Super Loop's second collection can be seen at the ‘Sounds of Design’ exhibition from April 20-26 at Milan Design Week 2026. A spokesperson from the collective agrees to speak to AD Middle East about their unique ethos and secrecy.
At Milan Design Week, it’s easy to focus on the names you already know, the established studios, the headline-grabbing launches. It’s a practical approach at an event that, between late-night openings, crowded courtyards, and a near-constant rotation of exhibitions, can quickly blur into excess. But in doing so, you’ll miss the hidden gems and the up-and-coming studios, one of which to look out for is Super Loop, the UAE-based collective bringing Middle Eastern heritage to Milan this month.
Founded in 2024, Super Loop emerged as a collective of designers working across disciplines, informed by Middle Eastern craftsmanship but presented in a contemporary way. The name itself reflects this approach; an ongoing loop of ideas, materials and collaborations, where transformation remains continuous and open-ended. Operating without a singular public-facing designer, the studio places emphasis on process over authorship, with its contributors choosing to remain anonymous.
Superloop’s debut collection, Fluid Echoes, first presented in Milan last year, introduced a series of fluid, unconventional objects: undulating tables, mirrored forms, and lighting pieces that incorporated blown glass in unexpected ways. Since then, the studio has continued to expand its network of collaborators, working with artisans across regions to explore how traditional techniques can be reinterpreted. And like any collective worth its salt, rather than being driven by a singular vision, Super Loop is shaped through dialogue.
The outcome, which is influenced by designers, artisans, and materials, remains intentionally open, responsive to context and continuously evolving.
Until now, Super Loop’s work has been defined by a sense of movement with forms that feel fluid as if in a state of transition. But rather than continuing to push this idea through increasingly expressive silhouettes, the studio is beginning to shift its focus. The evolution is less about exaggeration, and more about what happens once the form is already established and how it can be altered, softened, or partially obscured through material.
This shift introduces a new kind of tension into the work. The pieces remain recognisable in silhouette, but their presence begins to change. They are less immediate, more ambiguous, and intentionally unresolved. It’s a move that brings surface into sharper focus, allowing it to play a more active role in how each object is perceived.
What emerges is a quieter, more controlled direction and one that favours subtle transformation over overt gesture. Rather than demanding attention, the work reveals itself gradually, inviting closer engagement with its materiality and detail. “The evolution becomes quieter, but more intentional, where surface begins to redefine the object.”
That evolving relationship between form and surface can already be traced back to Fluid Echoes, the collection that first introduced Super Loop in Milan last year. The pieces felt almost animated with undulating structures that resisted symmetry, their silhouettes bending and folding in ways that suggested continuous motion. Tables stretched and twisted into improbable configurations, while surfaces were brought to life through intricate wood inlay, where fragments of tone and texture came together in a mosaic-like rhythm.
In some pieces, that fluidity was offset by moments of precision: circular glass planes resting delicately atop sculptural bases, or highly polished finishes that caught and fractured light. Elsewhere, the contrast was more playful: geometric forms in saturated colours supporting richly patterned wooden bodies, creating a dialogue between structure and ornament. The result was a collection that felt both controlled and unpredictable, where craftsmanship was not simply decorative, but integral to how each object moved, balanced, and held itself in space.
At the same time, the presence of the hand remained visible throughout. From the intricacy of the inlay to the carved contours of each form, the pieces carried a tactile quality that grounded their more experimental gestures, offering a contemporary interpretation of Middle Eastern craft that felt embedded rather than applied.
When asked about this year’s exhibition at Milan Design Week, the studio describes a noticeable shift in approach:
This year, Super Loop will present two pieces from Fluid Echoes as part of Sounds of Design, a curated group exhibition that brings together a selection of international studios within a shared, immersive setting. Conceived as both exhibition and experience, the project integrates a listening bar concept where sound, material, and atmosphere intersect alongside works by a wider roster of designers and creatives. The focus turns inward towards refinement, precision, and a more distilled expression of the studio’s evolving language.
Beyond Milan, the studio is continuing to expand its practice, with a new collection set to debut in the UAE later this year, alongside a series of projects across Egypt and Europe, suggesting a trajectory that, much like the work itself, remains open, shifting and unresolved.
Sounds of Design will take place at Via Legnano 14, Milan, from April 21 to 26, 2026, and will be open daily from 10 AM to 7 PM.
