake official field research, it felt like in the coming days the skirt was ubiquitous amongst editors and fashion-show guests – a testament to Prada’s enduring influence on style.

Elsewhere, over what felt like an extended schedule (occasionally, it felt as if the season’s shows could have been compressed into a shorter number of days), there were several intriguing collections, including Demna’s latest outing for Gucci, staged in a meticulously constructed simulacrum of a Gucci store (in the collection, bourgeois polish met a pulsating sensuality), and Louise Trotter’s third outing at Bottega Veneta, which looked to the moment that spring turns to summer for a collection of newfound lightness and ease (though with all the gestures of handcraft synonymous with the Italian house).

Off the runway were the openings of The Situation, designer and editor Ed Buchanan’s new NoLo community space, which will support a new generation of Black creatives through residencies and events, and the opening of former Marni designer Francesco Rizzo’s Bureau of Imagination, an ideas factory which will host residencies of its own, alongside creating clothing, ceramics and silverware collections. With their openings – and the debuts of Dario Vitale at Emporio Armani and Pieter Mulier at Versace next season lingering on the horizon – it feels as if Milan is getting a new injection of creative energy.

Explore our pick of the best shows of Milan Fashion Week S/S 2027 below.

Prada

Prada’s latest show was all about the skirt – on the runway there were 63 in total, one for every look. It is a garment which has long been a part of the Prada lexicon: in 2006, Miuccia Prada said on Charlie Rose that ‘a skirt is like a T-shirt’, and versions have appeared on the runway throughout her career (indeed, in the newly opened retrospective ‘Pradasphere’ in Milan’s Prada Galleria, a whole room is devoted to the skirt in its various iterations). ‘We used the skirt as a framework,’ said Mrs Prada of working with co-creative director Raf Simons on this collection. ‘Like a raw material to express concepts.’

It followed a similar rationale to the pair’s S/S 2027 menswear collection, shown earlier this summer, which used the jean as its foundation. The idea, then, said Simons, was for ‘everything to [be] simple, but it is not,’ likening the process to creating a ‘pasta al pomodoro’ (a dish which uses just a few ingredients to create something extraordinary). ‘There was something compelling about reiteration, about this focus,’ the designers said at the time. ‘It is about being extremely decisive and precise.’

Here, the skirt was reimagined in a multitude of styles: some fastened with embellished Velcro, allowing them to be adjusted to the body (the designers said they liked the contrast of the industrial nature of Velcro with something more decorative), others came in jewellery-like webs of crystal flowers, cotton treated to look like leather, or in pleated latex and nylon in Prada-esque pastel hues. On the top half, a series of what Simons called ‘illogical’ combinations: satin bra tops, corporate shirts, nylon raincoats. ‘You want to be sexy, you want to be luxurious, you want to go to work, you want to be at ease with your kids. There are all kinds of skirts [for that],’ said Simons, with Mrs Prada concurring that for her it is the most ‘flexible’ garment. ‘It’s theoretical, it's conceptual, it's a frame. It’s a contradiction.’ Jack Moss

READ: At Milan Fashion Week, Prada hones in on the skirt

Jil Sander

When Simone Bellotti spoke to Wallpaper* earlier this year as part of our September Style Issue, he said that after an initial collection which sought to capture the feeling of rigour and precision synonymous with the modernist house and its eponymous designer, as he embarked on his sophomore collection – and beyond – he wanted to push Jil Sander into new territory. ‘What can I add to this brand? How far can I go, and what is the moment to stop?’ he said. ‘It takes a lot of experimentation and time. It’s psychological.’

His third collection, shown once again in the brand’s Milanese headquarters, saw him at his most experimental yet. ‘That idea of perfection at Jil, it’s not enough today, because you can find that many other places. Minimalism has become so mainstream,’ he said backstage. This idea of imperfection ran throughout: suit jackets were tailored to purposely splay open, collars were skewed, and fabrics came wrinkled and creased. Other pieces were warped in proportion, like the ultra-narrow, shortened lapels on a single-breasted blazer, while caped and balloning dresses sought what Bellotti called a ‘monumental airiness’.

