Aeon Studio Florence stems from the will of its founder Stefano Rotesi, established after he had accrued years of growth in one of the most important internationally recognised Interior Design studios in Italy.

After studying architecture and design, combined with his classical education and passion for art, literature and philosophy, he worked for years with important architectural studios, developing his original, creative and conceptual path which materialised in the creation and opening of “Aeon Studio Florence” in 2012.

Aeon Studio is continuously growing, and after opening in Florence in 2012 it has gradually invested in the construction of new offices around the world, such as in Seoul, Korea in 2013 and Jeddah, Saudi Arabia, with the opening scheduled for the end of 2016.

This aspect of giving the studio an international profile is the fundamental mission and the primary objective that Aeon Studio Florence intends to pursue in order to leave its mark, its distinguishing feature, a worldview and a contribution to the revival of Italian design, which until the 60s was recognised and appreciated as a reference worldwide.


The interpretation and vision of the present is the key to understanding who we are and what we will be in the future. Stefano writes: “We are all aware that we have a certain concept of what is beautiful, and when we talk and think about what we like, we bring up memories of an image or multiple images that are linked to a feeling, this feeling, and the recollection of this memory enables us to keep our roots firmly planted in our past and help shape our personal identity. But just as an individual’s identity operates in this manner, so does the identity of a people, and it is precisely in memory and history that each people founds its identity. We may therefore say, in conclusion, that each individual’s idea of ​​beauty comes from and converges with the idea of ​​beauty of the individual’s surroundings, of the population he or she belongs to. Every population has its own interpretation of what is beautiful, and dominant cultures have certainly influenced and contaminated those cultures that are weaker and more behind the times. We may also say that what is beautiful, or considered as such by cultural canons of the West, may not be the same for the East, and therefore that the ideal beauty does not exist, but is only the will of a dominant culture’s affirmation over a dominated and yielding one.

Aeon Studio Florence perfectly captures this interpretation, which is synthesised in the production of its works and projects. Inspired by the global world, looking for new micro and macro cultural compositions that are ever more confirmed, trying to provide a new key of interpretation and the solution that can bind and connect the different cultures present in the new global structure; basing its inspirations on the past, seeking out cult aspects, and bringing back novelty in an effort to satisfy new relationships between the past and the future, the East and the West, trying to rebalance the weight of the various cultural visions of beauty in the architecture and design world.


As always a supporter of functional design, and always seeking the balance of shapes and spaces, he often draws great inspiration from movies and travel, just like his greatest inspiration Rem Koolhaas, in an attempt to reconcile new relationships and new paths among the external space that contains us, perpetually in conflict with our inner and spiritual world.

An attempt that would be, in his view, the only possible escape to overcome and rebalance modernity, which dominates and powerfully invades our time.


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    Much of Aeon Studio Florence’s work has a common denominator: “minimal luxury”. An ideal of beauty and good taste, soft and fine luxury that avoids opulence and does not overwhelm, it is aloof and elegant, linked to culture and intellect. Luxury that is not status, that does not make noise, but represents balance, yin and yang, well-being, beauty that even before it is aesthetics, is ethics. Aiming to give increased priority to natural materials with low environmental impact, and also looking to new materials that are gradually emerging from the research of the most important companies in the furniture industry worldwide.

    Another aspect that Aeon Studio Florence puts much focus on and is growing strongly is product design. This need stems from the desire to introduce original, exclusive and unique design elements into its various projects. Each job contains, or nearly so, an attempt to add a distinctive sign unique to that project alone, be it a luminaire, a chair, a table or any other design object that will become a sign of recognition and uniqueness.

    The Bixtrot

    The Bixtrot Restaurant

    Our challenge was to balance a world that includes traces of industrial architecture and links with vintage and Recycle styles. To represent the New York of the 70s that was rich in cultural ferment, the true feel of a Soho loft, an old industrial bakery echoed from the written words on the walls was to become a new trendy restaurant. Industrial archaeology is the key for interpretation. Which can be seen in the resin-cement floor, in the perimeter lamps with natural iron light fixtures, with each bell different from the next, an exposed brickwork wall, and rough iron fixtures. The wall panel is made of old wooden planks glued together, of different colours and degrees of aging. The central and peripheral bookshelves, over 3 metres tall, are made of natural iron and American walnut, with metal inserts contrasting the wooden shelves, expressing the dialectic of empty and full. The sofas in beige and dark orange leather form a more elegant and formal contrast in opposition with the harsh industrial world containing them. A typical metropolitan mood, above all New York metropolitan.

    The Show Fashion Store

    the show fashion store

    First proposal for the creation of a new concept for a Chinese women’s multi-brand.

    This project experiments with a different arrangement of spaces compared to traditional clothing displays.

    A central hub with the cash registers, a lounge area with the company logo, surrounded by the displays of the individual brands separated by semi-transparent screens.

    A circular route allows the customer to have a complete view of the individual areas designated to each brand.

    The materials used are: satin brass, gold wire mesh, black and white ceramic tiles and shiny blue-grey lacquered wood.

    The Show Classic Store

    the show classic store

    This is the second proposal for a new concept for the Chinese women’s multi-brand.

    The product display is reminiscent of a museum, with the clothing hanging in huge white chalk frames with ceramic textures.

    This neutral and minimal space creates an elegant and understated atmosphere which enhances the colour and shape of each item of clothing.

    The frames differ from each other in the various textures of the canvasses, created by joining small ceramic tiles together to form a geometry that invokes the textile world.

    Magma Cosmetic

    Cosmetic Magma

    This concept is for the Korean brand of high-quality cosmetics, Magma.

    The concept grew around the design of a geometric grid created by inserting clear steel lines on the facade, on the interior walls and on the display tables within the store.

    The materials used are extra-clear glass, polished steel and white lacquered wood.


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