Issue link: http://papercitymagazine.uberflip.com/i/1536610
flair? A design fever dream — equal parts homage and provocation. For their latest Yves Salomon Éditions collection, the Parisian house teamed up with Dimorestudio to pay tribute to the bold, baroque genius of Carlo Bugatti. Known for his ornate, otherworldly furniture at the turn of the 20th century, Bugatti's eclectic spirit was reborn — not as a replica, but as a remix. It started with a shared obsession. Yves Salomon and Tamara Taichman crossed paths with Dimorestudio's Britt Moran and Emiliano Salci over a mutual admiration for Bugatti's curious mix of parchment, wood, and sculptural form. What followed was a collaboration that reimagined the master's language in fur, leather, and metal — luxury materials turned experimental tools. The stars of the show were five one- off chairs — part sculpture, part seduction. Kaleidoscopic fur intarsia, architectural lines, and ornamental trimmings in mink and shearling were spliced together with a wink to Art Deco, '50s retro-futurism, and a heavy dose of '70s glam. Consider space age meets boudoir, with a postmodern twist. Dimorestudio set the stage, literally, surrounding these playful thrones with a scenography that felt halfway between a film set and a fever dream. And this was just Act I: More pieces are set to debut in Paris this October. One thing was clear — this wasn't just furniture. It was a mood. A movement. Bugatti would have loved it. Charlotte Perriand As You've Never Seen Her Before Saint Laurent's latest launch didn't come in leather or lace — it came in rosewood. For Milan Design Week, Anthony Vaccarello pulled off the unexpected: the launch of four ultra-rare Charlotte Perriand furniture pieces, pulled from the archives (or just her original sketches) and made real for the first time. Some pieces had never been built. Others lived in private homes, far from public view. The seven-meter-long floating sofa was originally designed for the Japanese ambassador in Paris; a sculptural rosewood bookcase was made in Rio in the '60s; the layered wood table existed only as a model on Perriand's desk; and a sleek guest armchair from 1943, lost to time, was rebuilt from a single drawing. Each piece felt unmistakably Perriand — smart, elegant, modern — but seen through a Saint Laurent lens: minimal, confident, a little mysterious. This wasn't just a tribute. It was a reminder that great design doesn't age — it just waits for the right moment. Not Your Grandma's Teapot For Salone del Mobile 2025, Loewe dropped Loewe Teapots — a wildly creative collection of teapots reimagined by 25 leading artists, designers, and architects. On show at Palazzo Citterio in Milan, the project flipped a familiar object on its head. Each teapot was a statement: some elegant, some playful, all unexpected. Stretched handles, warped proportions, surreal textures, and bold material mashups. Clay, porcelain, metal — nothing was off- limits. Tradition met experimentation, and the result was equal parts art, design, and cultural commentary. It was Loewe's ninth time showing at Salone, and under Jonathan Anderson's creative direction, the brand continued to rift between craft and contemporary design. Past projects explored basketry and ceramics. This year was the teapot's time to shine. More than functional, these vessels challenged what a teapot was — and what it could be. At once strange and familiar, they invited us to look closer, think differently, and maybe pour a cup with a little more intention. Below, left: A tribute to Carlo Bugatti — Yves Salomon Éditions collaborates with Dimorestudio. Saint Laurent – Charlotte Perriand, curated by Anthony Vaccarello Loewe Teapots by Master Deng Loewe Teapots by Akio Niisato