{"id":117293,"date":"2026-03-30T10:00:00","date_gmt":"2026-03-30T08:00:00","guid":{"rendered":"https:\/\/www.mohd.it\/?p=117293"},"modified":"2026-03-26T11:59:38","modified_gmt":"2026-03-26T10:59:38","slug":"vers-2026-une-vision-plus-lente-du-luxe","status":"publish","type":"post","link":"https:\/\/www.mohd.it\/fr\/magazine\/vers-2026-une-vision-plus-lente-du-luxe\/","title":{"rendered":"Vers 2026 : une vision plus lente du luxe"},"content":{"rendered":"\n

Ces derni\u00e8res ann\u00e9es, le temps s\u2019est impos\u00e9 comme l\u2019une des ressources les plus instables de notre \u00e9poque. Il ne s\u2019agit pas seulement d\u2019une perception individuelle, mais d\u2019une condition diffuse, qui traverse la production, la communication et la consommation. La vitesse \u00e0 laquelle nous absorbons images, objets et r\u00e9cits a engendr\u00e9 une saturation non seulement \u00e9conomique, mais aussi perceptive. Comme l\u2019observe Hartmut Rosa, nous vivons dans un \u00e9tat d\u2019acc\u00e9l\u00e9ration permanente : tout se multiplie, s\u2019actualise, se remplace. M\u00eame le d\u00e9sir peine \u00e0 se fixer.<\/p>\n\n\n\n

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Citations en anglais \u2013 traduction et adaptation en fran\u00e7ais.<\/em><\/p>\n\n\n\n

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\u00ab Dans une soci\u00e9t\u00e9 de consommation, aucun objet ne peut \u00eatre destin\u00e9 \u00e0 durer trop longtemps. \u00bb
\u2014 Zygmunt Bauman, Liquid Life (2005)<\/p>\n<\/blockquote>\n\n\n\n

C\u2019est dans ce contexte que se dessine l\u2019une des trajectoires les plus int\u00e9ressantes chez les maisons \u00e9tablies : une red\u00e9finition progressive du rapport entre luxe et temps. Non pas un retour nostalgique \u00e0 la tradition, mais un changement de posture. Une autre mani\u00e8re d\u2019envisager la valeur.<\/p>\n\n\n\n

\u00c0 l\u2019approche de la Milano Design Week 2026<\/strong>, plus qu\u2019une profusion de nouveaut\u00e9s, on per\u00e7oit une inclination croissante en faveur de la continuit\u00e9. Moins d\u2019emphase sur l\u2019effet de surprise, moins de pression autour de lancements incessants, davantage d\u2019attention port\u00e9e \u00e0 la dur\u00e9e, \u00e0 la coh\u00e9rence et \u00e0 la permanence des collections. La valeur ne co\u00efncide plus avec \u00ab la derni\u00e8re pi\u00e8ce \u00bb, mais avec la capacit\u00e9 d\u2019un objet \u00e0 traverser les ann\u00e9es sans perdre sa pertinence.<\/p>\n\n\n\n

Cette orientation ne concerne pas une seule cat\u00e9gorie de produits, mais une approche transversale du projet. Ralentir, dans le design, signifie concevoir pour durer : imaginer des objets qui ne d\u00e9pendent pas d\u2019esth\u00e9tiques passag\u00e8res, mais de proportions justes, de mat\u00e9riaux durables et de solutions constructives capables de r\u00e9sister dans le temps. Cela signifie aussi penser des syst\u00e8mes ouverts, aptes \u00e0 \u00e9voluer sans \u00eatre remplac\u00e9s, en s\u2019int\u00e9grant \u00e0 des collections qui se d\u00e9veloppent par addition plut\u00f4t que par rupture.<\/p>\n\n\n\n

Les \u00e9v\u00e9nements du secteur refl\u00e8tent eux aussi cette transformation. Aux c\u00f4t\u00e9s des lancements de produits, l\u2019espace consacr\u00e9 aux talks, workshops et installations qui placent le processus au centre ne cesse de cro\u00eetre : le temps de la production, celui de l\u2019apprentissage artisanal, celui de l\u2019usage et de l\u2019entretien. Ce n\u2019est pas seulement un choix curatorial, mais le signe d\u2019un besoin plus profond : r\u00e9tablir une v\u00e9ritable \u00e9ducation au temps du design.<\/p>\n\n\n\n

