"Milan is the capital of design," says Nina Yasar of Nilufar Gallery (photo)
2025-05-26
Portland Design Week, April 21–29, features 300 events, installations, and open houses across all design disciplines. Meanwhile, Milan, Italy, hosts the world’s most prestigious furniture design show, Salone del Mobile, April 4–9. Portland-based design writer Damon Johnstan looks back at some of the people he interviewed at the 2016 Milan International Furniture Fair. Stay tuned for his coverage of the new furniture and lighting designs on display at this year’s show.
The Milan International Furniture Show is the world's largest design event, where many companies present their new concepts, the result of many years of painstaking work, to an enthusiastic and demanding public.
A few years ago, while attending Milan Design Week, I slipped through a door on Via della Spiga—LA’s answer to Rodeo Drive—and into the charming Niloufar Gallery. The drinks were flowing, the people were friendly, and the furniture on display was a clever mix of mid-century masters and cutting-edge contemporary art.
The location was unusual, and among the party guests I recognized many famous fashion designers, artists and collectors.
Every year I try very hard to get an invitation to Nilufar's party. I want to not only see the collections, but also feel the energy of the crowd. Every year I am never disappointed. The slightly reserved owner Nina Yaşar is always full of enthusiasm. She is always dressed in bright Prada pieces, radiating wit and unconventional creativity.
Yashar was born in Tehran and moved to Milan with her family in 1963. Her father was a leading dealer in oriental rugs in Milan. By the age of twenty, Yashar had become a reliable partner in the business. After graduating from the University of Venice, Yashar opened a shop in Milan specializing in hand-woven rugs. One of her first clients was fashion designer and businesswoman Miuccia Prada.
Over time, Yashar became known for introducing then unknown Iranian, Tibetan and Chinese styles and designs. Over time, her collection included not only Scandinavian rugs but also furniture. Over time, she continued to use her intuition to develop her taste and style, including modern masterpieces.
Building relationships in Milan takes time, patience and persistence. Unlike the US, where business is primarily transactional, in Italy relationships come first.
I spent a lot of time and effort getting to know Nilufar, the story of the artist and the craftsman, and Yasar himself. Finding a woman who represents the pinnacle of Milanese taste during the busiest week of the year is no easy task, but my goal was to secure an interview.
In 2016, I made an appointment at the Nilufar depot on the outskirts of the city. The year before, Yasar had opened a warehouse in an old factory. The three-story central space is surrounded by metal balconies and resembles both a theater and an exhibition hall. My efforts had finally paid off.
She invited me to sit at a large round table in the far corner of the large room. Once we were settled, I asked her how her week had been. “The first year (at Nilufar’s warehouse) was very busy because it was new. This year, there were fewer people at the opening, but the quality was better, and people came to see the exhibits and then buy them. Moving to a new place is a good change because people can see more exhibits and feel the homey atmosphere,” Yasar said.
Many of her clients come from the United States each year, including several from New York. “New Yorkers are very picky and love historic Italian design and lighting,” she said. “They are perfectionists. I’ve been very lucky, especially this year, that the visitors who come understand all the exhibits. You don’t have to explain anything.”
The central floor of the warehouse is covered with carpets. Yasar admits that this collection is an attempt to return to her roots. She predicts that antique carpets will come back into fashion after 15 years of oblivion.
Yashar also presents a series of contemporary rugs at the Nilufar gallery in central Milan, including one designed by Jorge Lizarazo, woven from metallic threads such as copper, silver, bronze and tin, combined with natural fibers from exotic trees and horsehair.
This requires not only finding but also nurturing, mentoring and promoting new designers. She invests in each artist and wants to ensure that their work and projects remain of the highest quality in the long term. “You have to like both the person and the project. It’s not like working with a vintage designer. You have to pick your people carefully. You don’t want them to get into trouble,” she said with a laugh.
She recently introduced new designer Frederico Peri to the MiArt gallery in Milan and noticed him when she first saw him. “He showed me his work exactly as I imagined it. He designed the seats, the table and the shelves all at once,” Yasar said.
Another part of her business is working with interior designers and young clients who need guidance and education. They invited her to their homes and said, “I need help.” By then, Yasar and her clients had developed a close relationship, and she knew their personalities and preferences.
