What do designers think about AI?

Like every creative industry, Italian design has undergone major transformations over time, both from a technological and ideological standpoint. Yet, the strength of Italian design has always resided in its unbreakable link with the Made in Italy production chain. Over the years, with the democratization of design by international conglomerates like IKEA, the idea of Italian design has gradually evolved into a more elitist and less popular concept. Nevertheless, the Salone del Mobile has, over time, generated an entire ecosystem of city-wide events – the Fuorisalone – evolving into what we now call Design Week. A week that usually takes place in early April and represents an incomparable economic and social force for the city of Milan. This year, perhaps more than in previous editions, the theme of the Fuorisalone has sparked a particularly relevant debate: artificial intelligence. The theme of the 2025 edition is “Connected Worlds”, an ode to artificial intelligence and generative art. A bold choice at a time in history when the art-AI pairing is anything but unanimously embraced within the creative industry (just think of the recent backlash involving Studio Ghibli or the controversy around virtual models in fashion). Yet, a clear paradox remains: What sense does it make to discuss highly advanced artificial technologies in a field historically rooted in manual work and empirical experimentation? If the artisanal component were to disappear entirely, even in product design, what would remain of the Italian design heritage? This is no minor question, especially when we consider that the most iconic pieces of Italian design were born step by step, through serendipitous ideas and numerous attempts. The Eclisse by Artemide was born from a sketch drawn by Magistretti on a metro ticket; the Juicy Salif by Alessi was inspired by a plate of fried calamari Philippe Starck had while on vacation. Examples like these show how Italian design has always drawn strength from spontaneous ideas and manual experimentation. Could an algorithm really replicate—or even improve—that phase of creative genesis? Amid conflicting opinions and contrasting views circulating on social media, the true protagonists of this ethical debate have often remained in the background: What do designers really think about AI? To better understand the issue, we gathered the perspectives of some of the most interesting and representative voices in the Milanese design scene.

Although initial expectations pointed to widespread skepticism toward the rise of artificial intelligence in the world of design, reality tells a more complex story. This is the case of Caspal, the new project by Biagio Castellani and Federica Paoli, born after the closure of Situér in 2024. The transition did not mark a clean break between two phases of the designers’ careers, but rather a new chapter based on the idea that «evolution and change are inevitable processes in our lives, constantly present and in continuous motion». For the duo, this year’s Design Week theme serves as a connection between their past and present: «we believe that the dialogue between design and new technologies is essential for progress and evolution, as long as AI remains a tool to be used, a piece of a larger picture in which the human component can never be excluded», they state. This vision is also reflected in the brand’s story, which is grounded in a deep knowledge of metal craftsmanship yet constantly seeks to reinterpret it in a contemporary way. While at first glance the connection with AI might seem remote, Caspal does not reject the use of artificial intelligence – quite the opposite: «we use AI as a support tool, just like we would use a design or editing software», they explain. At the same time, they clarify that «The designer’s creativity cannot be replaced, but AI can provide valuable input to stimulate and enrich the creative process». In this sense, AI is perceived as added value, capable of opening up new opportunities – both in the ideation phase and in industrial production, especially in light of a 4.0 Industry context where optimizing processes and increasing efficiency is becoming more and more crucial.

The same perspective echoes in the work of Nicolò Ornaghi, Francesco Zorzi, and Delfino Sisto Legnani of NM3 Studio, one of the most renowned product design studios in Milan, although their stance on AI appears decidedly more critical. More than a matter of distrust toward the technology itself, it seems that NM3 struggles to identify with what they define as «a superficial operation». In fact, Milan-based designers do not deny that artificial intelligence can be useful as a support tool for certain tasks – from basic Photoshop functions like background removal to the processing of complex data in more advanced design and architectural contexts. At the same time, however, they maintain a core belief that remains non-negotiable: «In design, creativity is rooted in taste, experience, and compositional culture. If your references are off, even AI will produce bad copies. But if you start from solid cultural foundations, then yes, you might get interesting results». For NM3 Studio, the conversation goes beyond the “AI yes or no” binary and touches on broader themes: the cyclical nature of innovation, new technologies that are often reduced to passing trends, and the overall superficiality of certain promotional narratives. For the creative duo, AI remains grounded in a form of healthy realism: while its potential is undeniable, design at every level requires a set of skills, sensitivity, and critical thinking that a machine simply cannot replicate. While they acknowledge the utility of AI in specific scenarios, Ornaghi and Zorzi don’t hold back when criticizing its careless or automated use: «For us, AI in design is a scam when used like this – without control and without cultural backing.»

Then there are those who, instead of taking a firm stance either as enthusiasts or skeptics, choose to carefully weigh the pros and cons of new technologies. This is the case of OLDER STUDIO, founded in 2013 by Letizia Caramia and Morten Thuesen, an Italian-Danish studio that doesn’t easily fit into the traditional frameworks of the Milanese scene. OLDER’s approach is rooted in a deep commitment to sustainability, and the studio focuses not only on product design but also on the production of work uniforms. At first glance, this might seem far removed from the logic of artificial intelligence, but as the founders explain, it is not at all incompatible with innovation. «For us, craft, tradition, and AI are not opposites, but extensions of the same process», Thuesen says. «AI is a tool that, when used correctly, can help us achieve results that were once unimaginable—especially when guided by a strong artistic vision. In our case, we draw from the principles of ‘Arte Povera’, an ideology that aims to infuse soul, quality, and poetry into modest materials. If you can make the accessible shine, you’ve already won». This mindset is shared across the studio’s philosophy: while some see technology as a force that could disrupt traditions and creative processes, OLDER STUDIO views artificial intelligence as «almost a spiritual inspiration, one of many paths pointing toward the future».

The reflection on the tradition–technology binary, so central to OLDER STUDIO, ties back to the points raised earlier: AI can become mere background noise when reduced to a trendy slogan, but it becomes a valuable ally when placed in service of human creative sensitivity. In other words, just like the choice of sustainable materials and an aesthetic that celebrates simplicity, the approach to AI becomes part of a broader vision—where “how” matters more than “what”. This is perhaps where the theme of this year’s Fuorisalone—focused on technology and generative art—becomes misleading. The notion of “connected worlds” is not so much about replacing human creativity with software and algorithms but about fostering a virtuous contamination between analog and digital dimensions. Keeping Italy’s artisanal tradition alive while integrating advanced tools could in fact represent the true beating heart of contemporary Made in Italy. At the same time, however—as in all creative disciplines—generative art produced by artificial intelligence fundamentally lacks substance: it is trivial. Like cinema and music, design seeks to communicate emotion (or, in the case of product design, to solve a human problem). Without that natural component, AI only generates a simulacrum. This is the core of the controversy around using ChatGPT to generate Studio Ghibli-style images: Miyazaki’s films are beloved and cross-generational precisely because of the emotions they evoke. As designers often point out, AI is just a tool—not the core of art. Meanwhile, the ethical and moral debate around AI continues to intensify, even as this year’s Design Week reaches record-breaking numbers. According to estimates from the Centro Studi di Confcommercio Milano, Salone 2025 will generate over €278 million in revenue, marking a 1.1% increase compared to the previous edition. In the end, for most visitors, as long as there’s a free cocktail party, AI’s role in the Italian design landscape remains a relatively marginal dilemma.