Above: The judges for the NKBA Manhattan Chapter’s Inspire Awards at ICFF. Photo: Jeffrey Siegel / The Mad Photographer

ICFF Editors Awards

In addition to KBB’s Leslie Clagett, judges included Anna Casotti, Antonella Boise, Amit Gupta, Deb Martin, Jaxon Stone, Julia Demer, Julia Haney Montanez, Matthew Marani, Marie Godfrain, Rebecca Thienes and Stephanie Chen of KBB’s sister publication “Hospitality Design”.

Best in Show: Zieta. Photo: Jenna Bascom Photography

Best Kitchen and Bath: Herbeau. Photo: Jenna Bascom Photography

Best Furniture: Bernhardt. Photo Jenna Bascom Photography

Best Materials & Surfaces: Leon Speakers. Photo: Jenna Bascom Photography

Best Lighting: Ridezign. Photo: Jenna Bascom Photography

Other category winners include Best Outdoor: British American Camping, Best Flooring & Rugs: Gina Atelier, Best Craftsmanship: Atelier Lebuisson, Best Exhibit Design: Arboreal, Best American Brand: Sin, Best International Brand: Zieta Studio and Best Sustainable Design: Parsons Healthy Materials Lab.

NKBA Manhattan Chapter Inspire Awards

Spearheaded by NKBA Manhattan Chapter Membership Chair Diana Mosher, judges hit the ICFF show floor for the annual Inspire Awards.

Best of Show: Nero Sicilia. Photo: Jeffrey Siegel / The Mad Photographer

Editor’s Choice: La Compagnie du Verre. Photo: Jeffrey Siegel / The Mad Photographer

Best Wall Treatment: Santo Kafuan Co. Photo: Jeffrey Siegel / The Mad Photographer

Best Outdoor Furniture: Decibel. Photo: Jeffrey Siegel / The Mad Photographer

Best Carpet and Flooring: Izza Berber. Photo: Jeffrey Siegel / The Mad Photographer

Other category winners include Best Seating: YGG & LYNG, Best Furniture: Art-appliquée,  Best Lighting: Hyland, Best Textile: Poppy, Best Art & Accessories: Leon Speakers and Best Booth Design: Canvas.

The post Award Winners from ICFF appeared first on Kitchen & Bath Business.

Photos courtesy of the respective companies, unless otherwise noted.

Lexi Small Sconce from Cedar & Moss

“Those looking to add a fun pop of color but don’t want to commit to an installed, harder-to-change material should look at light fixtures. There are so many fun options on the market these days but these playful sconces with their perforated shade instantly add interest to any design.” cedarandmoss.com

Emerald Quartzite from Artistic Tile

“Countertops are easily my favorite way to add a pop of color! I love that more colorful natural stones are making a comeback. Clients have been loving this emerald quartzite and while it is a definite color, in the PNW, this beautiful green is almost a neutral.” artistictile.com

Bobbin D-Bar Pull from Plank Hardware

“Hardware is like the final jewelry piece of any design. It completes the space and adds that finishing pop of character. Think outside of the box and look at something like this unexpected profile – in color, of course!” us.plankhardware.com

Bird & Pomegranate Wallcovering from Morris & Co.

“I love putting wallpaper in a pantry or a powder room – a tiny space that if done right can handle dramatic, bold, colorful patterns. Adding wallpaper to these areas is unexpected and can really make an impression.” wmorrisandco.com Design: The Northwest Home Photo credit: AJ Meeker

Ping Tile from Tempest Tileworks

“One of the best ways to make a visual impact in a space is a fun, unique wall tile. Either with an unexpected layout or color, it can really make your space unique and personal, especially if you have a more subtle countertop. These handmade tiles have such a fun design, come in an array of colors and can be arranged in a bunch of different patterns for a truly custom look,” said Erica Leader. tempesttileworks.com

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There is no shortage of High Point Market recaps at this time of year. Everyone is sharing what they saw, what they loved, and what is trending. Of course, there is value in that. Still, I find myself more interested in the conversations that stay with me after Market ends. The ones that go deeper than a showroom walk-through or a quick reaction to a new launch.

That is exactly what happened when I sat down with Rick Lee at Thayer Coggin during Spring High Point Market.

Designer Conversations: A Talk with Rick Lee + Thayer Coggin

I love the design aesthetic of Thayer Coggin and have deep respect for what this brand contributes to furniture design. Their pieces are bench-made in North Carolina. They are thoughtful, refined and comfortable in a way that never feels forced. In a world that moves too fast, something is reassuring about furniture that does not rush to prove itself.

