The interview: Maria Porro on a century of Porro and why Salone is, at its heart, about people

Marking its 100th anniversary this year, Porro stands as a testament to Italian craftsmanship, design discipline, and quiet innovation. Founded in 1925 in Brianza, the family-run company has built a century-long legacy defined by precision, modular beauty, and a deep respect for materials. Now led by fourth-generation designer and entrepreneur Maria Porro, the brand continues to evolve while remaining true to its philosophy of timeless simplicity and human-centred design.

Beyond her role at Porro, Maria also serves as the president of Salone del Mobile Milano, the world’s leading design fair and a cultural force that unites brands, designers, and visionaries from across the globe. Under her leadership, Salone has embraced a more human-centred approach, exemplified by the 2025 theme “Thought for Humans,” which places empathy, connection, and sustainability at the heart of design.

In this conversation with Boulevard, Maria Porro reflects on the evolving role of design, the emotional power of Salone, and the enduring philosophy behind Porro’s centennial collection—where timeless craftsmanship and thoughtful innovation continue to shape how we live.

Maria Porro, president of Salone del Mobile Milano and marketing and communication director of Porro. Top: ‘System HT’ wall system by Piero Lissoni. All designed for Porro.

Boulevard: How do you see the role of design today, and how does Salone del Mobile help shape it?

Maria Porro: I think the role of designers is what it has always been. The theme of Salone del Mobile in 2025 is “Thought for Humans”—a reminder that we are caring for the simple objects that shape our daily lives. Good design can profoundly impact how we live. It can change the destiny of a city or the lives of employees if you’re an entrepreneur. So I believe the role of design is to be humble and consistent.

Salone highlights this role not only by selecting 2,000 incredible exhibitors but also by creating a cultural programme within the city and the fair itself, such as the International Forum of Design. This year’s installations include works by Pierre Yovanovitch and Oscar-winning director Paolo Sorrentino. It’s a constant dialogue across disciplines—architecture, design, neuroscience, and biology. It’s all about that connection.

Blvd: What would you say is the overall emotion or feeling of the show?

Porro: I grew up with this fair. My company is among the founders—one of those that started it more than 60 years ago. Since I was a child, I’ve been coming here, and it’s always emotional because this isn’t a typical fair. We begin with empty pavilions, a blank page every year, and have the opportunity to redesign everything as a brand.

We ask ourselves, “What’s our idea of architecture or furniture? How will we live?” The emotion comes from entering an ideal city that’s reimagined each year. It’s truly an experience.

We also welcome visitors from all over the world—more than 75 per cent come from abroad. You can hear every language spoken here, and that cultural dialogue feels more important than ever today.

Left: ‘Gallery’ low cupboard by Buratti Architetti. Right: ‘Tau’ desk light by Clément Cauvet. All designed for Porro.

Blvd: You see many brands creating warm, comfortable, and relaxing environments, even as they push design in their own directions. And as you said, there are so many cultures represented here. What do you think unifies it all—the approach from regions like Asia Pacific, the US, and Africa?

Porro: Design is an international language. We may speak different tongues, but we all share the language of design. Companies, press, buyers, students, and young designers—we all have this in common. As an organiser, Salone is very precise in selecting its exhibitors and participants.

Salone del Mobile is certified under the European standards for sustainable events, which means certain rules must be followed. This is made possible by the efforts of every company, whether a global group or an emerging brand. We share the same approach to design and production, even amid incredible diversity.

I think that’s what unites us—it’s an industry that exports culture, regardless of where we come from. That shared commitment to quality keeps us together, even as competitors. Being here side by side actually makes us stronger.

More and more, there are collaborations and exchanges between companies from different countries and cultures. Salone has truly become a global event. This year, 38 per cent of our exhibitors are from abroad, and of those, over 70 per cent are from Europe—but we also have a significant number from all over the world. That global presence is very important to us, because that’s where the future lies.

Left: ‘Cargo’ sofa by Piero Lissoni, Christophe Pillet and Francesco Rota. Right: ‘Linea’ cupboard by Alessandro Mendini. All designed for Porro.

