There is a kind of intelligence in nature that no designer can fully replicate. We can only follow. The way a plant fibre grows, the tensile strength of a cactus leaf, the quiet resilience of abaca, the surprising softness of aloe vera: these are not raw materials waiting to be improved upon. They are already complete. Our role is simply to listen.

Alberto Levi Gallery’s new collection ‘Botanical’, of eco-friendly flat weaves, does exactly that. Drawing on a rich vocabulary of botanical fibres, abaca, aloe vera, cactus, hyacinth, and more.

Each piece is an exercise in working with what the natural world offers rather than against it. The result is a family of floor coverings that carry the texture of living things: sturdy yet considered, elemental yet refined.

Flat weave, as a technique, suits this philosophy perfectly. There is no excess, no padding, nothing hidden. The fibre speaks for itself in its structure, surface, and the way light moves across it. Each texture is a direct expression of its source: the ribbed geometry of a hyacinth stem, the dense, cross-hatched strength of cactus leaf, the long, silky threads of abaca drawn from the heart of a banana plant.

This is not sustainability as compromise. It is sustainability as a creative discipline, an invitation to find beauty in the materials the earth already provides, and to bring that beauty, unhurried and unforced, into your homes.

The Lost Carpets of King Louis XIV

When Jean-Baptiste Colbert, Louis XIV’s minister of finance, commissioned the carpets in 1668, Versailles was still just a hunting lodge. The young king lived at the Louvre, and the Grande Galerie was being transformed into a ceremonial corridor leading to a planned throne room. Every foreign ambassador would walk this route, treading on woven propaganda celebrating Louis XIV as the Sun King. To realise this vision, Colbert turned to the Manufacture de la Savonnerie, established in 1626 in a former soap factory (savonnerie means ‘soap works’) in Paris, a crown-controlled workshop designed to produce luxury goods and compete with expensive Ottoman and Persian imports. Between 1668 and 1688, 92 monumental hand-knotted wool carpets were produced, each roughly nine meters wide, destined to cover the entire 422-meter length of the Grande Galerie. The workload proved so massive that in 1671, a rival workshop run by the aristocratic du Pont family merged with the Savonnerie to get everything done. In total, the weaving took 20 years.

Then history intervened. Louis XIV shifted his court permanently to Versailles after Colbert’s death in 1683, and the carpets, completed in 1688 were never installed. At Versailles, his artistic advisor Charles Le Brun reportedly refused to have them compete with his painted vaults in the Hall of Mirrors. The carpets languished in storage. During the French Revolution, many were sold off, cut into fragments, gifted away, or simply lost. Only 41 of the original 92 survived, and just 33 remain intact.

For the first time in 350 years, roughly 30 of these carpets were brought together at the Grand Palais in Paris for the exhibition ‘Le Trésor retrouvé du Roi-Soleil’. Alberto travelled to Paris especially to see them and it is easy to understand why. For someone who has spent a lifetime in the world of textile art, standing before these carpets must have felt like a rare encounter with history itself, finally fulfilling what they were always meant to be: an overwhelming statement of ambition that not even the Sun King himself ever witnessed.

Recognised as a pioneer of interior design, Barbara Frua continues to redefine the relationship between spaces and the ground, infusing art into everyday life. Each new chapter of Par terre is at once an evolution and a reaffirmation one in which the designer expands her vocabulary of textures, materials, and colours while remaining true to herself. A Barbara Frua rug is a centrepiece, immediately recognisable for its characteristic chromatic sensibility and the refined simplicity of its designs.

Through a longstanding collaboration with Alberto Levi Gallery and the freedom to explore new creative directions, Barbara Frua has once again pushed boundaries, preserving her distinctive traits while venturing into new material territories.

New Textures

This year’s collection introduces three new textures, each expanding the tactile range of Par terre:

Jute Loop is a robust cut-loop technique that brings a new dimension of depth and structure to the collection. Available with or without fringe, Jute Loop offers a versatile, textured surface that retains the warmth and natural character of hand-spun jute, combined with a pleasantly rich tactile quality.

100% Pure New Zealand Wool marks a significant addition to the collection, developed with the ambition of maintaining the same chromatic fluidity that characterises flat-woven jute fabrics, but in a quality ideal for high-traffic areas. The result is a rug that carries Barbara Frua’s chromatic signature into spaces where durability is essential — without compromising beauty.