Yes, I went to the showroom to see what was new and next. I walked out thinking about something much more meaningful. Rick designed the Ooola sectional for Thayer Coggin, and it was making its market debut. If you have not seen it, it is worth a look. It has movement. It has presence. More importantly, it has something many sculptural pieces miss: It makes you want to sit down and stay for a while.

The integrated swivel end chair is wide enough to seat two. The curves feel soft without losing structure. The plinth base gives the piece subtle detail. Rick told me he designed it to make people smile every time they sit down on an Ooola. The moment I sat in it, I understood exactly what he meant. I smiled.

When Comfort and Beauty Work Together

We began by discussing the piece itself, but the conversation moved into something deeper. We talked about where ideas come from and at what point in the creative process, a thought stops being an idea and starts becoming something real. We talked about comfort and beauty, and what it means when both work together.

As designers, we always talk about beauty. We also talk a great deal about function. What interests me most is what happens when neither one has to sacrifice itself for the other. That balance is not easy to achieve. However, when you find it, you know it. That is what I felt sitting in that piece and hearing Rick talk about how it came to life.

Design Begins in Attention

Rick has a calm and thoughtful energy that is rare. He is the kind of creative who makes you slow down without ever asking you to. As a result, you listen more carefully. You think a little more deeply. The conversation stops being only about furniture and starts becoming about perspective.

At one point, we realized we were both wearing unique stones. That shifted the conversation again. We talked about what we carry with us, literally and otherwise. We talked about intention. We talked about the things that keep us grounded while we create, work and move through daily life.

Design does not begin only in a studio or on a showroom floor. Instead, it begins with attention and observation. In the willingness to sit with something long enough to understand it.

That is one of the reasons Thayer Coggin continues to resonate with me. Their contribution to furniture goes beyond silhouette and finish. There is integrity in what they make, combined with confidence in the restraint. They are respectful of the company’s history. There is also an understanding that good design does not need to shout for attention.

This approach speaks to me, especially now, because we are using a great deal of Thayer Coggin furniture. When I specify furnishings for a project, I am not only looking at the lines of a piece or the finish on a frame, but I am also thinking about how that piece will live in the room. I am thinking about comfort, scale, presence and longevity. Most of all, how the piece supports the story of the space and the people living in it.

That is what good furniture and great design should do.

I want to explore that idea on my blog in a new series, “Designer Conversations”, which will focus on the thoughts that shape design more deeply. The posts will explore how ideas begin, grow and change. They will look at the place where form and function meet, and where materials, makers, designers and intention all come together.

Because the best things I learn in this industry rarely come from walking a showroom floor alone.

—Sharon L. Sherman is founder of Thyme & Place Design

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“These professional grants are an incredible opportunity to expand horizons, strengthen skills and jump-start careers,” said Karen Dzendolet, Chairman of the Board of the Educational Foundation of IFDA. “Take the next step – apply and make the most of it.”

IFDA Educational Foundation Grants are offered to professionals working in the interior design or furnishings related fields, as well as design educators and design programs, not to undergraduate students. Winners will be notified by August 31 or as noted for that grant.

The five grants to be applied for starting June 1, 2026, are as follows:

Irma Dobkin Universal Design Grant — $2,000
Open to an individual involved with Universal Design to meet the living needs of all ages and capabilities in product development; a design project; education or marketing.

Ina Mae Kaplan Historic Preservation Grant — $2,000
Open to those involved in restoring or preserving historic sites related to design/furnishings.

Elizabeth Brown Grant to Interior Design Programs — $2,500
Open to an accredited U.S. interior design program, for supplementary materials/resources.

Tony Torrice Professional Development Grant — $1,500
Open to professionals in design/furnishings seeking to enhance skills with advanced study.

Valerie Moran Memorial Grant — up to $3,000
Awarded to an IFDA professional member interested in expanding their horizons through travel, trade shows and professional development studies.

Grants Available for IFDA Chapters — can be applied for throughout the year, at least 30 days prior to the event:

Barbara Brock Memorial Grant — $750 each, $1500 total
Funds will go towards travel expenses for two IFDA experts to speak at various industry venues.

Chapter Partnership Grants — $1,000 Each, $3,000 Total
Three grants available to IFDA chapters for educational programs (accepted a minimum of 30 days prior to event).

Claire Coleman Founders Grants — $1,000 Each, $2,000 Total
To help IFDA chapters develop marketing and communications programs, events or projects.
Two grants available to IFDA chapters for marketing or communications programs (accepted a minimum of 30 days prior to event).

