Trina Turk has spent three decades building a visual vocabulary around unapologetic color and pattern. For her latest collaboration with FLOR, the designer went back through the archives to see what might work at an entirely different scale: underfoot.

Three new rugs expand the Trina Turk x FLOR collection, which first launched in 2024, bringing the collaboration to 12 designs. Rather than developing the latest additions independently from Turk’s fashion work, the team revisited prints and color combinations from both Trina Turk and Mr Turk, translating familiar motifs into FLOR’s modular carpet system.

Easy Does It in Spice. Photography courtesy of FLOR

“For this collection, we returned to the archives and revisited prints and color combinations that felt quintessentially ‘Trina Turk,’” Turk tells Design Milk. “There’s a confidence and optimism to the collection that feels rooted in our original brand DNA, but interpreted in a fresh way for interiors.”

Midnight Muse in Navy. Photography courtesy of FLOR.

That translation involved more than simply enlarging a print. Fashion and flooring operate at dramatically different scales, and the collection experiments with pattern size and placement to make Turk’s graphic sensibility work across an interior. Midcentury modern design—and particularly the geometry, color, and escapism associated with Palm Springs—provides another through line.

“We wanted the collection to feel vibrant, graphic, and expressive, while still being livable and versatile,” Turk says.

Go With the Flow in Butterscotch. Photography courtesy of FLOR.

Each of the three designs takes a different route through the archives. Go With The Flow leans into the geometric side of Mr Turk, using a curved pattern available in Olive, Butterscotch, Black, and Coral. Midnight Muse draws from radiating prints including Turk’s Coppelia pattern, translating their movement and layered color into Berry, Fawn, and Navy versions. And Easy Does It takes a more abstract approach, using tonal shifts and texture in Tundra, Maize, Spice, and Turquoise.

Midnight Muse in Fawn. Photography courtesy of FLOR.

For Turk, FLOR’s tile-based format also offers an interesting counterpoint to the expressive patterns. Individual carpet tiles can be configured into area rugs of different dimensions, allowing a relatively bold design language to adapt to the room rather than demanding that the room adapt to a predetermined rug.

“What makes FLOR such a great partner is that the system is incredibly flexible and functional, while still allowing for a strong design point of view,” Turk explains. “The collection gives people permission to take more creative risks with interiors in a way that still feels approachable and practical.”

Go With the Flow in Black. Photography courtesy of FLOR.

The three new Trina Turk x FLOR designs are available now as part of FLOR’s Fall 2026 collection.

Editorial Transparency: This article was developed with the assistance of AI tools, which may have been used for research, outlining, editing, or copy refinement. Reporting, fact-checking, and editorial decisions were made by the Design Milk editorial team.

“Typically you start sketching to find out what something should look like, and then you follow with the development and construction process,” says Dutch designer Rick Tegelaar, “but for me, it’s the other way around.” His process starts with materials—a hands-on approach that took hold thanks to a childhood spent tinkering in the family garage. That material-first thinking has since shaped a practice known for transforming ordinary and often overlooked materials into unexpected forms.

Born in the Netherlands, Tegelaar was just 16 when his father’s untimely death coincided with high school graduation. Rather than following a traditional academic trajectory, he enrolled in vocational school, immersing himself in metalworking while mastering lathes, milling machines, welding, and other fabrication techniques.

Photography courtesy of Rick Tegelaar

When he became frustrated by the program’s rigid, rule-bound approach, he switched to industrial design, a discipline he immediately embraced. In 2007, Tegelaar enrolled at ArtEZ University of the Arts, a Dutch school that was, in his words, “very creative and had an art academy kind of vibe.” 

“Suddenly I wasn’t just learning how to manufacture something,” Tegelaar explains. “I was asking why products exist and how they should function.” Among his most influential mentors was Dutch sculptor and furniture designer Wilma Sommers. She passed away in 2011, shortly after he finished the program, but her influence endured. “She taught me to be brutally honest and to become a lateral thinker,” he says.  

Photography courtesy of Rick Tegelaar

During that time, Tegelaar continued experimenting with humble materials such as lumber, paper, and chicken wire, exploring how they could be manipulated into something entirely new.

Of his explorations with wire mesh, Tegelaar says: “It’s typically a material with no meaning within the design context, so one of the hardest things was shaping it in a very controlled way. If you succeed, it becomes beautiful: rhythmic and even. But if you don’t, it immediately starts to feel like a craft project. There’s a real tension between those two outcomes.”

Meshmatics Chandelier by Rick Tegelaar for Moooi. Photography courtesy of Moooi.

Tegelaar’s perseverance led him to develop a custom machine and specialized tools that enabled him to produce consistent forms. By stretching metal mesh over a mold instead of pressing it, he discovered a technique that produced an elegant silhouette capable of emitting ambient light. This breakthrough laid the foundation for his self-produced Meshmatics lighting series, which generated enough income to sustain his practice. 

Photography courtesy of Moooi

This series caught the attention of Moooi, the Dutch design brand founded by Marcel Wanders and Casper Vissers in 2001. At Downtown Design in Dubai in 2016, Tegelaar exhibited both his Filigree Floor Lamp—which was already being developed with Moooi—and the experimental wire-mesh chandelier that would become Meshmatics. His booth, coincidentally positioned next to Marcel Wanders’, caught the Moooi co-founder’s eye, and the Meshmatics prototype soon became Tegelaar’s second product manufactured and distributed by the brand.