They often look for a vision. Most of them work in the fashion industry and earn good money. They already have a creative mind and good taste. Then she helps them refine it. When helping a client, Yasar starts the process by choosing the details that will be used. She then uses these elements to create conversations.
“The design should be based primarily on functionality, but also on sophistication,” Yasar said. “That doesn’t mean it has to be made of bronze or gold, but it should have a hidden luxury or sophistication to it.”
Yasar also values a piece’s ability to stand the test of time. She rejoices when clients ask her if a modern piece is an antique. “They don’t understand, so they’re confused. I like that,” she said.
She loves timeless design, whose elegance is enhanced by rich finishes and clean lines. “They’re just perfect,” she says, pointing to a pair of modern Michael Anastasiades lamps on a vintage table next to us. “They look like they were made in the same year.”
The conversation turned to the work of other designers she represented. “Bethan Laura Wood is obsessed with precision. Her storytelling is visionary and rich. I love her work and I love her as a person. You know, I discovered her and Martino Gamper,” Yasar said.
In 2015, Yasar displayed Gamper’s work in the main exhibition area at the opening of Nilufar Depot. He repurposed furniture by Italian architect Gio Ponti, salvaged from the hotel’s demolition, into new contemporary dining tables. Although the furniture has sold well, Yasar admits she doesn’t want to sell it all. “Once it’s done, it’s done. It’s gone,” she said.
Asked if cutting up Ponti's work was sacrilege, she replied: "No, absolutely not, because we didn't use furniture. We used mostly cabinet doors. They would have burned them."
There is a fine line between achieving fame and being seen as a sellout. “Lindsay Adelman, she is very popular in the United States and has a big name. Some say she is too commercial, like Michael Anastasiades. If they buy advertising, it does not mean it is not perfect; it just means it is not exclusive enough. Gio Ponti’s commercials are everywhere. Good is good,” Yasar emphasized.
During the presentation, she highlighted the work of some lesser-known Brazilian designers. Yasar has been following Brazilian design for ten years and has had the opportunity to gain a deep understanding of it. She explains that until recently, she had never really been into Brazilian design. The big, heavy leather pieces made her feel overwhelmed, but then she discovered the work of Joaquim Tenreiro. She was also drawn to the work of Zanin Caldas, “because his work was always special,” Yasar said.
She is unimpressed by modern products made in Milan. She favors continuity in design, not a break with history. “While I was talking to you, it occurred to me that I love ancient stories,” she said, laughing.
Yasar looks back to the past to find the next big hit. She digs into “really” old furniture. She means antique furniture dating back to the 15th century.
I asked her if she liked the work of Vincenzo de Cotis, a Milanese architect and designer whose work she felt met her standards. She replied, “Some of it, but not all of it.”
She continued: "I think he's passionate. Very, very passionate! Absolutely. But now I would say: look to the past. I really like working with young designers like Martino Gamper, who have to understand the culture of the past. Without understanding the past, you can't create the future."
Yasar acknowledges that it is difficult for Americans to get this education because we do not have this history around us and we do not have access to this history. Yasar believes that design schools have a responsibility to provide this education. In her opinion, even the best schools do a poor job.
A more serious problem, Yasar believes, is the lack of skilled craftsmen. “Gio Ponti wrote an article in Domus magazine in the 1960s in which he wrote, ‘We need to preserve this tradition because the craftsmen in Italy are disappearing. The real craftsmen, the ones who really knew how to work with wood and metal,’” Yasar said.
Despite these concerns, Yasar remains optimistic about the future of design. She sees a resurgence of the craft. She points to a sofa designed by Massimiliano Locatelli, a Milanese architect who has collaborated with Fonderia Artistica Battaglia, a foundry known for casting large-scale sculptures since 1913. The casting process is complex and expensive. “I’m glad (the craft) hasn’t disappeared, but that they’re doing things in new ways,” Yasar said.
On the other hand, the development of large-scale 3D printing technologies has also stimulated her imagination. “Today, with 3D printing, we can make anything, any shape and size,” she said. “This 3D-printed table next to us was made by a machine that could build an entire house.”
When asked about the importance of Milan, Yaşar replied: "Milan is special because it is a city of design. Milan has a long history of design. The essence of Milan is difficult to find because the most beautiful places are often hidden in gardens, museums and courtyards."