New Chapter Development Grant — $1,000
To aid newly formed chapters in creating an educational program to attract membership.

Chapter Student Member Event Grant — $200 Each, $1,000 Total
Encourages chapter interaction with IFDA Student members

Further details can be found here. For specific questions about grants, contact Earline Feldman, Director of Scholarships & Grants, at ef.ifda@tapestries.org or 770-378-7221.

IFDA Educational Foundation is a non-profit, tax exempt, 501c(3) organization. Its nine scholarships support both full and part-time undergraduate and graduate students in the areas of interior, green/sustainable, product and textile design. In addition, the grants support professional development opportunities for IFDA members and other design industry professionals as well as needed resources for design schools, and IFDA programs for chapters and members.

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Above: The ribbon-cutting ceremony marking the opening of Salone del Mobile.Milano 2026. In attendance are Sen. Ignazio La Russa, President of the Senate of the Republic; On. Antonio Tajani, Vice President of the Council of Ministers and Ministry of Foreign Affairs and International Cooperation; Giuseppe Sala, Mayor of Milan; Attilio Fontana, President of the Lombardy Region; Maria Porro, President Salone del Mobile.Milano and Claudio Feltrin, President FederlegnoArredo. Photo: Salone del Mobile.Milano

Visitors at the Fondazione Albini during La Notte Bianca del Progetto. Photo: Salone del Mobile.Milano

The focus on the role of design as a steadying influence was continued in special events and the content of the fair itself. For the “Common Archive – La Notte Bianca del Progetto (The White Night of the Project)” event, nearly 20 of the city’s historical design and architectural archives were opened to the public. Of the opportunity, Porro said, “Milan will present itself for one evening, not as a stage, but as a living memory, an essential legacy for research, education and the transmission of knowledge.”

Photo: Courtesy Salone del Mobile

A new section of the show, called Salone Raritas, also reinforced the idea of design as a singular force. Curator Annalisa Rosso assembled 28 unique galleries from 12 countries, featuring limited editions and outsider creations that used rarity as a language. Every object told a story bridging craftsmanship, culture and contemporary vision.

Mitterrand Gallery at Salone Raritas. Photo: Courtesy Salone del Mobile

Show Floor Observations

Noticeably absent at this year’s Salone was any mention of “luxury.” Instead, inconspicuous consumption ruled product design and presentation.

The Brera Slim cooktop and downdraft vent from Falmec blend into the counter surface. Photo: Falmec

In the kitchen, this meant appliances that were unfussy in design and a clad in a quiet matte finish. Examples include Falmec’s Brera Slim cooktop, ASKO’s Celsius oven and the exquisite Aura range from Glem Gas. Warming drawers have been upgraded in function, now acting as steaming compartments.

In its Ghost product, Casalgrande Padana integrates cooking technology into the porcelain slab cladding the kitchen island. Photo: Casalgrande Padana

Cabinets

An understated design from Nobilia integrates into the living space. Photo: Saverio Lombardi Vallauri

Cabinets continued the pared-back ethos in a number of ways. Solid door fronts and drawers were often supersized, the better to show off the finishes of the large continuous planes of laminate or wood. Integrated finger pulls or push-to-open hardware precluded the use of distracting decorative hardware.

At the Stosa Cucine booth, the island massing exhibited a reassuring solidity while the glass cabinets tempered the installation with lightness. Photo: Saverio Lombardi Vallauri

Perhaps reflecting our collective desire for transparency, glass doors were surging. Glass doors put the onus on homeowners (or stylists) to curate the contents of their cupboards, establishing a needed sense of order in a chaotic world. In an evolution of the open plan, full-height freestanding cabinets – double-faced in glass – were used as subtle spatial dividers.

The use of glass extended to these drawers by Häcker Kitchens, fabricated of polymer glass in a metallic carbon color. Photo: Häcker Kitchens

In the Bath

The Orbe hand basin takes its rotundness to the max, with even the drain cover a sphere. Photo: Trone

In the bath, cabinet treatments were much the same as in the kitchen – no frills and meticulously detailed. Floating vanities were the rule, and were frequently paired (or tripled) with complementary wall-storage units.

As far as surfaces were concerned, few if any 10-foot slabs with gaudy patterns or glittery veining were on display. Instead, surfaces sported smaller and denser aggregate, with special attention given to realistic textures. Neolith debuted an adobe-like product.

