Looking across the upper level of Studioboom's Milan gallery, steel tables catch the ambient light while a white mesh-panel balustrade frames the void below, where the curved chocolate leather sofa is glimpsed in the distance. The composition reads like a sectional diagram of the studio's aesthetic: reflective surfaces, raw structure, calibrated restraint.

A Decade of Design Takes Shape at Studioboom's New Gallery in Milan

Words by Yatzer

Milan, Italy

Unveiled during Milan Design Week, Studioboom’s new design gallery on Via Hayez reads as both milestone and statement. Conceived as a home for the studio’s ongoing work and a venue for events, exhibitions and collaborations, the space marks its tenth anniversary by distilling a design approach that has long operated between futuristic polish and industrial clarity. For its inaugural installation, a selection of furniture pieces originally created for design-forward fashion brands brings architecture and design into close dialogue, revealing a formal language that is at once restrained and quietly commanding.

Seen through a rectangular portal, the interiorof Studioboom's Milan gallery, reveals the gallery's essential spatial proposition in a single glance: polished concrete floor, exposed concrete beams, a raw structural column, and a cluster of tubular pendant lights descending into a double-height void — brutalist bones, precisely curated.

Photography by Matteo Triola.

The semi-circular leather sofa anchors the lower level of Studioboom's Milan gallery, framed by exposed concrete columns, a concrete staircase and a pair of sleek vertical wall-mounted light fittings. The spatial layering across levels — raw structure above, polished object below — captures the gallery's central tension between primal and refined.

SBF01 modular sofa. Photography by Matteo Triola.

Founded by Fabrizio Piras and Flaminia Ratto, Studioboom has built its reputation designing luxury retail environments for some of fashion’s most exacting names. Their work is defined by a sleek minimalism held in tension with brutalist rigour: elemental geometries, high-shine metallics, raw stone and finely engineered details coalesce into a sharply recognisable vocabulary. Yet within this controlled framework, occasional moments of softness and colour introduce a subtle playfulness that prevents the work from tipping into severity.

The gallery reads as the spatial embodiment of this ethos. Spread across three interconnected levels, the interior has been pared back to its structural essence, with concrete columns and beams left exposed and previous finishes removed. Smooth, white-painted wall planes, stainless-steel accents and linear light fittings temper the building’s roughness with a cool, calibrated clarity. The result is a neutral yet assertive backdrop that heightens perception rather than competing for it.

A concrete portal frames the descent into a lower level of Studioboom's Milan gallery, where walls stripped to their raw masonry substrate — a grid of rough, off-white stone blocks — provide a textured backdrop for the supermirror steel shelving system. The framing effect and tonal shift between levels lend the space an almost archaeological quality.

Photography by Matteo Triola.

  • A panoramic view along the upper circulation corridor of Studioboom's Milan gallery, where paired raw concrete columns frame sequential apertures leading to the WC and an adjacent dark-walled room. The white mesh balustrade runs the length of the void to the right, with a shelving system glimpsed beyond — the whole composition reading as a sectional study in the gallery's layered spatial and material logic.

    Photography by Matteo Triola.

  • A tightly cropped view from the upper level of Studioboom's Milan gallery, looking simultaneously into two adjacent spaces: a compact dark-walled room with a circular steel table to the left, and a lower level where a shelving system stands against exposed masonry to the right. The white mesh balustrade, raw concrete column and exposed pipework organise the composition into a precisely calibrated study in spatial layering.

    Photography by Matteo Triola.

  • A corridor-like passage at Studioboom's Milan gallery frames a view into a room where the supermirror steel shelving system stands against a wall of raw, exposed masonry. A weathered concrete column and mesh-panel balustrade occupy the foreground, the juxtaposition of pristine white plasterwork and unfinished surfaces articulating the gallery's central material dialogue.

    Photography by Matteo Triola.

  • Seen through a doorway, two modules of a steel shelving system stand against a wall of exposed masonry at Studioboom's Milan gallery. The framed view compresses the space into a tightly composed still life, the steel uprights and horizontal rails reading with graphic clarity against the rough, off-white stone substrate.

    Photography by Matteo Triola.

A detail of a shelving system at Studioboom's Milan gallery, showing the junction between supermirror steel upright and tubular rail bracket against a backdrop of rough, off-white masonry. The reflective column mirrors the fractured stone surface behind it, condensing the gallery's central tension — industrial precision meeting primal texture — into a single close-up frame.

SBF07 modular shelving system. Photography by Matteo Triola.

