Keti’s Travel Diary | Salone del Mobile 2026
Discovering Milan: Our Head of Creative's Journey at Salone del Mobile 2026
For GlobeWest’s Head of Creative, Keti Lytras, the experience of Milan Design Week is both creatively energising and deeply inspiring, offering a unique perspective on the ideas and aesthetics shaping the future of interiors.
From grand palazzos layered with history to experimental installations hidden throughout Milan, Keti explored the exhibitions, textures, colours and creative moments that defined Milan Design Week 2026.
In this year’s travel diary, she shares the standout experiences, emerging design directions and inspiring spaces that left a lasting impression throughout the week.
Anima Mundi
Was there a moment or installation that stopped you in your tracks emotionally, not just visually?
One of the most gorgeous, immersive experiences I’ve had this year was Anima Mundi, conceived by design studio dodotdot for Fondazione Istituto dei Ciechi. It was one of those installations that was incredibly hard to walk away from, layered with light, movement and emotion in a way that completely pulled you in.
The installation interprets nature as a living network of relationships, where humans are non-dominant and exist in harmony with the world around them. There was something truly magical about the way the experience unfolded, blurring the boundaries between nature, technology and human connection.
Did you have a favourite installation this year?
Interni Venosta by designers Emiliano Salci and Britt Moran. Set within Palazzo Olivazzi, an apartment designed by Osvaldo Borsani in the late 1940s when he was just 25 years old (wild). The entire experience felt incredibly special. Even more so knowing that Albert Einstein and his family lived there for six years, and that the space was opened to the public for the occasion.
The pieces sat beautifully within the apartment, feeling modern yet deeply warm and lived-in.
Interni Venosta
Interni Venosta
Interni Venosta
How do you filter inspiration in a setting like Milan and decide what feels relevant for Australian interiors?
To be honest, it’s really hard! You can get very swept up in the atmosphere, a bit like when you buy something to wear while you’re on holiday, then get it home and realise you’ll never wear it again.
With experience though, you learn to really tune into your eye and trust your instinct. I tend to get goosebumps when I know something is very right, my team always laughs at me about it, but I’ve learnt over time that it’s a pretty fail-safe signpost.
What did Milan this year say about how people want to live now?
It’s interesting, there was so much exciting maximalism and colour this year, especially within the interior architecture. We know people are wanting homes that feel expressive, personal and uplifting, and there was a real sense of confidence in the way spaces embraced that. At the same time though, there was also a lot of layering, spaces that felt eclectic, homey and safe, filled with character and warmth. All of the traditional vintage detailing we’re seeing so much of right now really added to that feeling too.
Then, on the other end of the spectrum, there was definitely a cleaner, calmer and more pared-back approach emerging as well. These spaces still felt incredibly warm, but in a much more intentional way.
What colours stood out to you this year?
There were so many warm tones - oranges, reds, yellows. We also saw a lot of brown, burgundy, plum and aubergine tones layered through spaces, adding depth, warmth and a real sense of comfort.
Artemest
Were there any standout materials or finishes that felt particularly fresh or innovative?
There was so much glass this year. Ceramics were still very present of course, but glass definitely stood out as feeling particularly fresh and exciting. There was also a real evolution in textiles, with more complex weaves and confident use of colour coming through in woven fabrics. Alongside that, we continued to see a lot of concrete and tiled surfaces.
Did you notice any interesting shifts in form - silhouettes, proportions, or detailing?
There was still a strong presence of softer, rounded and organic shaping overall, particularly within upholstery.
It was interesting to see some of the edgier brands begin to introduce more geometric elements and sharper forms. Deco-inspired detailing and references to the ‘70s were also key themes that kept appearing in Milan.
Milan Design Week can be incredibly stimulating. How do you reset at the end of each day and make space for fresh perspective?
Artemest
Did you discover any new bars or restaurants?
I don’t usually book many restaurants when I go to Milan because it locks me into being somewhere at a certain time. I like the freedom of stumbling across somewhere and taking a bit of a risk, and in Milan, it’s pretty rare to find bad food!
B Café in 5 Vie was a bit of fun though. It had a great vibe, good music, and the barman had already started drinking tequila at 3pm - love a bit of theatre!
What were your highlights from this year’s trip to Milan?
For me, experiencing the palazzos is always a highlight. Seeing contemporary and modern pieces placed within spaces that are so deeply saturated in history is such a treat, the contrast between old and new creates something really special. I also really enjoyed Alcova this year, particularly seeing young industrial designers experimenting with new techniques and concepts within the setting of the Baggio military hospital.
Casa Ornella’s Soft House was another standout for me, the mix of colour was just delicious. And then, always, it’s the people. The outfits, the style, the way everyday life in Milan feels so considered and expressive. There are beautiful moments everywhere, people genuinely caring about the detail of things, even in the simplest parts of daily life.
Casa Ornella
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