In April, a bustling street in Milan near the Duomo revealed typical city life: yellow trams, locals enjoying espresso, and fashion professionals cycling by. Those who followed the latter would have found themselves at Palazzo Acerbi, a 17th-century Baroque palace, where a grand wooden sculpture made of modular chairs was on display in the central courtyard, resembling a modern ziggurat.
Ascending the impressive staircase to the 'piano nobile,' the purpose of this artistic intervention became evident: it was the grand debut of Kelly Wearstler's first collection with H&M Home. Inside, a corridor with terrazzo flooring led to rooms adorned with chintzy floral fabrics and whimsical, funhouse-like mirrors featuring trompe l'oeil urn-shaped vases made of blackened pine. Lamps with stainless steel wires glowed softly under linen-like fabric, drawing visitors deeper into the exhibition. One room showcased cloud-like modular bouclé armchairs, which could be combined to form a loveseat or multiple pieces to create a sofa, stacked to form a plush mountain reaching two-thirds up the wall, directing the gaze to an intricately frescoed ceiling.
Kelly Wearstler, dressed in a grey tailored jumpsuit, moved through the rooms, passionately explaining the details of each piece and the ingenious installations created in collaboration with Studio Boum, a design practice favored by the fashion industry. She frequently used the word 'storytelling' to describe her work, stating, "We wanted the objects to unfold—and then take hold of—all the different rooms in the house."
Wearstler is primarily known for her high-end residential projects and hospitality work, notably as the lead design partner for Ian Schrager's Public Hotels in New York and West Hollywood. Historically, she has been selective with collaborations, having previously worked on smaller collections with brands like Farrow & Ball and The Rug Company. Like many designers at her level, she found the high price points of her creations frustratingly out of reach for most people. "Being able to do something that is accessible to so many people and launching in 40 countries, there was something really cool about that," she remarked. "I want to help people to live better, to be creative, and to have really timeless design in their home—design that has a point of view, and that feels unique."
Wearstler recounted her long-standing admiration for H&M's partnerships with fashion designers, specifically recalling her enthusiasm for their Margiela collaboration in 2012. When the Swedish retail giant approached her, she readily agreed. She quickly adapted to the project's constraints, such as sizing, finding them to be liberating. "We have limitations in all of our projects," she mused, "but it was great, and it really pushed us to be more creative. It makes you a better designer."
This challenge influenced the modularity of many pieces in the collection, including the chairs in the palazzo's courtyard and the bouclé chairs in the historic rooms. This modularity reinforced the collection's core philosophy: as Wearstler explained, the pieces should be able to "reinvent and adapt to your lifestyle." Other key principles included a focus on 'ritual'—"reexamining the things you grab every day and you often don’t even think about"—and the use of mixed materials to give the pieces "a soul." These materials, such as natural marble, poplar and pine woods, fused glass, and wool-cashmere blend throws, offer surprisingly premium quality. Wearstler affirmed, "It’s affordable, but the quality is still there. It’s still great design." The collection also features a surprising capsule fashion line, launched concurrently. This addition arose from Wearstler's desire to create a comprehensive world for H&M. She approached the company with the idea, recognizing that "fashion is such a big inspiration for me. Even when we do the hotels, we love to design the uniforms, because it’s a whole lifestyle. How can you leave out fashion? It’s all part of the storytelling."
Eighteen months prior to its April unveiling, Wearstler began working on the collection, meaning nearly two years had passed since her initial sketches. Witnessing the fruition of her inspiration and observing public interaction at Milan Design Week was deeply rewarding. She compared it to her hotel projects, where positive feedback from guests affirming their enjoyment and appreciation for the details is particularly meaningful. Now, the public can fully experience and acquire these unique pieces.
