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A Design Studio based in Milan and Rotterdam. Here we collect everything that makes us happy
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#formafantasma#oceanandclimatevillage#seabeyond#marni#meryllrogge#phaidon#monograph#designresearch#ecology#unescoioc
Recent posts
Formafantasma Appointed Creative Directors of Officina Profumo-Farmaceutica di Santa Maria Novella
We are pleased to announce our appointment as Creative Directors of Officina Profumo-Farmaceutica di Santa Maria Novella.
Founded in Florence in 1221, the Officina has developed across eight centuries through continuity in expertise, materials and practice. What began with the cultivation of medicinal herbs by Dominican friars, and the preparation of remedies, balms and ointments, has become a company producing fragrances and preparations for the body and the home, while maintaining a distinct relationship with its own history.
It is precisely this continuity that makes the collaboration significant to us. The Officina is not simply defined by its longevity, but by the accumulation and transmission of knowledge across generations, embedded in ingredients, formulations, techniques, objects and spaces. Working with such an accumulation raises questions close to our own practice, particularly how it is preserved and transformed, how materials carry their own histories, and how an institution can advance without treating its past as static.
As Creative Directors, we will work across products, packaging, communication, retail spaces and events, in close dialogue with the internal team and with specialists from different disciplines. The product remains the primary point of departure, with particular attention to its quality and to the expertise and processes through which it is made.
Our intention is not to redefine Santa Maria Novella through a new image, but to build from what already exists, understanding what has allowed it to remain relevant since 1221 and how this can inform its present and future. This means examining how its history is communicated, how new products are developed, and how the different expressions of the company can form a coherent whole.
@santamarianovella1221
23 Sep 2026
Formafantasma monograph - Phaidon, 2026
We are pleased to announce the publication of the first monograph dedicated to our work, published by Phaidon @phaidonpress, co-edited with Alessandro Rabottini @alessandro.rabottini and designed by @studiojoostgrootens.
The book brings together our work since the foundation of the studio in 2009: objects, exhibitions, spatial projects, research, strategic design and collaborations with companies and cultural institutions.
It is not an archive of what we have produced; it is meant to make visible the questions, methods and relationships that have shaped the studio over time, and how our understanding of design has changed with them.
The book is built around a series of extensive conversations with Alessandro Rabottini @alessandro.rabottini, accompanied by contributions from Paola Antonelli @paolantonelli, Alice Rawsthorn @alice.rawsthorn, Hans Ulrich Obrist @hansulrichobrist, Hella Jongerius @hellajongerius, Marianne Goebl, Domitilla Dardi @domitilladardi, Anna Tsing and Feifei Zhou @feisgram, Emanuele Coccia @unicamens and Andrés Jaque @andres_jaque.
These conversations and contributions use our practice as a point of departure to look at design as a discipline shaped by the positions of those who practise it, by economic interests and systems of production, and by questions of ecology, social progress and the possibility of change.
The book is now available for pre-order at the link in our bio.
Signed copies are available while supplies last.
The book will be available from the 25th of October in the US, and from the 3rd of November worldwide.
Formafantasma team: Alessandro Celli
Alessandro Rabottini team: @abinoppst
Graphic Design by Studio Joost Grootens @studiojoostgrootens @dimitrijeannottat
Photo Credits: @gregorio.gonella
21 Sep 2026
Fantastic Man China - Design Issue
In April, Milan gradually unfolds into Design Week, and a more fluid, open-ended energy begins to circulate through the city. Design is no longer confined to products—it moves closer to a way of engaging with reality itself, as the boundaries between art, commerce, and research continue to blur.
Within this context, Formafantasma occupies a central position. Led by Andrea Trimarchi and Simone Farresin, the studio places research and practice side by side, turning design into a mode of inquiry. As co-curators of Prada Frames, they construct a platform for dialogue—one that unfolds around materials, production, and life itself. On the eve of this year’s forum, we met them at its venue, Santa Maria delle Grazie.
@manfantasticcn @prada
Executive Director: Guo Jiacheng @jiachengxx
Visual Director: Jin Jing
Editor: Zhang Xinxin @xxinxz
Text: Hua Rui
Art Direction & Styling: Dou Qianlin Latrubesse @douxqianlin
Photography: Markus Pritzi markuspritzi
Graphic Design: Jingda
19 Apr 2026
Formafantasma monograph - Phaidon, 2026
The graphic design of our monograph is by Studio Joost Grootens @studiojoostgrootens. Our intention was to move away from the conventions of the coffee table book, creating a publication that would not simply present a collection of images and projects, but offer a critical reading of our practice, placing content, readability and the organization of information at the centre of the editorial approach.