Photography courtesy of Moooi

“I had been making the Meshmatics myself, and that brought so much energy into the studio,” Tegelaar recalls, describing how deliveries arrived, machines hummed, and production maintained a constant momentum. “It was always about making, and that was good for my creativity. Then, all of a sudden, that was gone. So I was in the studio, by myself, not producing, trying to come up with new ideas.”  

He pursued several new projects, including collaborations with Italian companies and a handful of site-specific commissions, but none gained significant traction. Then the pandemic brought everything to a halt.  

Tabby, a modular LED design by Rick Tegelaar. Photography courtesy of Rick Tegelaar.

Like many, Tegelaar assumed the lockdown would be brief. Rather than viewing the disruption as a setback, he embraced it as an opportunity, envisioning an electric blanket while experimenting with circuitry and LEDs. But as suppliers shut down and parts became scarce, the project stalled. Never one to give up, he turned to plywood and wire, the materials at hand, and developed an oversized woven structure that incorporated LEDs. 

“By scaling up the weave dramatically, I discovered that each intersection naturally created a pocket where an LED could fit. In an afternoon, I had the essential principle worked out,” Tegelaar says of the experiment that eventually became Tabby.

Photography by Ronald Smits

Again, he constructed a custom machine to automate the repetitive work while preserving the handcrafted quality. After most lighting companies rejected the prototype, he nearly abandoned the project.

“Instead, I exhibited it at Big Art in Amsterdam, deciding that if people responded well, I’d continue,” Tegelaar remembers. “If not, I’d move on.” The response was immediate. Within the first hour, he sold several pieces. 

“In many ways, Tabby brought me back to where I had started,” says Tegelaar, whose Tabby woven lights have since been installed in LVMH flagship stores around the globe. This spring, the lights, along with new pieces, including Traces, were showcased during Milan Design Week as part of his Oasis installation.  

Traces, on display with Tabby, both by Rick Tegelaar, at Milan Design Week. Photography courtesy of Rick Tegelaar.

The future continues to look bright with new projects underway with British contemporary design brand Established & Sons (under the creative direction of Vissers), Venetian glassmaker Barovier & Toso, and extensions of the Meshmatics collection for Moooi. Despite the growth in opportunities, Tegelaar still finds his hands-on approach works best.

“Making isn’t part of my practice,” he says. “It is my practice.” 

During 3daysofdesign in Copenhagen this June, Audo Copenhagen mounted Quiet Grandeur, a vignette-style exhibition probing a more enduring, sensory-driven conception of contemporary living. Staged in collaboration with local firm Norm Architects and creative director Christian Møller Andersen, the showcase served as the perfect teaser for the brand’s newly released Fall 2026 collection: six freshly imagined and refined home furnishings celebrating the rituals of hospitality, anchored by the enduring value of natural materials.

Photography courtesy of Audo Copenhagen

Inspired by Krøyer-Sætter-Lassen founders Mads and Emil’s memories of long meals at Milan’s Trattoria Bolognese da Mauro, the Mauro Dining Chair translates the restaurant’s relaxed approach to Italian hospitality into a streamlined, stackable, architectural form. It balances clean Scandinavian lines with softened proportions, enticing guests to linger.

The chair pairs well with the Puffin Dining Table, Audo’s first collaboration with interior design firm Atelier Axo. The straightforward yet geometrically expressive design coheres the functional simplicity of Shaker furniture with the nostalgia of country kitchens. Puffin was originally conceived for Bobe, a Copenhagen restaurant, and is available in round and rectangular variations. The oak table is engineered to age gracefully and bear witness to decades of communal meals.

Photography courtesy of Audo Copenhagen

The ever-present influence of Danish modernism crops up in the updated Penguin Wooden Lounge Chair by the legendary Ib Kofod-Larsen. Now available in natural or red-stained oak, its compact, sculptural scale suits the contemporary home. Its visual lightness is characteristic of the work that made Kofod-Larsen a master of the mid-century era.

The Conrad Lounge Table by emerging designer Laura Lange introduces a Japanese inflection to the catalog. Its precise form-pressed oak veneer and raised solid wood edge—serving as an integrated tray—create a dialogue between sculptural softness and structural honesty. Its visible screws make its straightforward assembly a deliberate aesthetic detail rather than something to conceal.

Photography courtesy of Audo Copenhagen

In the realm of seating, the Eave Seamline Lounge Chair by Norm Architects expands the wildly successful Eave sofa series into a standalone, cocooning silhouette. With inward-folding armrests and meticulous seam detailing, the chair offers an architectural yet corporeal retreat in both residential and hospitality settings.

The collection is rounded out by Pernille Arlien-Søborg’s Admiral Portable Lamp—a category widely explored at the moment. Born out of necessity—for use throughout Admiral Hotel Copenhagen—this rechargeable luminaire was designed to disappear into its surroundings, providing a warm, intimate 2700K glow through its linen shade without demanding more attention than that. It prioritizes the sensory experience and atmosphere of dining over the object itself.

Photography courtesy of Audo Copenhagen

With these six releases, Audo Copenhagen continues to bridge heritage and contemporaneity, with designs centered on the rituals of gathering and connection.

Portable speakers tend to look like … well, portable speakers. They have conspicuous details that make it immediately clear it’s designed to survive a trip outdoors. Andover Audio wanted to change that with FreePlay, its first portable Bluetooth speaker: The goal was to build in durability while leaving most of the visual evidence behind.