Valdama’s aptly named Bold sink made a statement in shade and shape. Photo: Valdama

Color, form and shape all worked to reassure. Rich earth, forest and ocean hues were solid and grounding. Curves and circles, whether radius corners for counters and cabinets or puffy, donut-like rims on bathroom sinks and tubs, extended a comforting embrace. While obvious in appearance, there are deeper implications of the geometry – not just a softer look, but a reference to circularity in both the sustainability and historical sense.

A Matter of Salone

Photo: Salone del Mobile.Milano

Visible throughout Milano, the visual campaign “A Matter of Salone” posed food for thought for visitors to the city’s celebration of design. Signage with huge photos of wood, a flower petal, a sea sponge and a stone sparked a realization that the phrase had a dual meaning – one definition of matter focuses on materiality; another definition of the word revolves around significance. The message was that design is no longer just a question of form or function: it is a process by which what is tangible is transformed into meaning and value.

Federico Grassi, creative director of Motel409, the agency that devised the campaign, said, “We didn’t want to illustrate design, but to evoke it. To experience it visually and sensorially, letting the material itself tell the story – and the Salone was, as always, the space in which this transformation could take place.”

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Above: The winners of the Sub-Zero, Wolf and Cove 2022-2023 Kitchen Design Contest. Photo: Sub-Zero, Wolf and Cove

“The Kitchen Design Contest continues to draw remarkable talent from across the globe, and we are proud to recognize this year’s finalists,” said Jim Bakke, President and CEO of Sub-Zero Group, Inc. “Their creativity is inspiring communities and shaping the future of the kitchen.”

The finalists were chosen by a panel of seven esteemed judges – each a Kitchen Design Contest finalist or winner – during deliberations at the Sub-Zero, Wolf and Cove headquarters in Madison, Wisconsin. The 2024-2025 judges include Sandra Agurto (Cabinetry Creations, Inc., Orlando), Stacy Eisenmann (Eisenmann Architecture, San Francisco), Mick De Giulio (de Giulio design, Chicago), Martin de Sousa (Designström, Canada), Martin Holliday (Chiselwood, United Kingdom), Mark D. Stumer (Mojo Stumer Associates Architects, Greenvale, NY), and Davy Swanenberg (Culimaat High End Kitchens, Netherlands).

Sub-Zero, Wolf and Cove Kitchen Design Contest Finalists

Here is the list of finalists in the 2024-2025 contest:

Adam Kane, Adam Kane Architects
Stephen Jolson, Jolson
Daniel Boddam, Daniel Boddam
Erica James, Erica James Design
Michelle Mawby, Lucid Interior Design Inc.
Tulika Datta, Poliform Toronto
Chad Falkenberg, Falken Reynolds Interiors
Cecilia Erbetta, Arch. Cecilia Erbetta
Arturo Lavalle, BOA Luxury Projects
G. De Vos, Guy de Vos design BV
Vivian Lee, Edmond + Lee Architects
Mara Green, Mara Interior Design
Daria Ross, TEYO
Marcus Gleysteen, Marcus Gleysteen Architects
Mark Larson, Rehkamp Larson Architects
Elizabeth Steimberg, Elizabeth Steimberg Architects
Matthew Moger, MaMo Architects
Peter Salerno, Peter Salerno, Inc
Rebekah Murphy, Murphy and Moore Design
Julie Piesz, Roost Interiors
Dana Tucker, BELLA TUCKER
Jenn Feldman, Jenn Feldman Designs
Natalie Erickson, Deep River Partners
Brandon LeRoy, Jackson LeRoy
Brendan Bader, Modern Nest
Nina Seed, Nina Seed Interiors
James Mariani, Sierra Unlimited Construction
Dusty Miller, Design Galleria Kitchen and Bath Studio
Adrianne Bugg, Pillar & Peacock
Andrew Sheinman, Pembrooke & Ives
Laura Sewell, Project Eighty-Eight Designs
Barette Widell, Widell + Boschetti
Dawn Reeves, Dawn Reeves Design
Jill Renjilian, Chicago Common
Dave DeNomme, Vita Built LLC
Donna Guerra, DGA Interiors
Suzanna Lawler, Lawler Design Studio
Ashley Ausland, Ausland Interiors
Benjamin Johnston, Benjamin Johnston Design, LLC
Adrienne Rynes, Collective Design
Carrie Brigham, Carrie Brigham Design
Gladys Schanstra, Drury Design (Chicago)
Christopher Stoddard, Stoddard Architecture

Student Winner: Zeeko Papanicolaou, Zeeko Papanicolaou

“The Kitchen Design Contest entries offered a compelling view into the evolving artistry of kitchen design – from bold contemporary visions to timeless transitional layouts,” said judge Sandra Agurto. “The breadth of creativity behind each project underscores the strength of the design community and the enduring impact of this contest in recognizing exceptional talent.”

