Unfolding across a vast site deep within Montana’s 3-million-acre Gallatin National Forest, One&Only Moonlight is a full-service, alpine-style resort comprehensively imagined by renowned architect Tom Kundig (cofounder of globally recognized practice Olson Kundig). Materials specific to the region and subtle nods to local structural typologies help its many buildings blend in, all while containing hyper-refined, monumental interiors. The strategy: “supporting the act of settling into nature.” The 92-key destination facilitates daily excursions — hikes, ski runs, and the like — but then provides guests with an expansive suite of “protective, elemental, and deeply grounded” amenities inside.

Nestled within this basin locale and framing sweeping views of Big Sky’s Lone Peak, with the Spanish Peaks farther afield, the highly crafted yet minimalist structures here offer the best of both worlds. Their dark metal rooflines, evoking a local agrarian vernacular, are anchored in place by quarried stone and timber sourced nearby. This earthy palette is framed and honed by steel, bronze, and copper accents.

Arriving along forest roads, guests first encounter a low-slung roof and timber-column-encapsulated porte cochère. A hearth where all gather before venturing out, the Main Lodge unfurls with a double-height lobby featuring a large-scale fireplace clad in roughly textured Montana Moss Rock and perforated steel. Mollifying the heaviness of this focal feature are carved oak wall panels, bronze detailing, woven textiles, and leather furnishings. It is a stylistic approach found throughout the rest of the resort. Nodding to Montana’s bootlegging past is the Dear Josephine Bar. The Wildwood Restaurant on the level below is accessed by a carved staircase wrapping a suspended bone sculpture.

Another “base camp” common area is the Sky Lodge. Perched on a knoll, this facility serves as the après-ski hangout. Its fully glazed window walls establish a near-seamless transition with the outdoors. And yet, exposed mechanics and steel trusses nod to a more industrial treatment. Saddle leather, wool, oak, and blackened steel reappear as grounding finishes. The adjacent Outfitters area is fully equipped with lockers and a pro shop. Its denim carpeting references the region’s hard-fought working heritage. The effect of moonlight on the waters of a mountain lake inspired the fit-out of the Landing Restaurant and Bar. The overall look and feel is refined: a contemporary interpretation of the standard, old-world mountain lodge.

The Spa pulls up from its slope-side siting, almost like a found ruin. Here, Moss Rock frames a breezeway accessing the reception area. Calming lichen grays and greens — slate floors, hand-troweled plaster, and sage porcelain tiles — frame the rest of the space. Wood-framed treatment rooms emerge as apertures along stone corridors. Other amenities include the tucked-away Moonshack, where reclaimed barnwood plays off corrugated roofing and copper gutters. Yet again, the design deftly coheres timeworn and pared-back aesthetic qualities.

The cabin-style guest accommodations — ranging from double queen rooms to larger king suites — also frame panoramic views. Items perhaps found on hikes feature prominently atop double-sided fireplaces, leather-wrapped headboards, and custom casework. These might include antlers, old skis, or maps. There are also 19 individual dwellings positioned deeper in the forest as even more secluded, cocoon-like retreats.

What: One&Only Moonlight Basin
Where: Big Sky, Montana
How much: From $1,075 per night
Design draws: A expansive resort nestled deep in a Montana forest, framing sweeping mountain vistas with large vernacular structures and a sober earthly material palette of woods, metals, and stones.
Book it: One&Only Moonlight

Go virtually on vacation with more design destinations right here.

Photography by Hufton + Crow and Charles Stemen.

Silk is among the most temporally alive of materials. Woven into a fixed object, it continues to behave — shifting in tone and luminosity as light moves across it throughout the day, responding to the viewer’s angle in ways few other textiles can. That quality of perpetual, quiet change sits at the center of SVILA, Ana Kraš’s solo exhibition at Emma Scully Gallery, which opened May 7, 2026, and remains on view through June 13, 2026.

The exhibition takes its name from the Serbian word for silk and brings together SVILA Side Tables, Glass Coffee Tables, and Panel Lamps— each produced in two color variants. The collection is not about silk as decoration, but as a load-bearing material concept: something with structural and optical properties worth interrogating across different functional and sculptural object typologies. Known for an intuitive and tactile approach to design, Kraš considers how silk behaves in relation to wood, glass, and metal, allowing the material to shift from textile to atmosphere, surface, structure, and light.

