Maison & Objet 2025

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.

I had already heard that the fair would be smaller this year, manageable enough to see in a single day. And indeed, it felt more intimate than in previous editions. Less monumental, yet more personal.

Where in other years I rushed from stand to stand with my camera, trying to capture everything, this time I could slow down. I had time to talk to people, to listen. Makers spoke with passion about their work, and I took the opportunity to visit the booths of new talents and artists with smaller presentations. The result was a day filled with meaningful encounters, fresh ideas and new material knowledge – quietly inspiring.

Among the many impressions of the day, there were several presentations and collections I would like to share with you. In no particular order, I have gathered a few images and names that stayed with me.

One of the stands that made a lasting impression was the collective presentation Design Brasileiro by ApexBrasil, where Brazilian craftsmanship and creativity came together in a poetic way. Among the names were Oiamo and Gypso. Oiamo works with women’s collectives in southern Brazil, reinterpreting traditional techniques such as weaving, felting and embroidery. Gypso uses leftover brass and concrete, transforming them into layered sculptural forms with a restrained yet powerful expression.

The fragrance hall at Maison & Objet is always intense. All the senses are stimulated at once. That is why the stand of Ofumum immediately caught my attention. It stood out for its calm and purity. The presentation was natural and white, minimal and meditative. Everything radiated restraint and artistic refinement. I spoke with the owner, part of the couple who founded and run the brand together. The sculptural ceramic flacons stood in quiet harmony with the space, as if scent itself had become timeless. I was given three beautiful sample vials that will accompany me on future travels, perhaps leading to my next personal fragrance.

At Imbarro I discovered beautiful textiles with rich prints and warm, multicoloured compositions. In conversation with the owner and his son, I learned that his wife and mother is responsible for the creative direction of the collection. The work felt full of character, with attention to craftsmanship, material and a strong creative vision.

At Mapoésie the bold patterns and use of colour immediately stood out. The Parisian studio presented rugs and textiles in which geometric shapes and soft transitions came together in perfect balance. Their work is hand-printed in India, and the small irregularities form part of the object’s identity.

The rugs by Doing Goods also drew attention, prominently displayed along the outer side of their stand. The hand-tufted wool rugs, often inspired by animals and folklore, were playful yet refined. Each piece is handmade in India. Their presentation felt generous, inviting and full of positive energy.

A few aisles further I came across Riwal Manufaktura Their ceramic panels formed a powerful composition with relief structures, botanical motifs and striking colour combinations.

At the moment, artificially crafted flowers are once again present everywhere in contemporary interiors and shop displays. They are more sophisticated than ever, sometimes indistinguishable from the real thing and even lifelike to the touch. This revival is not only about aesthetics but also about sustainability, reflecting changes in the flower industry and a growing desire for lasting natural beauty.

So too Françoise Delaire, who creates exquisite flower-like sculptures from fine mesh material. Her works suggest petals, light and almost transparent, carrying a sense of fragility. In her creations, shadow, air and movement merge into something alive. Her work seems to balance between nature and poetry, between form and emotion.

Finally, my eye was drawn to an open white installation: the Welcome Home installation by Amélie Pichard. Her “house without walls” stood in Hall 6, a spatial composition where craft, art and technology converged. She described it as a living home in motion, inviting visitors to step inside.