The idea, he said, was to inject Jil Sander’s sometimes-severe facade with new ‘vulnerability’. ‘Creating a collection is like going to therapy,’ he said. ‘You take things apart to understand what you want to keep. Then you put them back together.’ Jack Moss

Fendi

Maria Grazia Chiuri presented a strikingly of-the-moment collection for Fendi’s S/S 2027 outing: lace-trimmed slip skirts and slinky, negligee-esque dresses which elevated the vintage-inspired trend that has dominated 2026 dressing. Staged within a house of mirrors, the allusions to the body were clear – underwear as outerwear with abundant flashes of skin, reflected and multiplied, forcing, as the show notes summarised, ‘spectators into confrontation, into the discovery of others in the reflected image’.

Sheer hosiery and peep-toe shoes were countered by heavier, textured pieces, such as a fur-trimmed jacket that could have doubled as an abbreviated dressing gown, or a folksy, embroidered gilet cut to knee length. A highly wearable collection, but with more overt sex-appeal than A/W 2026’s pragmatic offering, Chiuri’s first for the house. As ever, the creative director specified an influential feminist figure intrinsic to her design process for the season, but where previous muses have come from the worlds of literature or fine art, S/S 2027’s was more unexpected. The Italian pop culture phenomenon Raffaella Carrà, akin to Cher in her status as a gay icon and penchant for skimpy, spangled – and thoroughly transgressive – looks, was selected by Chiuri for her subversion and embodiment of the collection’s guiding principle: ‘surrender to [a] sense of emotional freedom.’ India Jarvis

MM6 Maison Margiela

There is no manual for what a garment needs to feature in order to fulfil the requirements suggested by its name. A T-shirt is not like champagne, which is only champagne if it’s made in Champagne. And yet there are implicit, tacit rules that inform our understanding and language around clothing – received knowledge that dictates the way a garment should look, or how it should be worn, or what name we assign it. As MM6 Maison Margiela described: ‘A shirt goes on the torso. A skirt starts at the waist. The neckline circles the neck; the shoulder line sits on the shoulders.’ But what if it doesn’t?

Dismantling these unspoken instructions and attempting to undermine, or redefine, a rigid paradigm was the throughline of MM6’s S/S 2027 collection – a respectful nod to Martin Margiela himself. The design collective had doll’s clothes in mind this season, but not the kind of doll you buy ready-made and ready dressed. More like a doll’s outfit a kid might crudely stitch or Pritt Stick together out of pure, unfiltered creativity, and because the supplies are to hand. Belted skirts were worn shimmied up around the chest, and elsewhere a ‘skirt’ was actually a sweater – hips shoved through the V-neck and empty sleeves swinging. A typical blue poplin work shirt was reconstructed into a dress (with doll-like proportions), collar and placket intact but serving no function other than decorative, or, in the menswear, simply moved away from the centre and towards the side of the body.

This season also introduced MM6’s collaboration with Havaianas. Playing on the number six, the footwear included a bare-foot-shaped silhouette with an extra toe, and a shoe made by ‘stacking six differently shaped Havaianas soles into an intentionally irregular platform’. India Jarvis

Max Mara

Through its 75-year history Max Mara has always positioned itself as the working woman’s brand – but mostly the woman in question is an urban dweller, wearing her teddy coat through the city streets, dressed in full camel for her office commute. This week, Ian Griffiths’s seasonal muses were working women, sure, but of a more buccaneering persuasion. The early-20th century explorer Freya Stark, wildlife photographer Osa Johnson, cross-continental driver Eva Dickson, and aviators Amelia Earhart and Beryl Markham, whose work took them across treacherous terrains and undiscovered skies, informed Griffith’s exploration of chic utilitarianism.

Standout looks featured pieces reminiscent of Kristen Scott-Thomas’s The English Patient wardrobe: a riff on a safari jacket belted at the waist, airy shirting with popped-collars, and deftly draped full-length dresses that clung closely to the body. The classic trench coat was reimagined in sheer organza, and a luxurious knit playsuit was carried forward from last season, shrunk down to summery proportions. India Jarvis

Marni

Meryll Rogge continues to prove what an astute hire she was for Marni, with her sophomore runway show for the brand following a critically lauded debut (the truncated menswear offering was shown in a static presentation during the summer). Her eye for colour is perfectly suited to the house’s 32-year heritage, and yet she is also highly attuned to the realities of how people – young, quirky people at least – dress today. Less narrative-driven and more variations on a theme, this season’s show included playful takes on the concept of conceal and reveal, as seen via cut-outs, backless pieces and skin-revealing footwear.