All Finalists and the Student Winner will receive a trip for two to the Winners’ Summit and Gala, taking place October 25-28, 2026 at the Arizona Biltmore in Phoenix.

The Summit offers the leading design professionals an opportunity to celebrate their creativity, innovation, and achievement. During the Gala, the 13 Global Winners will be revealed and honored for excellence across a range of categories, including first, second, and third place in Contemporary, Transitional, and Traditional design, as well as First-Time Entrant, Small Space Kitchen, and Best Use Outside of the Kitchen. The previously announced Student Winner will also be recognized for their outstanding work.

Eligibility for the contest required that all design and construction be fully completed within the contest period of January 1, 2024 through December 31, 2025. Both indoor and outdoor kitchen design submissions required specific criteria to ensure a diverse range of entries.

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The Red Dot Design Award is globally recognized as a benchmark for outstanding design quality, celebrating products, architecture and concepts that advance aesthetics, functionality and forward-thinking innovation. Selected from thousands of submissions worldwide, winners represent the highest standard of contemporary design.

Designed in collaboration with internationally acclaimed architect and designer Piero Lissoni, the award-winning showroom reflects SKS’s Technicurean Living philosophy, seamlessly blending advanced technology with refined, minimalist design. Located within Chicago’s premier design destination, THE MART, the space offers an elevated, immersive experience that integrates culinary performance with architectural sophistication.

“This recognition from Red Dot is a meaningful acknowledgment of our vision to create spaces that are both inspiring and functional,” said Lissoni. “The SKS showroom enhances the relationship between people, space and the culinary experience, expressing a level of sophistication that supports creativity and precision.”

The Chicago showroom serves as a physical expression of SKS’s commitment to innovation, craftsmanship and design leadership, offering consumers, designers and builders a dynamic environment to explore the future of luxury living. This latest recognition builds on another recent accolade, the NKBA Innovative Showroom Award, which the brand received at this year’s Kitchen & Bath Industry Show.

“Following our recent NKBA showroom recognition, the Red Dot Award further validates our commitment to creating immersive, design-driven environments where builders, designers, chefs and homeowners can experience SKS innovation in a meaningful way,” said SKS Vice President Yance Choi. “This recognition marks an exciting milestone for SKS as we continue to build momentum within the design and luxury homeowner communities.”

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The 2026 Southeast Designers and Architect of the Year winners are:

Architect: D. Stanley Dixon Architect | Atlanta
Contract Design: The Design Atelier | Atlanta
Residential Design: Melanie Turner Interiors | Atlanta

“It’s incredibly rewarding to see both legacy and momentum reflected in this year’s winners,” said Katie Miner, ADAC General Manager. “Both D. Stanley Dixon Architect and Melanie Turner Interiors have been recognized in these awards before, and their continued wins speak to a sustained level of excellence that continues to shape the design landscape in the Southeast. At the same time, it’s especially exciting to celebrate The Design Atelier as a first-time winner after years of consistent finalist recognition – particularly as they’ve expanded into the contract space. It’s inspiring to see their team grow in this space and execute it so successfully, which speaks to the evolving strength and versatility of design talent across the region.”

With more than 120 entries, this year’s distinguished finalists and winners were selected by a team of top industry professionals, including VERANDA Editor-in-Chief, Steele Marcoux, VERANDA Executive Editor, Ellen McGauley, Peter Dunham & Associates Founder, Peter Dunham, and Kligerman Architect & Design Founder, Tom Kligerman.

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Above photo: Naxos Ceramica

At the same time, highly expressive, art-driven surface design evolves, while Italian tile continues to take shape beyond the surface, playing more functional roles across interior and exterior designs, driven by new performance capabilities and technical advances. From these intersecting influences emerge five key trends – Warm Edible Colors, Gilded Earth, Organic Minimalism, Tile as Art, and Form & Function – that spotlight the creativity, ingenuity and design leadership from Italian tile manufacturers who are driving the industry forward this season.

Warm Edible Colors

Photo: CIR Ceramiche

The 2026 tile palette draws direct inspiration from nature’s pantry, embracing a rich spectrum of warm, edible hues – from espresso, chocolate, and cinnamon to turmeric, pomegranate, and creamy ochre – that evoke comfort and nourishment in interior and exterior spaces. Marca Corona’s Miniature Aroma brings a honeyed caramel warmth, Provenza’s Fornace Provenza collection reinforces the comfort story with cotto-inspired cinnamon and toffee tones, and Ceramica Vogue’s new Flautini format offers glazed, small-scale tile strips in chocolate, tobacco and deep red wine tones. Flaviker’s Midi conveys a warm, spiced depth that feels grounding and earthy, along with Serenissima Ceramica’s namesake collection, La Serenissima.