“We didn’t overcook the design with multiple folds, excessive protective elements, or extraneous features typically found on ruggedized audio products,” explains Bob Hazelwood, Andover Audio’s Director of Engineering and Product Management. Instead, the Boston-based company gave the nine-pound speaker a relatively restrained silhouette, fold-down handle, and earth-toned finishes in Ivory, Olive, and Slate. It’s an aesthetic intended to move as comfortably between a bookshelf and a backyard as the speaker does.

Photography courtesy of Andover Audio

FreePlay’s curved front is punctuated by radial grilles that expose the arrangement of its four front-facing drivers rather than concealing them behind a continuous grille. Hazelwood sees something familiar in the decision: the compact home audio systems of the late 1990s and early 2000s, when speakers and their components were meant to be seen. Here, that Y2K-era reference has been pared back into a decidedly simpler portable form.

The restraint is deliberate. Rather than pointing to a particular object as inspiration, Hazelwood cites Dieter Rams’ Ten Principles for Good Design, and especially the idea that good design should involve as little design as possible. The team tested new ideas against Rams’ principles during development.

That simplicity on the outside belies one decision that shaped nearly everything inside: Andover refused to abandon stereo sound simply because the speaker was going portable. FreePlay uses two 25mm dome tweeters, two 5.25-inch woofers, and a 160mm rear-mounted passive radiator, with its voicing informed by the company’s home audio systems.

Photography courtesy of Andover Audio

“Stereo was the big one,” Hazelwood says of the engineering compromises the team refused to make. “That decision defined the format more than any other.” While the drivers sit too close together to create the expansive separation of a traditional stereo setup, he argues that maintaining two channels preserves a sense of depth and reality that can disappear when a stereo recording is electronically summed into mono.

The same thinking informed how the speaker was tuned. Rather than emphasizing bass and volume as its default character, Andover applied the standards for frequency balance and dynamic linearity it uses for its home products. For occasions when projection matters more than neutrality, a dedicated Loud Mode adds 6dB of output.

Developing a speaker that could preserve those priorities outside the home proved to be one of the project’s more difficult challenges. FreePlay carries an IP67 dust- and water-resistance rating, but Hazelwood says conventional methods of reaching that standard introduced acoustic compromises the team wasn’t willing to accept. Finding and testing materials and construction techniques that could provide the necessary protection without sacrificing the desired sound became a significant part of the roughly two-year development process.

Photography courtesy of Andover Audio

Andover had some experience to draw from. The company previously developed speakers for a major motorcycle manufacturer, work that required rigorous testing for environmental exposure, dust, and vibration. That knowledge helped shape FreePlay’s testing approach.

The resulting speaker can run for up to 24 hours at moderate listening levels and includes Bluetooth 6.0 and LE Audio support, a USB-C port with bidirectional charging, Qi-compatible wireless phone charging, and a 3.5mm auxiliary input. Physical controls on top handle the essentials without requiring an app, while side-mounted utility bars provide attachment points for straps or clips. Multiple speakers can also be linked through Party Mode, which supports synchronized playback across as many as 100 FreePlay units.

Even its subdued colors reflect Andover’s ambition for longevity. Rather than following the brighter palettes often associated with portable electronics, the team chose natural shades intended to live quietly alongside interiors and outdoor spaces. As Hazelwood puts it, “Natural tones are aesthetic comfort food.”

It all comes back to a fairly straightforward proposition: What happens when a home-audio company makes something meant to leave home? For Andover, the answer wasn’t to redesign hi-fi around the visual language of outdoor gear, but to make its existing principles more portable—or, as Hazelwood describes the idea, to put “a handle on your Hi-Fi.”

Photography courtesy of Andover Audio

The Andover Audio FreePlay is available from Andover Audio and Amazon for $429.

Move over beige—there’s a new take on neutral. Valspar has named Cottage Door 8004-38E its 2027 Color of the Year, a mid-tone blue that balances warm and cool undertones, offering a little more personality without sacrificing versatility.

The selection taps into a growing desire for interiors that feel personal and lived-in rather than overly perfected. Valspar describes Cottage Door as a response to that desire for comfort and authenticity, drawing on soft minimalism, organic layering, and tactile materials.

Photography courtesy of Valspar

“Cottage Door captures blue’s natural sense of security and trust while serving as a colorful new neutral that layers effortlessly into the home,” says Sue Kim, Valspar’s director of color marketing. “It creates spaces that feel balanced, comforting and inviting.”

Photography courtesy of Valspar

That “colorful neutral” designation is perhaps the shade’s most interesting quality. Neither an airy pastel nor a dramatic navy, Cottage Door sits somewhere in between, giving it enough presence to define a room while remaining subdued enough to work across different materials and palettes.

Photography courtesy of Valspar

Valspar pairs the blue with two supporting shades: Moon Shot 8005-2B, a warm gray, and Apricot Blush 8003-8A, a muted creamy pink. Light wood tones add another layer of warmth, creating a palette that feels soft without becoming overly sweet.

Valspar is making Cottage Door available across a range of interior and exterior paints, stains, and specialty finishes, allowing the blue to carry from cabinetry and furniture to exterior surfaces.

Photography courtesy of Valspar

For 2027, at least, Valspar’s version of the neutral home isn’t devoid of color. It’s simply a little quieter about it.

Editorial Transparency: This article was developed with the assistance of AI tools, which may have been used for research, outlining, editing, or copy refinement. Reporting, fact-checking, and editorial decisions were made by the Design Milk editorial team.

