On a cool, cloudy Monday afternoon in Milan, editors received a mysterious invitation to Palazzo Belgioioso, an 18th-century architectural gem in the heart of the city’s fashion district. The discreet entrance was marked only by a woman dressed in all black, holding an iPad. Inside, guests were led through a courtyard into a series of simple, whitewashed rooms. As waiters passed trays of kumquats, asparagus, and Parmesan alongside delicate glasses of Prosecco, the purpose of the gathering became clear: The Row was launching its first homeware collection.

In the first room, a striking sculptural clothing rack—custom-designed by Julian Schnabel—stood at the center, draped with an artfully arranged blanket. But this was no ordinary throw. Woven by hand in India from the finest cashmere, it was brushed from the underbellies of Kashmir Valley goats, showcasing the fabric in its purest form. (This particular cashmere, known as “baby” cashmere, comes from goats under a year old and measures less than 14.5 microns—lighter and finer than most luxury offerings.)

Moving into a second space with faded ceiling frescoes, soft light illuminated a raised tatami bed at the center, flanked by vintage wrought-iron chairs from Maison Baguès. Nearby, an ikebana-style floral arrangement stood opposite a stack of bed linens, inviting editors to feel the sumptuous textures. The sheets and duvets—all 100% cashmere—were hand-quilted with tiny squares and dyed a deep, hypnotic black, reminiscent of Anish Kapoor’s Vantablack. Unlike other brands that plaster logos everywhere, The Row’s approach was characteristically understated: the only branding was a subtle monogram stitched into the corners.

Rumors of The Row’s homeware line had been circulating for months. (A PR confirmed the project had been years in the making.) As always, designers Mary-Kate and Ashley Olsen’s perfectionism played a role—countless fabric iterations were tested before achieving the ideal softness, weight, and drape. The decision to debut at Milan Design Week, quietly and deliberately, mirrored the brand’s origins: in 2006, they launched with just seven minimalist pieces after years of refining the perfect T-shirt. Now, they’re applying the same philosophy to home essentials before expanding further.

The timing couldn’t be better. With fashion brands flocking to Milan Design Week, the demand for luxury interiors shows no sign of slowing. The Row, fresh off a $1 billion valuation and investment from the families behind Chanel and LVMH, already has a fully realized aesthetic—its stores feature vintage designs by Le Corbusier and Frank Lloyd Wright, making it easy to envision the homes of its clientele. This launch feels like a natural next step.At the end of last year, L’Oréal—and in 2026, the Olsens will celebrate 20 years in business.

Photo: François Halard

What better way to mark the milestone than by launching homeware? The designs are unmistakably The Row—whether in the restrained palette of ivory, black, and mink (I overheard whispers that an off-white shade was scrapped for being too bold) or the unapologetic luxury of the pieces.

Admittedly, most of us aren’t in the market for cashmere bedsheets—I’ll happily stick to peaceful sleep without fretting over drooling on a pillowcase that likely costs more than my rent. But for the brand’s devoted clientele, the idea of expanding The Row universe once more surely brings a cozy, cashmere-wrapped thrill.

And in case you were wondering—the Parmesan was rich, creamy, and absolutely delicious.