Fredericia has added the Post Lounge Chair to its Post Collection, designed by long-time collaborator Cecilie Manz. The original Post Table and Post Chair launched in 2019, taking their name from Fredericia’s Copenhagen showroom, itself a former post office building on Løvstræde that Manz has described as filled with personal memories from her time living in the city.

The lounge chair doesn’t rework the collection’s language so much as extend it into a different use case. Manz adjusted the scale, seat depth, and posture to suit lounge and living spaces instead of a dining table, while maintaining the same slim oak frame and visible, function-first construction as the earlier pieces. The backrest curves at a wider angle to support a more relaxed sitting position, the seat runs deeper to allow for longer sitting, and the armrests are rounded off to soften the chair’s outline without changing its underlying structure.

A removable cushion, available in fabric or leather, sits within that oak frame rather than covering it, keeping the wood visible as the chair’s primary structural and visual element. The webbing and seat are interchangeable, letting the upholstery be replaced or refreshed over time without needing to replace the frame itself.

Manz has worked with Fredericia since 2003, starting with the Micado Table for the Cabinetmaker’s Guild Exhibition, and her practice generally sits at the intersection of Scandinavian design and Japanese craft sensibilities, favouring restraint and material honesty over decorative detail. That approach carries through directly into the Post Lounge Chair, which reads as a continuation of the original Post pieces rather than a separate design exercise.

Terry Aidoo’s Kabila Collection, presented in Milan alongside Festival Divercity, takes the traditional African courtyard, a space historically built for gathering, storytelling, and shared meals, and translates it into a coffee table and stool. The name comes from “Kabila”, meaning “clan” or “tribe” in both Swahili and Arabic.

Aidoo has traced the collection back to his own upbringing, split between Italy and an African household. He’s noted the contrast between the individualism common in Western design and the collective, family-centred structure he grew up around, and Kabila started as an attempt to build that contrast into physical furniture rather than leave it as an abstract idea.

The table functions as the collection’s centre, with the stool arranged around it, the same way people gather around a courtyard rather than sit apart. A recessed circular detail on the tabletop nods to the Eritrean coffee ceremony, and a carved section references Oware, a West African board game traditionally played across generations. The stool takes cues from traditional Edo seating forms from the Benin Kingdom in present-day Nigeria, reworked in proportion and shape rather than copied outright.

The pieces are made from solid sapele wood sourced from Nigeria, CNC-machined for structural precision and then hand-finished by artisans in Italy. Aidoo has described wanting the final pieces to feel as though they were carved from a single block of timber, despite the digital precision behind the cuts.

Kabila won Product Designer of the Year in the People-Centric Design category at the inaugural Africa International Design Awards in 2026.

Wall/Pepper’s 2026 catalog reframes what wallpaper is expected to do in a space, moving away from a purely decorative surface toward something the brand describes as an experience to be lived within a room. The collection is structured as a series of distinct stylistic worlds, each built around a specific visual language, and Textural | Forma is the entry point focused entirely on material and its variations.

Where other entries in the catalogue lean on imagery or pattern, Textural | Forma works through texture, surface, and imperfection as its central subjects. Rather than printing a graphic onto a flat substrate, the collection treats the surface itself, its irregularities, and its tactile quality as the thing being designed. The intent is for the wallpaper to shift how a room is perceived spatially, not just visually, since a textured or uneven surface reads differently depending on light, viewing angle, and proximity in a way that flat pattern design typically doesn’t.

This approach sits within Wall/Pepper’s broader identity as a Milan-founded brand with roots in fine-art printing, now working across residential, hospitality, retail, and contract spaces. The catalogue features over 1,000 customizable designs grouped into thematic macro-collections, including nature-inspired imagery, historical visuals, and collaborations with designers and artists. Textural | Forma continues that structure of themed sub-collections while narrowing its focus specifically to material expression rather than image-based storytelling.

The material range is a defining feature of the brand’s operations, and Textural | Forma is produced using the same substrate options available throughout the Wall/Pepper catalog. This includes an eco-friendly wallpaper base with a soft touch and strong decorative presence, sound-absorbing substrates for rooms where acoustic performance matters, and water-repellent materials designed specifically for bathrooms and kitchens. The catalogue also includes a fiberglass wallpaper rated for exterior use and a pearlescent finish for a more reflective, refined surface quality. Any graphic in the collection can be recolored or customized, a standard feature maintained in all previous collections.

For architects and interior designers working across varied project types, from private residential commissions to contract and hospitality work, this material breadth means Textural | Forma’s design language isn’t confined to one typology of space. The same textural approach that works as a feature wall in a residential interior is available in a water-repellent format for a spa or bathroom or a fiberglass version suited to an exterior facade, keeping the collection’s material register consistent across very different performance requirements.

Ethimo has introduced Coppe, a new series of vases designed by Studiopepe, continuing a collaboration between the brand and the Milan-based studio that has previously produced the Bulbi and Innesti collections. Coppe returns to the container as a formal archetype, reducing it to what the brief describes as a pure, minimal synthesis of shape.

The collection comprises two vases in different sizes, both built around the same design premise: a body, base, and inner cavity resolved without visible joins, so the form reads as one continuous, seamless volume. The result is a rounded silhouette with carefully measured proportions, a shape whose simplicity is doing the structural and visual work rather than any applied ornamentation.

Material treatment is central to how the pieces read up close. The concrete surface showcases a visible texture that indicates handwork, with intentional variations, minor imperfections, and slight finish differences embraced as part of the design. The color palette stays within warm, earthy tones, consistent with the material itself rather than applied as a separate decorative layer.