A chair may be one of the most familiar forms in furniture design, but there are still plenty of ways to rethink it. The latest chair designs span new introductions, updated classics, and seating made for an increasingly blurry divide between home, work, and hospitality spaces. Some reconsider how a chair moves with the body, while others focus on circular materials, craftsmanship, flexibility, or simply giving a familiar silhouette new character.

From Mario Bellini’s newly colorful MB 1 Lounge Chair to Ineke Hans’ circular Rex and a refreshed Eames classic, these eight modern chairs offer a snapshot of where seating design is headed in 2026.

Photography courtesy of Teknion

1. Blink by Teknion

Designed in partnership with Formway, Blink by Teknion delivers ergonomic support with minimal adjustment required. A precision-molded shell with more than 1,000 perforations forms a breathable, flexible surface for all-day comfort. Its Keel mechanism uses body weight as a counterbalance, automatically calibrating support as the user moves. Internal gears ensure controlled movement, while the high-performance springs offer a smooth sit. Made of regenerated nylon and recycled polypropylene, the chair also puts material efficiency at the center of its design. Color-matched components create a cohesive look that complements a range of interiors.

Photography courtesy of Olive Ateliers

2. Livery Dining Side Chair by Olive Ateliers

Los Angeles-based design house Olive Ateliers presents the Livery Dining Side Chair, a solid hardwood design inspired by antique furniture. Made in India and hand-finished by skilled artisans, it evokes the classic beauty and character of a piece passed down from generation to generation. The hand-turned back rail enhances the chair’s rustic charm, while a 16-inch-deep saddle seat completes the pared-back form.

Photography courtesy of Heller

3. MB1 Lounge Chair by Heller

Designed by Mario Bellini, the MB 1 Lounge Chair by Heller is made of a self-cushioning polymer and includes an integrated channel along its perimeter for easy water drainage when used outdoors. The sculptural chair now comes in five additional nature-inspired shades: Olive, a verdant green; Cookie, a deep golden hue; Slate and Silver, two stone-like neutrals; and Terra Cotta, a rich earthen hue. The expanded palette gives the established design new possibilities across indoor and outdoor spaces.

Photography courtesy of Hightower

4. Rex

Rex from Hightower, in partnership with Circuform, is a chair made with circularity in mind. Produced in European facilities using green energy, it is made from 98% recycled ECONYL, derived in part from waste including fishing nets and carpets. Designed by Ineke Hans, the chair’s unique form allows for stacking, which means easy storage. It also has individual parts that can be replaced or repaired to extend its life. A matte seat finish prevents sliding, while the slightly flexible back allows micro-movements. With 80 possible color combinations, users can personalize Rex to suit a range of spaces.

Photography courtesy of Room & Board

5. Penny

Penny by Room & Board for Business brings a more residential sensibility to the office chair. Upholstered in North Carolina, its semi-attached cushions and soft, tailored silhouette bring warmth to corporate workspaces. Designed for everyday use, Penny features a 360-degree swivel base and adjustable height for ease of movement. The 18-inch seat depth adds to its relaxed proportions, while casters glide smoothly on hardwood or carpeted floors. Specifiers can choose from a range of performance fabrics suited to high-traffic environments. A top-grain Pesaro leather option gives the chair a more traditional finish.

Photography courtesy of Madheke

6. Odyssey

Madheke introduces Odyssey, an office chair with a high-backed, two-tone silhouette. Smooth leather upholstery is paired with textured fabric along the wings, while a quilted backrest and integrated armrests give the chair its enveloping form. Wood veneers like gray oak and walnut add an organic touch, while brushed nickel and antique brass finishes provide just enough sheen. A leather-wrapped swivel base and chrome-accented casters complete the design.

Photography courtesy of Allseating

7. Gemelli

Allseating presents Gemelli, designed in collaboration with Carl Gustav Magnusson. Inspired by evolving commercial interiors, this polypropylene stackable chair—with or without arms—balances sculpted comfort with performance. The single-shell form is gently contoured to support the body’s natural seated position. A cufflink-inspired connection detail and racetrack leg profile give the chair its distinct visual signature. Even the name reinforces the reference: Gemelli translates to “cufflinks.” Six shell colors and six coordinating painted frame finishes (plus a chrome frame option) are available. An optional upholstered pad can be added, allowing the chair to move easily among hospitality settings, workplaces, and education spaces.

Photography courtesy of Herman Miller

8. Eames Molded Plastic Dining Chair

The Eames Molded Plastic Dining Chair brings a more sustainable material palette to a design Charles and Ray Eames originally introduced as the EC-127 in 1970. The latest version uses 99% post-industrial recycled plastic for its molded seat and back. Its curved seat and back provide support while retaining the familiar Eames silhouette. Legs can be specified in chrome or powder-coated primary shades to bring splashes of vibrant color indoors. Upholstered versions add another layer of color and texture to the enduring design.

When Nick Sheridan was young, he explored everything from sketching to sewing to channel his creativity—but it was craftsmanship at home that set him on his future path. “My dad was a general contractor, and he shared his love of design with me,” he says. “He was very hands-on, often building custom elements in our yard.”

A California native, Sheridan earned an architecture degree from Cal Poly Pomona, where he gravitated toward modernism and minimalism. Inspired by Mies van der Rohe and Le Corbusier, he incorporated clean lines into his work, which laid the foundation for his later concepts.