The decision to have a text-only cover was deliberate, avoiding the selection of a single image or project to represent the studio and the definition of our practice through a specific visual identity. As the name Formafantasma itself suggests, our work is not driven by a particular formal language, but by research, questions and processes that take different forms depending on the context.
The publication brings together different types of content, from extensive conversations and commissioned essays to project documentation. Different papers distinguish the more photographic sections dedicated to projects, printed on coated paper, from the conversations and critical texts, printed on a more tactile, uncoated stock.
The projects are presented through descriptive entries that also establish connections between different works. These are interspersed with an extensive conversation and critical contributions that run throughout the publication, creating an alternation between project documentation and a broader contextualization of our practice.
The graphic design establishes distinct visual languages for these different types of content, making the editorial structure of the book visible and allowing the various sections to be read both independently and in relation to one another.
Formafantasma team: Alessandro Celli
Alessandro Rabottini team: @alessandro.rabottini @abinoppst
Graphic Design by Studio Joost Grootens @studiojoostgrootens @dimitrijeannottat
Photo credits: Formafantasma
#phaidon #formafantasma #monograph #designresearch #ecology
11 Nov 2026
Formafantasma monograph - Phaidon, 2026
We are pleased to share that our monograph, published by Phaidon @phaidonpress and co-edited with Alessandro Rabottini @alessandro.rabottini, is now available for order at the link in our bio.
The book brings together our work since the foundation of the studio in 2009: objects, exhibitions, spatial projects, research, strategic design and collaborations with companies and cultural institutions.
It is not an archive of what we have produced; it is meant to make visible the questions, methods and relationships that have shaped the studio over time, and how our understanding of design has changed with them.
The book is built around a series of extensive conversations with Alessandro Rabottini @alessandro.rabottini, accompanied by contributions from Paola Antonelli @paolantonelli, Alice Rawsthorn @alice.rawsthorn, Hans Ulrich Obrist @hansulrichobrist, Hella Jongerius @hellajongerius, Marianne Goebl, Domitilla Dardi @domitilladardi, Anna Tsing and Feifei Zhou @feisgram, Emanuele Coccia @unicamens and Andrés Jaque @andres_jaque.
These conversations and contributions use our practice as a point of departure to look at design as a discipline shaped by the positions of those who practise it, by economic interests and systems of production, and by questions of ecology, social progress and the possibility of change.
Formafantasma team: Alessandro Celli
Alessandro Rabottini team: @abinoppst
Graphic Design by Studio Joost Grootens @studiojoostgrootens @dimitrijeannottat
Photo Credits: @gregorio.gonella
09 Nov 2026
Ocean&Climate Village | SEA BEYOND, Prada Group and UNESCO, Cagliari 2026
Ocean&Climate Village explores the ocean as a planetary system through an exhibition organised into four interconnected chapters, revealing the relationships between marine ecosystems, climate and human activity.
The first chapter, ‘One Ocean’, introduces the idea of a single global ocean, where currents, organisms, particles and energy move continuously across geographical boundaries.
‘The Climate Engine’ examines how the ocean regulates Earth’s climate by storing heat, absorbing carbon and redistributing energy, shaping atmospheric conditions and global climate patterns.
‘Biodiversity’ explores marine life through the interdependencies between species, showing how ecosystems function and maintain their resilience through complex networks of relationships.
‘Ocean Anomalies’ addresses the interconnected effects of climate change on marine ecosystems, from warming and acidification to biodiversity loss, rising sea levels and species migration.
Each chapter brings together key concepts, scientific materials, case studies and field projects, including SEA BEYOND initiatives in research, education and regenerative practices.
The exhibition design translates this interconnected approach into a flexible spatial system. Through physical materials, installations and digital tools, Formafantasma creates different ways to engage with the content, accommodating diverse audiences, educational activities and forms of learning.
