Sergio Bicego designed Gibson as a modular seating system made of independent upholstered volumes, where seats, backrests, and armrests aren’t fixed to a single configuration but can be moved and recombined within a space as needed. The idea runs through the whole system: a sofa doesn’t have to keep the same shape once it leaves the showroom.

That shows most clearly in how Gibson treats the idea of a front and a back. The sofa is double-sided, and an armrest on one module can convert into a backrest, while additional modules extend the seat into a chaise longue. There’s no fixed orientation forcing the piece against a wall or into a single reading of the room. Bicego built the flexibility into the hardware itself, which makes Gibson equally suited to a home living room and to contract settings like hotel lobbies, retail floors, and hybrid workplaces, where furniture has to survive reconfiguration far more often than in a private residence.

In those commercial settings, Gibson functions less like a single piece of furniture and more like a way to organize a room without walls. Modules can be combined, rotated, and reset into different layouts, creating loose zones for conversation, waiting, or quieter moments within a larger open space, all without a partition in sight.

The name comes from music, and Bicego has leaned into that logic in how the modules relate to each other: individual pieces functioning like notes on a score, assembled according to open compositional rules rather than one correct arrangement. The seating itself is built deep, with rounded edges and quilted detailing that picks up the softness of the polyurethane padding underneath, giving the upholstery a noticeably tactile quality. A ceramic coffee table module extends the system further, and loose cushions come in the full Cattelan Italia fabric range, either contrasting against the base palette or staying close to it in a tone-on-tone treatment.

What Bicego seems to be after with Gibson is furniture that keeps functioning as a design decision long after installation, not a fixed object but something closer to an ongoing one, reshaped as a space’s requirements shift over time.

A kitchen gets used dozens of times a day, and most of that use comes down to small, repeated actions: reaching for a knife, pulling out a pot, and putting a spice jar back where it belongs. ARAN Cucine’s Guadalupe system, finished in Manhattan ash wood with titanium Groove handles, is built around making those actions easier, with an internal drawer layout designed to hold each kind of object in a place suited to it rather than leaving everything to compete for the same space.

Cutlery, knives, spices, and tools each get their own defined space in the uppermost drawer, an arrangement built around how often a hand actually returns to that drawer during a single meal. A drawer beneath it swaps fixed inserts for a modular divider system, since trays, jars, and bowls rarely come in matching sizes, and a kitchen that’s used daily needs storage that can be rearranged as often as its contents change. The heaviest load, pots and their lids, sits lower still, on full-extension runners with soft-close hardware rated to carry weight that would strain a lighter mechanism.

The difference this makes is mostly felt rather than seen. A kitchen where the right drawer opens the right way, every time, without jostling or searching, tends to feel calmer to work in, even if nothing about its footprint has changed. Guadalupe doesn’t alter how much space a kitchen has. It changes how that space behaves once someone starts using it, which, over enough repetitions, is the part that actually shapes the experience of cooking in it.

Leather weaving and wood inlay aren’t new to Turri’s workshop. What’s changed this season is where the brand is putting them.

Woven by hand from start to finish, the leather on these pieces doesn’t sit on the frame the way upholstery usually does; it becomes part of it, carrying the texture and give of a woven textile rather than a surface stretched tight over padding. Inlay takes the opposite route to a similar effect: different wood essences set against each other until the tabletop or panel holds its own pattern, no applied decoration required.

Three pieces make the case. Marco Acerbis’s Nabi chair runs a saddle-style weave across its upholstery, finished with a stickage process tight enough that the seams barely register up close. On Monica Armani’s Roma bed, woven leather shows up on the side panels for the first time, and the addition shifts how the piece reads as an object, less flat, more layered than the earlier version.

The Zero26 round table, designed by Andrea Bonini and shown at the fair, carries the inlay work furthest, its tabletop built from a pattern clearly meant to hold up under close inspection. The wider Zero26 range has also been refreshed: round and rectangular tables now both come in walnut alongside the original high-gloss lacquer, the round table sits on a lighter structure than before, and every model’s legs are leather-wrapped with the stitching left visible rather than hidden.

Weaving and inlay aren’t unusual techniques in furniture making on their own. What stands out is that Turri is pulling methods typically reserved for large contract commissions into pieces meant for regular use, domestic or hospitality alike. The brand says the same approach carries through to its boiserie and full interior projects as well.

Marco Acerbis has designed TÊT, a new seat for Et al., built from two curved plywood shells that together set the chair’s outline. The construction reads as simple, yet the proportions and volumes carry a distinct formal identity.

The backrest is the piece’s clearest signature: wide, slightly enveloping, treated as one continuous surface. It carries the chair’s volumetric presence and sets the tone for everything else in the design.

The seat is also formed from curved plywood and can take an upholstered cushion, added as a separate element rather than fused to the backrest. The cushion softens the geometry of the shell and rounds out the comfort of the piece, both to the eye and to the body. TÊT comes in two configurations, fully in wood or with the upholstered seat cushion, and the choice of upholstery can shift the character of the chair without changing its underlying form. The seat and backrest, in either version, sit on a four-legged metal frame kept light and structurally straightforward.

Stackability is written into the design rather than added afterward. The chairs nest for storage, a detail that carries real weight in hospitality settings, where furniture gets moved, reconfigured, and put away on a daily basis.

Et al. brings seventy years of experience in seating, tables, and furniture accessories for hospitality and public spaces, rooted in the area between the Marche and Romagna regions, where furniture craft has passed through generations of makers. The brand names responsibility, sustainability, and care for people among its founding values. Et al. is part of Ifi S.p.A., an established name in furnishing solutions for bars, gelato parlours, pastry shops, and the wider food service sector, and a two-time winner of the Compasso d’Oro ADI award, in 2014 and 2018.