MARKETS

Classic furniture sees the light again thanks to contract and the Middle East

Italy still in the pole. Russian buyers are back on the stands (despite the embargo). Colombo: in 2025, the segment could return to positive territory

by Lello Naso

L’installazione Villa Héritage di Pierre-Yves Rochon con il contributo di 40 imprese made in Italy.

3' min read

Key points

  • Molon: the climate is not ideal, but we can catch up with Europe
  • Capelletti: large projects grow, but margins are slim
  • Villari: we are expanding our sales outlets abroad

3' min read

One only has to look around, in Halls 13 and 14 of the Salone del Mobile, to understand where the signs of a revival in style furniture, the classic, as the operators call it in jargon, are coming from. Buyers, architects and clients from the Middle East, Arabs, many Caucasian. A few Chinese and Koreans. Unknown, but not so unknown, are the Russians. Officially embargoed, they peep quietly among the stands. The last time the Russians and the Classics had been in the limelight was when, at both ends of the enormous six-metre-long table at the Brianza Oak, Putin and Macron began a dialogue that later turned out to be improbable on the war in Ukraine.

It was precisely the war in Ukraine, which followed the post-Covid, that was the turning point for the sector. "We suffered the backlash," says Luciano Colombo, managing director of Ercole Colombo, a historical company in the segment, and FederlegnoArredo's style furniture referent. "Over the next three years," he explains, "we lost about 30 per cent of the segment's turnover. The costs of raw materials, precious materials and the accessories we use went through the roof. Repositioning was not easy, Russia is worth half of the segment. Now we see the first signs of recovery'.

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The visits during the first days of the exhibition are encouraging. "We are seeing, especially from the Middle East, individual buyers. We had an important order for a noble palace in Baghdad, Iraq'. Italy did not come. "Spending capacity, even at the top end, has decreased," says Colombo, "but the domestic market is not decisive. From the movements I see at the Show, I believe that in 2025 the positive sign will return'.

Thanks to the Middle East, which already struck a blow in 2024. The United Arab Emirates, reached seventh place in the Italian export ranking with 402 million in turnover (+22%); Saudi Arabia, thirteenth in the ranking, reached 288 million in turnover (+14.6%). There, the classic is at home. Major projects, contract, were decisive. Residential developments and hotels, above all.

The Villa Héritage installation by Pierre-Yves Rochon, the French archistar of grand hotels, is a manifesto of the style and potential of stylish Italian furniture companies. Forty made-in-Italy companies have provided the architect with pieces for an ideal environment. A mirror of what can be done with classic furniture. "Contract," says Roberto Molon, managing director of the family business, "is giving good signals. Trump's duties are weighing us down in the United States and with the big chains. But we can work well in Europe, with the same big US hotellerie groups. Unfortunately the climate in the markets does not bode well. The uncertainty, especially on large orders, is a very penalising factor'.

Projects, however, are a difficult animal to tame. "At a time when sales of individual pieces to private individuals are languishing," says Diego Capelletti, fifth generation of the family business C.G. Capelletti, "large contracts are a lifeline. But the margins are slim. We are walking on thin ice. Not least because the Italian market, where up to the eighties we made 90%, is now zero. The only outlets are the Middle East and the former Soviet Union area'.

Barbara Villari, managing director of the family business, sees the end of the tunnel. "We closed with a plus sign already in 2024. I think we will repeat in 2025. There is a timid return of the Chinese. There are the Koreans. There is the Caucasian East Europeans.' The stand displays a piece produced in twelve pieces costing the price of a work of art. "We sold two in one day, one in Qatar and one in Korea. We intensified our collaborations with architects. With Rochon we did the suites of the George V in Paris and the Four Seasons in Florence. We are upgrading the shops in London, a key hub for designers from all over the world. In 2025 we will open Villari Cafés, with made-in-Italy products in our shops in Amman, Riyadh and Seoul. Trump worries us, but we have to find alternative ways. We cannot stand still, that's for sure'.

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