The Leading Woman of the Milanese Design Scene

HUR CONVERSATIONS

Oct 15

*Photography by Alessandro Dipierro, courtesy of Mr.Lawrence.*

Annalisa Rosso

The Leading Woman of the Milanese Design Scene

By Bonnie Langedijk

Annalisa Rosso is one of the key figures shaping contemporary design today. Through her work as a journalist, curator, and consultant, she has redefined the relationships between brands, designers and consumers, and with it continuously pushes the boundaries on what design means today. Throughout her career, she has sat at the helm of design publications Icon Design and Domus web, curated international exhibitions and site-specific projects and has participated in numerous design events as a public speaker and juror, including Design Miami/Basel, TEDx and New York Design Week.

In 2018, she co-founded best in class design consultancy Mr. Lawrence, working with renowned brands within the design world and beyond, from B&B Italia and 1stDibs to the Four Seasons Hotels and Resorts and WGSN. Over the years, Rosso has built a reputation for understanding how brands can successfully connect with their audiences in today’s world, combining cultural heritage with forward-thinking strategies to create narratives that resonate on a deeper level. Her studio specializes in identifying the "missing link" for brands, using research-driven insights to craft bespoke design systems that elevate brand identity while shaping narratives that resonate with today’s consumers.

But Rosso’s influence on the world of design doesn’t stop there. She also serves as the Editorial Director and Cultural Events Advisor at Salone del Mobile.Milano—arguably the world's most influential design fair. Since 2020, she has curated the event’s Talk and Round Table program, facilitating conversations on pressing topics with some of the design world's most exciting talents, including John Pawson, Jeanne Gang and Hans Ulrich Obrist.

Whether shaping global design conversations at Salone del Mobile or crafting bespoke strategies for her clients, Rosso continues to be a defining voice in design, both in Italy and on the international stage.

*Mr. Lawrence's work with design studio ELIURPI. Courtesy of Mr. Lawrence.*

When was the ﬁrst time you were aware that something was designed?

Annalisa: When I was a kid, my parents renovated our home and bought some design objects considered icons today. I still remember when I saw the Arco lamp by Achille and Pier Giacomo Castiglioni for Flos. Mind blowing: the non-decorative sharpness, the quality of the light, an object like no others.

What makes a design good?

Annalisa: Good design is all about a brilliant idea – about Zeitgeist, function, aesthetic, materials. But, of course, good design cannot exist without an excellent production system.

“Good DESIGN is all about a brilliant idea – about Zeitgeist, function, aesthetic, materials.”

You wear many hats. How would you describe what it is that you do?

Annalisa: Together with Francesco Mainardi, I co-founded Mr.Lawrence studio: a Milan-based design consultancy that brings together our different skills, networks, and backgrounds. I am an advisor, an independent curator, and I have directed magazines and editorial projects. I have learnt how to change perspective to get the big picture, and I am used to adopting very different points of view according to the clients I deal with. Among others, we are collaborating now with Ambientec: a Japanese lighting company that is a miracle of balance: the high-tech quality and the cutting-edge research are merged with the pure poetry of the portable lamps’ design and some elements taken from traditional craft. In this case, I think we demonstrated the power of collaborations – also in the design field. Building a meaningful system is very rewarding, especially if it can activate several excellences, also from different sectors. For this specific case, we crafted the collaborations between Ambientec and the beauty industry, collectable design and Italian craft.

It’s a real skill to be able to zoom out. You’ve applied your knowledge of the design world across media, exhibitions and fairs. How do those three ways of working relate to each other? And how have they each informed your career?

Annalisa: I think that my value, as a design professional, lies exactly in that diversification of experiences, expertise, and points of view. It is part of my peculiar attitude: I can’t see myself working on a singular aspect of the very complex and interconnected design system. By simplifying, I think creativity, marketing, and communication are the cornerstones of building a good strategy. I have been lucky enough to be trained in all these three disciplines.

I can imagine working across these disciplines also brings value to your work with Salone. In your opinion, what role does Salone del Mobile play in the wider cultural landscape? And what are some of the key principles that lead you when working on the fair?

