Milan Design Week, a key event for the global design community, played host to the introduction of Fico, a new high-end furniture brand originating from ISHO, a prominent design house in Bangladesh. Unlike many debuts, Fico’s presence resonated quickly, capturing the attention of influential design publications such as Forbes, Architectural Digest, and Dezeen, all of whom highlighted it as a noteworthy presence at the prestigious event.
The furniture presented by Fico offered a distinctive aesthetic. The pieces were sculptural, suggesting a deliberate artistic approach rather than purely functional design. These creations drew upon time-honoured crafting methods, hinting at a deep respect for tradition. This foundation was then layered with influences from the Mediterranean, evoking a sense of warmth and history. The overall impression was of a globally aware design language, one that transcended specific regional styles to create something new. The underlying concept of artful living was evident in the way the furniture combined the tactile richness of older materials with the clean lines of modern forms, suggesting objects intended to enhance and enrich daily life.
Beyond the visual appeal of the collection, the launch gained further substance through the perspective of Rayana Hossain, the founder of both ISHO and Fico. During the week, Hossain delivered a talk centred on ‘Design as a catalyst for Social Change.’ Her discussion explored the capacity of well-considered design to act as a bridge between diverse cultures. Moreover, she emphasised its potential to stimulate and empower new creative industries, particularly within the often-untapped talent pools of the Global South. This added a substantial layer to Fico’s introduction, framing it not just as a source of high-end furniture but as a proponent of broader social and economic impact through design thinking.
The Milan showcase served to convey a larger narrative than just the furniture itself. The curated installations were designed to invite viewers to engage with the pieces on a deeper level. Fico’s debut, amplified by Hossain’s reflections on design’s social role, suggested a broader ambition beyond commerce. It felt like the arrival of a distinct point of view on the global design stage. The immediate and widespread interest generated by Fico suggests that the international design community is receptive to new perspectives and is paying close attention to this emerging voice.