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\u00ab Sans la durabilit\u00e9 du monde, il n\u2019y aurait tout simplement pas de monde humain. \u00bb
\u2014 Hannah Arendt, The Human Condition (1958)<\/p>\n<\/blockquote>\n\n\n\n

Nous vivons \u00e0 une \u00e9poque o\u00f9 une navette atteint l\u2019orbite terrestre en un peu plus de huit minutes, soit environ 500 secondes. Nous avons pris l\u2019habitude de mesurer le progr\u00e8s \u00e0 l\u2019aune de l\u2019acc\u00e9l\u00e9ration et des records de vitesse. In\u00e9vitablement, cette logique fa\u00e7onne aussi notre mani\u00e8re de percevoir le design : nous attendons de l\u2019imm\u00e9diatet\u00e9, une disponibilit\u00e9 constante, des r\u00e9ponses rapides. En oubliant qu\u2019un canap\u00e9, une chaise, une lampe sont le r\u00e9sultat de mois, parfois d\u2019ann\u00e9es, de recherche, de prototypage et de mise au point. Nous avons progressivement comprim\u00e9 la dimension temporelle du faire. Et c\u2019est pr\u00e9cis\u00e9ment l\u00e0 qu\u2019\u00e9merge une direction nouvelle : consid\u00e9rer le temps comme un v\u00e9ritable mat\u00e9riau de projet.<\/p>\n\n\n\n

Ralentir, dans le design, signifie redonner au processus une place centrale. Consacrer du temps \u00e0 l\u2019exp\u00e9rimentation des mat\u00e9riaux, \u00e0 la d\u00e9finition des d\u00e9tails, \u00e0 la qualit\u00e9 des finitions. Accepter que la coh\u00e9rence d\u2019une collection se construise dans la dur\u00e9e, que l\u2019identit\u00e9 d\u2019une marque se consolide davantage par la continuit\u00e9 que par la rupture.<\/p>\n\n\n\n

\"Ligne<\/figure>\n\n\n\n

Ligne Roset<\/a><\/strong> en offre l\u2019un des exemples les plus embl\u00e9matiques. Le canap\u00e9 Togo<\/strong>, dessin\u00e9 par Michel Ducaroy<\/a><\/strong> en 1973, a travers\u00e9 les d\u00e9cennies sans perdre de sa pertinence culturelle ni commerciale. Sa silhouette basse et pliss\u00e9e reste imm\u00e9diatement reconnaissable ; sa construction, enti\u00e8rement en mousse et d\u00e9pourvue de structure rigide, demeure radicale. Mais ce qui para\u00eet aujourd\u2019hui le plus significatif, ce n\u2019est pas seulement sa long\u00e9vit\u00e9, mais le renouveau de sa d\u00e9sirabilit\u00e9. Sur un march\u00e9 habitu\u00e9 \u00e0 la gratification imm\u00e9diate, Togo exige souvent jusqu\u2019\u00e0 18 semaines d\u2019attente. Un d\u00e9lai qui ne diminue en rien son attrait, mais le renforce. L\u2019objet n\u2019est pas consomm\u00e9 \u00e0 la h\u00e2te : il est attendu. Sa continuit\u00e9 n\u2019est pas r\u00e9p\u00e9tition, mais r\u00e9affirmation constante d\u2019une identit\u00e9 capable de s\u2019adapter aux tissus, aux couleurs et aux contextes sans jamais perdre son essence.<\/p>\n\n\n

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\n \n <\/div>\n <\/div>\n
\n
\n \n
\n Ligne Roset<\/span> Collection Togo<\/span>\n <\/div>\n
\n Acheter<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

L\u2019approche de Gubi<\/a><\/strong> est diff\u00e9rente, mais compl\u00e9mentaire. Fond\u00e9e en 1967, la maison danoise a construit son identit\u00e9 autour d\u2019une continuit\u00e9 curatoriale qu\u2019elle qualifie de \u00ab treasure hunting \u00bb. \u00c0 travers la red\u00e9couverte et la r\u00e9\u00e9dition d\u2019ic\u00f4nes oubli\u00e9es, associ\u00e9es \u00e0 des collaborations contemporaines, Gubi compose des collections qui s\u2019inscrivent dans le temps, plut\u00f4t qu\u2019au sein de cycles saisonniers.<\/p>\n\n\n\n

