Over the past few years, the darker side of the interior palette has mostly been carried by warmth.

A pinched edge, an uneven glaze, a folded textile or a pressed surface tells us that something has passed through hands, pressure, time and attention.

In the Netherlands, orange becomes truly visible whenever a major football tournament begins. It appears on shirts, flags, faces, streets, cafés and supermarket displays. The colour belongs to collective watching, anticipation, national recognition and a temporary sense of shared enthusiasm. Not only because orange is visually striking, but because here it is directly connected to recognition and belonging.

Products are no longer presented only against a beautiful or neutral background. They are increasingly placed within environments that make something felt: origin, handwork, ritual, history or material awareness.

During Milan Design Week 2026, several installations stood out for what they did not fill. The object itself was no longer always the centre of attention. Instead, the space around it became active. Atmosphere, silence, distance and emotional presence became almost tangible.

In an increasingly fast-moving digital visual culture, design is shifting towards the sensory. Images are everywhere. Interiors, objects and atmospheres are constantly being shared, saved, generated and recombined. AI is making it easier than ever to create perfect visual worlds. Precisely because of this, the need for physical conviction is growing.

ATHOME Spring Summer  2027 | interior trends

Between the Rainbow is the title of the editorial of the new ATHOME.AWX27|28 trend book.

A seed in a little pot, in a corner with light, with just enough water and patience. At first, almost nothing happens. Then suddenly a shoot, a few needles, a fragile beginning you hardly dare to touch. You watch, you wait, you give it what it needs. Slowly it grows sturdier. More green appears, more shape. You move it into a bigger pot, and after a few years you recognise it: a Christmas tree in the making. Not perfect, not finished, but carefully raised.

DDW Eindhoven always feels close to home, geographically and creatively. Paris (M&O) is where I look for newness in interiors, accessories, materials and colour; Milan is the high-end design feast; Eindhoven is that gentle week among innovators, moving from halls to museums, from conversations to material exploration, from curated shows to the tiniest details.

After visiting Maison & Objet, I stayed in Paris for two more days. I spent them wandering through the city, discovering new galleries, walking past hidden courtyards and visiting shops and galleries taking part in Paris Design Week.

My summer was a busy one. Between travelling, finishing my trend book and keeping up with appointments, I was determined to make time for Paris. September in the city is always a joy – the pleasant temperatures, the gentle light and the familiar rhythm of Paris Design Week, with a full day reserved for Maison & Objet.

From overseas suppliers I often hear the same tension: in Europe, price dominates decision-making, while in the US tariffs add constant pressure on margins. The market feels trapped. There must constantly be something new, yet it cannot cost anything.

It’s here: my new trend book ATHOMESS27 is finished. This trend book, published in September 2025, presents the interior trends for Spring Summer 2027.  Months of research, photographing, traveling and writing come together in seven inspiring themes that shape the interior and outdoor summer of 2027. From the monumental and fiery Magna Forma to the playful luxury of Dolce Framenti, from the earthy softness of Clay Day to the fluid movement of Aftertide. Each theme is a world of its own, built from colours, materials and stories that make the spirit of the times tangible.

Summer holidays have started in the Netherlands. Calendars are clearing and routines are slowing down. While others take a break, I am still working behind the scenes. My new trend book for Spring Summer 2027 is nearly finished. It is filled with new colour cards, materials, design directions and themes. Some of the tones from Avant Opale, last year's theme, continue to flow gently through.

Yesterday, July 5th, was my birthday. No cake, no guests. This year, I spent the day with my daughter on a trip to the Marker Wadden, because I love water, the Dutch Wadden Islands, nature and photography.

Upon entering the inner courtyard of Palazzo Litta during Milan Design Week 2025, my gaze was immediately drawn to an expansive surface of terracotta-coloured, sand-like material. An earthy ground layer that covered the square in a single, unbroken gesture. Above it hung a large banner, printed in both English and Korean: “Nobody owns the land / 땅은 누구의 소유도 아니다.” A powerful opening to an exhibition where materiality, trace, and connectedness took centre stage. No loud spectacle, no design as performance. Instead, a quiet installation where clay, memory, and the act of making played the leading roles.

Tijdens het voorbereiden van Milan Design Week 2026 valt op dat de Nederlandse aanwezigheid zich niet op één plek concentreert, maar zich over verschillende lagen verspreidt. Er is een duidelijk collectief ankerpunt, er zijn grote Nederlandse merken met een eigen podium, en daarnaast duiken Nederlandse ontwerpers op binnen internationale samenwerkingen, stadspresentaties en beurscontexten. Juist die spreiding maakt de Nederlandse lijn interessant. Ze laat zien dat Nederlands design in Milaan niet alleen zichtbaar is, maar ook op meerdere manieren meepraat.

Capsule Plaza returns to Milan Design Week 2026 with a new main venue at Via Achille Maiocchi 8, directly opposite Spazio Maiocchi. This year, the project gains not only a new address, but also a setting that immediately adds tension and character. The building was once an industrial space and was later transformed into a gym and swimming pool. That layered past gives this edition an especially intriguing backdrop.

While preparing for Milan Design Week 2026, I also revisit places that stayed with me.

While mapping Milan Design Week 2026, certain projects start to stand out. Not everything that is announced feels relevant, but some concepts immediately catch attention.

The first signals of Milan Design Week 2026 appear before arrival. Fragments of spaces begin to circulate, offering early glimpses of what is taking shape across the city. While mapping Milan Design Week 2026, one particular narrative stands out.

Milan Design Week 2026 is already on my mind. Some places stay with you. Even a year later, they return the moment you start mapping Milan again.