The second instalment of Paris’s leading design and interiors fair, Maison & Objet, wrapped last weekend, offering a lively preview of the trends, textures, and colourways set to shape 2026 and beyond.
At the centre of the fair was designer Amélie Pichard’s immersive installation, ‘Welcome Home.’ A refreshing antidote to the pristine, Instagram-perfect interiors we’re so often shown, Pichard presented a deconstructed “house-in-progress” with fluid rooms and no clear boundaries. Her aim was to challenge our obsession with perfection by embracing the messier, unfinished reality of most homes. Every space was deliberately imperfect; sofas stripped bare to expose their raw framework, a bed covered in paper rolls to nod to the common work-from-bed reality, and playful shifts in scale, such as an Alice in Wonderland-style miniature basin in the bathroom.
At the heart of ‘Welcome Home’ stood the Teapot House, a striking metaphor for the blurred boundaries between traditional craftsmanship and artificial intelligence. The Teapot House echoed an ongoing conversation in design about how technology and heritage techniques can evolve together, something we discussed within our Summer Showcase ‘Rooster Sessions’ back in July (catch up here in case you missed it).
While the January edition of Maison & Objet leans toward luxury hospitality and established design brands, the September edition celebrates innovation and emerging talent. This year introduced the Design District, curated by French studio Hall Haus, spotlighting rising creators and experimental work. Highlights included Haus Otto’s Zooom rug, a versatile piece that works as both a daybed and oversized woven rug, marrying traditional craftsmanship with a playful, cartoon-like aesthetic. Haus Otto’s modular furniture system, adaptable into shelving, benches, or tables, also made its debut, further reinforcing its ethos of multifunctionality.
Elsewhere, we were delighted to see Swedish audio brand Transparent hero-ed within the Design District exhibition for its pioneering circular technology. Having championed the Transparent team from their early days, we’re so pleased to see the brand commanding the cult recognition it deserves.
Colour, meanwhile, was everywhere. Not one dominant shade, but a rainbow of vibrant hues: cobalt blues, grassy greens, sunshine yellows, hot pinks, and fiery oranges. From vases and sofas to speakers and lampshades, the palette brought a sense of joy and optimism. A highlight came from Doing Goods, whose playful display of accessories and furnishings embodied fun and character throughout.
Running in parallel, Paris Design Week has fast become just as unmissable as the fair itself. Following the Salone model of pop-ups and installations across the city, it offered visitors a chance to soak up design while exploring Paris. Standout moments included Christopher Dessus’ ‘Design Disco Club’ at Galeries Lafayette – a surreal mashup of dancefloor energy and design showcase – and RH’s dramatic takeover of Abercrombie & Fitch’s former Champs-Élysées flagship store, reimagined as a gallery of furniture, art and antiques – and even boasting two restaurants and a caviar bar.
Image credit: Luc Bertrand
Between Maison & Objet and Paris Design Week, September once again confirmed Paris as a design capital brimming with experimentation, playfulness, and creativity. From Pichard’s celebration of imperfection to Haus Otto’s multifunctional design and the exuberant wave of colour across the halls, the most recent edition proved that the future of interiors is not about being ‘polished’, but about embracing playfulness and joy. All things considered, 2026 promises to be a year where design feels more human than ever before.
