The Main Trends Emerging From This Autumn's Design Shows
As trade shows return in person, we look at some of the biggest trends coming out of European design this autumn
Our round-up of common trends from the autumn European fair schedule starts with possibly the biggest and, for many, most exciting of them all: the return of physical, in-person fairs. Many of Europe’s iconic trade events were held in person for the first time in 18 months, and the excitement among professionals and design enthusiasts was palpable.
Multifaceted Sustainability
Sustainability was the strongest theme to emerge from the European fairs. Though the spectre of greenwashing is ever present in any discussion of sustainability by brands, it was refreshing to see the topic examined from so many different angles.
Recycling. There were products made out of recycled or recyclable materials. Pictured here is the prototype for the Ocean Chair by Zuiver, exhibited at Maison et Objet (September 9–13 in Paris, France). The chair is made of recycled ocean plastic on a 100% recyclable metal frame.
A number of recycled and otherwise more sustainable materials were also debuted at Supersalone. And, according to the organisers, the fair itself is sustainable, with the show stands made of 100% recycled wood, which will be returned to the production cycle to prevent the emission of 553,500 tons of CO2.
Sustainability was the strongest theme to emerge from the European fairs. Though the spectre of greenwashing is ever present in any discussion of sustainability by brands, it was refreshing to see the topic examined from so many different angles.
Recycling. There were products made out of recycled or recyclable materials. Pictured here is the prototype for the Ocean Chair by Zuiver, exhibited at Maison et Objet (September 9–13 in Paris, France). The chair is made of recycled ocean plastic on a 100% recyclable metal frame.
A number of recycled and otherwise more sustainable materials were also debuted at Supersalone. And, according to the organisers, the fair itself is sustainable, with the show stands made of 100% recycled wood, which will be returned to the production cycle to prevent the emission of 553,500 tons of CO2.
Hemp fibre could be a sustainable material for the future. Photo by Spott for Heimtextil.
Circularity. Still a radical idea a few years ago, fairs all over Europe were engaging with the concept of circularity this year.
At an online trend preview for next year’s Heimtextil fair (January 11–14, 2022 in Frankfurt, Germany), Caroline Till, of UK creative studio Franklin Till, presented two approaches to producing without creating imbalances in nature: “to either retain naturally derived materials within the biological cycle and let them degrade, or utilise only synthetic materials that can be retained wholly in the technical cycle, within infinite loops”.
At the London Design Festival (September 18–26 in London, UK), circularity was the focus of a panel discussion as well as the Designing for Circularity exhibit, where 12 Danish furniture designers showcased approaches to keeping materials in use.
At 3 Days of Design (September 16–18), Bang & Olufsen displayed an item designed to prolong the life of its products; a kit to upgrade 1970s turntables. Likewise, furniture manufacturer Skagerak has continued its Re-Classic initiative, in which it buys back, restores and resells its products. “Throughout the pandemic, we have seen a huge increase in the demand for these pre-loved items,” says Skagerak CEO Jasper Panduro.
Circularity. Still a radical idea a few years ago, fairs all over Europe were engaging with the concept of circularity this year.
At an online trend preview for next year’s Heimtextil fair (January 11–14, 2022 in Frankfurt, Germany), Caroline Till, of UK creative studio Franklin Till, presented two approaches to producing without creating imbalances in nature: “to either retain naturally derived materials within the biological cycle and let them degrade, or utilise only synthetic materials that can be retained wholly in the technical cycle, within infinite loops”.
At the London Design Festival (September 18–26 in London, UK), circularity was the focus of a panel discussion as well as the Designing for Circularity exhibit, where 12 Danish furniture designers showcased approaches to keeping materials in use.
At 3 Days of Design (September 16–18), Bang & Olufsen displayed an item designed to prolong the life of its products; a kit to upgrade 1970s turntables. Likewise, furniture manufacturer Skagerak has continued its Re-Classic initiative, in which it buys back, restores and resells its products. “Throughout the pandemic, we have seen a huge increase in the demand for these pre-loved items,” says Skagerak CEO Jasper Panduro.
Lighting company Pooky presented an updated version of its Athena chandelier at Decorex.
Betting on lasting classics. The flip side of this is a focus on creating new products that have longevity. “We had a few years where everything was very temporary,” says Alexandra Jurkiewicz of Helen Green Design Studio said at Decorex (October 10–13 in London). “Now people are happy to invest in pieces that will stay in the family or even stay in the house when it’s sold.”