In 2009, Sheridan founded Cerno with childhood friends Bret Englander and Daniel Wacholder. The trio grew up together in Laguna Beach, where they rebuilt boats and launched mini-businesses as teens, so starting a company was a natural fit for these entrepreneurs.

The creative culture and natural environment of their hometown (think sand and surf) shaped Cerno’s signature style. The brand’s line of LED lighting includes pendants, wall sconces, and chandeliers. As the director of design, Sheridan favors natural materials like solid wood paired with brushed metal to create a contemporary look.

It’s a special moment for Sheridan when he sees a finished product. “Nothing beats that feeling you get when you bring something new to life,” he notes. “It’s a visceral high when you complete a design and get to experience it.”

Today, Nick Sheridan joins us for Friday Five! Below he shares five things that inspire him and five of his favorite projects.

5 inspirations

Photo courtesy of Nick Sheridan

1. Hollow Surfboard

I built a hollow wooden surfboard in my studio apartment about 10 years ago, and it’s still one of the most rewarding things I’ve made in my spare time. The entire board is constructed much like a boat, with thin pieces of solid wood bent, glued, and clamped into place. The whole process was analog, using a tape measure and hand tools. I shaped the rails with a wood plane by eye. It was a horribly messy project, and honestly, the board doesn’t work very well on a wave, but I built it just for fun. At Cerno, we have always been inspired by the ocean and boats, and this surfboard build keeps me connected to that.

Photo courtesy of Nick Sheridan

2. Morocco

Seeing new places, immersing myself in different cultures, and getting out of my comfort zone keep me fresh as a designer. I traveled to Morocco in 2016, and it expanded my view of culture and aesthetics in new ways. I saw stunning spaces illuminated by intricate perforated metal lanterns with beautiful geometric patterns and walked the streets for hours, taking in all the color, texture, and patina of the architecture. Despite how old some of the buildings are, each felt refreshing with intricate designs and impressive use of materials. This trip eventually inspired our Amicus 21 pendant fixture, which features a geometrically perforated metal shade.

Photo courtesy of Nick Sheridan

3. Laguna Canyon

Cerno’s roots are in Laguna Canyon. We started the company over 17 years ago in a tiny shop surrounded by other artists and craftsmen. There is a long and deep history of makers in Laguna—and that exposed Bret, Dan, and me to different mediums and disciplines in childhood. Growing up here with artists as neighbors inspired us to dream up new ideas and build something new ourselves. Living in the canyon as an adult today feels like it is a retreat into the wilderness. Being nestled in the hills helps me stay centered, grounded, and connected to our roots.

Photography by Ridge BenBen

4. My Volkswagen Beetle

I have an old, beat-up 1968 VW Beetle that I can’t imagine getting rid of (though I am sure my wife would like me to!). I used to drive it to work every day before I had my son. I don’t drive it as much these days, but it always brings a smile to my face. I love the simplicity of it, how well it works, and all the design lessons there are to learn from it.

Photo courtesy of Nick Sheridan

5. Apartment pool

For many years, I lived in a small apartment that had its own swimming pool with a diving board right outside the door. I look back at that time and that little luxury so fondly. Jumping in the water every day at all hours helped me reset and relax; it helped me stay connected to water and all the inspiration I found in it.

5 Cerno Projects

Design by Progressive Design Firm and Louis Ruiz; photography by
Francisco Estrada; courtesy of Cerno

1. Mica

The Mica is simply a cube, which has been carefully deconstructed to a sculptural state. Through the fixture’s orientation and petal material composition, it exudes a certain organic symmetry. The Mica accent pendant acts as a beautiful node, creating a sense of space marked with an ambient glow.

Design by Arlen Macpherson; photography by Jessie Prince; courtesy of Cerno

2. Lenis

Our appreciation for the beauty of a well-designed craft is what initially inspired the Lenis fixture; the form is created by bending wood stringers over a series of bulkheads. The organic, sculptural structure deviates from our mostly rectilinear forms, which introduced many new challenges, yet it also breathed new life into the design process for us. Ultimately, we were searching for that balance between the curved fluidity of its lines and the twisting movement.

Photography by Ridge BenBen; courtesy of Cerno

3. Locus

The Locus chandelier tells a story about our design journey. The wood and glass are in balance, exuding both strength and fragility. Wood is Cerno’s signature material, but the glass is fresh and new, designed and blown by Siemon & Salazar. (Cerno and Siemon & Salazar became one company back in 2022.) This product is a beautiful testament to what the two unique brands can create as design collaborators.

Photography courtesy of Cerno

4. Cura

The intricacy, integrity, and architecture of nests found in the wild are breathtaking and ultimately what inspired the Cura. Nests embody resourcefulness and innovation. Like human homes, nests protect our most precious and sacred creations, our offspring.

Photography courtesy of Cerno

5. Amicus

Traveling through Morocco, I was in awe of the skilled craftspeople and their impressive work. I was most enamored with the detail and intricacy of the perforated metal light fixtures. The artistry, patterns, and old-world techniques inspired me—and the Amicus.

Before João Dias and Patrick Carton designed furniture, they were designing machines built to exceed 200 mph. The former McLaren Automotive designers worked on vehicles including the W1 hypercar and Speedtail, where proportion, aerodynamics, and engineering all contribute to a car’s emotional pull. With the Ennua Element 01, they’re applying that same thinking to something decidedly more stationary.

