Hannes Van Severen and Fiennes Muller, a couple in life and work, are celebrating their 10^th anniversary with an exhibition at the Design Museum Gent. The Belgian duo saw a meteoric rise to the top of the design world. Their unmistakable minimalism has been highly successful, making the use of colour and a hands-on approach an original key to experimentation and research. Rejecting the idea of a mere showcase, the exhibition is above all an opportunity to interact with and enliven the museum's permanent collection. Searching through the archives, Muller Van Severen put together a sequence of fascinating sets that, regardless of the period and style, enhance the juxtaposition and dialogue between their production and the great international masters of the history of design. Blurring the distinction between past and present.

The excess of consumerism unleashed by a society that has learnt to mass produce on a planetary scale, but not to minimise the impact of such production, has led us to what the London Design Museum's exhibition calls the Waste Age. Design is certainly complicit in the problem, but can it also become a solution? To the cry of “Reuse, Repair, Remake”, the exhibition presents the work of designers, architects, stylists and foundations - such as Formafantasma, Stella McCartney, The Ellen MacArthur Foundation, Lacaton & Vassal, Fernando Laposse, Bethany Williams, Phoebe English and Natsai Audrey Chieza - who succeeded in transforming waste into a resource to be regenerated and revalued.

Can a design exhibition redress the gender gap between designers? At the very least, according to the Vitra Design Museum, it can help highlight the figure of all those women designers to whom the history of design does not seem to have paid due recognition. Divided into four sections arranged in chronological order, the exhibition reprises the social inspiration of early 20th-century design through figures such as Jane Addams and Louise Brigham, and then shifts its attention to the pioneering women designers - such as Charlotte Perriand, Eileen Gray, and Clara Porset - who emerged from the 1920s to the 1950s, and then the following generation up to the 1980s. In the final part it focuses on all the great personalities - a group now as big as that of their male colleagues - who in recent years have pushed the boundaries of the profession, providing valuable insight into the sensitivity, taste and innovative spirit of women in the field of design.