This has been a longstanding ethos for Danish manufacturers in particular, with brands such as Karl Hansen & Son and Fritz Hansen saying they are currently experiencing an explosion of sales to homes within Denmark and abroad.
Betting on lasting classics. The flip side of this is a focus on creating new products that have longevity. “We had a few years where everything was very temporary,” says Alexandra Jurkiewicz of Helen Green Design Studio said at Decorex (October 10–13 in London). “Now people are happy to invest in pieces that will stay in the family or even stay in the house when it’s sold.”
This has been a longstanding ethos for Danish manufacturers in particular, with brands such as Karl Hansen & Son and Fritz Hansen saying they are currently experiencing an explosion of sales to homes within Denmark and abroad.
Royal Copenhagen at 3 Days of Design.
Vintage, antiques and auctions for a new generation. Unsurprisingly, vintage and antique items were popular at this year’s 3 Days of Design, with a focus on how a new generation of consumers are approaching antiques and auctions through a sustainable lens. “So far, people have most often bought things at auctions because of the aesthetics, the history or the high quality of the aged objects. But now we are seeing a whole new generation of customers, for whom sustainability is the primary reason for bidding at auctions,” says Mette Rode Sundstrøm, CEO of Danish auction house Lauritz.com.
Vintage, antiques and auctions for a new generation. Unsurprisingly, vintage and antique items were popular at this year’s 3 Days of Design, with a focus on how a new generation of consumers are approaching antiques and auctions through a sustainable lens. “So far, people have most often bought things at auctions because of the aesthetics, the history or the high quality of the aged objects. But now we are seeing a whole new generation of customers, for whom sustainability is the primary reason for bidding at auctions,” says Mette Rode Sundstrøm, CEO of Danish auction house Lauritz.com.
Spotlight on Craft and Skill
Not only were skill, knowledge and craft objects highlighted at the fairs, craftsmanship was acknowledged as a sustainable resource as it represents small-scale production as well as local, traceable manufacturing and supply chains.
Trend forecaster Vincent Grégoire says Maison et Objet’s sustainable focus, which protected origin labels, traceability and zero-kilometre production “are spilling over from the culinary world into design”.
“We are in a period of transformation,” says Anja Bisgaard Gaede of Danish firm Spott Trends & Business, who was on the Heimtextil Trend Council. “We do still have large-scale production, which we need to change to a more sustainable path.”
Not only were skill, knowledge and craft objects highlighted at the fairs, craftsmanship was acknowledged as a sustainable resource as it represents small-scale production as well as local, traceable manufacturing and supply chains.
Trend forecaster Vincent Grégoire says Maison et Objet’s sustainable focus, which protected origin labels, traceability and zero-kilometre production “are spilling over from the culinary world into design”.
“We are in a period of transformation,” says Anja Bisgaard Gaede of Danish firm Spott Trends & Business, who was on the Heimtextil Trend Council. “We do still have large-scale production, which we need to change to a more sustainable path.”
This trend was reflected in unique, skilfully made products that move far from the mainstream, such as the Les Inséparables vase by Audrey Jezic Céramiques in chamotte stoneware (previous image).
At Maison et Objet, this appeared as a resurgence of needlework and macramé; new, delicate ways of working with wood as seen in this sculpture by Maxime Perrolle; and in products, particularly by younger designers, with clear references to the visual arts. Trend-forecaster Elizabeth Leriche, the curator of one of the themed area at Maison et Objet, noted the prevalence of motifs evoking 20th-century visual arts approaches such as splatter, drip techniques and free forms.
At Decorex, traditional crafts were used in new ways. Annika Reed, for example, exhibited wallpapers made with traditional woodblock printing.
At Maison et Objet, this appeared as a resurgence of needlework and macramé; new, delicate ways of working with wood as seen in this sculpture by Maxime Perrolle; and in products, particularly by younger designers, with clear references to the visual arts. Trend-forecaster Elizabeth Leriche, the curator of one of the themed area at Maison et Objet, noted the prevalence of motifs evoking 20th-century visual arts approaches such as splatter, drip techniques and free forms.
At Decorex, traditional crafts were used in new ways. Annika Reed, for example, exhibited wallpapers made with traditional woodblock printing.
Roll Top sofa from Sedilia.
The Comforts of Home & Togetherness
At 3 Days of Design, craft was also part of a broader movement to revalue the rituals of home, particularly meals. Several dinnerware collections emphasised the meal as a setting for bringing people together.