Photography courtesy of Ennua

The Element 01 is not, as you might suspect at first glance, a simple table or mere bench. Dias and Carton describe it as a work of functional art, with sweeping lines and a carbon fiber structure that reveal its automotive roots. Much like a supercar, its form isn’t simply expressive: Every line and material choice has a job to do. 

“The most direct carryover is how we treat proportion,” the duo told Design Milk. “Every line has to justify itself; nothing is added for decoration alone.” 

Photography courtesy of Ennua

At Element 01’s core is its carbon fiber frame, which serves as the primary structural element in much the same way a carbon fiber monocoque does in a supercar. Rather than designing the sculptural form first and engineering it afterward, Dias and Carton developed the two in tandem from the outset. The carbon fiber isn’t a veneer or shell around an underlying frame; it is the frame itself.

Photography courtesy of Ennua

Made entirely in the United Kingdom, the piece layers Bridge of Weir leather over BioPRO, a protein-based foam developed from collagen recovered during the company’s leather-making process. Precision-machined metals range from titanium and aluminum to brass and gold, all integrated with the exacting tolerances Dias and Carton carried over from automotive design.

Photography courtesy of Ennua

Launched in mid-June, Element 01 is limited to just 199 individually numbered pieces, starting at approximately $145,000. Each work is commissioned specifically for its buyer, giving them the chance to work with Dias and Carton on specifying materials, finishes, and colors that best suit the collective vision. Carbon fiber can be left with a natural visible weave, tinted, or fully painted, while leather and metal finishes can likewise be customized.

Photography courtesy of Ennua

According to the founders, Element 01 is the first in a series called “Element by Ennua,” with future pieces taking different forms, sizes, and functions while maintaining the same aesthetic and attention to detail.  

“Each new Element has to earn its place,” the founders explain. “If we can’t make a genuine case for why it needs to exist, we won’t build it.”

Photography courtesy of Ennua

Learn more about Element by Ennua at ennua.com.

The best-dressed homes rarely feel overdesigned. Instead, they evolve through thoughtful layering—timeless foundations punctuated by moments of personality. It’s the same philosophy Tan France has spent years championing in fashion, and now it’s the starting point for his first furniture collection.

Created with Singapore-based furniture brand Castlery, the 18-piece collection spans seating, dining, lighting, rugs, décor, and accessories, translating the Queer Eye star’s perspective on personal style into objects meant to be lived with for years. Rather than chasing trends, the collection looks to craftsmanship, cultural references, and everyday rituals to create pieces that feel collected instead of prescribed.

The Rava TV console in the Tan France x Castlery collection. Photography courtesy of Castlery.

“I honestly don’t see a huge difference between these two creative spaces,” France tells Design Milk. “So much of what I tell people with clothing is to forget the trends and go for things that seem somewhat classic as your base, and then add pops of play. That’s absolutely possible with my collection for Castlery. It’s not trendy but classic, with lots of items to add that pop of play.”

Developed over 15 months alongside Castlery’s in-house design team in Singapore, the collection draws from France’s upbringing, blending British and South Asian influences into sculptural yet approachable forms. From handblown glass lighting to carved oak furniture, the pieces reference architecture, family rituals, and traditional craftsmanship without becoming literal interpretations.

The Anika Table Lamp in Orange in the Tan France x Castlery collection. Photography courtesy of Castlery.

Among the clearest examples is the handblown Anika Table Lamp, whose stacked silhouette nods to architectural forms and decorative motifs found throughout South Asia. Elsewhere, the modular Kagan Sofa and Anaya Tea Table take cues from the intimate tea rituals that shaped France’s childhood, while subtle carved details reference patterns found throughout South Asian design.

The Rayan floor mirror in the Tan France x Castlery collection. Photography courtesy of Castlery.

“My upbringing inspired every piece,” France says. “Like the turned wood leg on the side table, which is a nod to a classic British turned wood design you’ll find on classic chairs or balusters, or the scalloping detail on the mirrors. The hope is that when people see this collection, the longer they look at it, the more and more they’ll see my cultural touch points.”

The Kagan leather sofa in Moss in the Tan France x Castlery collection. Photography courtesy of Castlery.

That attention to detail also extended to the collection’s most familiar furniture typology. France says the Kagan Sofa ultimately required the most iteration, balancing aesthetics with comfort.

“For me, it was the sofa,” he says. “There was so much testing involved to make sure that not only did it look chic, inviting, and singularly my point of view, but also that it was the most comfy, cozy sofa that doesn’t feel at all stuffy when sat on.”

The Avan dining chair in Cream in the Tan France x Castlery collection. Photography courtesy of Castlery

Although the collection draws heavily from France’s personal experiences, he believes homeowners today are increasingly comfortable creating interiors that reflect their own identities as well.

“Oh yeah, and I’m one of those people,” he says. “I think a huge factor is social media, for offering constant inspiration. Now, we can be inspired by the most niche designs from the most distant corners of the world. I think that inspiration has really encouraged us all to want to make a space truly exciting.”

The Tarin drink table and Rumi accent chair in Rust in the Tan France x Castlery collection. Photography courtesy of Castlery.

The Castlery x Tan France Collection is now available at castlery.com/us and in select Castlery showrooms.

Editorial Transparency: This article was developed with the assistance of AI tools, which may have been used for research, outlining, editing, or copy refinement. Reporting, fact-checking, and editorial decisions were made by the Design Milk editorial team.

