hermès home collections 2026 | salone del mobile

Hermès.

Wandering through the aisles of La Pelota on Via Palermo feels like discovering a temporary city. Hermès has returned to Salone del Mobile during Milan Design Week to transform the historic space into an immersive environment. Artistic directors Charlotte Macaux Perelman and Alexis Fabry have orchestrated a labyrinth of plaster and beechwood pillars. Visitors can navigate the installation to find objects arranged like cardinal points in a room, inviting everyone to slow down and observe how raw materials tell their own stories.

The Stadium d’Hermès table anchors the collection with an impressive presence. British design duo Edward Barber and Jay Osgerby conceptualised a figure-of-eight shape that mimics the curve of a horse’s back or an overhead view of a racetrack. Crafted entirely in marble marquetry, the tabletop pairs fine grey-veined Carrara Venato with deep Verde Alpi. Slim legs feature two-tone geometric jumping motifs, referencing the brand’s rich equestrian heritage, while a polished border runs along the edge, bringing unexpected lightness to the all-stone construction.

Charles Negre.

Charles Negre.

Ancient mythology makes an appearance through the Palladion line of hammered palladium-finish metal objects. Named after the Greek goddess Pallas Athena, the series includes sculptural vases, a jug and a striking centrepiece. Silversmiths used ancestral techniques to hammer the metal, resulting in shimmering surfaces that catch the light. One standout vase wears a ‘skirt’ of black horsehair and Swift calfskin bordered with lizard – a playful reference to the iconic Hermès Toupet bag. Meanwhile, a beautifully formed jug extends into a warm cassia wood handle, creating a rich contrast of light and shade. Geometric leather cases mimicking jockey silks wrap around cylindrical vases, adding earthy tones of Epsom and Chamkila calfskin to the cool metal.

Leather craftsmanship takes on musical proportions in the Piano boxes. Rectangular patches of goatskin and calfskin are placed across mahogany and sycamore bodies like piano keys. Here, vivid shades of orange sit alongside subtle blacks and warm ochres. Elsewhere, the Confettis basket takes a more playful approach, using perforated Epsom leather adorned with stitched, colourful dots that hide a faint, secret initial.

Charles Negre.

Charles Negre.

As is expected from the Maison, textiles serve as a laboratory for unparalleled artisanal skill. Hand-woven in Nepal, the new throws combine cashmere and linen into incredibly soft creations. The H Letter throw employs the traditional Korean art of bojagi: to achieve the final result, artisans spend hundreds of hours meticulously stitching together panels with coloured silk thread to reveal transparent folds and a giant, ghostly initial. Other fabrics explore geometric language through clamp-and-dye techniques, allowing colour to circulate freely. Pieces like the Aventure throw feature light-filled colour gradients and knotted velvet lambskin fringes, capturing the warmth of an amber sunset, while the Sangles Sellier throws feature a weave inspired by equestrian webbing, finished with fringes that organise a vibrant palette of ochre and green.

The traveller wandering these aisles eventually realises that this labyrinth isn’t meant to be solved, but inhabited. Hermès succeeds in crafting a space where every object holds a narrative waiting to be uncovered.

Charles Negre.

Discover Collections for the Home 2026 here.

photography. courtesy of Hermès, Charles Negre
words. Gennaro Costanzo