Dimensions and exterior design : a larger format without losing the style

At first glance, the ID.Buzz is still instantly recognizable. Its silhouette keeps that very successful mix of a nod to the historic Combi and a much more contemporary interpretation. The surfaces are simple, the lines remain easy to read, and the whole thing keeps that warm, friendly character that makes up such a big part of its appeal.

The extra 25 cm do not throw the vehicle off balance, which was far from guaranteed. At 4.96 meters long, with a wheelbase stretched to 3.24 meters, this long version actually looks more complete visually. It gains presence and a bit more road stature, while keeping that sense of lightness that avoids a heavy utility-vehicle feel.

The sliding side doors, also lengthened, reinforce the impression of a vehicle that has been better thought through for family use. In profile, the Buzz looks more serious, more mature, but it does not lose that little dose of charm that makes it stand out so much in traffic.

Interior design and ergonomics: more space, the same open atmosphere

Inside, the ID.Buzz keeps the airy atmosphere that immediately sets it apart. The cabin is bright, spacious, and almost feels more like stepping into a small living space than into a conventional car. The presentation is modern and fairly clean, with an environment that aims more for friendliness than for showmanship.

The driving position is pleasant, high without feeling too upright, with a commanding view of the road. We quickly feel at ease, in a posture that sits somewhere between an SUV and a van. The large 12.9-inch central touchscreen modernizes the whole setup, even if some controls and some ergonomic logic still take a little getting used to.

The real change here, of course, comes from the space on board. Thanks to this long version, Volkswagen can finally offer a more convincing 6- or 7-seat layout. Access to the rear seats is made easier by the longer sliding doors, and the second and third rows offer enough room for genuine use, not just occasional trips.

Even with every seat in place, the boot remains usable with 306 liters. Fold down the third row and that rises to 1,340 liters, which completely changes the model’s versatility. That is where the ID.Buzz becomes more convincing; it is no longer just attractive, it also becomes much more logical.

Different powertrains : a range that is becoming more coherent

This evolution of the Buzz is not only about size. Volkswagen is also using the update to improve the technical package, with a more powerful rear-mounted electric motor. It now produces 210 kW, or 286 hp, along with 560 Nm of torque. In a vehicle of this size, that extra strength is far from insignificant.

In practice, it gives the ID.Buzz more flexibility and stronger responses, especially when fully loaded. The vehicle remains focused on comfort and family use, but it feels less short of resources than before. Here, that powertrain is paired with an 86 kWh battery, which allows a WLTP range of up to 485 km.

Driving experience : the smoothness of a modern van, with more ease than before

On the road, the ID.Buzz is still surprising for how easy it is to drive. Despite its length of nearly five meters, it never really feels cumbersome. The driving position, overall visibility and the motor’s smooth response quickly create a real sense of confidence, even in the city.

What we appreciate most is the very calm character of the whole thing. The ID.Buzz never tries to fake a sporty personality. It prefers a smooth, flowing, quiet driving experience, which fits its philosophy perfectly. In that spirit, the coasting mode works especially well and encourages a more anticipative way of driving.

The new motor does bring a genuine improvement in ease of use. The 286 hp and 560 Nm make acceleration and in-gear response feel more natural, even with passengers on board or at higher speeds. The Buzz remains a heavy vehicle, obviously, but it hides that mass quite well in normal use.

Conclusion : the pros and cons of the long-wheelbase Volkswagen ID.Buzz

After a week, what stands out most is an ID.Buzz that finally feels more coherent. It keeps its strong design, its distinctive atmosphere and that sense of softness that makes it immediately likable. But above all, it adds what it needed to feel more credible in daily life; space, modularity, and improved range.

This long-wheelbase version does not reinvent the spirit of the model, but it does make it feel more complete. It turns a very appealing vehicle into something more rounded, more family-friendly, and ultimately easier to recommend for reasons beyond simple visual charm.

Pros

Strong design that is still instantly recognizable
A visually successful long-wheelbase version that keeps the model’s spirit intact
A more pleasant new motor and better-suited range

Cons

Ergonomics still somewhat imperfect in certain areas
Limited boot space in 7-seat configuration
A size that still feels imposing in tighter spaces

The collection includes sablé and speculoos biscuits shaped into classic Easter figures such as rabbits and seasonal forms, available plain or coated in Belgian chocolate. Additional elements like Cato eggs, sablé bells, and chocolate dipped Easter eggs complete the assortment, offering variation while maintaining consistency in taste and texture.