A mirrored-steel coffee table and a shelving system are presented together at Studioboom's Milan gallery, both pieces reflecting the textured masonry wall behind them. The table's pill-shaped top, supported on twin trumpet-base columns, mirrors the raw stone with near-perfect fidelity, dissolving the boundary between object and architecture in a single, arresting image.

SBF07 modular shelving system & SBF02 coffee table. Photography by Matteo Triola.

A mirrored-steel table and console, both originally designed for the Amina Muaddi showroom, are presented together against a waistheight band of exposed masonry at Studioboom's Milan gallery. Their polished oval surfaces act as mirrors, reflecting the raw stone substrate and collapsing the distance between the refined and the elemental.

SBF02 coffee table & SBF03 console. Photography by Matteo Triola.

Several pieces developed for Amina Muaddi exemplify Studioboom’s facility with both curved and rectilinear forms. A pill-shaped coffee table in mirrored steel (SBF02), now also produced as a high console (SBF03), introduces a fluid, almost liquid presence through its rounded silhouette and reflective surface. In contrast, the SBF05 modular table, reissued in Scotch-Brite stainless steel, which can be assembled in different polygonal compositions, adopts a more faceted, geometric presence. Equipped with integrated electrical provisions, it also underscores the studio’s commitment to functional intelligence, moving seamlessly between domestic and workspace contexts.

A circular steel table originally designed for Blumarine, reissued here at dining height, further articulates this interplay, its quartet of tubular supports lending the piece a crisp, graphic clarity. This same structural clarity extends to the modular shelving system SBF07, first designed for The Attico's Harrods pop-up, where transparent plexiglass uprights give way to supermirror steel, sharpening its profile while intensifying its reflective presence.

  • A mirrored-steel console, originally designed for the Amina Muaddi showroom, stands against a corner of exposed masonry at Studioboom's Milan gallery. Its polished oval surface faithfully reflects the raw stone wainscoting wrapping the room, the juxtaposition of immaculate metalwork and rough masonry distilled to its most concentrated form.

    SBF03 console. Photography by Matteo Triola.

  • The WC at Studioboom's Milan gallery extends the building's material logic into its most utilitarian space: exposed masonry wainscoting lines the walls, a polished concrete floor continues underfoot, and a classic white pedestal basin sits with understated elegance against the raw backdrop. Through the open door, a concrete column and mesh balustrade confirm that even the margins of the gallery are held to the same considered standard.

    Photography by Matteo Triola.

  • A threshold view at Studioboom's Milan gallery, where a raw concrete column and a strip of exposed masonry frame a passage into a bright, white-painted room. A steel table leg is just visible to the right, anchoring the space, while the white mesh balustrade and a street-facing window complete a composition that moves fluently between the building's unfinished past and its precisely curated present.

    Photography by Matteo Triola.

A cluster of modular steel tables with mirror-polished tops and dark gunmetal frames occupy a pristine white room at Studioboom's Milan gallery. A sliding door reveals an adjacent space clad in deep espresso-toned walls, creating a dramatic tonal shift that underscores the studio's command of material contrast.

SBF05 modular table. Photography by Matteo Triola.

Four rectangular steel tables are arranged in serried formation beneath an exposed concrete ceiling at Studioboom's Milan gallery. A raw concrete column bisects the white-walled room while natural light floods in through flanking windows, amplifying the interplay between industrial texture and the cool precision of brushed metal.

SBF05 modular table. Photography by Matteo Triola.

Looking across the upper level of Studioboom's Milan gallery, steel tables catch the ambient light while a white mesh-panel balustrade frames the void below, where the curved chocolate leather sofa is glimpsed in the distance. The composition reads like a sectional diagram of the studio's aesthetic: reflective surfaces, raw structure, calibrated restraint.

SBF05 modular table. Photography by Matteo Triola.

A close-up of the modular sofa originally conceived for the Paris Texas showroom and now reissued at Studioboom's Milan gallery. The wedge-shaped leather modules in deep chocolate-toned Cuoium hide — precisely stitched, tightly upholstered — meet a low aluminium plinth base, the detail work revealing the studio's meticulous approach to material and craft.

SBF01 modular sofa. Photography by Matteo Triola.

In the double-height atrium of Studioboom's Milan gallery, a curved modular sofa in rich chocolate leather traces a near-perfect arc across polished concrete, its aluminium plinth base glinting beneath a cluster of descending tubular pendant lights. A raw concrete staircase ascends to the left, grounding the composition in the space's deliberate brutalist character.

SBF01 modular sofa. Photography by Matteo Triola.