For those of us striving to make our homes more sustainable, the magnitude of the task can often seem overwhelming. Unless you’re able to live a fully off-grid lifestyle, it may feel like small design decisions don’t make a difference. In reality, the items you choose to bring into your home matter, and purchasing with longevity in mind is key to designing homes that last. Below, we share six uber-sustainable home furnishings that will help you style your home without sacrificing sustainability.

Photography by Arseni Khamzin; courtesy of Cyrc

1. Cyrc

For Cyrc, circularity is synonymous with style. The Montreal-based brand’s sculptural vases, bowls, and planters are designed in a closed-loop system—all products are 3D-printed and produced on demand, which eliminates surplus materials, warehouse costs, and waste. Plus, Cyrc boasts a formidable end-of-life program: Once you’re finished with a product, you can send it back to be recycled into something new. Aside from sustainability, their modern designs and sweeping silhouettes are equally alluring.

Photography courtesy of Pebl

2. Spark Collection by Pebl

Available in three distinct materialities—teak, travertine, and aluminum—the Spark Collection by Belgian-designed brand Pebl offers a sophisticated take on solar outdoor furniture. With playful silhouettes resembling elevated gnomes, Spark lights absorb sunlight during the day and use their stored energy at night to illuminate automatically. Plus, all teak lamps are crafted from offcuts of wood furniture.

Photography by PJ Couture; courtesy of Lauren Goodman Studio

3. Fresh Catch by Lauren Goodman

Fresh Catch, by Montreal-based designer Lauren Goodman, was born from a rich sustainability story. Her sculptural pieces are made from abandoned lobster traps handpicked off the coast of Maine, where discarded fishing gear produces staggering annual waste and smothers nearby ecosystems. The raw material is reworked and thoughtfully welded to create a collection of one-of-a-kind home furniture. Exhibited at NeoCon this year, the Fresh Catch collection has a distinct, streamlined look that shows how reclaimed material can still be chic.

Photography courtesy of Inglis Hall

4. Larder Cupboard. Chalk by Inglis Hall

Built for acclaimed designer Jay Osgerby, the Larder Cupboard. Chalk by UK-based bespoke kitchen makers Inglis Hall started as a pair of utilitarian wood cabinets. Refined through premium materials, precise proportions, and a more functional inside, the updated freestanding cabinets are now a considerable presence yet still quite soft and appealing. The tension lies in its dual personality: open, the cabinets expand to offer a wide display, while closed, the forms are monolithic. Made to order in the brand’s Sussex studio, the handmade Larder Cupboard. Chalk is built to last in larch, raw oak, or walnut

Photo courtesy of Avocado Green Mattress

5. City Bed Frame by Avocado Green Mattress

For a stylish yet sustainable bed frame, real wood is key. The City Bed Frame by Avocado Green Mattress places high-quality wood at the forefront: The low-profile platform is crafted from FSC-certified North American timber, available in natural blonde wood or solid American walnut. Handmade in Avocado Green’s woodshops, the bed frame features long, continuous solid-wood boards—no particleboard, paneling, or veneers here. Although it takes less than 45 minutes to assemble, the City Bed Frame doesn’t compromise on durability. The design is rated to support up to 1,000 pounds, while gently rounded edges soften the silhouette and enhance safety. Organic cotton ribbing beneath the slats helps minimize wood squeaks, while an adjustable base accommodates taller pillow-top mattresses or box spring setups for a highly customizable sleep experience.

Photography courtesy of Andreu World

6. Bolete Lounge BIO by Andreu World

A titan of the circular design industry, Andreu World was the first furniture company in the world to obtain 100 percent FSC certification. Bolete Lounge BIO is a testament to that. Designed by acclaimed designer Patricia Urquiola, its internal structure is made of seating foam and 100 percent recycled BIO thermopolymer—a fully recyclable, biodegradable, and compostable plastic that resembles the profile of wood. A delightful presence, the grooved texture of the base and the puffed upholstery feel modern and elevated.

Leslie Rivers didn’t set out to start her own modern African home decor and art brand. But when the founder and curator went looking for high-quality pieces available locally and came up short, she decided to take on the challenge herself. Enter: September Collective, a curated homeware brand that celebrates African ancestry in modern living. Based in Toronto, Rivers sources handcrafted objects from across Africa and the African diaspora—from intricate, handwoven Ghanaian placemats to sculptural wooden furniture.

The Nywele Vase in Umber by Kitengela Glass for September Collective. Photography courtesy of September Collective.

September Collective’s newest launch takes the brand to the next level. Designed by Rivers and brought to life by Kitengela Glass artisans in Kenya, the Nywele Vase is the brand’s first in-house designed product. These sculptural glass vases—available in citrine moss, umber, dark umber, moss, and onyx—reflect Rivers’ belief that every object should tell a story.

The Nywele Vase in Umber by Kitengela Glass for September Collective. Photography courtesy of September Collective.

Nywele is the Swahili word for “hair,” and the collection draws inspiration from the Bantu knot—a hairstyle that originated with the Zulu people of South Africa and is seen today across the African diaspora. Mimicking these coiled forms, the vase design brings the Bantu knot to life with a contemporary feel, resulting in “something that could sit in a modern home and still hold a cultural reference,” Rivers says.

The Nywele Vase in Moss by Kitengela Glass for September Collective. Photography courtesy of September Collective.

However, the design process for Nywele was not always straightforward. After Rivers tapped Nairobi-based Kitengela Glass to bring her glassware designs to life, the initial prototypes were too literal in the interpretation of the Bantu knot and needed more rhythm, restraint, and shaping. After rounds of refinement, Rivers and Kitengela’s glassmakers arrived at beautifully constructed, one-of-a-kind hand-blown vases made from recycled glass.