Product formats are designed to adapt to different uses. Biscuit boxes, ballotins, and elegant sachets provide structured gifting options, while individual pieces support casual sharing. Easter baskets add a functional dimension, suitable for both presentation and use during family gatherings.

All biscuits are produced in the Antwerp workshop using traditional methods and carefully selected ingredients, including real butter, almonds, and Belgian chocolate. This approach ensures consistent quality across the collection.

Available in Philip’s Biscuits boutiques in Antwerp, Ghent, and Mechelen, as well as online, in limited quantities aligned with the Easter season.

philipsbiscuits.be

DRYKORN Spring Summer 2026 moves with this kind of clarity. Pieces are direct. Tailoring is present but softened. A jacket sits close but never restricts. Trousers carry a workwear ease, practical and familiar. The balance is quiet and consistent.

Morning carries into the street. The air is warm, surfaces already holding light. Colours appear subtly. Soft beige, sun faded brown, a trace of mint. Nothing contrasts too sharply. The palette feels settled, as if shaped by the day itself.

There is a sense of continuity in how the collection is worn. A linen jacket over a simple shirt moves from early coffee to a midday meeting without pause. The structure remains, but it adapts. Sleeves are pushed back. The collar opens. The garment responds without losing its form.

By the time the day reaches the water, or somewhere that echoes it, the reference becomes clearer. The Harbour Club influence is not literal. It is in the materials and the way they behave. Textures recall rope, coral, surfaces worn by use. Not decorative, but integrated. A suggestion rather than a statement

There is movement between roles. From work to rest, from street to shoreline. The same outfit holds its place in each setting. This is where the collection settles. Not in change, but in continuity.

Late afternoon brings a slower pace. The light softens, the fabric shifts with it. What felt crisp in the morning becomes more relaxed. The structure remains precise, but the impression is lived in.

Nothing feels added for effect. The garments belong to the moment they are in. They do not ask to be noticed. They allow the wearer to remain present.

www.drykorn.com

This approach begins with the way spaces are used. Homes are designed to open towards the outdoors, allowing natural light to define the atmosphere and influence how each piece is experienced throughout the day. The connection between interior and exterior is not treated as a contrast but as a continuous flow, where furniture supports both environments with the same ease.

Materials play a direct role in this daily interaction. Wood, natural fibres, metal, and woven rope are selected not only for their durability but for the way they respond over time. Surfaces are meant to evolve with use, integrating into the rhythm of the home rather than remaining static. This evolution becomes part of how the space is lived, with each element adapting through regular contact and repeated gestures.

The collections reflect a balance between artisanal knowledge and contemporary design. Craftsmanship is present in the construction and choice of materials, while the forms remain aligned with a modern and timeless aesthetic. Colour palettes, inspired by Mediterranean landscapes, are designed to integrate naturally into different interiors, allowing the pieces to settle into place without disruption.

Kave Home’s vision also considers time as an essential element of use. Through its Here to Stay campaign, the brand positions its objects as long-term companions within the home. Rather than responding to short-term trends, the collections are intended to remain relevant, supporting everyday moments and adapting to changing needs without losing their function or identity.

This perspective extends to the integration of art within the home. Through Kave Gallery, the brand connects contemporary art with Mediterranean culture, reinforcing the idea that living spaces are shaped not only by furniture but by creative expression as part of daily surroundings.

With the opening of its first Belgian store in Ghent, visitors are invited to experience this approach directly, moving through spaces where materials, light, and design come together in a coherent and lived environment.

Koophandelsplein 25/27
9000 Gent
www.kavehome.com

Crafted from high quality aluminum, the surface carries a precise finish that aligns with Bang and Olufsen’s established material language. The object reads as both tool and presence. It is made to be seen as much as it is made to perform, with a form that remains consistent across environments.

As a multiroom speaker, Beosound 2 is built to function within a wider system. It is used as part of a connected audio experience, extending sound across spaces without altering its physical identity. The interaction is straightforward. The speaker remains in place while sound moves through it and beyond it.