Maison et Objet, likewise, focused on the pleasures of being home. “One feels well at home. The theme [To be home], already energised before the pandemic, resonates fully with our lives. We wanted to show the inwardness, the porosity of the home. It is not revolutionary, but we are looking at these objects with new eyes,” says Leriche.
The Comforts of Home & Togetherness
At 3 Days of Design, craft was also part of a broader movement to revalue the rituals of home, particularly meals. Several dinnerware collections emphasised the meal as a setting for bringing people together.
Maison et Objet, likewise, focused on the pleasures of being home. “One feels well at home. The theme [To be home], already energised before the pandemic, resonates fully with our lives. We wanted to show the inwardness, the porosity of the home. It is not revolutionary, but we are looking at these objects with new eyes,” says Leriche.
At London Design Festival and Decorex, this trend was reflected in soft, curved and extra-comfortable furniture such as the Roll Top sofa from Sedilia (first image in this section) and the Lugano collection, designed by Rock Galpin for Morgan Furniture (next photo), which was inspired by the concept of ‘nurture’.
Another highlight of the London Design Festival was human-centred design, such as the Bruno armchair (pictured), designed by Ilse Crawford and Oscar Peña for SCP. Inspired by Bruno Munari’s 1944 essay Seeking Comfort in an Uncomfortable Chair, the lower arm lets the user casually rest their leg in a more comfortable and organic sitting position.
Another highlight of the London Design Festival was human-centred design, such as the Bruno armchair (pictured), designed by Ilse Crawford and Oscar Peña for SCP. Inspired by Bruno Munari’s 1944 essay Seeking Comfort in an Uncomfortable Chair, the lower arm lets the user casually rest their leg in a more comfortable and organic sitting position.
Targeted relaxation. There were also relaxation products for the home. The Starpool Wellness Coach showcased at Supersalone (pictured here) includes mindfulness programs and tracks with music and nature sounds. Jacuzzi likewise came out with a whirlpool bath with integrated chromotherapy and salt infusers.
At Cersaie, mirrors equipped with LEDs on motion sensors, where the colour temperature of the light adjusts to the time of day, were featured.
At Cersaie, mirrors equipped with LEDs on motion sensors, where the colour temperature of the light adjusts to the time of day, were featured.
Tactile experiences. Also evident was an emphasis on textures and engaging the senses. “The pandemic made us lose our benchmarks and played up our senses: our relationship to taste, smell but to vision and touch,” says Grégoire.
This was reflected in textured tiles at Cersaie and ceramics by Harriet Caslin at Decorex (pictured). “I love the idea of someone using one of my mugs and noticing how comfortable it sits in their hands and how tactile the satin glaze feels with the unique ridged design,” Caslin says on her website.
This was reflected in textured tiles at Cersaie and ceramics by Harriet Caslin at Decorex (pictured). “I love the idea of someone using one of my mugs and noticing how comfortable it sits in their hands and how tactile the satin glaze feels with the unique ridged design,” Caslin says on her website.
Gioia by Ceramiche Gardenia Orchidea in Brit pattern.
Biophilia still going strong. Biophilia has been a big part of wellbeing in the home and the trend is still going strong. At Cersaie it was seen in botanical patterns on tiles (pictured). Decorex was likewise full of nature-inspired and organic designs, including a new line of wallpapers and fabrics from Timorous Beasties.
Biophilia still going strong. Biophilia has been a big part of wellbeing in the home and the trend is still going strong. At Cersaie it was seen in botanical patterns on tiles (pictured). Decorex was likewise full of nature-inspired and organic designs, including a new line of wallpapers and fabrics from Timorous Beasties.
At Supersalone, plants were integrated into furniture, including in Stefano Boeri Architetti’s Oasi monoblock kitchen for Aran Cucine (pictured here). Biophilia was also part of the fair structure, with 200 trees planted around the venue. After the event, the trees will be replanted in the Parco Nord Milano as part of the Forestami urban-greening project.
Puik stand, Maison et Objet. Photo by Aethion.
Colours Go Back to the Future
What is certain is that colour is back in a big way. This year’s focus on colour can be broken down into three clear trends.
Bold blocking. This involves bold colours that carry a tinge of nostalgia for the comforts of previous decades. Think juxtapositions, and the colour blocking of contrasting tones that take us back to the ’80s and ’90s. These hues tend to cover burnt oranges, browns, and moss greens from the ‘70s, along with the return of Klein blue.
