Located in the iconic Jardin des Tuileries in Paris, collectible design fair MATTER and SHAPE returned for its second edition, expanding in size from its first showcase.
The reflective entrance of MATTER and SHAPE 2025 stood out against the backdrop of Jardin des Tuileries. Photography ©Celia Spenard-Ko
Words by Roddy Clarke
With Paris in early March always awash with the buzz and energy of the Fall/Winter Paris Fashion Week, another show is adding to the dynamism of the city during this period. MATTER and SHAPE, a business-focused design salon initiated by WSN’s Frederic Maus, directed by Matthieu Pinet with creative direction by Dan Thawley, returned to the iconic Jardin des Tuileries for its second edition last month. Hosting 61 exhibitors (nearly double the number from its inaugural show) in two spaces designed by Canadian architect Willo Perron, the four-day exhibition opened its doors to over 13,000 visitors – a substantial increase from the 8000 visitors who came through the doors of its 2024 edition.
Drawing on the expertise and guidance of Pinet and Thawley, the small, yet elevated showcase boasts a curated aesthetic, bringing together a selection of global talent. The mirrored façade of this year’s event space made a bold first impression, amplifying the duo’s mission to experiment and express the contemporary landscape of design in the context of fashion week in Paris. ‘Now we are able to zoom out and see how that can be applied to other events and exhibitions around the world, as well as streamline our identity and how it exists between industrial and collectible design, between fashion and printed matter, food, architecture and more,’ states Thawley.
The creative minds behind MATTER and SHAPE, Dan Thawley and Matthieu Pinet. Photography: ©Mickaël Llorca
The theme of this year’s show took stimulus from the 1925 International Exhibition of Modern Decorative and Industrial Arts, with the edition paying tribute to its centenary and the early days of modernism which shaped the design world as we know it today. With exhibitors drawing on this inspiration to guide what they presented at the show and how they styled each booth, it was lovely to see how the sector aligning to the creative values of the visionary work that was on display 100 years prior, while also showcasing innovation and evolution in materiality and context.
This year’s edition also included a retail section for visitors to purchase small collectibles from the studios on display. Attracting both trade and public attendees, the showcase, thanks to its timing and location, drew a vibrant mix of both the fashion and design crowd, blending the two worlds seamlessly together and making way for cross-sector collaborations.
With smaller showcases such as MATTER and SHAPE providing a focussed and curated perspective of design, many brands are seeing the benefit of taking part, rather than getting lost amongst larger scale events that have dominated the design calendar for years. Enis Karavil, one half of the creative duo behind Turkish design studio Sanayi313, says how exhibiting at such shows has become more appealing to them. ‘I prefer boutique fairs because they are far from being commercial and people pay more attention to details and craftsmanship,’ he comments. ‘When fairs such as this are held in a city, people visit for pleasure and not always just for business. This is great for brand building and for explaining the brand’s DNA to visitors. Most of the visitors are part of the target market, and they don’t get tired while looking around at unnecessary commercial items because I believe smaller fairs are better curated under one vision compared to larger ones. Another great thing about MATTER and SHAPE is the shop section. It feels like a museum shop, which is great for visitors since not everyone is there to buy large furniture or designs.’
MATTER and SHAPE 2025 bought together 61 exhibitors from across the globe and from a variety of design sectors as shown here with the listening booth from Swedish design-led and circular audio brand Transparent. Photography: Tom Dagnas
Also referring to the importance and relevance of physical exhibitions, Thawley continues. ‘I think people need room for perspective and space in the visual soup of social media and between the major cultural events in the global calendar,’ he comments. ‘There is more flexibility today to make noise in unexpected ways by working in collective ways, teaching and provoking different audiences.’ Looking ahead, Thawley hopes the show continues to grow and expand with a broader international presence. ‘I would love to continue to surprise our visitors the way I am surprised when I visit different ateliers, factories and studios around the world and see the way people make beautiful and functional objects to live with,’ he says. ‘I’d also like to expand with more projects from Africa, Asia and Latin America to better represent the global south – which is a challenge but one worth exploring.’
Alongside the Jil Sander design talks that took place on the first two days of the show, a pop-up restaurant in partnership with We Are Ona, Luca Pronzato, Imogen Kwok and Willo Perron and the showing of three short films curated by Dr. Roisin Tapponi, the founder of SHASHA Movies (an independent streaming service and curatorial platform for South-West Asian and North African film and video), there were many highlights that caught our attention. Here are five of our top picks:
Motherboard by Marco Guazzini
MOTHERBOARD Series of Objects in MARWOOLUS® by Marco Guazzini. Photography: Nicola Gnesi
Designed and created by Guazzini in his Tuscany atelier, ‘Motherboard’ is a series of products made from the innovative material MarwoolusÒ – a composite consisting of marble powder, wool and a bi-component binder. Bringing together values of circularity and sustainability through a design-focused lens, the vibrant colours and contemporary forms stood out for all the right reasons.
Sanayi313
SANAYI3I3 exhibited for the first time this year at MATTER and SHAPE. Photography: ©Tom Dagnas
Celebrating its 10th anniversary, Turkish design studio Sanayi313 presented a range of furniture pieces alongside its first ever lighting design – the 08313 Floor Lamp. Showcasing the studio’s ability to juxtapose materials while elevating them through a timeless aesthetic, the collection offered a glimpse into the regional influence of Maslak and how the creativity of Sanayi313 is highlighting its industrial beauty and artistic expression on a global stage.
Oyuna
Oyuna cleverly displayed its cashmere textiles as floating chairs, catching the eye of onlookers. Photography: @Tom Dagnas
Founded by Mongolian born designer Oyuna Tserendorj, the cashmere brand presented its throws in a unique way, as floating chairs suspended in mid-air. Catching the attention of onlookers, it allowed visitors to witness the beauty and quality of the London studio’s designs while exuding a sophistication that perfectly encapsulates the spirit of the brand itself.
Akua Objects
Akua Objects displayed its glassware on vibrant yellow plinths, allowing the pieces to stand out with complementing hues and silhouettes. Photography: ©Mickaël Llorca
Founded in 2022 in Copenhagen by Annika Zobel Agerled and Josefine Arthur, the studio’s glassware boasted a delicate beauty and a striking artisanal quality. Working with the finest materials of Murano and the Czech Republic, the two glass capitals of Europe, the studio seamlessly blends tradition and modernity through the exquisite colours and forms of each piece.
Willo Perron for Nordiska Galleriet
Willo Perron’s creations for NO GA stood out against the plush burgundy backdrop. Photography ©️ Mickaël Llorca
Presenting a series of tables and mirrors crafted from cast glass fiber, this was the first collaboration for the French-Canadian designer with the Swedish design house. The hand-polished, high-gloss statement pieces stood out against the plush red textured backdrop of the stand, exuding a luxurious opulence and sophistication that elevated the pieces that look set to become heirlooms of the future.
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