Design Miami 2025: A Fusion of Art, Craft, and Design Styles
I stumbled upon a captivating scene at Friedman Benda's booth, where artist Nicole Cherubini captivated a crowd with her monumental ceramic sculpture. This moment epitomized the essence of Design Miami, where art, craft, and design intertwine. Cherubini, soon to have her solo debut at the gallery, challenges classism through her unique take on decorative forms, much like Molly Hatch's transformation of 19th-century British design at Todd Merrill's booth. Their work embodies the fair's theme, 'Make.Believe,' emphasizing craft and conviction, as curator Glenn Adamson explained to ARTNews.
However, Design Miami 2025 faced challenges. President Trump's tariffs have burdened overseas dealers, and the allure of the Paris edition has drawn collectors away from Miami. This shift allowed for 15 new exhibitors, showcasing fresh talent. The fair buzzed with contemporary design, organic forms, and a Miami-inspired vibe, moving away from historical pieces. Booths by Mindy Salomon, Tuleste Factory, and Sten Studio embraced pastel hues and relaxed shapes, creating a vibrant atmosphere.
Notable absences included galleries like Donzello (New York), Patrick Seguin (Paris), and Sarah Myerscough (London), who focused on new ventures. Southern Guild, a Cape Town gallery, crossed over to Art Basel Miami Beach, while newcomers Arte y Ritual (Madrid) and Mass Modern Design (Netherlands) made their debut. Gagosian's presence, collaborating with Casa Malaparte, added a touch of confusion, especially with Peter Marino's desk antics.
On day three, Pantone's 2026 Color of the Year announcement echoed the fair's mood: Cloud Dancer, a serene white. Dubai's Roham Shamekh and Merida Studio invited attendees to reflect, aligning with Pantone's sentiment. Galerie Signé, a young Paris-based gallery, stood out with its American debut, showcasing designers blending industrial and handcrafted elements. Founder Maxime Bouzidi emphasized the importance of presenting unique work to the US audience.
Curator Adamson challenged traditional hierarchies of art, craft, and design, advocating for a process-oriented view of craft. He urged a departure from 19th-century classist and racist mindsets. Mass Modern, led by Etienne Feijns, curated a booth around 'Art Meets Furniture,' featuring unique pieces like Carlo Zauli's ceramic painting on a midcentury wooden bar ledge. Charles Burnand Gallery showcased contemporary designers, including Korean artists Jungin Lee, Kyeok Kim, and Deglan, who blend materials and forms.
Arte y Ritual, a standout exhibitor, combined tribal art with 20th-century design, creating captivating displays. Their pieces, like a Pomo basket and a 16th-century fossilized wood figure, showcased eclectic taste. Adamson's words, 'The whole point of Miami is discovering things,' encapsulate the fair's essence, inviting visitors to explore and challenge traditional boundaries.
