FORNASETTI FIORI BY FJURA FLOWER STORE INTERIOR, MILAN ITALY

Fornasetti Fiori by Fjura, a twelve-week floral residency by Australian creative Simone Gooch, founder of Fjura. Within a minimal, gallery-like setting designed by Tutto Bene, sculptural floral arrangements interact with steel panelling printed with enlarged Fornasetti vase motifs, transforming the everyday ritual of buying flowers into a series of living tableaux. The space reflects a central aspect of the Fornasetti universe: the ability to transform the familiar into something poetic and unexpected.

Photography by Ludovic Balay


FORNASETTI FLAGSHIP STORE RETAIL INTERIOR, MILAN ITALY

“In what was one of the most striking and completely realised feats of archival investigation, the German-born design duo behind Tutto Bene overhauled Fornasetti’s showroom. Once a maximalist haven, almost to the level of 19th-century horror vacuii, it was stripped down to a spaceship-style laser-focus on materiality. But never has so much been added by the process of subtraction. Throughout, the pair’s teutonic rationalism allowed the distinctive Baroque-Surrealist excess of the Fornasetti style to really stand out […]”– David Lipton, The World of Interiors, 2026

On the occasion of Milan Design Week 2026, Fornasetti unveils the complete transformation of its Milan flagship on Via Senato. The project reimagines how audiences encounter the world created by Piero Fornasetti and continued today under the artistic direction of Barnaba Fornasetti. 

Nearly a century after Piero began his work, Tutto Bene proposes a new reading of his and Barnaba’s oeuvre. The architecture translates Fornasetti’s visual language into space, where pattern becomes architecture and surfaces become narrative, unfolding as a sequence of environments from public to intimate. 

For Piero Fornasetti, ornament was never decorative excess, but a way of producing meaning: transforming the everyday into something poetic, intelligent and alive. This flagship reframes that position for the present: ornament as a contemporary cultural act.

Photography by Ludovic Balay


MILAN PIED–À–TERRE
RESIDENTIAL INTERIOR, ZONA MAGENTA MILAN Situated near Leonardo da Vinci’s Last Supper in Milan, the apartment of Felizia Berchtold and Oskar Kohnen combines historical significance with modern design. Set within a former Visconti palazzo, it serves as both a creative retreat and a pied-à-terre, shaped by the designers’ lives between Milan and London.

The space revolves around a central garden room, awash with natural light. Here, original terrazzo flooring and plasterwork form a canvas upon which curated collectables interact in ever-changing compositions. At its core rests a black Kubus, a movable fabric-panelled cabinet inspired by Malevich’s Black Square, blending modern abstraction with historic surroundings. A shrine-like silver-leaf kitchen and a chrome-and-rosewood table enhance the rhythm of daily life with functional simplicity.

The surrounding terrace, with its century-old wisteria and palm trees, infuses the interior with shades of green, creating a seamless connection between interior and exterior. Throughout the apartment, historical references and contemporary pieces coexist, from Gründerzeit details to a striking Luigi Colli green glass mirror. Together, they form a dialogue between past and present, expressing the designers’ ethos of romantic simplicity and purposeful restraint.

As seen on the cover of AD Germany 12/2024
Photography by Ludovic Balay

NIGHTINGALE
RESTAURANT INTERIOR, MAYFAIR LONDON Located in a sheltered courtyard in Mayfair, London, guests emerge into a space that is elegant but restrained, with classic European aesthetic influences reimagined in contemporary materials. The design references continental Kaffeehaus culture, as well as museum and theatre interiors.  

An angled ceiling opens up to the exterior, creating a stage-like room with space to breathe. Fluted walls in crisp white and layers of curtains capture the abundance of daylight and create an ever-changing play of light and shadow.

Accentuated by a feature installation of five dancing chandeliers, Nightingale is spun in playful motion. ‘Tanzende’, a German Lithograph by Dietrich Burger from 1983 adorns the steel and marble backbar.

Photography by Ludovic Balay

GLOBUS BASEL DEPARTMENT STORE INTERIOR, BASEL SWITZERLAND

In a city best known for its Art Fair, Tutto Bene drew on the art world to rethink the modern department store. As retail shifts globally, the format increasingly operates like a curated fair: independent brands gathered under one roof, transactional by nature. To counter this spectacle of commerce, Tutto Bene created an architecture reduced to the essential – concrete floors, continuous surfaces and a restrained palette forming a calm infrastructural backdrop against which fashion can be read with clarity.

At the heart of the 3000 square metre fashion floors, a continuous illuminated wall operates as an architectural frame. Conceived as a contemporary viaduct it organises circulation and sets a measured rhythm across the interior. Rails, plinths and fixtures are treated as precise architectural objects, supporting the reading of garments as material, construction and form.

Globus Basel sits behind one of the city’s most recognisable Art Nouveau façades from 1904. Preserved as a layered urban monument, these elevations now front a newly built structure by Swiss architecture firm Miller & Maranta.

