2026 New Collections
21/04/2026Very Wood returns to Salone del Mobile.Milano 2026 with Sketch Out, the first tangible outcome of a research project, developed over recent years, now expressed through both the installation and the new collections.
The title carries a double meaning: drawing as the origin of the project, and the act of tracing a direction.
Within this framework, collaborations with Moreno Vannini, Calvi Brambilla and Gordon Guillaumier take shape, contributing to further expand and articulate the brand’s formal vocabulary. These are complemented by the ongoing collaboration with Dordoni Studio, which consolidates a design dialogue developed over time.
The set-up, designed by Concetta Giannangeli, translates this approach into a clear and readable spatial narrative. On one side, visitors are guided through the transformation of materials – from initial processing to the finished product – following the journey that turns an idea into reality. On the other, the path presents the different contexts in which Very Wood operates – hospitality, workplace, marine and educational – highlighting the project’s versality across different applications.
The original drawings on the wall are designed by the Frulian illustrator Gianluca Buttolo, whose unmistakable hand translated the whole concept into freehand sketches that animate and envelop the walls.
Doublet by Dordoni Studio
Tailored construction and embracing gesture
Inspired by the doublet – a historic men’s garment for the Middle Ages and the Renaissance – the Doublet upholstered chairs translate the logic of tailored construction into a design defined by an embracing and carefully calibrated profile. Four slender wooden legs discreetly support the upholstered body, lightening the overall composition and balancing the solidity of the upper volume. The result is a measured and harmonious silhouette.
Break, Dee Dee and Sira by Calvi Brambilla
Primary geometries and sculptural volumes
With Break, Dee Dee and Sira, Very Wood introduces, for the first time, a family of upholstered and lounge chairs, marking a turning point in the evolution of the collection and expanding its typological range. This step broadens the brand’s scope while preserving its coherence, translating its identity into a softer, more tactile dimension.
Developed through research into upholstery as a form of sculptural construction, the three designs combine primary geometries and soft surfaces to create seating pieces with a strong and immediately recognizable identity.
Break is defined by a fully upholstered base that reinforces its sense of solidity, while the graphic incision on the back interrupts the surface introducing, a detail inspired by sport footwear and visually activating the profile.
Dee Dee is characterized by two curved side elements – resembling quarter circles – that embrace the seat and define its formal identity, echoing the radical experimentation of the 1980s.
Sira, finally, is composed of five distinct elements – the seat, base and supporting backrest shells – each sharply articulated. A vertical void that runs through the body lightening its visual presence, while the enveloping profile recalls the sculptural abstraction of Costantino Nivola.
Ilias by Gordon Guillaumier
Archetypes shaped through structure and proportions
This new family of seating, designed by Gordon Guillaumier, explore the concept of the archetype through the relationship between wood and upholstery. The balance between constructive essentiality, comfort and formal recognizability.
Ilias develops a sinuous wooden backrest that both supports and encloses the upholstered elements, creating a continuous dialogue between rigid and soft components.
Flore and Contour by Moreno Vannini
Design as constructive principle
Drawing on the familiar language of bistros and café, Flore and Contour explore the concept of design as a generative structure.
Flore rereads the archetype of the bistro chair through a continuous metal frame that defines the legs, backrest and – in the armchair version – side supports. The junctions between the tubular elements are intentionally left exposed, becoming part of the design language, while the seat and the wooden backrest introduce a warmer component of matter that balances the lightness of the structure.
More abstract in its approach, Contour is built around a metal rod frame that traces a nitid and continuous line in space. The seat is set within the structure as a solid element, enhancing the contrast between the linear frame and the materiality of the surfaces. The reference to the vintage metal chairs lingers, but it is filtered through more contemporary and refined proportions.