@prada
@unesco
@ioc_unesco
@oceanliteracy_unesco
Formafantasma team: Alessandro Celli
Production: @mbagency_
Photo and video credits:
1, 4, 5, 7 Alessandro Celli
2, 3, 6, 8, 9 produced by @c41prod
10, 11, 12 Courtesy of Prada Group
#OceanAndClimateVillage #Formafantasma #SEABEYOND #UNESCOIOC #OceanEducation ClimateEducation MarineBiodiversity Prada PradaGroup
26 Oct 2026
Ocean&Climate Village | SEA BEYOND, Prada Group and UNESCO, Cagliari 2026
Ocean&Climate Village is a project developed in collaboration between UNESCO-IOC and SEA BEYOND, the Prada Group’s programme dedicated to ocean education.
Commissioned to curate and design the exhibition, Formafantasma has created an educational platform exploring the ocean’s fundamental role in maintaining the planet’s ecological and climatic balance.
Bringing together scientific research, educational content and interpretative tools, the exhibition is addressed to children, students and adults, offering different levels of engagement with the same subjects.
At its core is the ocean understood as a planetary system. Climate, biodiversity, geological processes and human activities are often studied separately, yet they are deeply interconnected.
The exhibition reveals how the ocean links these systems on a global scale, shaping the conditions that sustain life on Earth.
Through an approach that combines knowledge, exploration and education, Ocean&Climate Village invites visitors to rethink their relationship with the ocean and recognize its central role in the future of our planet.
@prada
@unesco
@ioc_unesco
@oceanliteracy_unesco
Formafantasma team: Alessandro Celli
Production: @mbagency_
Photo credits:
1, 2, 4, 5, 7, 8, 9, 10 Alessandro Celli
3, 6 courtesy of Prada Group
#OceanAndClimateVillage #Formafantasma #SEABEYOND UNESCOIOC OceanEducation Prada PradaGroup
21 Oct 2026
Bvlgari Kaleidos: Colors, Cultures and Crafts | Power Station of Art, Shanghai 5.9-15.11 2026
“Bvlgari Kaleidos: Colors, Cultures and Crafts” arrives in Shanghai for the second iteration of the exhibition, continuing the Maison’s immersive exploration of color, culture, and craftsmanship.
The exhibition takes its name from the Greek words kalos (beautiful) and eidos (form), symbolizing a dynamic and ever-changing journey through color.
With creations that are true chromatic masterpieces, Bvlgari stands as the only High Jeweler to have transformed color into an art form of its own. The Maison’s history is deeply tied to its bold use of vibrant gemstones, still today a primary source of inspiration for High Jewelry creations.
The exhibition unfolds like a kaleidoscope of creative references and experiences, blending High Jewelry, creations from the Bvlgari Heritage Collection, exclusive materials from the archives and immersive installations. Over 300 chromatic masterpieces highlight the deep connection between Italy and China, celebrating their cultural legacy and shared passion for art and design.
In “Bvlgari Kaleidos”, architecture becomes part of the exhibition. Formafantasma collaborates with Kazuyo Sejima and Ryue Nishizawa from SANAA to extend Bulgari’s world of color into an experience in which visitors become participants on a kaleidoscopic journey.
Formafantasma designed special showcases highlighting masterpieces from the Bvlgari Heritage Collection, including necklaces and bangles. The free-standing display cases act as sculptural elements within this fluid space, and their materials and finishes control light and reflection. The jewels appear to float, their colors amplified by the interplay of materials, turning each case into a miniature installation of color and form.
Each piece of jewelry is displayed on a custom-designed podium made of curved metal and marble, carefully crafted to harmonize with the gemstone color tones.
@bvlgari
Photo credits:
1, 2, 5, @t_space_studio, @courtesyofstudio
4, 7, 8 courtesy of Z-vision
3, 6 Kenichi Suzuki
Formafantasma team: @sarabaril @lleonardobettini
07 Oct 2026
Bvlgari Kaleidos: Colors, Cultures and Crafts | Power Station of Art, Shanghai 5.9-15.11 2026
“Bvlgari Kaleidos: Colors, Cultures and Crafts” arrives in Shanghai for the second iteration of the exhibition, continuing the Maison’s immersive exploration of color, culture, and craftsmanship.
The exhibition takes its name from the Greek words kalos (beautiful) and eidos (form), symbolizing a dynamic and ever-changing journey through color.
With creations that are true chromatic masterpieces, Bvlgari stands as the only High Jeweler to have transformed color into an art form of its own. The Maison’s history is deeply tied to its bold use of vibrant gemstones, still today a primary source of inspiration for High Jewelry creations.
