Inside Louis Vuitton’s New Home Collection with Designer Cristián Mohaded

In April, Louis Vuitton debuted a new chapter for the luxury house: Louis Vuitton Home Collections. The comprehensive category dedicated to the art of living includes decoration, tableware, gaming, Objets Nomades, and a new Signature Collection. For the latter, new furniture and lighting was created by Patrick Jouin, Cristián Mohaded, Atelier Biagetti, and Patricia Urquiola. 

The moment marked the first time Mohaded, who splits his time between Buenos Aires and Milan, collaborated with Louis Vuitton. Finding warmth in an interplay of light, leather, wood, and stone, he designed pieces like the Aventura Sofa, Pegase Chair, Noé Lamp, Chakana Rugs, Inti Vases, and Echo and Sunset textiles. Inspired by the travel codes and incredible craftsmanship of the house, Mohaded aimed to spark curiosity and awaken emotions with designs that are not just for seeing—but feeling and ultimately living.

Cristián Mohaded Collaborates with Louis Vuitton

WHITEWALL: This is your first collaboration for Louis Vuitton Homes Collections. How did this collaboration begin?

CRISTIAN MOHADED: It all began through a shared interest in exploring craftsmanship and materiality in new ways. Louis Vuitton approached me with the idea of creating pieces that could live within their universe, but also reflect my own sensibility and cultural references. From the start, there was a strong sense of dialogue, of wanting to merge identities without forcing anything.

We started by exchanging ideas around concepts, shapes, and materials that could express both the spirit of travel and a deeper emotional connection to objects. That openness and curiosity really set the tone for the whole collaboration.

WW: What was the brief and where did it initially take you?

CM: The initial brief was to design a collection of pieces that were recognizable as part of the Louis Vuitton world, but without being too obvious—essentially creating a new language for Louis Vuitton furniture.
The intention was to favor clean lines, subtle colors, elegant shapes, and noble materials, highlighting meticulously crafted products as a testament to Louis Vuitton’s commitment to craftsmanship and savoir-faire.This led us to reflect on the particularities, details, identities and unique traits that have made—and continue to make—Louis Vuitton a globally iconic brand and to seek to make this collection reflect that DNA.

WW: For a project like this, how do you typically begin? Is it drawings, materials, method?

CM: Collaborations, whether with artisans, other designers, or brands, always represent an opportunity to expand my own creative universe. It’s not just about adding perspectives, but about creating a real dialogue where both identities enrich each other.

My first step in any collaboration is to explore its history and context. I’m interested in understanding how and where they exist, what defines them beyond the obvious. From there, I look for points of connection with my own vision: Those places where our sensitivities can merge organically, without impositions or artifice.

More than a sum of styles, I see each collaboration as an exchange of ideas, materials, and ways of working. It’s in that intersection where new possibilities arise—pieces that couldn’t have existed in isolation, but only through that connection. 

Louis Vuitton Home Collection Debuts in Milan

WW: Can you tell us about the pieces you’ve created? How do you envision them being experienced?

CM: Pieces like the Aventura Sofa and Pegase Chair reinterpret Louis Vuitton’s travel codes and are designed to anchor a space with elegance and presence. The sofa invites gathering and conversation, while the Noé Lamp adds a sculptural warmth that I think is great for intimate corners. 

The Chakana Rugs and Inti Vases bring a more symbolic aspect inspired by Andean culture, we created them to evoke something deeper, a cultural memory. The Echo and Sunset Textiles can work really well as bright accent pieces on the sofa also adding some texture and softness, but with a sense of identity.

Each piece was designed to be more than just functional. It’s about how they live in your space, how they’re touched, seen, and shared every day.

WW: What materials were you drawn to? What colors?

CM: Material selection is a fundamental process in my work, not only from an aesthetic or functional perspective but also from a conceptual and emotional one.

I’m drawn to noble materials like wood, leather, metals, and stone—those that have history, weight, and their own character. But more than just a simple selection, I look for materials that engage with the context in which the piece is placed and convey the sensation I want to evoke. Often, the material itself becomes the starting point. By researching it, understanding its history, processes, and possibilities, a gesture, an emotion, a direction emerges. I’m interested in how the material responds to time, how it ages, how its texture or bark evolves with use.

