Review

By Sunday evening, the city begins to deflate. Crews dismantle installations in Tortona. Empty crates pile up outside palazzi in Brera. The bartenders look exhausted but relieved. Salone del Mobile 2026 is over, and what remains is the slow process of figuring out what it meant. This was the largest edition since 2019, with 1,962 exhibitors and a recorded attendance of just over 372,000. But scale, as anyone who has walked the halls of Rho Fiera knows, is a poor proxy for significance. The 64th edition was held under the theme of Metamorphosis — a word the organisers used a great deal and the exhibitors largely ignored. The interesting question is always what the week revealed in spite of its frame: about the industry, about the audience, about the direction of taste. And the 2026 edition revealed quite a lot. Fashion’s occupation of the design calendar is no longer provisional. The collectible market has stopped pretending it is a sub-category of furniture and started behaving like an autonomous discipline. The institutional architecture surrounding all of this — museums, foundations, archives — has assumed a weight that previous editions of Salone could not draw on. The week worked, in other words, less as a fair than as the annual stocktaking of an industry whose centre of gravity has shifted. ...