Maison&Objet 2026

DCA had the opportunity to visit Maison&Objet in Paris to explore emerging design at one of the most influential international events for interior lifestyle and design.  

Across the exhibition and the wider city, we investigated new products, materials, processes and creative approaches to build an understanding of the ideas defining the future of design in interiors.  It was an opportunity to gather inspiration and challenge our thinking to feed fresh perspectives back to DCA.

One of the strongest themes throughout the exhibition was the renewed appreciation for material craftsmanship and tactility. Alongside highly engineered products, there was a clear emphasis on material authenticity, natural variation and the qualities of the making process itself. Traditional craft was being reinterpreted through contemporary forms, digital processes and new applications, harmonising craftsmanship and technology seamlessly in a considered manner.  

Rather than hiding irregularities, many products embraced them. Imperfection became part of the character of the material, rather than something to be designed out.

A recurring theme throughout Maison&Objet was the role of fantasy and escapism in contemporary design. Across furniture, lighting, objects and interiors, we saw designers moving beyond purely functional forms to create products that provoke curiosity and delight.  

This was expressed through unexpected forms, playful proportions, surreal references, expressive colour and unusual material combinations. Rather than following a single aesthetic, fantasy appeared as a way of challenging convention and creating more distinctive experiences.  

For us, this raised an interesting question around the role of industrial design: as products become ever more technically sophisticated and functionally similar. How could imagination and emotional connection create meaningful differentiation?

Cultural influence was evident throughout Maison&Objet, with designers drawing on heritage, local materials and traditional craft techniques and translating them into contemporary products and spaces. Rather than simply recreating historic references, these influences were being adapted to feel relevant to a modern audience.  

The Hanji Park Materials Lab was a particularly good example. Korean designers embodied centuries-old knowledge and process surrounding traditional Hanji paper, exploring how the material could be applied to contemporary products and interiors. It highlighted the potential of cultural heritage as a driver for innovation, providing a distinctive alternative to an increasingly globalised and homogenised design language.  

In an increasingly globalised design landscape, it was interesting to see designers looking to local knowledge and established craft processes as a way of creating something distinctive, rather than contributing to a more homogenised aesthetic.

The overall message of “Pulse in Motion” felt particularly relevant: design is not static. Design is responding to changing technologies, behaviours and cultural expectations – and the most interesting opportunities are often found where these different forces overlap.  

For DCA, this reinforces the importance of looking beyond individual products and considering the wider experience, material language, technology and cultural context surrounding them.