These are in contrast to the futuristic interpretation of this trend at the Heimtextil preview, with ultraviolets and unnatural neon greens accompanying the rising popularity of virtual consumption.
Colours Go Back to the Future
What is certain is that colour is back in a big way. This year’s focus on colour can be broken down into three clear trends.
Bold blocking. This involves bold colours that carry a tinge of nostalgia for the comforts of previous decades. Think juxtapositions, and the colour blocking of contrasting tones that take us back to the ’80s and ’90s. These hues tend to cover burnt oranges, browns, and moss greens from the ‘70s, along with the return of Klein blue.
These are in contrast to the futuristic interpretation of this trend at the Heimtextil preview, with ultraviolets and unnatural neon greens accompanying the rising popularity of virtual consumption.
Wallpaper from the Maison Leleu retrospective collection with Lelièvre Paris.
At Supersalone, there was also a darker, moodier blue, used in stark contrasting palettes.
“It’s an exciting and diverse time for design, as there are no rules. Clients want to be more bold,” says Louise Wicksteed of Sims Hilditch.
At Supersalone, there was also a darker, moodier blue, used in stark contrasting palettes.
“It’s an exciting and diverse time for design, as there are no rules. Clients want to be more bold,” says Louise Wicksteed of Sims Hilditch.
Rotin by Studio Zanellato / Bortolotto for Ethimo. Seen at Supersalone.
An Autumn Bouquet. Finally there were the earth tones, from the khakis and browns that were highlighted at the Heimtextil trend preview, to what Houzz France editor Claire Tardy called an “autumn bouquet” of terra cotta, burnt oranges and bold yellows as well as moss green.
The Heimtextil preview emphasised khakis and organic neturals seen in dye-free fabrics.
An Autumn Bouquet. Finally there were the earth tones, from the khakis and browns that were highlighted at the Heimtextil trend preview, to what Houzz France editor Claire Tardy called an “autumn bouquet” of terra cotta, burnt oranges and bold yellows as well as moss green.
The Heimtextil preview emphasised khakis and organic neturals seen in dye-free fabrics.
Vintage Collection by Enrico Cesana for Ardeco in matt mustard with Penta anthracite serigraph. Spotted at Cersaie.
Colour in Bathrooms Too
We’ve been seeing a trend towards colour in the bathroom for years now, but this year it was on hyperdrive. At both Cersaie and the London Design Festival bathrooms were transformed a colourful spaces, with even washbasins forgoing white for more interesting tones.
At London Design Festival, the emphasis was on warm tones, while at Cersaie many of this year’s broader colour trends were reflected in tile and fixtures.
Colour in Bathrooms Too
We’ve been seeing a trend towards colour in the bathroom for years now, but this year it was on hyperdrive. At both Cersaie and the London Design Festival bathrooms were transformed a colourful spaces, with even washbasins forgoing white for more interesting tones.
At London Design Festival, the emphasis was on warm tones, while at Cersaie many of this year’s broader colour trends were reflected in tile and fixtures.
Tessuto radiator by Marco Pisati for Cordivari Design.
Your turn
Which of these design directions are you most excited about. Do you see any ‘landing’ in Australia? Tell us in the Comments below, like this story, save the images, and join the conversation.
More
Want more international design trends? Read more indepth coverage of Cersaie at Cersaie 2021: Goodbye White Bathrooms, Hello Sumptuous Textures
Your turn
Which of these design directions are you most excited about. Do you see any ‘landing’ in Australia? Tell us in the Comments below, like this story, save the images, and join the conversation.
More
Want more international design trends? Read more indepth coverage of Cersaie at Cersaie 2021: Goodbye White Bathrooms, Hello Sumptuous Textures
Of course, the seismic shocks of the pandemic continue to be felt. First, the fairs were different this year: the Salone del Mobile organisers, for example, took hygiene measures as a creative opportunity. At this edition, all exhibitors were given a standard display space, which helped move traffic along, while it also levelled the playing field. Major brands and small studios had to work equally hard to set themselves apart from the crowd. To mark this new beginning, the fair was renamed Supersalone (and ran from September 5–10 in Milan, Italy).
The major trends at this year’s European fairs can be seen as stemming from two impulses driven by our recent experiences: on one hand, a hyper awareness of (the environmental) crisis; on the other, a renewed delight in the comforts of home.