Since its launch in 2016, and now in its third generation, the product integrates the brand’s latest audio innovations. The evolution is contained within the same recognizable silhouette, allowing continuity in how it is placed and used over time.

The experience is defined by stability and versatility. Beosound 2 does not require repositioning to adapt. Its design supports different placements while maintaining the same visual and functional clarity. It stands as a consistent element, whether used alone or within a broader multiroom setup.

https://www.bang-olufsen.com

Tout commence et finit dans les sols unfolds as a field rather than a scene. Forms swell, twist, insist. They behave less like objects than like conditions, something you move through rather than stand before. The sense is immediate, what lies beneath is no longer willing to stay there.

We’ve grown used to surfaces that behave. Interiors that hold. Landscapes that frame. Here, none of that holds. Lines loosen into tendrils, volumes push past their edges, color refuses containment. There is no single material language, ceramic, drawing, painting, sculpture, but each carries the same insistence, growth without permission.

It feels familiar.

Not as nature, but as a condition of living now. Systems exceed their design. Cities expand beyond their plans. Bodies carry more than they can articulate. The work meets this not with commentary but with form. It stages proliferation as a daily fact, messy, unruly, continuous.

You notice it in how you would move. You wouldn’t scan the room, you would navigate it. You would return to the same cluster and it would shift, not physically, but in how it meets you. Something would have multiplied in the meantime. The works don’t ask to be understood, they ask to be kept up with.

There is no nostalgia here for a balanced ecosystem. No soft pastoral. The vegetation, if it is vegetation, doesn’t decorate. It occupies. It finds seams in matter and widens them. It spreads through structures that were meant to contain it. It is closer to infrastructure than to landscape.

This is where the exhibition becomes lived. Not in its theme, but in its tempo. A rhythm of overflow and restraint, of control stretched thin. The same tension that runs through a city block under renovation, a wardrobe that no longer fits its season, a schedule that keeps expanding at the edges.

Culture today doesn’t arrive as a finished form. It accumulates, overlaps, contaminates. It grows in places we didn’t plan for. D’Ansembourg doesn’t represent that growth. She lets it take the room.

And even without stepping inside, the ground already feels less stable. Not because it has changed, but because you begin to sense what it holds in check.

Tout commence et finit dans les sols, Antoinette d’Ansembourg, on view April 22 to May 10, 2026, Friday to Sunday, 11am to 6pm, at Galerie & Atelier Isabelle de Borchgrave, Chau. de Vleurgat 73/A, 1050 Brussels.

Each piece is defined by how it is used over time. The Amoebe chair brings seat and backrest into a single upholstered form, creating a continuous surface that supports the body in one gesture.

In the Highback version, the extended backrest curves above the sitter, introducing a more enclosed position. Upholstery options allow the chair to be configured for different environments, while removable covers enable cleaning and professional refitting when needed.

The Living Tower introduces variation through height. Rising over two metres, it offers four seating levels that can be occupied in different ways. Each niche is upholstered, creating soft contact points across the structure. Its construction in birch plywood ensures stability, while the expanded range of fabrics allows it to respond to both residential and shared settings.

The Visiona Stool remains compact and responsive. Its light weight allows it to be repositioned and arranged in spontaneous groupings. The fabric cover is secured with an elastic band, making it simple to remove and clean. Its geometric form allows it to be combined easily with a wide variety of furnishings.

The Cone Chair and Heart Cone Chair continue to be produced using consistent handcrafted methods. The Cone Chair accommodates different sitting positions, with a padded backrest that can also serve as an armrest. The Heart Cone Chair provides generous freedom of movement within its upholstered form. Across both, fabric and leather options determine durability and allow each piece to be integrated into a wide range of environments, including those subject to intensive use.

Across the collection, upholstery defines both comfort and adaptability. Materials and construction allow each piece to be configured with precision, supporting repeated use, adjustment, and care.

www.vitra.com

The brightness of the porcelain remains central. Known for its exceptional whiteness, Limoges porcelain has long been recognised as one of the whitest, most translucent and delicate porcelains in the world. This clarity allows the colours to appear with precision while maintaining the quiet refinement associated with white porcelain.

The collection introduces a vivid palette composed of royal blue, vanilla, metallic pink, metallic purple and Persian blue. Each tone moves across the porcelain in striped bayadère patterns, creating a graphic rhythm that brings colour and lightness to the table. The lines frame the surface while remaining part of the natural balance between decoration and material.

