On Location @Maison&Objet

Maison&Objet has long been a marker of where design is heading, but in 2026 it felt less like a forecast and more like a moment of recalibration. Walking through the fair this year in Paris, I was struck not by excess or novelty, but by restraint – by a collective shift towards perception, craft and cultural continuity. This was a show less concerned with making more, and far more interested in seeing more clearly.

That idea was captured succinctly by Harry Nuriev, Designer of the Year 2026, whose words lingered well beyond his installation: “Transformism is not about invention – it’s about perception. Not about making more, but seeing more clearly.” It became a useful lens through which to experience the fair, framing a broader conversation about how design is evolving.

Harry Nuriev, Designer of the Year 2026;

This year, Maison&Objet placed the spotlight on living design – objects and environments shaped by narrative, memory and intent. Across the halls, four key themes emerged: Metamorphosis, Mutation, Baroque Revisited and Neo-Folklore. Rather than reading as competing trends, they felt interconnected, each exploring transformation through material, form and cultural reference. What united them was a renewed respect for artisanship, treated not as nostalgia but as a contemporary, evolving practice.

Several brands embodied this approach with quiet confidence. Talenti SPA presented outdoor collections that balanced sculptural presence with material restraint. Kana Objects demonstrated how subtle geometry and texture can elevate everyday forms, while Giopato & Coombes offered lighting that felt atmospheric rather than decorative – pieces designed to shape mood as much as space. Senimo and Lumen Centre also stood out, their displays composed and thoughtful, allowing the work to speak without spectacle.

Talenti; Vips and Friends

The fair’s curated platforms added depth to the narrative. What’s New in Décor, curated by Elizabeth Leriche in Hall 2, was particularly resonant. Her scenography created an immersive journey where each installation reflected an exhibitor’s evolution, while collectively establishing a dialogue between past and future. It was less about trends as instructions, and more about trajectories – where design has come from, and where it might be heading.

What’s New In Decor by Elizabeth Leriche

In Hall 4, What’s New in Hospitality, curated by Rudy Guenaire, offered a more experiential lens. His aviation-inspired scenography was futuristic and dreamlike, evoking the romance of ultra-luxury travel without tipping into fantasy. It suggested how hospitality design might balance escapism with sophistication in the years ahead.

Beyond the fairgrounds, Maison&Objet in the City extended the experience into Paris itself. Moving between galleries, showrooms and private presentations, I encountered founders of collectible design studios, art gallerists and furniture makers, reinforcing the idea that design thrives within cultural ecosystems rather than isolated platforms. Christie’s and Gilles & Boissier, in particular, offered moments where art, interiors and collectability intersected with clarity and confidence.

Paris in January was unforgivingly cold, a practical reminder for visitors to layer accordingly. Logistically, public transport remained the most efficient way to reach the fair, with the RER B and complimentary shuttles from Charles de Gaulle Airport offering seamless access. Leaving Maison&Objet 2026, I felt a sense of calm rather than overload. The fair did not shout for attention; it invited reflection. In doing so, it reaffirmed Paris as more than a host ciy – it positioned it as a cultural anchor, where design continues to evolve through perception, dialogue and purpose.