Photography by Ludovic Balay

PRIVATE SHOPPING, GLOBUS BASEL RETAIL INTERIOR, BASEL SWITZERLAND

A Collector’s Apartment. The private shopping suite is conceived as an inward-looking retreat. Designed as an imaginary collector’s apartment, it is defined by wood panelling, monochrome blue tones and a residential sense of scale. 

At its centre sits a piece of installation art: a mirrored dressing room conceived as an optical device. Cascading mirrors fragment and recompose the space, creating an ever-shifting interior landscape. A custom drape screen-print artwork, referencing Swiss designer duo Trix & Robert Haussmann, adds a graphic layer to the room, sharpening the sense of the suite as a private world of looking, selecting and collecting.

Photography by Ludovic Balay


MYRA PAVILION STREET-SIDE PATISSERIE & COFFEE PAVILION, JEDDAH
Myra is a street-side pastry and coffee pavilion – part café, part roadside pick-up point – designed to sit between architecture and sculpture. Jeddah’s cityscape is intensely horizontal, defined by multi-lane highways and scattered developments in process. Reference points range from Ursula Schulz-Dornburg’s photographs of abandoned Hijaz Railway stations to the notion of roadside typologies as a form of land-bound sculpture.

A stone’s throw from the future Jeddah Tower, the pavilion embraces deliberate smallness. A translucent polycarbonate facade wraps a simple box volume, cut through by a stainless-steel service window that opens to both sides, shading the interior from desert heat. One corner is swagged open into a super-slim canopy: bent polycarbonate panels read like stylised fabric, held by a goalpost frame that quietly stages the desert beyond.

Photography by Tutto Bene


APERTURA 01
INSTALLATION, SALONE DEL MOBILE 2025 ‘The 12 Best Things We Saw at Salone Del Mobile’ –The New York Times Style Magazine

Just as photographic aperture governs focus, capturing a perspective in motion, ‘Apertura 01’ presents Tutto Bene’s ‘Legato’ collection in dialogue with three Salvino Masura sculptures rediscovered by Béton Brut. 

The ‘Legato’ collection – wall, table, and floor lamp – combines washi paper shades with baroque lines, distilled into elementary shapes. Inspired by architectural form and musical expression, fluid silhouettes take on weight and presence.

Paired with three sculptures by artisan ironworker Salvino Marsura (1938–2020), the installation explores the tension between movement and solidity. Like Calder’s kinetic explorations or Tinguely’s surrealism, Marsura’s forged steel pieces seem to defy their weight – experiments in motion. In dialogue with the exhibited lights, which translate fluidity into structure, they blur the boundary between stillness and dynamic force.

‘Legato’ is available to order via Tutto Bene
Photography by Genevieve Lutkin

CUBITTS MARYLEBONE
EYEWEAR STORE INTERIOR, MARYLEBONE LONDON The building at 28 New Cavendish Street is part of a 1903 development, originally home to Edward VII’s butcher, Goslin and Co. Cubitts Marylebone is organised along clean lines, with an emphasis on modern utilitarian display, tempered with a knowing reverence to the site’s bloody history, and the sensuous glamour of this opulent district. 

A red-bathed interior is rooted in original white-veined marble tiles, uncovered and restored. Their crimson hue spills out into the walls, a panelled ceiling, and a piano lacquered central element. A new internal arch mirrors the historic façade, bringing the elegance of New Cavendish Street into the store. 

Spectacle shelving in marble and polished chrome references Goslin’s utilitarian display units. A paravent screen divides the shopfront from the testing room. Punctuated by gloss and mirror reflections and illuminated by spherical glass pendants, the design is a sumptuous interpretation of the building’s history.

Photography by Felix Speller

CUBITTS WEST VILLAGE
EYEWEAR STORE INTERIOR, WEST VILLAGE NEW YORK Cubitts West Village brings the spectacle of New York’s theatrical quarter to spectacles. Set in the building once inhabited by seminal playwright Lorraine Hansberry, it’s a love letter to theatrical glamour, holding a mirror to the dualities of ‘on stage’ and ‘backstage’, public and private lives.

The front of the store is designed as a theatre of the everyday, for the theatrical masks we all wear. Constructed with a set-like glamour, with felt-lined walls, recessed wooden shelving, and black parquet wooden floorboards fit for the stage.

Custom designed furnishings have an imaginative prop-like quality, arranged to emphasise the changeable nature of the store. The space is lit by a 1980s vintage pendant by Mario Botta and a 1960s Kaiser Leuchten table lamp by Klaus Hempel, chosen for their allusions to theatre flashlights, and photographic reflector screens.

Around the curved screen wall, the ‘backstage’ area. A contrast in dark bitter-chocolate brown. A vanity mirror lines the wall, set for Bespoke consultations. Deeper still into the store’s recesses, behind a leather curtain, two doors present themselves. One leads to a repair station, the other to the bathroom, a shrine to Dionysus, Greek god of art and theatre.

Photography by Alice Gao