Salone Del Mobile is one of the biggest design fairs in the world. The Milan-based fair showcases the best of modern design from across the world every year. The event serves as a hub for creativity and trends, attracting top designers, architects, and brands from around the world, making it a key moment in the global design calendar. The fair encompasses a wide range of design sectors, including furniture, lighting, and bathroom systems. The 2024 edition had a 28.6% increase in visitors for the 62nd edition, showcasing 1,950 exhibitors from 35 countries and over 370,00 visitors, according to the fair.
One major highlight of this year’s fair was an installation called Under The Surface, which was created by artist and illustrator Emiliano Ponzi in collaboration with Dario Spinelli, an experiential creative director who has worked with top brands like Timberland, Ray Ban, and Luxxotica. It was created in collaboration with Accurat, the data visualization experts, with architecture and design by Design Group Italia.
Dario is the founder of a Milan-based design studio Bonsai Ninja, which was founded in 2005, before going independent as an experiential creative director, and has a passion for taking an experimental approach to experiential design projects; exhibitions, installations, activations or events that stop passersby in their tracks to peer in and learn more about a brand or product.
It requires technical skill and creative expertise–two things that Dario has mastered. He focuses on crafting engaging, interactive environments for brands, like exhibitions, retail spaces, events and installations that incorporate cutting-edge technology like holograms and augmented reality. Some of his most renowned work includes a submerged island installation at Milan’s foremost design fair, Salone del Mobile 2024, as well as Furiosalone at Milan Design Week, the IFA Berlin and more.
For this iceberg-like installation, he worked as Experience Design Director, bridging the creative vision with a flawless technical execution. The 1200 square foot installation highlighted the crucial role of water in environmental sustainability, bringing attention to the delicate balance between water conservation and modern technology as part of the International Bathroom Exhibition, which highlights innovations in bathroom design (see a video of the installation here). Dario talks about bringing the artist’s vision to life, the ever-evolving world of data visualization and what makes an experiential creative director stand out.
What is an experiential creative director vs a creative director?
Dario Spinelli: While both figures operate in the realm of creativity and design, their focus, responsibilities, and goals differ based on the type of projects they oversee. An experiential creative director focuses on crafting engaging, interactive environments (e.g., exhibitions, retail spaces, events, installations), while a creative director works more broadly on shaping the overall creative vision for brands or campaigns. Creative directors often work in traditional or digital mediums, while experiential creative directors focus on physical or immersive environments. Experiential creative directors design experiences that invite physical or emotional participation, whereas creative directors may focus more on delivering messages or concepts to a passive audience. Also, experiential roles heavily involve cutting-edge technologies like augmented reality (AR), holograms, or motion tracking.
What makes you stand out in your field compared to other creative directors?
What sets my approach apart is a relentless drive to experiment—not just with cutting-edge technologies but also with the very concept of what an experience can be. For me, the magic lies in the intersection of innovation and practicality. Since my projects always involve a tangible, hands-on component, I believe it’s crucial to have a deep understanding of the tools and technologies at play. This knowledge helps me push creative boundaries while ensuring the final result is not only stunning but also achievable within the project’s constraints. It’s about crafting moments that feel groundbreaking yet grounded, balancing vision with execution.
Salon del Mobile in Milan is such an overwhelming, colossal display of design. Under the Surface stands out because it’s an immersive experience. What was the approach to get so many visitors in your booth?
The concept behind Under the Surface was to create an oasis of calm amidst the overwhelming buzz and visual saturation of Salone del Mobile. In an environment packed with bold designs and competing messages, we wanted to offer something different—a space where visitors could pause, breathe, and experience something more reflective.
The immersive experience was intentionally designed to deliver a few rarefied but impactful messages, rather than adding to the noise. By focusing on clarity and creating a serene atmosphere, we not only stood out but also gave visitors a moment to connect more deeply with the themes and ideas we wanted to share. This balance between calm and communication resonated with people, allowing the installation to reach millions through both in-person visitors and the ripple effect of their shared experiences.
What part was your idea, if you can say? Was it peering into the window-like structure of the island?