Annalisa: We are now working on the 63rd edition of Salone del Mobile. The heritage of this leading international event for the design industry is impressive, almost intimidating. But the fact is that Salone is younger than ever, and vibrant, with a record of visitors for 2024 (more than 370.000) and almost 2.000 exhibitors from 35 different countries presenting the best innovation and research of our industry. Salone is not just an event, but also a cultural hub and an absolute institution. The voices we heard during the last talks I curated for Salone – from Francis Kéré to Hans Ulrich Obrist – are a clue of that, but the real confirmation is the participation and the feedback of visitors and exhibitors. As the Editorial Director and Cultural Events Advisor, I try to keep my eyes open. New voices, new countries, and different points of view can help us to be more inclusive and supportive than ever for our industry.

Book launch of Società delle Api’s publication 4Rooms. The book explores the development and creation of the residency's design project in Kastellorizo. Photography by De Pasquale + Maffini, courtesy of Mr. Lawrence.

It’s again about being able to zoom in and out. When looking at design fairs today, they are about much more than just showcasing objects or furniture. What’s the purpose of design fairs today and what are some of the biggest shifts you’ve seen at Salone?

Annalisa: The deep meaning and sometimes the identity itself of the objects and furniture presented at the design fair are embedded in the fascinating context of design culture, shared by a specific community of passionate people who are always excited to share valuable experiences. That’s why during the Salone week we organize relevant and consistent panels, workshops, and exhibitions, with the support of selected curators. And, throughout the year, we are a permanent hub of research and exchange through the online platform and the huge number of initiatives around the world.

Fashion often tries to expand its storytelling beyond only fashion week. Salone has become a popular destination for luxury brands to further expand their cultural calendar. How do you look at that and how do you think it affects the fair at large?

Annalisa: I am looking at that with great curiosity. Of course, the design market is changing, and many new players are coming up. Our entire design system is evolving accordingly, faster than it seems. We are living in a moment of big experimentation and huge potential. We have to be brave and keep an open mind.

And I think in return the luxury fashion industry has to do the same. Across industries, we’ve seen an influx of people-first brands. How important is it in your view to build human relationships into the story of design brands and products? And what’s the best way to approach it?

Annalisa: Design is all about people, this is a big truth for all the professionals of the field. From the first creative idea (and even before, if you look at the importance of people in the training path), until the inheritance that a good long-lasting object can pass on through generations. Maybe the way people relate to things is changing, but especially for design brands and products the human being will remain crucial. That’s why the capability of listening and understanding each other is still so relevant.

You’re also a curator. How would you describe your approach to curating?

Annalisa: It’s always about a conversation with different people. Sometimes it is a one-to-one dialogue with the designer but more often the exchange involves all the players involved. I listen and talk, but I try to listen more than talk. My best achievement is always when I discover something new, it is always like a personal little revolution.

Listening is a skill many people lack. I can imagine you spend a lot of time around people who make and create. In a way, you’re supporting them in their creative endeavours. Would you ever create objects of your own?

Annalisa: I must admit I am not a creative person – I think I feed this aspect with all the amazing creativity I am surrounded by daily

*Rosso's work with Japanese lighting company Ambientec. Photography by Takumi Ota, courtesy of Mr. Lawrence.*

*Rosso's work with Japanese lighting company Ambientec. Photography by Yume Takakura, courtesy of Mr. Lawrence.*

You see many designs and objects. How do you remain open-minded and interested in seeing the next thing?

Annalisa: I think it is a personal attitude. I never lose interest, especially when it comes to discovering something new and especially to listen to people with something interesting to tell, never-ending fuel for my brain.

In terms of newness, in the digital economy, there’s always a new designer or design to explore. How do you think the digital economy has impacted design?

Annalisa: The digital economy and social media are provoking an epochal change in the design field. The positive aspects – such as easy communication, direct connection and accessibility to the market - are jeopardized by the risk of lowering and standardizing content. Losing identity is one of the worst and most painful dangers.

I couldn’t agree more. In some ways, culture has already become somewhat international or the same across continents. How can we protect individuality in design and taste, while allowing designers and consumers to have an international approach to it all?

Annalisa: Even in this case, it is all about the balance between many different aspects, from my point of view. Being local is a huge value today, and the market is global. The way to survive is to be global without being globalized: a competitive brand today must know how to keep its own identity and narrative, even linked to a very specific tradition and production, and still be successful in an increasingly interconnected world. A spotless reputation, in this case, is crucial.

What excites you most about the future of design?

Annalisa: New technologies, research on materials, change of needs and priorities. People are changing, and the social and political situation we are living through is forcing us to face different scenarios. I am excited because I see that design and architecture are accepting the challenges, and the future will be affected by a deep paradigmatic rethinking.

This interview has been edited and condensed for clarity.