Hand-knotted Ghazni wool and Himalayan cashmere are the most luxurious additions to Par terre. This exquisite combination unites the silky quality of Afghan Ghazni wool with the extraordinary softness of Himalayan cashmere, creating a surface of unparalleled refinement while lending the designs a distinctive three-dimensionality.

True to Form

The guiding principle of this collection is the pursuit of new materials and textures while preserving the identity that has made Par terre a benchmark in contemporary rug design. Barbara Frua’s expanded palette and growing range of weaving techniques offer ever greater possibilities for customisation, yet every piece remains anchored in her unmistakable language of colour and geometric clarity. Par terre rugs are not simply floor coverings; they are compositions that define a space.

Beyond the Floor — SUIMURI

The collection is accompanied by a series of wallpapers created in collaboration with PictaLab, extending Barbara Frua’s iconic designs from the floor to the walls. These artisanal wallpapers translate the geometric motifs and chromatic harmonies of Par terre into immersive interior narratives, offering a complete vision of a space shaped by a single, coherent aesthetic sensibility.

Opening & Aperitivo

March 12, from 6.30 pm

Alberto Levi Gallery, Via San Maurilio 24

Marta Bastianello is an Italian architect and designer with over thirty years of experience in the design of private residences in Italy and abroad. Venetian by birth and formation, she has developed a refined and measured design language, grounded in a rigorous orchestration of light, materials and proportions, and in a careful dialogue with the architectural and cultural context in which she works. Every project is born from a sartorial process, built through meticulous research and a constant collaboration with artisans, artists and makers of excellence.

In 2026, she presents at Milan Design Week the brand Marta Bastianello Design Milano with

VENETIAN ECHOES | Framing Light and Matter.

A Collection of Rugs and Furnishings

Save the Date

Milan Design Week 2026, April 20 – 26

Opening: Wednesday, April 22, from 6.30 pm

In English, it means a natural predisposition, an innate inclination toward something.  Listening to clients, to spaces, to the quiet story a place is already trying to tell. Aptitude Studio didn’t choose the name by accident – it’s less of a label and more of their signature. A nudge to stay curious, stay open, and never walk into a project thinking we already have the answers. Because the best ideas? They tend to show up when we’re paying attention.

This year, we are proud to present our collaboration with Aptitude Objects – a design brand dedicated to the creation of timeless pieces for those with a distinct aptitude for beauty, craftsmanship, and attention to detail. Born as a natural extension of the eponymous architecture studio founded in 2010 by Tommaso Calini and Alessandra Cervia, the brand is rooted in Milan but operates with a genuinely global outlook. Through an architectural lens, Aptitude Objects builds an ever-evolving ecosystem of products shaped by layering, variation, and ongoing transformation; each piece the result of rigorous research, multiple hands, and a careful selection of artisans who know how to translate ideas into matter.

For Milan Design Week 2026, Aptitude Objects presents Mise en Abyme | Objects from Spaces at Alberto Levi Gallery – an exhibition inspired by the artistic device in which an image contains a reflection of itself, generating an infinite dialogue between part and whole. Applied to design, this idea becomes a material and constructive process: repetition here does not produce identical forms, but deviations, imperfections, and quiet transformations. At the heart of the collection are rugs produced in collaboration with Alberto Levi Gallery, each available in two material interpretations: wool and cashmere, or abacá fibre, once again demonstrating how the same form can generate radically different spatial and tactile experiences. From this textile foundation, a series of objects emerges as volumetric extensions of the same generative logic, built through layering and manual aggregation. Together, they mark the first chapter of an open system. One designed, by nature, to keep evolving.

Save the Date

Milan Design Week 2026, April 20 – 26

Opening: Wednesday, April 22, from 6.30 pm

….Continue reading

The Art of Embracing Nothingness

Lila Valadan

In a world increasingly defined by speed, spectacle, and separation, Lila Valadan’s approach to design offers something radically different: stillness, depth, and unity. Her work is rooted in a holistic philosophy that sees design not as a series of isolated gestures but as an interconnected web of meaning, culture, and emotion. In her hands, a rug is not simply a surface to walk on—it is a story, a soul, a space of belonging.

