The Best Things I Saw at Maison et Objet (Were Not at Maison et Objet)
The Best Things I Saw at Maison et Objet (Were Not at Maison et Objet)
When I planned my trip to Paris this September, I envisioned a journey immersed in artistic discovery, as detailed in my previous blog, International Design Sourcing: Paris & Madrid 2024. Attending Maison et Objet, one of the most anticipated design events globally, promised fresh insights into the latest trends in furniture, interior design, and home accessories. Yet, in an unexpected twist, the most remarkable things I saw weren’t inside Maison et Objet at all.
To be clear, Maison et Objet has its strengths. It’s an expansive showcase where one can discover new brands and companies, and it serves as an ideal destination for those working on large-scale projects, in need of bulk quantities of items such as glassware, cutlery, and stock for retail spaces. But when held against the backdrop of fairs like PAD London, TEFAF, Art Basel, or even ICFF in New York, the comparison is sharp. These events elevate design to the realm of fine art, where craftsmanship meets rarity and luxury is woven into the very fabric of the exhibitions.
Take ICFF in New York, for example. While smaller in scale, its focus is razor-sharp, showcasing high-quality, innovative pieces that push the boundaries of contemporary design. Walking through the 2024 show, I found myself captivated by a sculptural lighting installation from Lindsey Adelman, where organic forms merged seamlessly with industrial materials. It was a masterful balance of form and function, at once sophisticated and avant-garde. Similarly, the collaboration between Egg Collective and Ladies & Gentlemen Studio at ICFF was nothing short of exceptional, an exercise in how light can transform space.
Then there’s TEFAF New York, which stands in a class of its own. Here, design transcends function, becoming art. A piece that particularly stood out was a hand-carved Edward Wormley desk, its surface a stunning mosaic of burl wood. It was a reminder that great design tells a story, where history and craftsmanship intersect. I was equally drawn to mid-century ceramics by Lucie Rie, whose work carries with it a sense of quiet elegance, each piece infused with narrative and nuance. This level of refinement and artistic expression is precisely what defines fairs like TEFAF.
By contrast, Maison et Objet leans towards a broader audience. It caters more to accessibility than exclusivity, with a focus on practicality, market appeal, and projects where the sheer volume of items is as important as the quality. That said, the show is evolving, and there were still some gems that left a lasting impression.
One standout was Yoomoota, whose minimalist yet imaginative furniture designs captivated my attention. Their playful manipulation of geometric forms created pieces that are both functional and artistic—a rare combination. Equally noteworthy was Amalia, a Portuguese brand offering an exquisite selection of linens and bedding. The understated elegance of their designs, combined with the luxurious texture of their fabrics, makes them a refined addition to any high-end interior.
Then there were the handcrafted blankets from Mantas Ezcaray, a Spanish company that upholds traditional weaving techniques while remaining contemporary in aesthetic. These pieces offer the warmth of history and craftsmanship without sacrificing modern sensibilities. Also worth mentioning is the collection of hand-printed bathtubs by Argentine designer Konqrit. These striking tubs are more than functional; they are statement pieces, each adorned with patterns that feel deeply personal and artistic.
On the more practical side, I found myself drawn to the rechargeable desk lamps by BY Us Design Company. These lamps were sleek, portable, and effortlessly stylish—a nod to modern design that meets both aesthetic and functional needs. With wireless charging becoming a staple of modern life, this collection struck the perfect balance between innovation and elegance.
Maison et Objet may not rival the high-drama, high-art environment of fairs like TEFAF or Art Basel, but it holds its own in other ways. It is an essential stop for those involved in large-scale design projects or anyone seeking practical solutions with a touch of style. As the show continues to grow, its sections devoted to new brands are becoming increasingly significant, making it a fertile ground for discovering fresh talent.
And while Maison et Objet may not have provided the most memorable experiences on this trip, it undeniably set the stage for a broader exploration of Paris as a design capital. The city itself offers an endless stream of inspiration, from its ateliers to its galleries. In fact, some of the best moments of my journey unfolded outside the exhibition halls, as I ventured into the heart of Paris. I spent time at Perrotin, Patrick Fourtin, Galerie Glustin, Maison Cedric, Galerie Yves Gaston, and Felix Marcahal, to name a few—spaces where creativity knows no bounds and where design becomes something deeply personal and profound.
So, while Maison et Objet may not offer the same level of high-end spectacle as fairs like TEFAF or ICFF, it remains an essential part of the design ecosystem, providing accessibility, discovery, and an opportunity for creative exploration. And let’s not forget, Paris is always a good idea. There’s no better city for experiencing the intersection of art, design, and history, and I’ll be diving deeper into my exploration of Parisian galleries and ateliers in an upcoming article. Stay tuned.