This years Milan design week gave us all lots to think about again. I decided to put my impressions into a text for the first time. Maybe its time to start a more open dialoge about where our industry is heading.
If you are a regular attender at this event or haven't made it this year feel free to read, drop a comment and follow for more stories to come.
The collection’s aesthetic merges the architectural with the sculptural. The furniture reads as light, linear, and infrastructural—almost skeletal. Deceptively simple curves require precision and a nuanced understanding of the material’s tension and resilience. Exposed joints and the ribbed texture of the steel are retained, reimagined in tones of silver and aluminium that bring new life.
The wooden seats and tabletops—made from remnants of ash, teak, or rubber wood—introduce warmth and tactility. Together, they create a dialogue between raw structure and refined surface.
BLOOM collection for @sar_design_studio
Photography by @florianifederico
In a country building at an unprecedented scale, the narrative of progress often excludes the piles of industrial waste that remain. BLOOM by SĀR reimagines this residue, transforming the by-products of construction into new beginnings.
Constructed using discarded steel reinforcement bars and leftover wood from SĀR’s own workshop, BLOOM proposes a pragmatic model for reuse. Even its making embraces what already exists: rebar rods, typically used to reinforce concrete, are bent using the same industrial machinery found on construction sites.
The result is a family of stools, chairs, and tables that carry the memory of their origins—industrial, unrefined, and honest.
designed for @sar_design_studio
photography by @florianifederico
Extending the family are the TRACK dining table, whose oval wooden band beneath a glass top echoes the loop of a racing track, and a leather-clad RIG WORK DESK, understated yet refined, detailed for daily rituals of focus and care.
Crafted from rubber wood or ash wood, each piece balances form with function, tactility with endurance, and timeless forms with contextual relevance. Together, they articulate SĀR’s belief that design’s future lies not in choosing between craft and industry, but in letting them move in rhythm.
Designed for @sar_design_studio
Photography by @florianifederico
The HOOF chair anchors the collection, its curved arms and poised stance recalling the archetypal Ming chair reinterpreted through an Indian lens. Three versions emerge: CANTEL, with a minimal leather backrest for easy maintenance and accessibility; STRAP, a woven iteration inspired by the belts and harnesses of saddlery, paired with a removable cushion in fabric or leather; and SADDLE, the most intimate of the trio, upholstered in supple leather that moulds to the body over time, embracing the sitter with familiar ease.
Extending the family are the TRACK dining table, whose oval wooden band beneath a glass top echoes the loop of a racing track, and a leather-clad RIG WORK DESK, understated yet refined, detailed for daily rituals of focus and care.
Photography by @florianifederico
Designed for @sar_design_studio
Inspired by the equestrian world and its quiet elegance, HOOF by SĀR translates the sophistication of saddlery into contemporary furniture that celebrates both craft and comfort.
Designed by Pascal Hien, HOOF’s tale begins with the precision of saddlery crafted by the skilled labour of artisans in India’s Kanpur, whose leatherwork supplies much of the global equestrian discipline. This centuries old craft forms the foundational motif of this series, expressed through clean geometry, material honesty, and timeless lifecycles.
Photography by @florianifederico
Designed for @sar_design_studio