Under the Surface was truly a collaborative effort, combining the artistic vision of Emiliano Ponzi, the data visualization expertise of Accurat, and the architectural and design proficiencies of Design Group Italia. My role was to coordinate and weave together the creative inputs from the entire team, ensuring everything aligned seamlessly. I took Emiliano’s concept as the foundation and designed the shape of the island to reflect his vision. One of my key contributions was creating the “holographic caves” and their organically styled sculptures, which served as vessels for Accurat’s data-driven content. Additionally, I designed the lighting and projection solutions for the island’s exterior surfaces, ensuring a harmonious interplay between the physical shapes and the digital content they hosted. It was a continuous back-and-forth process—refining the relationship between form and content to make the experience cohesive and impactful.
What were the materials?
The iceberg-like structures were crafted from a plastic material chosen for its dual purpose. Not only did it achieve the natural-yet-futuristic aesthetic we aimed for, but it was also planned to be repurposed as insulation in later projects. This approach ensured that the installation aligned with principles of sustainability, minimizing waste and giving the materials a second life beyond Under the Surface.
How did you seamlessly incorporate text and statistics into the piece? Did you pull it off with projections?
I drew on my extensive experience with shows and installations to maximize the potential of projections, combining projection mapping techniques with data visualization to seamlessly “dress” the external surfaces of the installation with information. This approach allowed the piece to communicate statistics and text as an integral part of its design, rather than as overlays or interruptions. However, it was particularly challenging in this case due to the ceiling, which represented the water’s surface, and the irregular shapes of the installation’s exterior. That’s where my experience with artistic installations really came into play, allowing me to maintain coherence during the whole production process. The fact that I had direct control over the design of the space allowed me to adjust not only the content to reality but also reality to the content.
For the niches, we incorporated holographic technology to blend physical objects and animations. The technique we used was a modern adaptation of “Pepper’s Ghost,” a stage illusion popularized by magicians in the 1800s. It’s always fascinated me how something with such a long history can still find relevance today, especially when paired with cutting-edge technology. This blend of the old and new not only created a seamless visual effect but also added a layer of storytelling to the experience, making the integration of text, stats, and visuals both engaging and immersive. I also had a lot of fun designing the 3D printed sculptures that served as physical bases for the animations.
How data was shown is rather groundbreaking because we can all look at charts and graphs and visit Statistica.com, but it really makes a bigger impact by showing the volume of data on a structure like this, which feels much like a sculpture. Is this the future of how data can be shown for the public to fully understand abstract concepts?
A big thank you goes to the Accurat team for their groundbreaking approach to data visualization. With over a decade of experience, their work focuses on finding new, more efficient, and engaging ways to present information—making it not only easier to understand but also more memorable. I had a great time collaborating with them to translate their primarily digital expertise into the physical world. This was an exciting challenge, as it involved reimagining how data could be experienced in a tangible, three-dimensional way. Live, in-person experiences are inherently more impactful for users, creating a deeper connection and making the information resonate on a personal level. By presenting data as part of an immersive sculptural structure, we were able to make abstract concepts more relatable and engaging, offering a fresh perspective on how data can be communicated in the future.
What was the response like?
The response was overwhelmingly positive. The installation was featured in numerous highlight articles about Salone del Mobile and became one of the most shared exhibits on social media. What I found most rewarding, personally, was watching visitors step away from the hustle and bustle of the Salone to experience a moment of calm and reflection. It was gratifying to see them engage thoughtfully with the installation, taking in the themes of water availability and scarcity—critical topics in the modern sustainability conversation. It felt like we succeeded in creating not just an eye-catching piece but a meaningful experience that resonated with people on a deeper level.
What makes a great creative director in 2024, to keep up with the times?
A great creative director in 2024 needs the ability to navigate the rapid evolution of communication tools without losing sight of the timeless fundamentals of human connection. Technology undeniably shapes the way we communicate, constantly introducing new platforms, formats, and possibilities. Yet, human beings are remarkably resilient, often returning to deeply ingrained patterns of interaction and storytelling.
The key is to embrace this dynamic tension between change and stability. A creative director must move fluidly, adapting to technological advancements while grounding their work in the enduring principles of what makes communication meaningful: authenticity, emotional resonance, and clarity of message. It’s about being both a futurist and a humanist—leveraging innovation to enhance, rather than overshadow, the core essence of human connection. This balance is what enables creative directors to stay relevant, impactful, and visionary in a constantly shifting landscape.
All photos © Emanuele Zamponi
