Not just high-tech robots, exclusive, refined tailor-made details, pieces from the past reinvented (the widespread phenomenon of reissues), were in the spotlight at showrooms, galleries and apartments lent to possible dimensions (and dreams) of living in the Expo city.
The spaces of the majors often became crossroads between forms of excellence (mostly culinary) of a specific territory, and there were also ‘institutional’ updates: furnishings and systems with an experimental (but engineered) spirit, conceived as works of architecture (to live in a fluid, malleable way, between formal and informal comfort), personalized (an expression of a sensory approach based on even strong contrasts of materials and colors).
Not to mention the offerings of many unexpected start-ups. Near the Madonnina, the afternoons of design always have blue skies. Even though they don’t take overt risks. Because today, more than ever, companies and designers know that synergic investment – governed by prudence – in research and innovation, connected to the tradition and the culture, specific linguistic backgrounds and forms of know-how, remains the only way to approach the global challenges of the future, which above all await the new generations.
Finally, just to feel better, between emotion and reason, there were two curious creative junctions: for the first time, under the spires of the Veneranda Fabbrica del Duomo, we saw works by the English contemporary artist Tony Cragg, and at the atelier of Marsotto Edizioni the works in marble by fashion designer Lawrence Steele.
by Antonella Boisi
photos by Simone Barberis