Coppe is designed for outdoor use, intended to sit in gardens, terraces, or verandas, and built to hold up over time both physically and in how it reads visually within a space. The vases can function individually as quiet, recognizable objects or be grouped together to form a more active compositional arrangement with plants or flowers.

This is Studiopepe’s third vase collection for Ethimo. Bulbi, the first in the sequence, comprised six concrete vases in varying shapes and sizes, designed to double as occasional tables when grouped, with the studio describing the collection’s name as a reference to both the container’s shape and to ideas of nourishment and growth. Innesti followed with a system built around complementary silhouettes designed to interlock or sit side by side, allowing constantly shifting arrangements from the same set of pieces. Coppe continues that same throughline of concrete, craftsmanship, and modular arrangement, though its focus narrows to two forms rather than a larger family, treating restraint itself as the collection’s organizing idea.

Studiopepe, founded in Milan in 2006 by Arianna Lelli Mami and Chiara Di Pinto, works across architecture, interior design, product design, and creative direction, with a stated focus on research-driven, multidisciplinary design. The studio’s ongoing collaboration with Ethimo consistently emphasizes concrete and the container form, allowing for multiple collections without repeating solutions.

Ethimo has introduced Nida, a new dining chair designed by Chiara Andreatti that reinterprets the language of traditional woven chairs for outdoor use. The project takes the simplicity and structural logic of rush-seated chairs, a form with deep roots in everyday domestic furniture, and translates it into a contemporary piece built for durability in exterior settings.

The frame is die-cast aluminum, chosen to keep the silhouette slender and lightweight while still supporting the chair’s more sculptural elements. A semi-circular backrest forms a rounded curve at the top of the chair, while the armrest follows the same curved line naturally, integrating into the frame rather than reading as a separate component. The overall profile stays close to the ground in visual weight despite the structural demands of an outdoor dining chair.

Weave is where the design does most of its work. Nida uses a rope weave that shifts density depending on where it sits on the chair. Across the backrest, the weave stays open, creating a pattern of solids and voids that lets light and air pass through. On the seat, the weave tightens considerably, becoming dense and compact in a way that echoes traditional rush-seated chairs built for daily, practical use. That contrast, open above, dense below, is the chair’s clearest design decision, and it’s what ties the piece back to its stated reference point in vernacular weaving traditions.

Material performance is central to the brief. The rope and aluminum combination is built to withstand outdoor exposure while keeping the chair light enough to move easily around a table, a consideration that matters as much in hospitality and contract settings as in private residential use. Ethimo positions Nida as suited to both contexts, and its scale and proportions are designed to work with tables of varying sizes and styles rather than a single matched set.

Andreatti’s own description of the piece frames it directly: “Nida is a bridge between past and present: understated and poetic, lightweight and grounded, quietly expressing the beauty of craftsmanship reinterpreted through a contemporary lens.”

The chair continues a working relationship between Andreatti and Ethimo that sits within a broader career built on reworking craft traditions into contemporary forms. Andreatti, born near Venice and based in Milan since studying at IED and Domus Academy, has spent more than a decade designing for companies including Cassina, Glas Italia, Lema, Potocco, and Gebrüder Thonet Vienna, where her Loïe lounge chair won the IF Design Award in 2019. Her work consistently returns to a similar premise: taking a craft reference, whether Venetian glass, woven textiles, or in this case rush seating, and resolving it through industrial materials suited to contemporary production.

Ethimo’s outdoor collection has followed a similar pattern of designer collaborations built around material research, working with names including Cristina Celestino, Paola Navone, Luca Nichetto, and Studiopepe. Nida sits within that same design language, using a recognizable craft reference as its starting point rather than an applied decorative motif.

Cattelan Italia has added San Marco to its lighting collection, a new ceiling lamp built around Venetian glassmaking traditions and designed as part of the company’s broader approach to treating light as integral to complete interior design rather than a separate category of product.

The lamp’s oval glass shades come in two colorways, kiwi and peach, and are produced using blown glass techniques associated with Murano. The name references the traditional Venetian craftsmanship that informs the design. Two finishing approaches are available: one shade uses a gradient that moves from a solid color into transparency, while the other reworks Rigadin, the fine grooved pattern traditionally associated with Murano glass.

San Marco operates with two separate light sources built into a single fixture. A downward-facing source provides direct, functional light, while a second source sits within the colored shade itself, diffusing light through the glass to create a softer, ambient glow across the room.

Cattelan Italia has introduced Matera, a new system of coffee tables designed by Studio 28, built around the idea that a coffee table doesn’t need to be a fixed, single-use object in a living room. The set comes in three shapes and sizes, designed to be combined and reconfigured depending on how a space is actually used day to day.

The system is built for modularity rather than a single fixed arrangement. Individual pieces can serve as a central coffee table, a side table, or a companion piece for a reading corner, with their soft, organic lines allowing for seamless arrangement. The result is a composition that can shift as needs change, rather than a single object locked into one position in the room.

Materially, the tops carry noticeable thickness and gently curved edges, giving each piece a rounded, tactile quality closer to a natural object than a piece of manufactured furniture. The name references the Italian city of Matera and its stones, shaped gradually over time into forms that balance solid mass against open space. Cattelan Italia extends that idea to the tables themselves, treating each one as a form that can sit differently depending on how it’s placed alongside the others.

Despite the visual weight of the tops, the tables are designed to appear light rather than obstructive within a room, being low enough and proportioned carefully to sit beside a walkway without causing disruption.