Placed on the table, these striped pieces organise the setting with clarity. The lines create a visual structure that brightens the table and accompanies shared moments with a discreet sense of elegance. Colour becomes part of the composition while the whiteness of the porcelain continues to define the collection.

Behind each piece is a process shaped by material and expertise. Coquet porcelain results from the meeting of water, earth and human knowledge. Producing a single piece can require nearly twenty steps, where advanced techniques and skilled craftsmanship work together to achieve the precision required for Limoges porcelain.

Decoration is applied with the same attention. A unique engraving technique allows gold, platinum and other precious metal inlays to highlight the patterns while ensuring their permanence over time. These elements reinforce the lines and bring subtle depth to the porcelain surface.

In this reinterpretation of the Hémisphère collection, colour, craftsmanship and porcelain remain closely connected. The striped patterns introduce brightness and graphic order while preserving the qualities that define Coquet Limoges porcelain

jlcoquet.com

At Le Cadran in Liège, the former railway building becomes less an exhibition space than a point of departure. You enter the hall the way a traveler enters a platform: with the quiet expectation that something is about to begin.

The exhibition dedicated to Hugo Pratt does not treat his work as heritage. It treats it as movement.

Original drawings, watercolors, notebooks and fragments of research reveal how Pratt built the world of Corto Maltese: not from fantasy alone, but from reading, travel, memory, and curiosity. Maps blur into stories. Historical figures share space with invented ones. Geography becomes something porous, constantly reimagined.

What appears on the walls is less a comic archive than a way of thinking.

Pratt drew like a traveler writes in a notebook: quickly, precisely, leaving space for silence. His lines move with the confidence of someone who understands that suggestion is stronger than explanation. A harbor appears in a few strokes. A face in three lines. The rest belongs to the reader.

Walking through the exhibition, you realize how contemporary that restraint feels.

Today, culture is saturated with images and commentary. Pratt worked differently. His drawings breathe. They invite the viewer to wander through them the way Corto wanders through the world: alert, ironic, slightly distant.

The setting amplifies the idea. A station is a place of crossings, departures, unfinished journeys. The scenography embraces this symbolism. To enter the exhibition is to embark, becoming a traveler inside Pratt’s imagined geographies.

But the most striking thing is how alive the work feels.

Visitors move slowly between the drawings, as if reading a map that still works. Conversations begin about travel, books, films, cities. Pratt’s references – literature, cinema, geopolitics – slide naturally into the present, reminding us that culture often travels in quiet ways.

You leave with the sensation of having crossed somewhere.

Not an ocean, exactly.

But a certain distance between the world as it is and the world as it might still be imagined.

Hugo Pratt — Géographies imaginaires
26 March – 14 June 2026

lecadran-expo.be

The collection gathers a concise selection of pieces developed specifically for sport. Leggings, sweatshirts, T shirts, and sports bras form the foundation of the women’s offer, which includes around twenty items. For men, just under ten pieces complete the line. Each garment is created with the same attention applied to the brand’s ready to wear collections, particularly in the choice of fabrics and the construction of volumes.

The result is clothing intended to accompany a range of activities while maintaining a clear visual coherence with the label’s existing wardrobe. Pieces can be combined with American Vintage essentials, creating outfits that move easily between sport and daily wear. The silhouettes remain urban and contemporary, reflecting the brand’s established aesthetic while introducing garments conceived for movement.

Color plays a defined role within the collection. Mineral tones, warm shades, and brighter accents appear throughout the range, forming a palette that the Marseille label frequently returns to. These colors support different moods within the line, from the textured retro references found in women’s pieces such as the GOF bodysuit and leggings to the more contemporary direction of the DYF design for men, distinguished by its two tone construction.

Visual details reinforce the identity of the collection. The words American Vintage and the number 05 appear as recurring graphic elements across the garments. Their scale changes from piece to piece, sometimes discreet, sometimes more prominent, always integrated into the design of the clothing itself.

The project also reflects a culture already present within the company. At the brand’s headquarters, sport is part of the daily rhythm, with spaces and activities dedicated to movement and team well being. This internal environment informed the creation of a collection intended to support similar activity beyond the workplace.

https://www.americanvintage-store.com/fr/fr