Des pi\u00e8ces comme la Pacha<\/strong> Lounge Chair de Pierre Paulin<\/a><\/strong> montrent \u00e0 quel point la permanence peut \u00eatre dynamique : un projet des ann\u00e9es 1970 r\u00e9introduit dans de nouveaux mat\u00e9riaux et de nouveaux contextes, tout en conservant sa douceur sculpturale et en dialoguant avec les int\u00e9rieurs contemporains. Le r\u00e9sultat n\u2019est pas la nostalgie, mais une stratification temporelle : une approche \u00e9ditoriale dans laquelle pass\u00e9 et pr\u00e9sent coexistent, renfor\u00e7ant la coh\u00e9rence de la marque sur le long terme.<\/p>\n\n\n

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\n
\n
\n \n <\/div>\n <\/div>\n
\n
\n \n
\n Gubi<\/span> Collection Pacha<\/span>\n <\/div>\n
\n Acheter<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Tom Dixon<\/a><\/strong> incarne une autre ligne de continuit\u00e9. Fond\u00e9e en 2002, la marque britannique a d\u00e9velopp\u00e9 un langage visuel hautement reconnaissable, capable d\u2019\u00e9voluer sans jamais se rompre. Un langage construit \u00e0 travers la recherche sur les mat\u00e9riaux, les finitions m\u00e9talliques et une esth\u00e9tique industrielle sophistiqu\u00e9e. L\u2019identit\u00e9 de la marque s\u2019est d\u00e9finie avec le temps, depuis les exp\u00e9rimentations sur les m\u00e9taux r\u00e9cup\u00e9r\u00e9s dans les ann\u00e9es 1980 jusqu\u2019\u00e0 des produits iconiques comme la S Chair<\/strong> ou les collections de luminaires Melt<\/strong> et Beat<\/strong>.<\/p>\n\n\n

\n
\n
\n
\n \n
\n Tom Dixon<\/span> Collection Melt<\/span>\n <\/div>\n
\n Acheter<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n Tom Dixon<\/span> Collection Beat<\/span>\n <\/div>\n
\n Acheter<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

Cette coh\u00e9rence s\u2019\u00e9tend \u00e9galement aux espaces : du Coal Office \u00e0 Londres \u00e0 The Manzoni \u00e0 Milan, Design Research Studio transpose le m\u00eame vocabulaire esth\u00e9tique \u00e0 l\u2019architecture et \u00e0 l\u2019hospitality. L\u2019\u00e9volution a bien lieu, mais toujours \u00e0 l\u2019int\u00e9rieur d\u2019une structure qui pr\u00e9serve une reconnaissance imm\u00e9diate. La continuit\u00e9 devient ainsi un v\u00e9ritable actif strat\u00e9gique.<\/p>\n\n\n\n

La question, au fond, n\u2019est peut-\u00eatre plus de savoir ce qui sera pr\u00e9sent\u00e9 lors de la prochaine Design Week, ni dans quelle mesure cela saura capter l\u2019attention, mais combien nous sommes pr\u00eats \u00e0 investir en temps. Dans une culture habitu\u00e9e \u00e0 l\u2019imm\u00e9diatet\u00e9, choisir d\u2019attendre devient un acte conscient. C\u2019est l\u00e0 que se joue le v\u00e9ritable changement : dans la capacit\u00e9 \u00e0 reconna\u00eetre de la valeur non pas dans ce qui frappe imm\u00e9diatement, mais dans ce qui prouve, avec le temps, avoir \u00e9t\u00e9 con\u00e7u pour durer.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c0 l\u2019approche de la Milano Design Week 2026, le design red\u00e9finit le luxe entre continuit\u00e9, durabilit\u00e9, h\u00e9ritage et nouvelles perspectives.<\/p>\n","protected":false},"author":18,"featured_media":117229,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[476],"tags":[],"class_list":["post-117293","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspire-me-fr"],"yoast_head":"\nVers 2026 : une Nouvelle Id\u00e9e du Luxe - Mohd<\/title>\n<meta name=\"description\" content=\"\u00c0 l\u2019approche de la Milano Design Week 2026, le design red\u00e9finit le luxe entre continuit\u00e9, durabilit\u00e9, h\u00e9ritage et nouvelles perspectives.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mohd.it\/fr\/magazine\/vers-2026-une-vision-plus-lente-du-luxe\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vers 2026 : une Nouvelle Id\u00e9e du Luxe - 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