“When I thought about my home, I tried to make it reflect the same essential elegance of Milan, because anything arranged in a fixed, perfect, and unquestionable way gives me the annoying feeling of something too final. I always think about adding something, taking something away. Especially taking something away. Society changes, and my clothes must change too.” The words of Giorgio Armani describe the unmistakable aesthetic style of Armani/Casa, which harmoniously combines different inspirations and design codes to create a refined atmosphere. A philosophy made of simple lines and perfect proportions, enriched by precious materials, refined finishes, and elegant fabrics. But also shaped by change, to avoid, just as the Maestro suggested, any sense of rigidity. On the occasion of the Salone del Mobile 2026, the brand presents eight of its iconic furnishings in renewed versions.
Starting with the Logo lamp (1982), the brand’s first object, originally introduced in the Milan boutique on Via Durini. Designed to stand out at the center of a table and spread light all around with its outstanding structure in satin black nickel and ivory methacrylate, it is now reissued in greige-painted laminated wood.
The pure, compact volume of the Danzica side table (2000) returns in a mother-of-pearl mosaic, originally in black grid carving, continuing to evoke the austere elegance of the 1930s, reinterpreted through Giorgio Armani’s minimalist sensibility.
Danzica belongs to the early collections inspired by the monolith theme, as does Seine (2000), a pair of consoles that appear to be drawn in a single gesture. Their bridge-like structure features surfaces crossed by veins reminiscent of textiles. Previously made in black grid carving, they are now finished in mud-toned spatula stucco.
More theatrical is the three-panel Winchester screen (2000), now in silver spatula stucco instead of the previous black grid carving. Lower than traditional models, it is conceived as a contemporary reinterpretation of Oriental screens, where the hinges become a graphic detail.
A new silk velvet with inlays and barré details, Basel by Armani/Casa, upholsters the Tokyo armchair (2000), previously in uniform velvet. The geometric lines of the brushed brown oak structure, inspired by Art Deco, interact with the softness of its tub-shaped form.
In contrast, the generous, sculptural curves of the Balloon armchair (2008) are now covered in Bergen, a bi-elastic wool-like fabric by Armani/Casa, replacing the original bi-elastic material. Paired with a footrest, Balloon recalls the atmosphere of the 1920s and, with its tubular volumes, the experiments of Eileen Gray.
The director’s chair Dustin (2010), which inevitably recalls Giorgio Armani’s deep connection with cinema, has evolved over time with details such as more rounded armrests, and is now fully reissued in natural leather.
Finally, the Riesling bar cabinet (2005), in methacrylate with a canneté effect in brass wire, features a design born from the repetition of a square shape, capturing the essence of the brand: transforming everyday functionality into an elegant gesture.