The collection also revealed Rogge’s take on the very contentious capri pants trend (her version featuring bold vertical stripes and definitely not to be worn by the faint-of-heart), and the glorious return of A/W 2026 jumbo sequins, plus a continuation of the playful styling collaboration with Tamara Rothstein, yet another inspired pairing. India Jarvis

Tod’s

‘Tod’s Artisanal Intelligence,’ they call it, cute wordplay belying what is in actuality a very serious, very vital operation – the preservation of extraordinary human craftsmanship and creative heritage. To wit, Tod’s made a point of emphasising the labour of love that the Made in Italy label signifies, by, as in previous seasons, installing artisans on the premises of the show, constructing T Signature bags and Gommino loafers, piece by supple leather piece.

These aforementioned accessories, signatures of the house, were updated for the new season: the bag reinterpreted in a new hobo shape, and iterations of the Gommino featuring metallic detailing, and a perforated motif which was extended into the ready-to-wear. Lightweight knits and stout leather pieces were geometrically punctured, softened by ballooning pants and panelled handkerchief dresses. India Jarvis

Sportmax

The Max Mara subsidiary addressed a pressing concern for the sartorially minded modern woman: what to wear when the temperature soars, as it is wont to do these days. ‘Like glass-blowers in the furnace,’ the press notes stated, ‘Sportmax harnessed heat to shape impossible lightness and nuanced transparencies.’ What resulted was a collection showcasing billowing silhouettes paired with robust hardware – afterall, for hot weather dressing accessories are of paramount importance. Sheer organza became a throughline from the mainline Max Mara collection, interpreted here into blazers, trenches and pants, while heavier nappa leather pieces provide an extra layer for cooler nights and ultra air-conditioned offices. India Jarvis

Gucci

One for runway spectacle, this season Demna constructed a sprawling Gucci ‘store’ in Milan’s vast Allianz Mi-Co events space, one complete with lush pile carpet, a monolithic spiral staircase, velvet banquettes and nods to the classical antiquity which featured as part of last season’s Uffizi Museum-inspired showspace (planes of marble; antique urns; stone frescoes; recreations of Roman statuary). Though this wasn’t pure fantasy, the elaborate set was also a teaser of the Georgian designer’s new store concept for the house, which will be rolled out internationally in the coming months, starting with Paris’ Avenue Montaigne on October 30, 2026.

The choice reflected Demna’s new confidence in the role, one year on since his appointment. ‘My first year at Gucci was dedicated to understanding and formulating what Gucci stands for,’ Demna wrote in a letter to guests, distributed before the show. ‘The conclusion of my research is that Gucci stands for being rooted in the desire to belong to a more glamorous world, and in the audacity to remake that world in your own image.’ With this first major architectural project for the house, it felt clear that he is making roots.

This focus made for his strongest collection at the house yet, thrillingly modelled by his cast of ‘shoppers’ who haughtily perused the store’s rails and cabinets as they traversed the space’s four rooms. The collection itself, said Demna, was about injecting Gucci’s ‘polished bourgeois respectability’ with ‘eccentricity, danger [and] sex appeal’. Cue amped-up fur coats, tailoring which jumped between the louche and the severe, and body-contouring riffs on equestrian attire, alongside elements of prep (polo shirts and tucked-in ties) and a closing series of sinuous gittering gowns, modelled by the likes of Alex Consani and Anok Yai.

Through it all, the Gucci Horsebit emerged as the defining motif – whether sized up and slung around the waist, as a buckle on the back of a jacket, or miniature on a shirt collar – making for what will surely be this season’s definitive status symbol. Jack Moss

READ: Demna opens up shop for his ‘quintessentially Gucci’ sophomore show

Ferragamo

1940s, but make it sexy. A hard task, to borrow from the proliferation of uniforms and austerity that defined wartime dressing and inject it with a distinctly contemporary swag, but that’s just what Maximilian Davis succeeded in doing with this season’s Ferragamo outing, possibly his best so far.

It was through fabrication that this vision was most acutely communicated: translucent rubber that sweated and steamed on contact with the skin beneath; glossy python details, with all the slippery, sensual connotations that come with snakeskin; and sheer silks were luxurious, gathered and draped – what Davis calls his ‘scarf dressing’. The silhouettes and construction offered hints of the 1940s influence, through military details, like pockets which appeared unexpectedly on pencil skirts, and leather utility vests peaking out from underneath tailoring.