To be holistic is to view each thread, knot, and pigment not as a fragment but as an echo of the whole. It’s a mindset that dissolves boundaries between material and memory, between art and utility. For Lila, a rug is a living archive of tradition, craftsmanship, and quiet revolution. Every piece is a bridge between East and West, old and new, the tactile and the transcendent.
Under the theme ‘Connected Worlds’, this year’s Milan Design Week feels like a natural extension of Lila Valadan’s ethos.
As the city pulses with ideas that link disciplines, cultures, and people, her work reminds us that connection begins not in technology but in touch—in the way wool responds to the hand, in the intentional silence of an empty space, in the slow time of creation.
Holistic design demands more than beauty—it asks for responsibility, presence, and care. Lila Valadan answers this call not with noise but with nuance. In an age of endless scrolling and split attention, her rugs invite us to pause, gather, and remember that genuine connection is never loud—it’s lasting.

Milan Design Week 2025
April 7 – 13
IL NULLA  [HEECH / NOTHINGNESS]
The Art of Embracing Nothingness
Lila Valadan

Photo credits: Bianca Puleo

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Dear Lila, could you tell us more about your journey to becoming a carpet designer?

I don’t see myself as a designer. I simply do what I love. I adore carpets—their patterns,

their history. I draw inspiration from tradition and art and follow my instincts. Everything else

falls into place.

What was the first thing you remember creating?

As the youngest in the family, I was always the one who had to do the cleaning up. I shared

a room with my sister and often had to tidy it. While doing so, I would rearrange the furniture

and create new spaces—something my sister absolutely hated. Those were my first

creations.

How is your design process born, and how does it unravel to create these unique

designs?

I don’t follow a fixed process. I see something, feel something, and an idea takes shape.

Sometimes it comes from an old pattern, a piece of art, or just a moment in life. I play with

colors, shapes, and textures until it feels right. Everything happens naturally.

Which one of your collections was your biggest challenge, and which one did you find

your greatest achievement?

Creating high-quality craftsmanship today—using highland wool, natural dyes, and

maintaining the highest standards—is always a challenge. This applies to all my works. True

craftsmanship demands patience, knowledge, and a deep respect for the materials, and in a

world driven by fast production, staying true to these values is not always easy.

If I had to choose one collection that was particularly challenging yet also a great success, I

would say the Aleph Collection. These handwoven Kilims gained significant recognition, not

only for their craftsmanship but for their almost fabric-like texture and lightness. They capture

the spirit of the times—elegance without excess, presence without weight.

How would you describe yourself in three words?

Woman

Mother

Not perfect

What is your favourite book that you have read recently

Zen in the Art of Archery

Herrigel Eugen

What are the biggest lessons you have learned since working as a designer?

I have learned not to call myself a designer.

My motto is: “When everybody tries to be something, be nothing.”

What helped you find your voice and personal style?

I think I don’t have any style and never looked for a voice or a style. I just did what felt right.

Over time, it became mine.

Nothing works without the support of others. Who do you rely on?

I believe in teamwork. My work is the result of many steps and many people. From the first

shearing of the wool to the final finishing, so many hands are involved.All of whom bring their

skills, care, and dedication.In Farsi we say: “one hand doesn’t make a sound,” which

reflects my deep belief in teamwork.

Of course, I also rely heavily on my son, Shayan, who has been a tremendous source of

strength and support. His presence and assistance energize me .

It is clear to me that the strength of my work lies in the network of people around me, in the

shared commitment to craftsmanship, and in the belief that we are all part of something

much bigger than ourselves.

You are a highly organised person. How do you cope with stress?

Oh no, sometimes things get really messy.

But I try to stay calm and focus on what matters. It’s about keeping track and moving forward

step by step.

I try to stay in the present, focusing on what’s in front of me, instead of letting my mind

wander to the past or future.

How do you define success?

I don’t really think about success in the traditional sense.

Success is not what you achieve, but what you let go of. True success does not come from

the outside, but from your heart, from the truth you discover when you leave behind the

noise of the world.

What do you like about your job?

I love that my work allows me to connect with so many people. It’s about creativity, tradition,

and the feeling that everything comes together.

Philip Shalam – New Frontiers for the Alberto Levi Gallery

The Alberto Levi Gallery ventures into photography, presenting Philip Shalam’s captivating works at the Milan Photo Fair.

Shalam’s Metropolis series results from years of photography and over two decades of life in New York City, the city that first ignited his creative vision. He combines iconic architectural elements worldwide into a single, dynamic composition through intricate, hand-assembled collages. His process—meticulously cutting, arranging, and layering printed photographs—creates a deconstructed yet harmonious vision of urban life.

