Milan insights with interior designer and stylist Jono Fleming

This is a snippet from an article that originally appeared on homestyle

Every year, Milan Design Week makes Italy the epicentre of creativity. Here, Jono Fleming shares what he had a blast doing there.

So what drew you to Milan, Jono?

After many years of observing from afar, I decided it was my turn to explore everything that Salone del Mobile [aka the Milan Furniture Fair] and the Fuorisalone series of events have to offer. From the moment I arrived, I was captivated by the energy and buzz of the city. During Milan Design Week, it becomes a playground for design enthusiasts like me — a feast for the senses at every turn. The sheer magnitude of the exhibitions and installations was overwhelming in the best possible way. The city was transformed into a sprawling gallery and it was incredible to witness design, colour and pattern converge in such diverse and imaginative ways.

How do trips like this inform your creative practice?

I constantly look for inspiration in everyday life, but during Milan Design Week, it’s all brought to you on a platter. With every step I took, I encountered extraordinary installations that pushed the boundaries of creativity. It was like walking into a dream world where art and functionality seamlessly merge. The attention to detail and craftsmanship on display were awe-inspiring, leaving me with a newfound appreciation for the power of design to shape our surroundings. The opportunity to interact with fellow creatives added another layer of richness to the experience; it was a melting pot of ideas and perspectives.

TOP Parmigiano presented by French design research group Atelier Luma.
ABOVE Turbo lights and Beetle chairs in Gubi’s show at 1930s lido Bagni Misteriosi.

What did you discover about the direction interior design is heading in?

For me, the focus on our environment spoke volumes about the future of interiors. Colour-wise, earth tones, ochres and terracottas were front and centre, and the connection of these shades to natural materials such as timber, stone and clay related to the prominence of eco-friendly design and biophilic design, which blurs the line between nature and the built environment.

At Alcova — an exhibition set in a former slaughterhouse — thousands of pieces were showcased by designers presenting cutting-edge ideas on materiality and sustainability. Atelier Luma, for example, featured Parmigiano by product designer Anne-Claire Hostequin, a multifunctional, stackable piece fabricated from bioplastics, plant-based dyes and micro-algae. It was simple in form but a revolutionary use of materials.

Other trends I observed included the use of clear resins, plastics and glass in furniture; pale, buttery yellow making a strong comeback; and under-the-sea-inspired forms throughout lighting and materials.

TOP The Jali terracotta brick installation by Patricia Urquiola for Mutina, presented by Nilufar gallery.
MIDDLE Clay Court Club by Cristina Celestino in the 1893 Milano Alberto Bonacossa tennis club.
ABOVE Jono at Via Cesare Correnti 14, home of Artemest’s L’Appartamento (see more on this below).

How do you think we’ll make these trends our own in this part of the world?

It comes down to designers taking risks and bringing what they’ve seen and learned overseas home for everyone to enjoy. But gone are the  days when it’d take years for trends to make their way down under — with the advancements in technologies and social media, we’re able to adapt what we see overseas into our spaces much more quickly. Colour trends are the most adaptable — ready to go with a can of paint — and using coloured glass and resin is another way we can implement emerging trends into our homes without having to wait. 

Did you have any ‘I must try that’ moments that you’re eager to explore now you’re back?

Seeing the newness in Milan juxtaposed in historical spaces inspired me not to be afraid to contrast vintage with modern and bold designs, while the plethora of lighting drove home the fact that you can never have enough lamps. I can’t resist incorporating as many secondary points of lighting as possible and never use big overhead lights if I can help it, as I think lamps emit a much more welcoming glow.