Davis also resurrected a Ferragamo original from the era: the F wedge, first introduced by the brand’s eponymous founder in 1947. Elements of the original design inspired curved-heel stilettos, and elsewhere satin mules were bejewelled in Art Deco style. Fetishistic, surreal in places, extremely chic in others. India Jarvis

Dolce & Gabbana

The island of Sicily has long proved fertile ground for Domenico Dolce and Stefano Gabbana (it is also home for the former, who grew up in Polizzi Generosa, close to Palermo). This season, in something of a greatest hits, the pair looked once again to the Italian island, imagining the inhabitants of its grand palazzi wearing a mix-up of clothing that has been passed through generations of women. ‘A grandmother’s jacket, an aunt’s jewel, an old trousseau, embroidered linen, lace and upholstery all bear the traces of lives already lived,’ explained a short film which ran before the models hit the runway.

It made for a collection of eclectic combinations that were nonetheless rooted in Dolce & Gabbana hallmarks: there were broderie anglaise skirts and prints recalling traditional Sicilian table linens; gobstopper crystal embellishment across tattered denim jeans; as well as more body-contouring gowns – some in signature leopard prints – and nods to lingerie and undergarments. This season, though, a more aristocratic edge was lent by tweed twin-sets and extravagant beaded jackets – some of which nipped the waist, Bar Jacket-style – though worn as if their young protagonist for the season was raiding the family wardrobe. ‘Every handed-down reference is brought into the present with joyful abandon,’ concluded the pair. Jack Moss

MSGM

‘The same spirit,’ Massimo Giorgetti mused, ‘under a new sky.’ MGSN wiped its Instagram clean and debuted a new logo in the days preceding Saturday’s S/S 2027. It was a reset of sorts, amidst a collection which was a reinforcement of the brand's established codes and personality – acid brights paired with beige, confetti prints (and confetti finale), restrained tie-dye, and contrasting cuffs and collars, all featured. There was an assuredness and sense of levity running through the 36 looks, which also featured an homage to the late postmodern artist Mario Schifano, whose 1983 quote ‘I’m starting over with myself’ was something like an affirmation for the season. India Jarvis

Bottega Veneta

Set amid a bright-white showspace featuring a sound installation by Florian Hecker (transmitted by a series of 20 speakers which hung from the ceiling) and white, resin-coated cardboard stools by artist Illya Goldman Gubin (on each lay a leather flower by the house’s artisans), Louise Trotter said that this season she was seeking a feeling of refresh. Namely, the moment when spring turned to summer, and you begin shedding layers and embracing lightness. She called it ‘a physical and mental de-robing’, leading to an optimistic offering which shrugged off suggestions that Bottega Veneta – known for its superlative leather work – is more of an Autumn/Winter label. Lightweight silks slipped away from the body; webbed and crocheted fabrics had all the ease of a holiday find; while dresses were cut to drape on the body as if intuitively wrapping oneself in fabric. Accessories, meanwhile, had a craftier air, with Trotter using leather as one might raffia. ‘Summer as a proposition: to wear less, but feel more,’ she concluded. ‘To leave something open for the air to carry.’ Jack Moss]

READ: Bottega Veneta taps sound artist Florian Hecker for its S/S 2027 showspace

Giorgio Armani

The Armani Group stands on the precipice of a new era: from next season, Emporio Armani will be under the helm of new creative director Dario Vitale, the former Versace designer who will also oversee Giorgio Armani accessories (as such, there was no Emporio show this season, with the house instead holding a static presentation at Armani/Teatro). Whether or not this influenced Silvana Armani’s latest collection for Giorgio Armani – the designer is Giorgio Armani’s niece and creative director of women’s collections – there was certainly a celebratory air to proceedings, with the show ending on a glitterball finale to the sounds of Depeche Mode’s Enjoy the Silence. (Vitale, whose short but influential tenure at Versace has spawned some of the past year’s viral clothing hits, is something of a home run for the Armani Group – he was no doubt sought by many luxury conglomerates looking to crown a new star designer.)

For Silvana Armani, who will remain at the helm of Giorgio Armani, this collection continued her astute vision for the house’s banner line, which balances hallmarks of the late Mr Armani – louche tailoring; an eastern influence; impressive surface embellishment – with a more easy, feminine line, which Silvana Armani has said is influenced by her status as a rare woman designer in Milan. It made for a breadth of options for the Giorgio Armani woman, from day – easy tailored jackets were paired with neat tailored city shorts; a parka-style pullover and jogging pants were reimagined in silk; the blouson was reimagined in various iterations, including emblazoned with Mr Armani’s face – to evening. For the latter, red-carpet options were in abundance: a slinky black column gown came with butterfly appliqué, while a chainmail sheath dress descended into glimmering crystal tassels. Expect them to become ubiquitous when awards season rolls around again this November. Jack Moss

At 53 metres, M/Y HEED falls just short of the informal megayacht category (generally considered to start at 60m+). Whilst it might not be afforded ultimate bragging rights on the berthside, HEED isn’t about overall scale but quality and uniqueness of the execution.