The exhibition unfolds like a kaleidoscope of creative references and experiences, blending High Jewelry, creations from the Bvlgari Heritage Collection, exclusive materials from the archives and immersive installations. Over 300 chromatic masterpieces highlight the deep connection between Italy and China, celebrating their cultural legacy and shared passion for art and design.
In “Bvlgari Kaleidos”, architecture becomes part of the exhibition. Formafantasma collaborates with Kazuyo Sejima and Ryue Nishizawa from SANAA to extend Bulgari’s world of color into an experience in which visitors become participants on a kaleidoscopic journey.
Formafantasma designed special showcases highlighting masterpieces from the Bvlgari Heritage Collection, including necklaces and bangles. The free-standing display cases act as sculptural elements within this fluid space, and their materials and finishes control light and reflection. The jewels appear to float, their colors amplified by the interplay of materials, turning each case into a miniature installation of color and form.
Each piece of jewelry is displayed on a custom-designed podium made of curved metal and marble, carefully crafted to harmonize with the gemstone color tones.
@bvlgari
Photo credits:
2, 4, 5, 6, 7, @t_space_studio , @courtesyofstudio
1, 3, 8, Z-vision
Formafantasma team: @sarabaril @lleonardobettini
05 Oct 2026
Serpentine | Lead R&D Fellows, Ecology
2026
We’re very happy to announce a multi-year collaboration with Serpentine @serpentineuk . We will join the organisation as Lead R&D Fellows, Ecology. The partnership strengthens Serpentine’s long-term commitment to embedding environmental thinking across its programme, operations, and organisational culture.
Working across Serpentine’s programmes and systems, Formafantasma will help develop new approaches to integrating ecological thinking into Serpentine’s day-to-day activities and long-term strategy.
From summer 2026, the collaboration will begin with an in-depth research phase to map Serpentine’s existing processes and systems, from curatorial practices to operational structures, identifying opportunities for ecological intervention and long-term change.
Running alongside this work, a multi-year public programme will invite audiences into the process, creating opportunities to share, document, and disseminate the findings and methodologies emerging from the ongoing research.
More to come soon.
@serpentineuk @hansulrichobrist @bettinakorek
Serpentine Lead R&D Fellows, Ecology
Made possible by
@nicolettafioruccifoundation
#formafantasma #serpentine
08 Jul 2026
Fragments of the Past | Marni SS27
For Marni’s Spring/Summer 2027 show, we carried forward the material and spatial approach developed for the previous season.
The wooden scenography built for Fall/Winter 2026 has been taken apart, cut into, hollowed out, and put back together in a new configuration. As material comes away, fragments of the old set remain visible, alongside the infrastructure that supports it and the raw walls of the building, still marked by earlier interventions. We also opened the ceiling, allowing daylight to enter. These layers sit together in the space, building up almost like an archaeological record.
The previous set turned fragments of everyday life into a series of constructed dioramas. This time, we started from what was left of that world. What had been put together is pulled apart, and what had been covered is brought back into view. Through subtraction and reassembly, materials and traces move from one season into the next. Change here is not about replacing what came before, but about continuity, using what already exists as the material for something new.
@marni
Creative Director: @meryllrogge.personal
Formafantasma team: @giulia_br , @sarabaril
Photo credits:
1, 4, 6, 9 @gregorio.gonella
2, 3, 5, 7, 8, 10, 11 @_marcocappelletti , @marcocappellettistudio
#Marni
#MeryllRogge
#formafantasma
25 Sep 2026
For Marni’s Spring/Summer 2027 show, Creative Director Meryll Rogge collaborated with design studio Formafantasma on a set that carries forward the material and spatial approach developed for the previous season.
The wooden scenography built for Fall/Winter 2026 has been taken apart, cut into, hollowed out, and put back together in a new configuration. As material comes away, fragments of the old set are still visible, alongside the infrastructure that supports it and the raw walls of the building, still marked by earlier interventions. The ceiling has been opened too, letting daylight in. These layers sit together in the space, building up almost like an archaeological record.
The previous set turned fragments of everyday life into a series of constructed dioramas. This one starts from what’s left of that world. What had been put together is pulled apart, what had been covered is brought back into view. Through subtraction and reassembly, materials and traces move from one season into the next. Change here isn’t about replacing what came before, but about continuity, using what already exists as the material for something new.
Creative Director: Meryll Rogge
Set Designer: Formafantasma
#Marni
#MeryllRogge
#Formafantasma
24 Sep 2026
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