Equally compelling is the body of work created for Paris Texas. A modular sofa (SBF01) composed of wedge-shaped elements forms a gently curved configuration that plays against the orthogonality of the surrounding architecture. Its reissue in rich chocolate-toned leather heightens both its tactile presence and its visual contrast with the gallery’s muted palette. Nearby, a sculptural round table (SBF08), now realised in Verde Marina granite, introduces a more monumental register, its thick circular slab poised on equally weighty supports, balancing mass with composure.

Most visually arresting are the tête-à-tête armchairs (SBF06) conceived for The Attico's pop-up in Milan's Rinascente department store. Originally part of a lime-green fur-clad environment, here they are reinterpreted in a deep cherry-red fabric with a dense, velvety texture, their mirrored magnetic inserts allowing them to be easily joined or separated into sinuous configurations.

Over the past decade, Studioboom has established itself as a distinctive voice in luxury retail design. This new gallery does more than showcase that trajectory; it articulates it, offering a precise and compelling insight into a practice defined by clarity, control and a quietly confident sense of identity.

The Verde Marina granite table occupies the lowest level of Studioboom's Milan gallery, its 8 cm-thick circular slab and paired rectangular supports commanding the room with monolithic authority. A full-height mirror panel doubles the space and multiplies the linear light fitting above, lending an otherwise subterranean room an unexpected spatial expansiveness.

SBF08 circular table. Photography by Matteo Triola.

The modular steel tables and tête-à-tête armchairs share the upper level of Studioboom's Milan gallery, their contrasting characters — cool Scotch-Brite steel versus dense cherry-red fabric — producing a charged chromatic counterpoint against white walls, exposed concrete beams and polished concrete floors. The pairing encapsulates the studio's ability to hold restraint and exuberance in productive tension.

SBF05 modular table & SBF06 tête-à-tête armchair. Photography by Matteo Triola.

A close-up of Studioboom’s tête-à-tête armchairs, originally conceived for The Attico, at the studio’s Milan gallery. The magnetised connection between two modules is visible at the centre, a slim chrome spine bisecting a mass of deep cherry-red fabric whose dense, shaggy texture reads almost sculptural in close-up. The white mesh balustrade and concrete columns recede into soft focus behind.

SBF06 tête-à-tête armchair. Photography by Matteo Triola.

  • A view across the mid-level of Studioboom's Milan gallery captures the space's essential tension in a single frame: white mesh balustrade panels and tubular pendant lights introduce a crisp industrial precision, while exposed concrete columns, raw beams and the cherry-red tête-à-tête armchairs — visible in the background — inject warmth and chromatic surprise into the otherwise achromatic composition.

    Photography by Matteo Triola.

  • Seen from the lowest level of Studioboom's Milan gallery, a granite circular table occupies the foreground while a concrete staircase ascends to the upper floor, where the curved leather sofa is visible beyond the balustrade. The swirling grey-and-white veining of the stone slab echoes the polished concrete floor beneath it, unifying object and surface within the same elemental palette.

    SBF08 circular table. Photography by Matteo Triola.

  • A concrete portal frames a stepped passage at Studioboom's Milan gallery, connecting the main floor to a lower level where a shelving system is visible against exposed masonry. A section of the curved leather sofa occupies the right foreground, while a white mesh-panel balustrade and exposed pipework reinforce the gallery's deliberately unfinished industrial character.

    Photography by Matteo Triola.

  • Framed by a raw concrete portal, a room in Studioboom's Milan gallery brings together a shelving system and a mirrored console against a wall of exposed masonry. The supermirror steel surfaces dissolve into the rough stone they reflect, creating an effect at once optically disorienting and compositionally precise.

    Photography by Matteo Triola.

A close-up of a modular shelving system originally created for The Attico at Harrods, here reissued with supermirror steel uprights. The shot captures the precision of the joinery — square-section columns, slotted shelf brackets, flush circular fixings — set against a rough masonry substrate, the contrast between engineered perfection and raw matter rendered in sharp relief.

SBF07 modular shelving system. Photography by Matteo Triola.

A shelving system occupies the left foreground of a lower-level room at Studioboom's Milan gallery, its supermirror steel uprights set against a waistheight band of exposed masonry. The curved leather sofa is visible in the background, connecting the room's two registers — precise metalwork and raw architecture — into a single, coherent composition.

Photography by Matteo Triola.

A circular steel table with a quartet of fluted tubular legs occupies the centre of a white-painted room at Studioboom's Milan gallery, its mirror-polished surface echoing the stainless-steel kitchen unit behind. The symmetrical composition — framed by a tall Milanese window and flanked by vertical wall-mounted light fittings — has the spare, almost ceremonial quality of a still life.

SBF04 circular table. Photography by Matteo Triola.

A Decade of Design Takes Shape at Studioboom's New Gallery in Milan