At Milan Design Week 2026, Ceccotti Collezioni approached the idea of the collection as a living archive. Presented at the brand’s Via Durini flagship store, Cosmogramma unfolded as a dialogue between generations of designers, historic references and new interpretations of craftsmanship. The exhibition moved through time with unusual fluidity, bringing together rediscovered projects, contemporary commissions and pieces that carried the quiet precision long associated with the Tuscan company.

The title itself suggested a system of connections. Cosmogramma was conceived as a symbolic map linking the company’s design universe through memory, form and material research. Historic figures such as Guglielmo Ulrich and Mario Gottardi appeared alongside contemporary voices including Jean Marie Massaud, david/nicolas and Roberto Lazzeroni. Each contribution felt connected by a shared attention to proportion, gesture and construction, even as the pieces moved across very different visual languages.

Among the most compelling moments of the presentation was the reissue of the 604 Desk by Mario Gottardi, originally conceived in the 1950s for executive interiors and now reintroduced through the work of archive director Andrea Mazzoni. The desk preserved the architectural rigor of the original design while adapting its dimensions and materials to contemporary workspaces. Solid walnut, leather, brass spacers and suspended surfaces gave the piece a sense of gravity without heaviness, allowing its structure to appear almost suspended in space.

The exhibition also marked the beginning of new collaborations. David Nicolas introduced Scapula, a compact armchair whose raised arm and elongated backrest created a silhouette with a clear sense of posture and movement. Jean Marie Massaud presented the Baldwin low tables, a family of sculptural pieces defined by generous tops and strong geometric supports. Across both projects, Ceccotti expanded its vocabulary with more assertive volumes and sharper lines, while maintaining the tactile quality and craftsmanship that define the brand identity.

Roberto Lazzeroni contributed some of the exhibition’s most architectural pieces. The Gaspard table carried the presence of a monumental object shaped through wood, marble and brass detailing, while the Skilful cabinet introduced a careful play between storage, light and transparency. Nearby, Eugene by DRAW Studio revisited midcentury seating through a rigorous circular composition that enclosed the body with precision and comfort. Every object revealed an attention to detail that never felt decorative for its own sake, but deeply connected to construction and use.