Built in Viareggio, with a hull shaped by Arrabito Naval Architect and an exterior by Alberto Mancini Yacht Design, HEED contains a remarkable interior scheme by Achille Salvagni Architetti, the London, New York, Palm Beach and Rome-based studio that works across all manner of high-end interiors, from furniture design to hotels and private residences. It was Salvagni who brought the project to Rossinavi, and the end result is a true collaboration.

Like all yachts in its class, HEED is a truly bespoke creation, a one-of-one build that involved a lengthy process between shipyard, designers and client. Externally, HEED presents with a sleek and elegant superstructure, with a vertical bow and long ribbons of glazing on the main deck and the upper deck, home to the main saloon and owner’s suite respectively.

The latter has views towards the bow, complete with a private terrace and lap pool. Throughout the interior, softly curved timber has been used to line the principal living spaces, emphasising and highlighting design elements like the circular portholes and floating timber stairs, as well as the screens, stowage and access doors.

The yacht is also fully furnished by Salvagni’s studio, with a rich selection of curvaceous shell- and pebble-like furniture and bespoke pieces, ranging from the owner’s bed with its curved headboard to unique lighting elements.

The materials used highlight contrast and craftsmanship, with unconventional joinery and alignments. Brushed, bleached wengé floors are paired with bleached teak walls, with insets of gloss polished dark eucalyptus. Marble and timber is used in the bathrooms, while throughout HEED there are distinctive metallic accents that combine copper, rose and deep red - amaranth - ‘flashes of intensity inspired by a Mediterranean sunset’.

In the dining room, an installation of polished seashells sprawls across the walls and ceiling, adding another layer of texture to the wood-lined space with its bespoke oval table. According to the studio, ‘doors, wardrobes and handles also avoid conventional profiles, swelling and curving as though shaped by water, pressure or wind.’

A fold-down starboard balcony opens up the dining experience to the sea. This flexible approach is also adopted at the beach club and pool, where two fold-down platforms extend the usable outdoor area and provide direct access to the sea. The yacht is equipped with an onboard battery system that serves as the power source when the yacht is at anchor, for a zero emission ‘hotel mode’.

Ahead of the main saloon is the yacht’s garage, with space for a tender and other water toys. Below this is the crew cabin with berths for eight (a separate captain’s cabin is located in the wheelhouse). A bulkhead separates this area from the main guest cabins, consisting of three en-suite VIP double cabins and one twin cabin.

In addition to the main saloon, which runs the full beam of the ship and offers views to the horizon in each direction, HEED is equipped with an Observation Deck. ‘This has been an extremely stimulating project, one that will truly leave its mark on the market,’ says Federico Rossi, Chief Operating Officer of Rossinavi, ‘With generous open spaces, a panoramic owner’s cabin and a large pool, it is a yacht designed to be lived on, where functionality leads without compromising on style.’

At 499GT, M/Y HEED weighs in under the 500 Gross Tonnage threshold, above which a number of additional international maritime regulations kick in, vastly increasing the requirements and rules for crew numbers as well as access to smaller marinas.

Alberto Mancini explains that ‘working within the 499 GT threshold allowed us to rethink proportion and space with greater freedom. Placing the owner’s suite forward on the upper deck creates a quieter, more intimate connection with the sea, while the metallic grey hull reveals the beauty of the yacht’s clean, sculpted surfaces through a delicate play of light and shadow throughout the day.’

Achille Salvagni Atelier describes the end result as a ‘private world shaped by water and wind: tactile, fluid and slightly mysterious, where the interior does not compete with the sea, but breathes with it.’

‘From the beginning, I was interested in creating a world suspended somewhere between the sea and the sky: an interior without rigidity, where architecture seems to lose its conventional boundaries and become something softer, more instinctive, almost alive,’ says Salvagni, ‘I wanted the interior of this yacht to feel as though it had not been designed, but rather shaped by the forces that surround it — by water, wind, light and time.’

Rossinavi.it, @Rossinavi, SalvagniArchitetti.net, @AchilleSalvagni