Alongside Metropolis, Shalam’s Refracted Lens series offers a poetic reflection on the relationship between people and architecture. In one striking image from Liverpool Street Station, a fleeting moment of human connection stands out amidst the bustling city’s movement.

See you at MIA Photo Fair, Stand F021

More about Philip Shalam

Buy a ticket for MIA Photo Fair

During Milan Design Week 2025, Galleria Alberto Levi will present the exhibition ‘II Nulla [Heech / Nothingness]’ with its long-time professional partner, pioneer Lila Valadan. Rachel Meek asks Levi about the concept and art of embracing the ineffable.

Design Week brings hype, buzz and crowds to Milan every April. To counter the frenetic energy of the streets and buzzing events, Alberto Levi Gallery Allery and Lila Valadan invite visitors to rise above the frantic heartbeat of the city to a place quieter than silence. In this realm, the senses are recalibrated, beauty is distilled into its purest form, and true minimalism emerges through ancient weaving techniques and tactile narratives. Their invitation sounds tempting, to say the least, and saying minimal, or even nothing, is at the heart of their collaborative exhibition Nulla [Heech/Nulla)” on view at Alberto Levi Gallery

During Milan Design Week 2025 Heech, the Persian word for “nothing,” refers to a deep philosophy of Persian Sufism that embraces the idea that creation comes from the nothingness that permeates the universe and resides in all of us, and that to surrender to this void is to dissolve the ego and discover wisdom, beauty, and unity. Valadan’s Aleph flatweave collection embodies this ethos-less infinity. Levi describes it as a bridge between the past and the future, carrying the belief that tradition is not about preserving ashes but about keeping the fire alive.

The show results from a decades-long professional relationship that dates back, as Levi recalls, to his first meeting with Lila Valadan’s late husband, the late Mohammad Naziri, at the inaugural Domotex fair. He says Lila and Mohammad stood out for their pioneering approach, curating a selection of visually stunning antique and vintage South Persian tribal rugs and flatweaves. Their keen eye for authenticity and artistic expression has always resonated with me, making our partnership a natural evolution over time. Since its inception, we have represented the Lila Valadan brand in Italy, building a long-standing relationship based on a shared appreciation for exceptional craftsmanship and artistry in rug making.

Like everyone who was fortunate enough to visit Valadan’s landmark “Night Time in a Palace” exhibition at Domotex Hannover in January 2024, Levi was astonished by its impact. It has deepened his admiration for her boundless creativity, expressed not only in her rugs but also in the way she presents her collections. Describing the presentation as “mind-blowing in both concept and execution,” he knew as soon as he saw it that such an extraordinary work deserved to be showcased to a wider audience, “particularly during Milan Design Week, where it could reach a diverse and design-savvy audience. Nothing will embody the

the authenticity woven into Valadari’s rugs, which Levi describes as being woven by the same artisans who have passed down these skills for generations, using the same materials and time-honored weaving techniques. As he explains, Thia translates into pieces that are not only beautiful to look at, but also deeply tactile and full of character. Each rug tells a story, there are no shortcuts, each rug is made from the finest wool, dyed using only the highest quality natural materials. The result is an unparalleled level of craftsmanship, evident in every fiber. These rugs exude a passion for quality and a deep respect for tradition, which is truly rare in today’s market. The use of natural dyes extracted from pomegranate peels, saffron and walnut shells also enhances the collection, as Levi says: For me, this approach is like opening a window to the past, it creates a tangible connection to the origins of weaving, maintaining an unbroken thread between history and the present. Whether clients specifically request it or not, they inevitably recognize and appreciate the depth and authenticity that natural dyes bring to a piece. I have no doubt that the collection will leave a lasting impression… Many viewers in Milan may not have fully realized how transformative and magical a carpet can be. I expect visitors to be inspired, enchanted and to gain a new appreciation for the artistry and craftsmanship behind

these extraordinary pieces. As we approach the labyrinth of design that is Design Week, perhaps it is worth taking to heart the words of Lila Valadar adar When everyone is trying to be something, be nothing.

COVER 78_Feat_Lila Valadan at Levi

‘Every carpet holds a story. But the most revealing tale is always about the person who chooses it.

