Inside Milan Design Week 2025

What were some of the standout trends or ideas you noticed at Milan Design Week 2025?

Milan Design Week is massive - beautifully chaotic. It’s like an endless scavenger hunt across the city. So, to stay sane, I went in with a bit of a strategy: chase what I already love but leave room to be surprised. Some definite themes kept popping up: brutalist shapes, brushed stainless, aluminium, and then softer moments - natural textiles in sandy or smoky tones. That contrast was really compelling.

Some favourites:

• Lambert & Fils: Sculptural, handcrafted light fixtures from Canada
• Fomu Studio: Chairs and tables in raw aluminium by the Australian designers
• Ryuichi Kozeki: Japanese minimalist furniture and lighting
• Ranieri: Italian design company known for working with volcanic stone
• Studio Utte: Monolithic furniture shown in their Milan office

And that’s barely scratching the surface.

Were there any innovative materials or techniques that caught your eye and felt relevant to your work?

Yes - and some weren’t even new, just reimagined. A lot of brands dug into their archives, pulled out forgotten '70s pieces, and refreshed them with sharper geometry, crisper detailing, or new materials and colours. I noticed a real confidence in using heavy-gauge stainless steel, thick plates, strong grids and pattern featured in lighting and furniture design. There was a boldness to it, almost architectural in scale. And the joinery! Simple, robust, very intentional.

Was there a particular installation or designer that really left an impression?

Interni Venosta's installation at Phillips Gallery was wild - in the best way. Imagine a punk rock apartment with brushed metal walls, Venetian blinds, and a full-blast soundtrack. And then inside, a furniture collection so composed and sculptural it felt like it had just landed from a future where everything is resolved.

The pieces were bold, geometric, and beautifully formed. Each one stood its ground, like a little monument. What I loved most was the contrast: the chaos of the environment made the clarity of the work stand out even more. It was like the furniture had transcended the noise. Or maybe it had created the noise, just to prove it could rise above it.

How did Australian design fit into the broader international conversation?

It’s always interesting seeing the global design scene with your Australian goggles on. We’re very connected to the conversation, but Milan reminds you just how vast the design universe really is. Unfortunately, I didn’t get to see all the Australians who were showing - timing wasn’t on my side - but they were there and represented brilliantly. We are big fans of Ross Gardam, who debuted his latest lighting collection. There’s something distinct about Australian design: it’s clear, unpretentious, confident.

Where do you see Davidov Architects heading next? Did Milan shift anything for you?

Milan gave us a jolt - in a good way. That sheer concentration of design thinking, aesthetics, and obsession - it’s contagious. Oddly, it made me want to return to Japan. After Milan’s theatre, I’m craving the discipline and quiet mastery of Japanese architecture. At the studio, we’ve been leaning into material honesty and spatial restraint. Milan reminded me that’s not just a personal preference - it’s part of a bigger conversation. And that’s energising. We came back with sore feet, a full camera roll, and more than a few ideas we are already folding into new work.

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