The Nywele Vase in Moss by Kitengela Glass for September Collective. Photography courtesy of September Collective.

“This is what I was always building toward: Not just a product, but a piece with a name, a maker, a meaning, and a place in the home that cannot be filled by anything else,” Rivers explains. “September Collective will never take credit for what an artisan’s hands have made. Our role has always been to honor the craft, share the story, and connect the maker with the people who will carry their work home. Nywele is that promise, made into an object.”

The Nywele Vase in Onyx by Kitengela Glass for September Collective. Photography courtesy of September Collective.

Thoughtfully placed light can transform a space. It can soften architectural edges, draw attention to texture, create intimate corners within open floor plans, and subtly signal the transition from a productive morning to a quiet evening at home. It’s less of a finishing touch and more of a design tool in its own right.

For interior stylist Gemma Goldsmith, that’s long been part of her approach. Her interiors balance mid-century silhouettes with Scandinavian simplicity, layering natural wood, tactile textiles, and warm neutrals into spaces that feel considered without appearing overly styled.

Interior designer Gemma Goldsmith uses the Govee Floor Lamp 3 to add layered lighting to her home. Photography courtesy of Govee.

In her own home, warm wood tones, natural textures, and clean-lined furnishings create a calm backdrop where light becomes part of the composition. Lighting and furnishings work in tandem to shape the home’s ambiance.

“I always think of lighting as the finishing layer,” Goldsmith says. “It adds warmth, highlights textures, and creates depth so the room feels inviting rather than flat.”

 

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Designing Space with Layers of Light

Furniture may define a room’s function, but Goldsmith sees lighting as the element that brings everything together.

Mid-century furniture already carries warmth through its sculptural forms and wood tones, while Scandinavian interiors rely on softness and restraint. Rather than competing with those elements, lighting helps unify them, allowing materials and textures to take on new character as daylight shifts throughout the day.

Photography courtesy of Govee

That philosophy goes beyond simple illumination. Instead of depending on a single overhead fixture, Goldsmith builds rooms through layers of light that create distinct moments within the home.

“A floor lamp is much more than a practical light source,” she explains. “I use them to create atmosphere and to define little moments within a room. They can make a reading corner feel cozy, add height to a space, or gently draw your eye to beautiful architectural details.”

The result is a home that feels calm and lived in, rather than perfectly staged.

Lighting That Respects the Room

As lighting becomes increasingly connected and customizable, Goldsmith believes good design still begins with restraint.

“The best technology is almost invisible,” she says. “I don’t want a product that dominates the room or looks overly technical. Good design should enhance the home, not distract from it.”

That mindset made the Govee Floor Lamp 3 a natural addition to her interiors. Rather than becoming another object competing for attention, its slim, architectural silhouette quietly integrates into the surrounding space.

Photography courtesy of Govee

“The first thing I noticed about the Govee Floor Lamp 3 is how understated it is,” she says. “It has this really clean, architectural profile that almost disappears into the room, which I love because it lets the light become the feature rather than the lamp itself.”

Positioned beside cabinetry or tucked into a corner, the lamp washes the wall behind it with soft light, adding depth without harsh contrasts. Goldsmith compares the effect to architectural lighting that’s built into a home rather than added later.

“In my living room and dining area, it almost acts like architectural lighting you’d normally have built into the house, which is impressive from such a slim floor lamp.”

Photography by Govee

A Room That Adapts with the Day

Like many contemporary homes, Goldsmith’s home serves several purposes over the course of a day: It’s a workspace, a gathering place for family, and somewhere to unwind in the evening. Rather than rearranging the room for each activity, she relies on the Floor Lamp 3’s adjustable lighting to shift the atmosphere throughout the day.

“During the day I lean into a brighter, cleaner glow that complements the natural daylight and makes working or cooking feel easy,” she says. “Then as the evening comes, everything softens—the tones deepen, the light becomes more amber and immersive.”

One corner of her living room demonstrates that transition particularly well. Set beside a favorite mid-century armchair, the Floor Lamp 3 adds another layer to a room already rich in natural materials and texture. During daylight hours, it quietly complements the furniture. As evening falls, its warm glow transforms the reading nook into a more intimate retreat.

“It makes the room feel cocooning and relaxed rather than simply illuminated,” Goldsmith says. “Because it’s so subtle, it never distracts from the furniture or artwork.”

A Home That Feels Lived In

For anyone looking to create a home that feels more comfortable and adaptable, Goldsmith’s advice is surprisingly straightforward.

“Don’t rely on one light source,” she says. “That’s probably the biggest difference between a room that feels functional and one that feels really welcoming.”

Instead, she recommends combining ceiling fixtures with floor and table lamps, plus accent lighting that can shift alongside changing daylight and daily routines.

Photography courtesy of Govee

“Lighting shouldn’t just help you see,” she says. “It should help you feel something.”

As homes continue to blur the boundaries between work, relaxation, and entertaining, lighting has become one of the most versatile tools in an interior designer’s toolkit. When thoughtfully integrated, it doesn’t simply brighten a room—it helps define how that room is experienced.

In Goldsmith’s home, the Govee Floor Lamp 3 shows how thoughtfully integrated lighting can quietly shape the experience of a space while letting the architecture and furnishings remain the focus.

Learn more about the Govee Floor Lamp 3 at uk.govee.com.