(Lila Valadan)

Lila Valadan is an award-winning Persian rug designer and a pioneer in the male-dominated world of Persian carpets. As the only female rug producer in Iran, she has redefined the art of rug making, merging centuries-old craftsmanship with contemporary aesthetics. Her dedication to excellence has earned her international recognition, including being a 9-time Carpet Design Award winner and an AD 100 nominee, cementing her status as one of the most influential designers in the field. Each rug she creates embodies deep cultural narratives, masterful techniques, and a passion for storytelling through texture and color. Committed to sustainability and ethical production, Lila works closely with artisans, preserving heritage while innovating for the future. Her collections have captivated global collectors, interior designers, and museums, making her a leading voice in redefining the art of Persian rugs.

‘Carpets are my dialogue with the world.’

Lila Valadan is also a family business, built on generations of Persian rug-making mastery. The art of rug making has been woven into her lineage for centuries, dating back to 19th-century Persia.

Carrying this rich legacy forward, Lila infuses every piece with history, craftsmanship, and a deeply personal vision. Each rug tells a story, meticulously crafted using the finest materials and time-honored techniques.Her journey began in 1984 when she and her husband, the legendary Mohammad Naziri, a renowned carpet collector, who brought to the West the tribal woven culture of Iran, traveled through the mountains and valleys of southern Persia in search of extraordinary rugs. They discovered that rug making was more than a craft for the nomads of old Persia—a love letter, a wedding gift, a symbol of devotion. The themes woven into these works predate Islam, yet their abstract, expressive nature resonates with modern aesthetics, echoing the spontaneity of European expressionist art.

For over 40 years, Lila’s husband ran his business on a single principle: “To be truly modern, you must come to terms with your tradition.

Her journey began in 1984 when she and her husband, a renowned carpet collector, traveled through the mountains and valleys of southern Persia in search of extraordinary rugs. They discovered that rug making was more than a craft for the nomads of old Persia—a love letter, a wedding gift, a symbol of devotion. The themes woven into these works predate Islam, yet their abstract, expressive nature resonates with modern aesthetics, echoing the spontaneity of European expressionist art.

For over 40 years, Lila’s husband ran his business on a single principle: “To be truly modern, you must come to terms with your tradition. Keeping this philosophy alive has always been the task. Tradition does not mean preserving the ashes but keeping the fire alive. This belief drives Lila Valadan’s work blends past and future to create timeless art.

Today, the next generation continues this journey. Lila’s son, Shayan, elevates the brand to new heights, ensuring its evolution while staying true to its heritage. Their network of weavers,

from the Caspian Sea to the Persian Gulf, produces hand-knotted rugs that take years to complete—some with over five million knots. Persian rugs are among the most labor-intensive crafts, requiring patience, attention to detail, and decades of heritage. The rugs tell stories of humanity; it is said that a Persian carpet is the mirror of heaven, bringing the Garden of Eden into homes.

Lila Valadan’s philosophy values authenticity over perfection. In a world of mass production, where everything is a strategy, these rugs remain untouched by commercial intent. Small irregularities, subtle deviations, and natural color variations do not diminish their value but enhance their soul.

They reflect the belief that true beauty lies in imperfection—something science cannot explain.

Through her work, Lila Valadan merges poetry, love, and heritage, creating rugs that are textiles and timeless expressions of Persian culture.

….but not always.

What makes the Alberto Levi Gallery unique is not only its location in the heart of Milan’s historic city center but also its quintessentially Milanese courtyard, which seamlessly connects both sides of the gallery. Visitors joining us for an exhibition opening know the inviting atmosphere that enhances every event.
During our first opening of the year, Par Terre—Barbara Frua, this courtyard was under renovation and inaccessible. However, both sides of our showroom remained brightly illuminated, filled with the unmistakable magic of Barbara Frua’s interiors.
If ‘location, location, location’ is the credo of the real estate industry, then we would describe Barbara’s creations with the following philosophy:

Texture, Color, Design

Par Terre goes beyond a mere demonstration of refined craftsmanship. It is a testament to tradition and decoration, redefining the boundaries of carpet design by harmonising functionality and aesthetics in each piece. Once again, Par Terre highlights Barbara’s refined taste and innovative sensibility.
Barbara Frua’s signature mix-and-match color palette has now expanded to 28 shades. This bold statement against convention and invitation to embrace creative freedom allows clients to explore limitless combinations, transforming each carpet into a unique expression of personal style.

Complementing Par Terre is Specchio, Specchio, a collection of mirrors designed by Barbara Frua in collaboration with Pictalab. Here, primary shapes and colors are reimagined through an innovative approach to ancient materials and techniques. This collection perfectly mirrors Par Terre in both color and design, completing a vision where tradition and contemporary artistry merge seamlessly.