From the great furniture maisons and their workshops to the architects and designers shaping remarkable homes: interviews, collections, and places worth exploring.
A conversation with Patrizia Moroso can begin with the pleasure of making something that hasn’t existed before. With Maria Porro, it turns to the discipline of developing furniture that can adapt to the way people live. And for Glenn Pushelberg of Yabu Pushelberg, the starting point is often not an object at all, but how someone wants to feel in a room.
Boulevard visits the studios, workshops, homes, and international fairs where these ideas take shape. Alongside new collections and notable projects, we’re interested in the thinking behind them: the decisions about materials, proportion, craft, and use that make design worth living with.
Work with us
Boulevard partners with leading houses, designers, makers, and showrooms to present exceptional design to its international audience through film, editorial, print, digital, and private distribution.
The state of luxury design
The conversations with leading designers and furniture houses point to a useful tension. A collection needs to feel contemporary, but the pieces that matter often outlast the moment that produced them. Cassina CEO Luca Fuso is candid about the commercial contradiction: “we’d sell more if our pieces went out of fashion.” For his house, the ambition is precisely the opposite—to make work that remains in a home for generations.
That doesn’t mean retreating into safe, anonymous design. Patrizia Moroso describes an instinct to make things that haven’t existed before, while Paolo Bestetti of Baxter speaks of moving just beyond the comfort zone, inviting people to experience something different. Their approaches leave room for surprise, personality, and experiment. Endurance needn’t mean restraint.
In architecture and interiors, a related question concerns what remains after the first impression. Glenn Pushelberg has spoken about the appetite among his most discerning clients for spaces that feel less “designed” and more “distilled”. His point is practical as much as aesthetic: privacy, intimacy, ease, and the pleasure of returning to a place. A room may photograph beautifully, but its real test begins when somebody lives in it.
Across furniture, interiors, and architecture, the interesting work lies in that negotiation—between novelty and permanence, expressive form and daily life, the individual piece and the whole space. It’s a richer conversation than the arrival of the next collection, and one that runs through the interviews and projects gathered here.
Read in full
The Boulevard Furniture Edit: new collections, enduring design, and the houses setting the standard
How luxury hotels are moving from spectacle to liveable space, according to top designers
View from the top
“We don’t think about marketing, or demand. We just try to do things that didn’t exist before.”
Patrizia Moroso, creative director, Moroso
Read the interview with Patrizia Moroso
“Of course, that’s not ideal for us in terms of sales—we’d sell more if our pieces went out of fashion. But we believe it’s more important for a design to be timeless, to remain part of the home for a long time, and to be passed down through generations.”
Luca Fuso, CEO, Cassina
Read the interview with Luca Fuso
“At the ultimate luxury level, people want spaces that feel less ‘designed’ and more ‘distilled’.”
Glenn Pushelberg, co-founder, Yabu Pushelberg
Read the interview with Glenn Pushelberg