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The Milan International Furniture Show is the world's largest design event, where many companies present their new concepts, the result of many years of painstaking work, to an enthusiastic and demanding public.
A few years ago, while attending Milan Design Week, I slipped through a door on Via della Spiga—LA’s answer to Rodeo Drive—and into the charming Niloufar Gallery. The drinks were flowing, the people were friendly, and the furniture on display was a clever mix of mid-century masters and cutting-edge contemporary art.
The location was unusual, and among the party guests I recognized many famous fashion designers, artists and collectors.
Every year I try very hard to get an invitation to Nilufar's party. I want to not only see the collections, but also feel the energy of the crowd. Every year I am never disappointed. The slightly reserved owner Nina Yaşar is always full of enthusiasm. She is always dressed in bright Prada pieces, radiating wit and unconventional creativity.
Yashar was born in Tehran and moved to Milan with her family in 1963. Her father was a leading dealer in oriental rugs in Milan. By the age of twenty, Yashar had become a reliable partner in the business. After graduating from the University of Venice, Yashar opened a shop in Milan specializing in hand-woven rugs. One of her first clients was fashion designer and businesswoman Miuccia Prada.
Over time, Yashar became known for introducing then unknown Iranian, Tibetan and Chinese styles and designs. Over time, her collection included not only Scandinavian rugs but also furniture. Over time, she continued to use her intuition to develop her taste and style, including modern masterpieces.
Building relationships in Milan takes time, patience and persistence. Unlike the US, where business is primarily transactional, in Italy relationships come first.
I spent a lot of time and effort getting to know Nilufar, the story of the artist and the craftsman, and Yasar himself. Finding a woman who represents the pinnacle of Milanese taste during the busiest week of the year is no easy task, but my goal was to secure an interview.
In 2016, I made an appointment at the Nilufar depot on the outskirts of the city. The year before, Yasar had opened a warehouse in an old factory. The three-story central space is surrounded by metal balconies and resembles both a theater and an exhibition hall. My efforts had finally paid off.
She invited me to sit at a large round table in the far corner of the large room. Once we were settled, I asked her how her week had been. “The first year (at Nilufar’s warehouse) was very busy because it was new. This year, there were fewer people at the opening, but the quality was better, and people came to see the exhibits and then buy them. Moving to a new place is a good change because people can see more exhibits and feel the homey atmosphere,” Yasar said.
Many of her clients come from the United States each year, including several from New York. “New Yorkers are very picky and love historic Italian design and lighting,” she said. “They are perfectionists. I’ve been very lucky, especially this year, that the visitors who come understand all the exhibits. You don’t have to explain anything.”
The central floor of the warehouse is covered with carpets. Yasar admits that this collection is an attempt to return to her roots. She predicts that antique carpets will come back into fashion after 15 years of oblivion.
Yashar also presents a series of contemporary rugs at the Nilufar gallery in central Milan, including one designed by Jorge Lizarazo, woven from metallic threads such as copper, silver, bronze and tin, combined with natural fibers from exotic trees and horsehair.
This requires not only finding but also nurturing, mentoring and promoting new designers. She invests in each artist and wants to ensure that their work and projects remain of the highest quality in the long term. “You have to like both the person and the project. It’s not like working with a vintage designer. You have to pick your people carefully. You don’t want them to get into trouble,” she said with a laugh.
She recently introduced new designer Frederico Peri to the MiArt gallery in Milan and noticed him when she first saw him. “He showed me his work exactly as I imagined it. He designed the seats, the table and the shelves all at once,” Yasar said.
Another part of her business is working with interior designers and young clients who need guidance and education. They invited her to their homes and said, “I need help.” By then, Yasar and her clients had developed a close relationship, and she knew their personalities and preferences.
They often look for a vision. Most of them work in the fashion industry and earn good money. They already have a creative mind and good taste. Then she helps them refine it. When helping a client, Yasar starts the process by choosing the details that will be used. She then uses these elements to create conversations.
“The design should be based primarily on functionality, but also on sophistication,” Yasar said. “That doesn’t mean it has to be made of bronze or gold, but it should have a hidden luxury or sophistication to it.”
Yasar also values a piece’s ability to stand the test of time. She rejoices when clients ask her if a modern piece is an antique. “They don’t understand, so they’re confused. I like that,” she said.