Photo: Ceramica Sant’Agostino

Further, Ceramica del Conca’s Ghiaccioli expands the palette into the garden, translating green into delicious iterations of artichoke and sage, while Pastorelli’s Color Up leans into saffron’s energizing warmth through tone-on-tone abstract forms that truly stimulate the senses. Imola Ceramica’s Retina brings a sun-warmed vibrancy through its orange tones. Rounding out the palette on the deeper end of the spectrum, Cerasarda’s Porto Rotundo explores the lush richness of plum and pomegranate, while CIR Ceramiche’s Marmette collection takes its cues from the world of gelato, offering nine indulgent shades that make the edible color story irresistibly tangible.

Gilded Earth

Photo: Faetano

Metallic details have resurfaced as a quintessential design element, with gold emerging as a “new neutral” – evolving from a statement color into a versatile foundation that pairs seamlessly with a wide range of palettes. This trend is characterized by the subtle interplay of gold accents and light. Versace Ceramics’ Harmony pairs opulent stone and marble looks with gold mirrored décors that accentuate colors and veining, while Tagina’s Luci D’Oro and Energieker’s Luminescence utilize deposited sparkles in the stone and marble veins to create a shimmering effect. Keradom’s Incanto introduces a delicate rain of multicolored gold and warm-toned granules to small formats, adding depth and subtle richness to its surfaces.

Photo: Versace Ceramics

Emilceramica’s Tele di Marmo Crystal and Level’s Stormy Onyx uses the striking contrast of light, dark, and gold tones to equally stunning effect, while Ceramica Del Conca’s Stone Edition takes a more grounded approach, pairing gold with warm eucalyptus and chocolate brown for a calming, organic feel. Faetano’s Dimore, Gardenia & Ariana’s Orosei, and Monocibec’s Thymos take a more artistic direction, weaving metallic and gold tones into intriguing plays of pattern. Ceramiche Refin’s Metamorphosis, developed in collaboration with artist Oliver Laric, brings a sculptural dimension to the metallic trend, combining a lustrous metallic glaze with a lenticular-inspired 3D surface that shifts in visual perception. Ceramica Fondovalle’s My Top Starlit rounds out the trend by playing with luminosity and surface through backlit technology, accentuating architectural features and enhancing spatial depth.

Organic Minimalism

Photo: Verde 1999

Organic Minimalism continues to evolve into a cooler, more restrained aesthetic, creating spaces that feel calm, quiet, and structured, defined by desaturated tones and the integrity of durable materials.

Photo: Edimax Astor

In line with the influence of Pantone’s 2026 Color of the Year, Cloud Dancer, color remains muted while surfaces carry the visual interest. Monochromatic, neutral palettes, as seen in Leonardo Ceramica’s Code, take centerstage, while other collections like Ergon’s GemmaStone, Edimax Astor’s Whisper, Panaria Ceramica’s Perpetual and Lea Ceramiche’s Pulse, reimagine classic stones like travertine, shellstone and limestone through soft, matte finishes. Similarly, Caesar Ceramiche’s Histoire collection tells the story of a noble, ancient stone, striking a perfect balance between natural beauty and contemporary comfort, while Milano by Verde 1999 reinterprets terrazzo floors with fragments of Carrara marble, as typically seen in early twentieth-century buildings in Milan.

Photo: Mirage

New collections also feature ultra-realistic wood-look surfaces, like La Faenza Ceramica’s Suite Wood and Ceramica Sant’Agostino’s IKI Wood, which showcases an interpretation of reclaimed wood with a resin-style effect. Other new offerings draw on elements like clay, sand, and straw to create a tactile warmth, with subtle textures – raked, ribbed, bush-hammered, and wood-grain – adding depth without relying on contrast. For example, Mirage’s new Shiki collection, designed by Studio Hasuike, draws on the tactile qualities of traditional Japanese tatami mats to create a rhythmic, dimensional surface. The focus is on textural monochromatics; layered, sensory surfaces that feel calm, grounded, and welcoming. The result is a more human, wellness-driven approach to design, where function and emotional warmth are seamlessly integrated.

