photographs: Javi Ceres y Nuel Puig.
interior design project.
Amid the bustle of Feria Hábitat 2025, within the Textil Hogar area, rises Pinknic: a fleeting, soft, light, and emotional refuge. A space that does not seek to impose itself, but rather to offer a moment of rest. A place where design becomes a pause, where textile matter builds architecture, and where the visitor finds themselves stopping—almost without realising it—to breathe. As its name suggests, Pinknic is a design picnic: a moment of togetherness and contemplation, a temporary home woven with threads, colour, and emotion.
The project stems from a very simple, almost domestic idea: to create a place where the body can rest and the gaze can relax. Faced with the visual noise and the fast pace of the fair, I wanted to design a space that felt like a gentle pause—a pink parenthesis within the relentless rhythm of contemporary design. An environment not just to be seen, but to be lived. One that invites you to sit, to converse, to touch. That awakens the senses and, above all, generates a familiar emotion: comfort, refuge, and suspended time.
In this sense, textile becomes the true protagonist. I have always believed that fabric holds something profoundly human: it adapts, wraps, breathes, and protects. In Pinknic, textiles are not a finish or an accessory; they are the structural material of the space. With them, we build walls, ceilings, and atmospheres. The installation comes to life through Bitexfabrics, precisely crafted by Ciré, which define the soft geometry of the architecture and create an enveloping feeling—as if one were inside a great cloud. The fabrics, moving with the air, transform the space at every moment: changing in density, colour, and transparency. It is a place that never remains the same, that shifts with the flow of people, the light, and the movement.
Pink, the thread running through the entire project, is more than a chromatic choice. It is an attitude. A state of mind. A colour that, by its emotional nature, connects with intimacy, with the everyday, with tenderness and joy. In Pinknic, pink acts as an emotional filter: it bathes objects, shadows, and faces, transforming the perception of the surroundings. It is not a decorative pink, but one that invites a different way of seeing. One that redefines the domestic and turns it into a scene. That transforms a fleeting moment at the fair into a sensory experience.
The furniture, designed by The Masie, reinforces this lightness. These are youthful, fresh, joyful pieces that do not seek prominence, but rather to accompany the atmosphere. Chairs that seem to float, tables that blend naturally, volumes that invite interaction. At the centre, a large table clad in 4D porcelain surfaces by Sapienstone acts as the heart of the space: a meeting point, a place for conversation and exchange. It is not a table for display, but for sharing—a symbol of the everyday act of gathering, of inhabiting the moment with others. Around it, everything happens: dialogue, gaze, pause.
I wanted Pinknic to feel like a celebration of the essential. To remind us that design can also be a gentle gesture, an act of care. In contrast to the spectacle of large stands, this space is offered through intimacy, the senses, and humanity. It does not aim to dazzle, but to move. It is designed to be inhabited slowly, for the visitor to enter, sit down, touch, look up, and breathe. To feel how the light changes as it passes through the fabrics, how the tones blend, how the sound softens. It is a fleeting refuge, but one with the intention of remaining in memory.
The collaboration with Interiores magazine was fundamental in shaping this vision. Together, we understood that Pinknic had to be more than an installation: it had to be a manifesto. A textile manifesto, but also an emotional one. A statement about the power of design to generate well-being, about the need to pause even in the most accelerated contexts. In that sense, Pinknic is also a metaphor for the current state of contemporary design: a balance between material and emotion, between innovation and a return to the essential, between technology and sensitivity.
What interested me most was creating an experience that would remain with those who lived it. That, beyond materials, would leave a sensory memory: the feel of fabric on the skin, the warmth of colour, the peace of a pink silence amid the noise. That intangible memory is, for me, the true measure of a project. When a space can move without excess, when a temporary installation leaves a lasting mark, it means design has fulfilled its deepest purpose—to move.
Pinknic is, ultimately, an invitation. To pause. To touch. To see differently. To understand that design can also be an act of stillness, a place where the everyday becomes extraordinary. It is a celebration of the textile, yes—but also of the human. A reminder that beauty is not always found in grandeur, but in simple gestures, in the softness of fabric, in the changing light, in the silence built through colour.
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