Milan Design Week 2025 has come to an end and, with the hype now fading, it is time to take stock. Here, in summary, is what made our hearts flutter and what left us perplexed at this edition, which once again proves how alive, vibrant and – at times – exorbitant Milan design is.
TOP: Places, performances and narratives of excellence
- The rediscovered charm of historic places:
Proposals that juxtaposed architecture from the past and contemporary design proved to be the highlight of the event. From Dedar, which enhanced Anni Albers’ works in the Torre Velasca, to Michael Anastassiades’ lamps and Vico Magistretti’s re-edited furniture, we found a sincere link with the Milan of the 1950s, revisited in a modern key. - Staging Modernity by Cassina:
Set in an immersive installation at the Giorgio Gaber Opera House, the performance dedicated to the 60th anniversary of the Le Corbusier Collection offered a bold reinterpretation of modernity, challenging the traditional industrial vision in favor of a more fluid and natural conception. - Romantic Brutalism and well-curated group shows:
Initiatives such as Federica Sala’s exhibition celebrating the centenary of Poland’s participation in the Exposition Moderne offered a cultural experience dense with depth and critical reflection, demonstrating that design can be a carrier of stories and memory. - The route out of the center: Labò:
Pushed out of the comfort zone of the central areas, Labò offered an intriguing mix of collectible design, biodesign and socially oriented projects in an “anti-click” context that rewarded slowness and spontaneous discovery, giving serendipity to those who dared to step out of the crowd. - The Salone as a cultural producer:
Thanks to a solid and engaging talk program, Fuorisalone was able to transform itself into a true laboratory of ideas. With talks from Bob Wilson, Paolo Sorrentino and Es Devlin, it is clear how Milan is redefining the role of trade fairs, focusing on culture and storytelling as well as commercial exhibitions.
FLOP: Between organizational chaos and misplaced settings.
- Endless queues and unsaleable gadgets:
Over-reliance on registration and “metric” methods has turned some venues into queue aisles. Between compulsive selfies and ironically scarred gadgets-such as Etro’s folding stool-a paradoxical side emerged: too much marketing at the expense of authentic experience. - The off-season “Fashion Week” effect:
Big brands, sometimes too overbearing in their extra-Fuorisalone events, have polarized attention, generating speculative bubbles and narratives that seem more like a secular procession than a true design experience. Some proposals, while valuable, have stifled the narrative fabric with media excesses. - So many commitments, so little engagement: the discourse of current issues:
At a time when social, climate and political emergencies demand attention, many realities of the design system have limited themselves to superficial “stumbling blocks.” There were those who boldly addressed the issue of war, those who presented work on prison furniture, but several speeches lacked concrete engagement, leaving the audience with more questions than answers. - The decline of Zona Tortona:
Once the beating heart of spontaneous activations, Zona Tortona has shown signs of fading this year. The absence of unified direction and the misalignment between initiatives have waned the ferment that has distinguished the neighborhood over the years, highlighting the need for structural reorganization.
Milan Design Week 2025 was able to provide “wow” moments for those who appreciate the marriage of tradition and innovation, but it also highlighted critical issues in the organization and usability of spaces. All in all, an event that always remains the scene of great emotions and deep reflections – waiting to be rethought to ensure an increasingly inclusive and qualitatively unforgettable experience.