Blvd: With this year’s theme “Thought for Humans”, what key ideas or reflections are you taking away from what you’ve seen at Salone?

Porro: At the end of the day, I’m an entrepreneur—I produce furniture. On the first day alone, I saw my international clients visiting our presentation: people from the US, Israel, the Baltic states, China and Southeast Asia. They were testing chairs, sofas and shelving systems—but what’s most interesting is the discussion that arises from these encounters. Salone is like a major stress test for furniture.

Six days at Salone is equivalent to ten years in a normal household, with children jumping on the sofa. We have thousands of visitors, and that’s incredibly valuable for the industry. It’s a real-world test with clients, with the products being used, and with feedback on comfort, colour and lighting. Through this constant dialogue, we truly improve. The honest reactions—questions, critiques, happy faces—tell us everything in an instant.

Blvd: Moving on to Porro, how have you presented the collection this year, and what mood are you aiming to convey?

Porro: We’re a very old company—we turn 100 this year. I’m the fourth generation, and I feel very fortunate to have learned from my grandfather, who taught me how to select wood. At Porro, it’s all about people—the human touch behind everything we create. We don’t focus on constantly pushing new products.

Our core lies in modular architectural systems. These remain consistent, but we continuously refine and integrate them year after year, offering interior designers and architects powerful tools to realise exceptional projects. That’s our goal.

Take the ‘Load-it’ library, for example—you don’t see the structure, only the books. It’s an older design, yet still strong and timeless. For us, it’s about maintaining our ability to provide elegant, functional solutions: pure lines, hidden technology, and sustainable features like replaceable parts for longevity.

Pieces like the ‘Metallico’ table, made from solid aluminium and resembling a work of art, embody this philosophy. It’s not just about introducing novelties—it’s about consistency, craftsmanship, and giving designers the best tools to create.

Left: ‘Glide_Miru’ wall system by Piero Lissoni and IACO Design Studio. Right: ‘System HT’ wall system by Piero Lissoni. All designed for Porro.

Blvd: And I understand that one of this year’s highlights is the re-release of a heritage piece?

Porro: To be honest, we generally don’t like re-releases—we always try to look forward. But the ‘Endless’ shelf is different. I’ve had it in every home I’ve lived in, and I’ve moved many times. When I spoke with my cousins, friends, and longtime clients, everyone kept asking, “Why don’t you produce it anymore?”

So we decided to bring it back. It’s a response to the idea that a truly beautiful, iconic piece can return to the market—this time improved. It was originally made in medium-density fibreboard, but now it’s crafted from solid wood. We also worked carefully to keep it at an accessible price point while maintaining Porro’s quality.

The concept is simple yet versatile: the shelf can be a single square, or it can span four by four metres—or even twenty. That’s why it’s called ‘Endless’. With just four components and a noble material like solid wood, it can adapt to any space. I have a large composition of it in my own home, and I love it. Sometimes, design is about emotion, not just calculation.

Blvd: Yes—and it’s interesting how novelty for you often ties back to your heritage. Lastly, what are you still learning about design, as someone who’s lived it your whole life and is part of a century-old family company?

Porro: I’m always learning—every time I travel, every time I speak with someone, there’s something new to discover. We all keep learning, and Salone is an incredible opportunity for that.

There’s so much happening with the evolution of materials. Many still need further development, especially in making upholstery more sustainable. The aesthetic potential of recycled materials is another area that’s still being explored. Or take lighting—LED technology has completely transformed modular systems. It’s now fully integrated, but the challenge is how to control and refine it. Over the past five years, we’ve learned a lot about lighting and developed our own approach.

We also continue to learn from different cultures—from how people sit or gather around a table to how they live day to day. There’s always something new.

This is part of a series of interviews conducted at Salone del Mobile—go further with the 2025 edition of the Milan Design Week.

Read next:

• The interview: Alice Ballabio on shaping Oniro Group’s portfolio of iconic brands, where every house tells a different story
• The interview: Patrizia Moroso on exquisite design creations—and jumping on furniture