Our focus this year was on Hall 4.1, where the Limited IN booth stood out as particularly refreshing. With the involvement of designer Li Rong, the booth achieved a notable breakthrough compared to last year. By using recyclable materials, eliminating traditional flooring, and applying layered curtains, the space avoided monotony while effectively reducing noise. The overall environment felt open, bright, and highly effective in highlighting product details. Notably, the booth’s visitor reception far exceeded expectations, demonstrating strong business transformation potential, making it one of the standout emerging highlights of the exhibition. Li Rong’s newly launched leather supply chain brand also performed well, featuring a bold, Italian-inspired aesthetic. Despite its premium pricing, its positioning is clear and shows strong market potential.

The booth façade of YINZHUO was particularly eye-catching. Featuring hand-drawn illustrations by the founder’s daughter, combined with cultural creative products and live artist interpretation, it created a gallery-like viewing experience. The exhibition approach was highly original and demonstrated strong marketing potential.

KBH also delivered an impressive performance. The styling, created by a young post-2000 interior stylist, felt natural and comfortable, avoiding any sense of “aesthetic pressure.” With high space efficiency, it offered a valuable reference for emerging soft furnishing trends.

Within the “Design Gravity Field,” a small pet brand booth curated by Liang Chen also stood out for its ingenuity. Its vintage style aligned closely with market preferences—not as a form of self-indulgent expression, but as a result of deep insight into its target audience. The booth’s visual language was highly consistent with both the products and the intended consumer group. The key takeaway is clear: booth design should not focus solely on achieving a gallery-like aesthetic, but must remain closely aligned with commercial objectives.

At the exhibition this year, brands such as HC28 maison, Carbine Home Furnishings, and KBH achieved a strong balance between aesthetic expression and business transformation. Their booth designs combined spatial sophistication with strong product presentation, while high-quality on-site activities further enhanced brand visibility and industry influence. Exhibition performance, in this context, goes far beyond product display. It serves as a reflection of a brand’s overall capabilities—including multi-dimensional presentation formats and a full-cycle communication strategy, spanning pre-event promotion, on-site engagement, and post-event review. Together, these elements form the foundation of a brand’s commercial appeal.

HC28 maison stood out for its strong performance in both aesthetic expression and the construction of a coherent commercial system. From product display to spatial atmosphere and overall brand presentation, the booth demonstrated a high level of consistency and clarity. Through collaborations with international designers, the brand has further elevated its positioning and communication impact, achieving an influence comparable to high-end imported brands.

The booth of CAMERICH was also highly impressive. Its standardized and modular design approach, combined with a clear presentation of craftsmanship, created a distinctive presence that attracted widespread market attention. For example, content related to CAMERICH from the exhibition reached approximately 11,000 views (organic traffic) on my personal video channel—reflecting strong interest from both consumers and industry professionals in modular and sustainable product models.

A key trend revealed by this year’s Design Eden lies in the sustainability of exhibition models and the rebuilding of commercial confidence. Brands such as CAMERICH, HC28 maison, and Coomo exceeded expectations, demonstrating clear brand positioning and a strong level of market awareness. Their performance has further reinforced confidence across the home furnishing value chain in exhibitions as an effective commercial model.

In contrast, topics such as sustainability, intelligence, and stylistic differentiation currently play a more supportive role. For the home furnishing industry, the primary priority remains survival, followed by quality growth. Only on the basis of a solid commercial foundation can these trends truly become key drivers of business advancement.

The East Design Show, themed “Breathing,” offered profound inspiration in both conceptual expression and formal language. It breaks away from the traditional limitation of booths that focus solely on product functionality, transforming abstract concepts of life into a perceptible exhibition language. This approach guides visitors to understand design through physical and sensory experience. Design should not be limited to visual presentation—it should also resonate emotionally and physically. In terms of materials and craftsmanship, the exhibition did not rely on rare materials. Instead, it achieved distinctive effects through innovative use of existing materials and refined techniques, highlighting the importance of material innovation and craftsmanship precision in design expression. 

“Scenario-based design” emerged as a key trend in this year’s Design Eden. Through technological restructuring, evolving user demands, and value chain transformation, it is shaping a user-centered, multi-dimensional innovation ecosystem—profoundly influencing the entire chain from manufacturing to consumption.

At this year’s exhibition, CAMERICH demonstrated strong commercial potential through its modular product systems, showing a high level of market adaptability. Its approach aligns well with current demands for flexibility, scalability, and sustainability.

HC28 maison was equally impressive in terms of conceptual expression and cross-disciplinary collaboration. The brand partnered with leading designers such as Yabu Pushelberg, Marcel Wanders, and Pearson Lloyd to launch collaborative pieces—including the LIAN sofa, the LADY AMHERST lounge chair, and the IRIS coffee table. These works integrate design innovation, manufacturing capability, and cultural value, forming a product language with strong cultural identity.

The most noteworthy trend emerging from this year’s Design Eden is “innovation and sustainability.” This is clearly reflected in the exhibition strategies of leading brands such as HC28 maison and CAMERICH. By leveraging distinctive design capabilities to drive innovation, while aligning new product development with sustainable principles, these brands are contributing to a more balanced development model—one that is environmentally responsible, commercially viable, and socially recognized.

In my view, the most noteworthy trend is “ecosystem synergy and closed-loop conversion.” Through an integrated model of “exhibition + awards + communication,” Design Eden has established a complete pathway from exposure and recognition to real market implementation—effectively addressing the long-standing challenge faced by designer brands of gaining attention without achieving commercial success.

However, small and medium-sized brands still face limitations in supply chain flexibility. Looking ahead, Design Eden could strengthen its collaboration with technology-focused sections such as CIFF (Shanghai) Furniture Machinery & Woodworking Machinery Fair to better respond to the growing trend of user-defined, customized spaces.