Tile as Art

Photo: Appiani

Building on last season’s momentum, tile is continuing to evolve as Italian manufacturers push material into full expression. No longer just a background surface, tile is being treated like high-end wallpaper or a piece of fine art, transforming walls and floors into immersive visual experiences.

Photo: Emilceramica

This season, the focus shifts toward storytelling. Rather than simple repeating patterns, designers are creating scenes that unfold across a space, drawing the eye in through mural-like compositions, large-scale graphics, and 3D optical effects, as seen in dimensional surfaces like Emilceramica’s Pietra Essenza collection. Ceramics are becoming canvases for both realistic and abstract forms, with collections showcasing hand-painted qualities and more large-scale graphics, as seen in Appiani’s Pastelli collection.

Photo: ABK

Nature also plays a strong role in this narrative with organic motifs, stone interpretations, and fluid patterns that echo natural landscapes. Cercom Ceramiche’s Silent Stone collection, as seen in its Silent Leaf decorative offering, is inspired by the quiet strength of nature, while other floral-decor looks, such as Ceramica Naxo’s Mind collection and Ceramica Fioranese’s Scaglie di Storie series, bring a soft yet expressive layer to surfaces. Additional highlights include mural-scale panels and graphic patterns from brands such as Rondine and ABK x Moooi’s Nesting Room, while Aquatic Creatures by Ceramica Bardelli takes a poetic journey into the underwater world, further blurring the line between art and material.

Form & Function

Photo: Ceramica Del Conca

Form and function considers how physical shape and purpose come together. It’s not just about how a space looks, it’s about how it works. Thanks to its inherent qualities, Italian tile is redefining this role, moving far beyond backsplash and into a high-performance architectural skin.

In the bathroom, tile has always been a natural choice for its water resistance, antibacterial and low maintenance properties. Now, designers are taking it further with tile drenching; wrapping floors, walls, and even ceilings in a single tile or tonal pattern. The result is a spa-like environment that is both practical and immersive, featuring prefabricated washbasins and vanities from premier Italian brands such as La Fabbrica’s Moon Cream and Atlas Concorde’s Nyra Habitat.

Photo: Ceramiche Coem

In the kitchen, porcelain’s non-porous, heat- and scratch-resistant qualities are driving a surge in demand for large-format slabs as countertops. As opposed to other surface materials, it resists liquids, chemicals, and acids, preventing stains from setting. Pushing innovation forward, these slabs are now being paired with invisible induction cooktops, as seen in new offerings from ABKSTONE, Atlas Plan and in Ceramiche Coem’s Immensa collection, with induction coils embedded beneath the surface, allowing for cooking directly on the countertop.

Photo: Casalgrande Padana

In living spaces, heat-resistant options – such as Casalgrande Padana’s Elements collection – are being applied across fireplace surrounds, while large-format options are also being fabricated into dining, coffee, and conference tables, including MATERIA’s Daino Reale and Shape by Ceramica Fondovalle. Unlike natural marble, porcelain resists etching and staining from spilled drinks, making it virtually indestructible.

Photo: Supergres

Tile also moves seamlessly outdoors, resisting moisture, temperature changes, and UV exposure without fading. While wood or vinyl may typically sun-bleach, this makes it ideal for pavers and high-traffic areas like pool decks and patios, as seen in new collections such as Tufo by Cerdomus, Solaris by Cotto d’Este, Trevi by Ceramiche Keope, and Menhir by Ceramiche Supergres. Additionally, architects are also specifying porcelain for exterior façades, where it acts as a protective layer against UV rays and moisture while extending the interior aesthetic outward.

The post 2026 Spring-Summer Trend Report from Ceramics of Italy appeared first on Kitchen & Bath Business.

All photos by the brands unless otherwise noted.

SieMatic: SG6 URBAN Style

This SIEMATIC kitchen is defined by harmonious curves and rounded corners that soften the linear geometries typical of handle-free kitchens, creating a welcoming and sophisticated aesthetic. The integrated grip profile is discreet and elegant, contributing to a clean and coherent overall appearance. A central feature of the project is the raised worktop with a perimeter edge, which echoes the curvature of the side panels and creates a refined three-dimensional effect. siematic.com

Quartzforms: Madreterra

Born from an advanced production process that uses 100% recycled aggregates from quarry waste, Madreterra by QUARTZFORMS contains no added quartz and features a reduced content of crystalline silica. An evolved material that meets the technical requirements of the contemporary kitchen – resistance and durability over time – transforming them into a story of sustainable beauty. quartzforms.com

