The 2026 had the feel of a decade ago, re-interpreted with a Melbourne vibe, as designers young and old, professional and emerging, gathered to showcase their talents. The passion for design was palpable and there was connectivity — not only in creative circles, but among the design-savvy public who visited exhibitions, enjoyed the experiential and bought product from designers.
While the major events saw large crowds and many, many talks were sold out, it was the polish and presentation of the myriad offerings that made this MDW such a success. This year there was a definite move towards exploring the intersection of design and fashion which was represented in many exhibitions. Beautifully crafted furniture pieces sat beside high fashion and street wear to reinterpret design as the two genres merged.
For example, RE:BORN, a collaboration between Romance Was Born and Cultivated, supported by Artbank, studio x us, Cult and Tsar Carpets featured restored iconic furniture pieces reupholstered in dazzling fabrics and embellished with sequins, fringing and all manner of decoration. The Swan Chair will never be the same after this rebirth.
Jon Goulder was named the recipient of the NGV 2026 Mercedes-Benz Australia Melbourne Design Week Award this year. He was certainly in demand, with work presented across multiple venues and with talks at Yiaga and Chapter House, where Goulder partnered with fashion label ALPHA60.
Clubhouse, presented by Found Golf and Up There examined the role of sport and sporting clubs as sites of cultural production. With the interiors of the space designed by Kennedy Nolan, sports objects – from surfing to golf, dartboards and gym equipment – resided comfortably between clothing and accessories creating a new hybrid sporting and design experience.
Following on from the success of 100 Lights at MDW 2025, Friends & Associates presented 100 Chairs at the Abbotsford Convent, and it was a standout – queues to see the exhibition proved the point. Excellent design from professional and emerging designers was on display, and with more than one hundred chairs on the floor, it was a sight to behold. Dale Hardiman’s contribution to MDW is always central and 100 Chairs was a pivotal exhibition at MDW.
These blockbuster exhibitions set the tone of MDW, but the smaller, more intimate events proved to be elevating and inspiring experiences for all who attended.
47 Easey Street in Collingwood was once again a design hub. In its third and final public exhibition, Transformative Repair, with 18 designers and practices, examined the reinterpretation of broken objects using innovative approaches to repair and reuse. Participants included Adam Goodrum, Trent Jansen and Johnny Nargoodah, Marlo Lyda and Lucy McRae among many others. The exhibition was the culmination of six years of research and development led by Dr Guy Keulemans (Adelaide University) and Dr Trent Jansen (University of NSW) in collaboration with JamFactory and the Australian Design centre, supported by the Australian Research Council.
At the rear of the venue was Danielle Brustman’s Superhot Shop, now in its second iteration. As a pop-up shop, group exhibition and performance space, it was the place to see eclectic design from 25 talented creatives carefully curated. The disparate objects filled the walls and floor of the petite premise and held a multitude of delightful design surprises.
Dean Norton’s small but perfectly formed installation Between Planes showcased his continuing exploration of reflection using materiality of mirror and glass; while Table Manners, presented by Union Magazine & Object Massive & Streifen, was another gem, a concise exhibition that showcased the works of a series of designers who have produced a singular set of cutlery. In this exhibition the ubiquitous did indeed become extraordinary.
This year Ross Gardam opened its production studio to the public with Ross Gardam: Open Studio and a new lighting collection, Solace Chained, was introduced to the ever-expanding portfolio. Also on show and making its Australian debut was Relic, Gardam’s latest edition work.
At Bookshop by Uro, Everyday Rituals by Dutoit and Nattier Ceramics explored the intersection of design, making and daily ritual. A series of Limoges porcelain objects – a cup, small dish, tray and carafe – designed by Dutoit and crafted by Nattier Ceramics sat comfortably among the architectural books of the renowned bookshop.
KEEP: Forever Objects Designed By Six Australian Architects was a must-see exhibition at the Cult showroom in Abbotsford. Presented by the American Hardwood Export Council (AHEC) in partnership with Cult and Evostyle and curated by David Clark, this exhibition celebrated the beauty of American hardwoods through the expert design of Kennedy Nolan, Virginia Kerridge, Lineburg Wang, Richards Stanisich, Edition Office and Neil Durbach.
Apato opened its showroom doors and invited all to view Between Times, an exhibition that explored how heritage Japanese design continues to evolve, while preserving culture and material foundations. Furniture from CondeHouse (founded 1968) and lighting by Yamagiwa (established 1923) were on display and proved the point.
Fletcher Arts’ In 100 Years brought art into focus with a new presentation of works from Fletcher’s ever-increasing stable of artists. On opening night, a special performance curated by Forough Yavari and Afsaneh Rahimian with contemporary dance by Amelie Piccinin held the audience spellbound.
At Collingwood Yards, Lightly presented The Making of a Symbol (below), a tactile satellite exhibition with three new bodies of work in wool, resin and steel. Each material was used as a means of explorating enduring meaning: “A meditation on how objects accumulate meaning, how form becomes symbol over time.”
Curated by Studio Kennon in partnership with RUSSH, Being Sensitive examined how the built environment shapes emotional and physical experiences. For this exhibition, eleven local artists were invited to respond to the theme through new and archival works.
At Oigåll Projects, industrial designer extraordinaire Adam Cornish presented a collection of works in what feels like a second phase of his practice. In this, his first solo exhibition, Cornish has begun to loosen the grip a little, allowing experimentation and material play to guide his creative eye. The result is work that still carries his signature rigour but with a new and exciting energy.
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At the Melbourne School of Design, University of Melbourne, Alison Page was celebrated in her first solo exhibition that spans her 25-year career. Curated by the artist and Associate Professor Jillian Walliss, Alison Page: Creative Shape Shifter (below), supported by ClarkeHopkinsClarke paid tribute to the renowned Dharawal and Yuin designer, artist and cultural leader tracing the development of a practice that explores how BLAK design can inform and enrich everyday Australian life.
Embedding the practice into the heart of Melbourne Design Week, DKO presented a sensational installation, A Place Between (below). Set within a reactivated Collingwood warehouse, the project was an immersive installation, tented and filled with flora, that also became a favourite venue with a program of talks, panel discussions and live performances.
There were a multitude of discussions on offer and Simon Knotts’ interview of Tom Kundig was a seriously enjoyable chat. Indesign’s own Timothy Alouani-Roby facilitated a conversation with FK; Heidi Smith of Gray Puksand moderated Creating Legacy Through Authentic Storytelling in Architecture; Sculptform and Air Design Studio hosted What does effective collaboration look like when designing precincts in our city?; and Designing Out Waste moderated by BVN Principal Sally Campbell offered much food for thought – as did all the talks.
Shared Material Intelligence: Strengthening Melbourne’s Design Ecosystem saw INDE.Awards Trophy Partner and glass artist Ruth Allen with furniture designer Nicole Lawrence (below) present a live glassblowing demonstration at the r.a.g.e I Hot Glass Studio. Concurrently, a discussion explored the evolution of a sculptural wall sconce from design and production through to a resolved luminaire.
Finally, another standout — and one that was seriously reminiscent of Milan — came with Ruby Shields’ transformation of a whole apartment space at Abbotsford Convent. Synthesis brought together the work of over 40 designers, artists and makers into a coherently orchestrated set of spaces, all tied together by a luscious colour palette of burgundies and golds.
With more than 400 events over the full MDW program, there was so much to see, hear, touch and enjoy. This is just a taste of the multitude of happenings on offer, and the only regret is to have not had the time to experience more.
Until next year that is…
Melbourne Design week is an initiative of the National Gallery of Victoria (NGV) and supported by Creative Victoria.
Melbourne Design Week
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