WW: How do you feel like it embodies the spirit of travel?

CM: The travel trunk was a key Louis Vuitton icon that guided our approach to this collection. As an object, it carries so much symbolism—mobility, exploration, personal history—and over time it has taken on countless forms through reinterpretations by artists, architects, and designers. Its ability to evolve while preserving its essence really captures the spirit of travel, and also speaks to how Louis Vuitton moves fluidly between fashion and object design.
We reimagined that spirit through archetypal pieces—like the sofa, armchair, lamp, chair, table, and the ‘criss-cross’ series—each one referencing iconic Louis Vuitton elements but in a new context, grounded in comfort and adaptability, like pieces meant to accompany you through life’s journeys.

WW: In your design practice, you often work with artisans. What was it like to work with the artisans of Louis Vuitton?

CM: Craftsmanship has always been at the heart of my practice—it’s not just a technique, but a philosophy, a way of building meaning and preserving memory through objects. So working with the artisans of Louis Vuitton felt like a very natural extension of that approach.

What captivated me most was their incredible attention to detail, their patience, and the deep respect they have for every stage of the process. There’s a shared language between us—a mutual understanding of time, dedication, and the importance of the handmade. There’s a genuine openness in how they work with designers and artists from different backgrounds, and that creates space for true dialogue.

“It reaffirmed how powerful craftsmanship can be when it becomes a shared language between people, cultures, and disciplines,”

—Cristian Mohaded

For me, it was not only about bringing my ideas into their world—it was about learning from their mastery, and together pushing the limits of form, material, and meaning. It reaffirmed how powerful craftsmanship can be when it becomes a shared language between people, cultures, and disciplines.

WW: You split your time between Buenos Aires and Milan. Can you tell us about your studio space(s)? What are typical days like for you there?

CM: The studio today is mostly based in Buenos Aires. It’s most similar to a boutique studio where we have separated it into three main spaces: pieces display, a workshop where we do material exploration and put together pieces, and the more creative area of the studio where we sit together and focus on designing. We’re a small team that works together off of each other’s strengths and areas of expertise, we work around the same table so communication is constant and easy. Usually, my mornings start in Belgrano, Buenos Aires Capital, from there I bike to work every day and in the studio we usually like to start off by discussing what projects we’re all currently working on.  

WW: What role does drawing play in your practice? Is it always related to design, or more?

CM: Drawing is what first led me to design. It’s a tool that has been with me since I was born, one of the skills I’ve connected with and developed the most. I still remember watching my grandmother paint when I was young; those my fondest memories. Even now, I continue to draw as a form of personal recreation. It’s an intimate moment of introspection, something so special that I try to carry it into my personal life, not just my work.

The Art of the Weave

WW: We see a lot of natural materials in your work—really emphasizing their organic shapes, or woven or carved into a more geometric form or pattern. What draws you to more natural fibers and materials? How do you then like to play between shapes and forms?

CM: Working with natural fibers is something I’ve always been drawn to. I remember being surrounded by lots of small woven objects as a child. Basketry is also one of the oldest techniques ever, and it varies across the world depending on the type of fiber, weaving pattern, or how the material is processed, all of which can lead to very diverse volumes and surfaces. Natural fibers can also behave almost like a 2D textile, which I find especially interesting. I enjoy exploring ways to take these materials beyond their traditional applications, seeking new forms of interaction and expression.

“Working with natural fibers is something I’ve always been drawn to,”

—Cristian Mohaded

I don’t impose a shape on the material, but rather allow it to be part of the creative process. That balance between control and intuition, between what the material allows and what one can discover within it, defines my approach to design

WW: What kinds of emotions are you hoping to bring forth?

CM: I hope that those who interact with my designs feel as though they are inhabiting unique spaces, filled with personality and history. I’m interested in each piece awakening emotions, creating a connection beyond the visual, and becoming part of a larger narrative. I seek to create warm and welcoming interiors, but ones that also spark curiosity—inviting exploration of their materiality, their details, and the way they interact with the space. I’m drawn to the idea of the unrepeatable, of objects and environments that cannot be exactly replicated, because each one is imbued with its own process, its time, and its identity. Ultimately, I want my designs to not only be seen, but to be felt and lived.