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The Wednesday Journal of Cultural Insights.
The pre-sale of the Milan Trend Report 2017/18 starts as per today and we couldn’t be happier with the result. It is a very complete digital report with new content we haven’t produced to date, and we honestly believe, it is the largest on the market. If you are a newsletter subscriber, you might have read a bit more of how we produced this edit. The report comes with a gift I am going to share with you in a moment.
What to expect this year and how can you benefit from the information we have been gathering?
Every year in April, Salone del Mobile and Fuorisalone define the Milan Design Week, the most important event in the world related to the topic of design. With more than 2.000 exhibitors only on the fairground and growing design districts with countless design proposals to add-on,
grasping all available information and getting to conclusions can be overwhelming.
If you have visited Milan but did not manage to spend the entire week or couldn’t attend at all this year, this in-depth coverage reveals what has been going on featuring
The report comes with a different angle this year showcasing the new Morality turning into a design medium. Political, economical and ethical questions are raised through design.
You might want to learn also about new forms of collaboration with a few designers highlighting their skills without showing an end product. The idea is of triggering the clients’ needs and knowledge to set up products and projects together.
The Milan Trend Report 2016 covers through 150 pages events and trends that are still very relevant for 2017 taking into account a 3-5 years life span of several trends. Tactility or Creative Waste are taking a central stage now when it comes to develop new products and define brand values.
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Over the last 18 months, we have been watching something interesting happen in the way people search for new materials
Of all trade shows, festivals, exhibitions, Homo Faber is the one you need to experience in person. This was my
While reading Pablo Picasso’s autobiography, I found myself drawn not only to the artists of early twentieth-century Paris, but to
