Words: Joe Simpson

The overriding impression of Cersaie 2024, which took place in Bologna last September, was that the past 12 months have been marked by evolution rather than revolution in design. 

With the global economy stalling, and sentiment affected by global conflict, material shortages, and energy prices, it seems that the major ceramic manufacturers are playing it safe, reducing the number of new lines, and generally returning to tried and tested fields of design.

While there were many beautiful new ranges with commercial potential on display, differentiation, particularly in the large format floor tiles category, was conspicuously lacking. The abiding feeling was that many manufacturers were showcasing their investment in the latest decorative effects and finishing – sinking inks, digital glues and glazes, satin polishing, embossing in register – rather than in truly creative tile designs.  

Terrazzo effects with small or large inclusions picked out in gloss, soft stone effects like faux limestones with speckled highlights or ceppo de gris, white marbles with the veins sculpted using etching inks, and a whole host of cement  were among the key trends in the floor tile sector.

Overall, the base tones of all these designs have got a few degrees warmer, with soft cream, coral, beige, peach, Ivory, and cotto tones replacing cooler shades like ice white, grey, and greige.

Perhaps the most significant floor tile development is that many of the new ranges launched this year offer both R11 and R10 varieties, rather than the R9 and R11 combination of the past. This is because the new soft finish anti-slip coatings have been able to improve the
slip rating while retaining a consumer-friendly underfoot feel. This allows seamless inside-out design to be easily achieved, and also means that one range can now be sold across both consumer and contract markets.

Fluted and ribbed stone effects were very prominent, as were ultra- realistic timber plank looks that bring woods into fresh areas of the home.

Slab success

Many factories now have a full portfolio of designs in their key marble, wood, or stone-effect collections, spanning worktops, slabs, planks, modular wall and floor tile formats, decors, and even special pieces. 

The slab and worktop sector probably deserves a whole Cersaie report of its own these days. Bologna saw newer players like Venux, Ascale, Optimum, Coverlam, and Museum exhibiting alongside more established brands like SapienStone, Xtone, Atlas Plan, ABK Stone, and Laminam.

They emphasised just how dynamic a market sector this is, even if some of the biggest players – notably Neolith and Cosentino – stayed away.  

The usual white and black marbles, granite effects, and other worktop favourites now feature soft surfaces, subtle 3D reliefs, and dynamic detailing. The porcelain worktop designs are all fairly safe and mainstream at this stage, as the manufacturers don’t want to get ahead of the consumer’s comfort curve. But the latest digital decoration techniques, and through-colour technology, open up the potential of more exciting solid surfaces going forward.

Japandi influence

Despite predictions, cobalt blue and moss green remain the dominant accent colours, with deeper blues, burgundy reds, and mustard yellows all starting to emerge. That is not to discount classic black-and-white monochrome combinations, and soft earth tones. However, very few new tiles in the violet and purple space were on display.

Some new shapes, like kite and oval combinations, have joined star, cross, and picket pieces in the portfolios of the true experts in decorative small format tiles. Wabi Sabi or deliberate distressing remains very influential, with careworn aged patterns seen alongside patterned tiles that bring to mind Moroccan encaustics, Moorish motifs, and even mediaeval church floors. 

There was also a small but interesting uptick in Japandi designs. In these exciting new ranges, the surface detail is all about Japanese style, but the colour choices speak of Nordic simplicity and freshness. 

Another design direction worth noting is the new sophistication in metallic affects. Echoing the tonal power of previous iterations of Corten steel, these new metallic faces offer subtle sheen with strong accent tones. There are also some truly luxurious gold glazes out there, glamorous but just staying the tasteful side of glitzy.  

Finally, there was one overarching theme at this year’s exhibition: sustainability. From electric kilns, and hydrogen-based fuels, to recycled content, more of the leading manufacturers have replaced tired greenwash posturing with positive eco-initiatives with tangible impacts and actions. 

The final verdict? Cersaie 2024 was hardly a vintage edition, despite the fact that there were so many com–mercial winners on display. 

Organisers are still repo–rting that over 95,000 visitors attended the show over the five days, half of which came from overseas. Given the poor economic climate, and the particular travails of the tile industry caused by the Ukraine war, this is an impressive turnout.

It has to be said that Cersaie remains the tile world’s primary design showcase. And, while the hotels may be very expensive, Bologna remains a great host city for any event. Although 2024 may not go down as a vintage year, the top tile designers never sit on their hands for long. Next year’s Cersaie will be held in Bologna from 22nd to 26th September 2025, and I’m looking forward to it already!