Lodes: DoubleZero7

Alongside decorative suspensions, DoubleZero7 from LODES offers a complete range of architectural lighting modules: a three-dimensional spotlight, a ceiling light, a line of light, and a wallwasher. All elements that can be attached to the track and repositioned easily and intuitively. At its core is a 48V electrified track – a minimalist graphic line and discreet architectural element that supports ever-evolving lighting scenarios. lodes.com

Abimis

Available across all ABIMIS kitchen lines, this new copper-infused finish introduces a fresh aesthetic language, enhancing surfaces and details without compromising the hard-wearing durability and practicality inherent in professional-grade materials. Featured here in a bespoke wall-mounted configuration from the Atelier line, the new galvanic copper-infused finish elevates the kitchen’s refined, contemporary aesthetic. abimis.com

Grohe Spa: Allure Gravity

From GROHE SPA, the Allure Gravity faucet features a “levitating” silhouette with modular, interchangeable cover plates, emphasizing bespoke personalization, sustainability and high-end material finishes like Phantom Black and Caesarstone Vanilla Noir. Through its interchangeable inserts, the collection becomes a bespoke signature – allowing for the curation of a deeply personalized sanctuary that reflects the quiet intimacy of self-care rituals. grohe.com

Duravit: Balcoon Collection

DURAVIT USA, Inc. introduces Balcoon, a new mid-range bathroom collection designed by Patricia Urquiola. Inspired by architectural forms, Balcoon balances a refined, purist aesthetic with a bold design perspective across sinks, furniture and bathtubs. Breaking away from conventional ceramic forms, Urquiola envisioned a dynamic interplay between soft curves and square geometries. These sculptural shapes are complemented by clean lines and a natural, timeless color palette to create layered, inviting compositions. Balcoon also offers two distinct furniture styles for modular storage to suit a variety of spaces. duravit.com

Smeg: Linen Beige

Starting with its small appliances, SMEG is introducing a new neutral color, Linen Beige, to its palette. The hue does not impose color, does not dazzle and avoids strong contrasts. Instead, it gently accompanies surfaces, enhancing their texture and revealing the depth of materials. Going forward, the brand will roll out the color to its iconic FAB28 refrigerator and the Portofino induction range cooker (above). smeg.com

Mamoli: Joe Colombo Collection

Tapping into the archives of seminal designer Joe Colombo, MAMOLI releases a wall-mounted reinterpretation of the 1969 Vision 1 faucet. The backplate has a fully customized casing, offered in several colors. Updated in terms of ergonomics and functionality, it maintains a high degree of fidelity to the original prototype with the two levers that slide within integrated slots in the plate itself. mamoli.gr

Wall/Pepper: Olimpo

From WALL/PEPPER, the Olimpo wallcovering depicts marble with colorful, vivid and intricate veins deconstructed across the wall, giving life to a refined and tactile decorative solution. Crafted with high-quality, eco-friendly and certified materials, the new graphic is available on all substrates in the range, from sound-absorbing to water-repellent. wallpeppergroup.com

Ideagroup: Cubik

The Cubik collection from IDEAGROUP now evolves with new versatile modularity options and finishes tailored to address more specific design requirements. Key new features include a 48.5 cm high module with a central groove between the drawers, and a 60.5 cm high wall-mounted module. These additions reflect contemporary living trends that call for more generous storage solutions. ideagroupbathrooms.com

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Rooted in years of experience designing private residences and getaway homes, The Collector’s Studio formalizes an idea that has long been present in the firm’s work: that some of the most meaningful spaces in a home are those shaped by what people love most. From showcase garages and wine cellars to music rooms, art salons, and private retreats, these environments are conceived not simply for storage, but as immersive, highly personal settings for living, gathering, and storytelling.

“At its core, The Collector’s Studio is about designing spaces that reflect the lives our clients have built,” said Chris Brown, owner of b Architecture Studio. “The collections people cultivate – whether cars, wine, art, or instruments – carry memory, passion, and identity. When thoughtfully designed, these spaces become more than rooms; they become places where stories are shared and new ones begin.”

The Collector’s Studio is guided by a process that blends architecture with narrative. Each project begins with a deep understanding of the client’s story and collection, followed by the careful definition of atmosphere, collaboration with specialized craftspeople, and a commitment to executing the vision with precision and intention. The result is a series of “living galleries,” spaces that elevate both the objects within them and the experiences they inspire.

This new initiative reflects b Architecture Studio’s broader philosophy: that architecture should respond not only to how people live, but also to what inspires them. By creating environments that honor personal passions, The Collector’s Studio brings a new level of meaning and individuality to residential design.

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