She loves timeless design, whose elegance is enhanced by rich finishes and clean lines. “They’re just perfect,” she says, pointing to a pair of modern Michael Anastasiades lamps on a vintage table next to us. “They look like they were made in the same year.”
The conversation turned to the work of other designers she represented. “Bethan Laura Wood is obsessed with precision. Her storytelling is visionary and rich. I love her work and I love her as a person. You know, I discovered her and Martino Gamper,” Yasar said.
In 2015, Yasar displayed Gamper’s work in the main exhibition area at the opening of Nilufar Depot. He repurposed furniture by Italian architect Gio Ponti, salvaged from the hotel’s demolition, into new contemporary dining tables. Although the furniture has sold well, Yasar admits she doesn’t want to sell it all. “Once it’s done, it’s done. It’s gone,” she said.
Asked if cutting up Ponti's work was sacrilege, she replied: "No, absolutely not, because we didn't use furniture. We used mostly cabinet doors. They would have burned them."
There is a fine line between achieving fame and being seen as a sellout. “Lindsay Adelman, she is very popular in the United States and has a big name. Some say she is too commercial, like Michael Anastasiades. If they buy advertising, it does not mean it is not perfect; it just means it is not exclusive enough. Gio Ponti’s commercials are everywhere. Good is good,” Yasar emphasized.
During the presentation, she highlighted the work of some lesser-known Brazilian designers. Yasar has been following Brazilian design for ten years and has had the opportunity to gain a deep understanding of it. She explains that until recently, she had never really been into Brazilian design. The big, heavy leather pieces made her feel overwhelmed, but then she discovered the work of Joaquim Tenreiro. She was also drawn to the work of Zanin Caldas, “because his work was always special,” Yasar said.
She is unimpressed by modern products made in Milan. She favors continuity in design, not a break with history. “While I was talking to you, it occurred to me that I love ancient stories,” she said, laughing.
Yasar looks back to the past to find the next big hit. She digs into “really” old furniture. She means antique furniture dating back to the 15th century.
I asked her if she liked the work of Vincenzo de Cotis, a Milanese architect and designer whose work she felt met her standards. She replied, “Some of it, but not all of it.”
She continued: "I think he's passionate. Very, very passionate! Absolutely. But now I would say: look to the past. I really like working with young designers like Martino Gamper, who have to understand the culture of the past. Without understanding the past, you can't create the future."
Yasar acknowledges that it is difficult for Americans to get this education because we do not have this history around us and we do not have access to this history. Yasar believes that design schools have a responsibility to provide this education. In her opinion, even the best schools do a poor job.
A more serious problem, Yasar believes, is the lack of skilled craftsmen. “Gio Ponti wrote an article in Domus magazine in the 1960s in which he wrote, ‘We need to preserve this tradition because the craftsmen in Italy are disappearing. The real craftsmen, the ones who really knew how to work with wood and metal,’” Yasar said.
Despite these concerns, Yasar remains optimistic about the future of design. She sees a resurgence of the craft. She points to a sofa designed by Massimiliano Locatelli, a Milanese architect who has collaborated with Fonderia Artistica Battaglia, a foundry known for casting large-scale sculptures since 1913. The casting process is complex and expensive. “I’m glad (the craft) hasn’t disappeared, but that they’re doing things in new ways,” Yasar said.
On the other hand, the development of large-scale 3D printing technologies has also stimulated her imagination. “Today, with 3D printing, we can make anything, any shape and size,” she said. “This 3D-printed table next to us was made by a machine that could build an entire house.”
When asked about the importance of Milan, Yaşar replied: "Milan is special because it is a city of design. Milan has a long history of design. The essence of Milan is difficult to find because the most beautiful places are often hidden in gardens, museums and courtyards."
We may receive compensation if you purchase products or register an account through links on our site. By using this website, you agree to our Terms of Service and consent to us, social networks and other third-party partners collecting, recording and/or storing your clicks, interactions and personal information in accordance with our Privacy Policy.
Use of and/or registration on any portion of this site constitutes acceptance of our User Agreement (updated August 1, 2024) and acknowledgment of our Privacy Policy and Your Privacy Rights and Choices (updated January 1, 2025).
© 2025 Advance Local Media LLC. All Rights Reserved (About Us). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Advance Local.