In the Panel Lamps, woven silk diffuses light through its irregular weave structure, making its texture visible as a luminous field rather than a surface. In the Glass Coffee Tables, a reflective top layer frames the silk beneath, compressing depth while introducing gloss and shadow. The Side Tables expose the material most directly, without mediation, emphasizing its raw and tactile qualities. Across all three, the same material reads differently — soft, glowing, tactile, mutable — depending on what surrounds it.

The hand-carved wood components throughout the collection were produced using a traditional Balkan technique, executed in collaboration with artisans in Bosnia who continue to practice a UNESCO-protected method. The carving lines the edges of both table styles, extending the exhibition’s interest in material behavior into another register of craft. Kraš has long been drawn to line as a formal device: her 2008 Bonbon lamp, which launched her international profile at Salone del Mobile while she was still a student of interior architecture and furniture design at the University of Applied Arts in Belgrade, was built from repeated yarn threads rendered into volumetric form. That throughline continues across her wider practice, from delicate linear drawings and large-scale oil-stick works to the extruded lines of her Mara furniture pieces.

Kraš developed this body of work in the weeks following the birth of her child, drawing on the psychological state of that period—the sensation of enclosure, softness, and quiet transformation—as a conceptual starting point. “In those early days, I felt suspended in a quiet, protective space—very much like being inside a cocoon—and I wanted to work from that feeling of softness, closeness, and transformation,” she says. This led her back to silk’s origin: the cocoon, a structure simultaneously protective and temporary, built for emergence. Silk is inherently about transformation. It begins as a secretion, becomes a fiber, and is woven into cloth.

During that period, she spoke exclusively in Serbian to her newborn, which drew her toward incorporating her cultural heritage more directly into the work. The Bosnian collaboration is the result: a decision that roots the collection in a specific craft geography rather than allowing it to float in the generalized language of artisanal production. UNESCO recognition for traditional Balkan woodcarving techniques acknowledges a practice under real pressure from industrialization; embedding it in functional objects sold through a gallery gives it both visibility and continued use.

That cultural specificity is especially resonant within Kraš’s broader career, which has moved across cities, disciplines, and scales. Her practice spans furniture and interiors, photography, fine art, set design, fashion, textiles, ceramics, and creative direction, yet it remains recognizable through a spontaneous sensibility, simple forms, and an unexpected approach to color. With SVILA, those instincts are distilled into a collection that feels both deeply personal and materially precise. Silk becomes less an embellishment than a way of thinking about time, care, inheritance, and change.

To learn more about the designer and maker, visit emmascullygallery.com.

Photography by Joe Kramm.

New York’s design industry, defined by an ever-thriving community of independent talents and studios that arguably first emerged during the Great Recession of 2008, is unquestionably resourceful and inventive. Making do with limited resources and exorbitant rents, many autonomous practices come together to share space, mount group exhibitions during and outside of the annual NYCxDesign festival, and increasingly collaborate on fresh designs. Unlike in Europe, where it is slightly easier for independent talents to partner with established manufacturers, self-production and self-promotion are the name of the game here. There is, from time to time, help from centralizing galleries and retail concept spaces like Assembly Line.

Derived from the wildly successful interior practice General Assembly, this hybrid platform has become an essential resource, purveying various furnishing and finishing solutions to fellow trade professionals and individual customers alike. Over the past few years, it has also played host to several solo exhibitions debuting new collections by New York’s flock of fledgling designers.

With the launch of Kawabi and Christopher Merchant’s Amica lighting collection during this year’s New York Design Week, Assembly Line is positioning itself as a patron gallery: one that not only showcases new designs but also helps produce them, making critical connections between talents and manufacturers while linking talents with other talents.

As evident in this deftly imagined offering of pendant, table, and wall-mounted luminaires, the results of the latter arrangement are often greater than the sum of their parts. There is a pairing, matching, and ultimately fusing of expertise: distinctive design vocabularies that complement each other. In this case, it is Merchant’s captivating extruded ceramic process and Kawabi’s—Aaron and Irisa Na-Chan Kawabi’s—masterfully reinterpreted traditional joinery and papermaking techniques.

Both have primarily applied their self-developed, proprietary know-how to lighting design, but this collaboration brings this newly cohered savoir-faire to new heights. Merchant’s earth-tone vessels, identified by their idiosyncratic mold-pulled ridging, serve as the base for Kawabi’s tan-hued geometric and amorphous illuminated structures.

The paired studios iterated this counterbalance across an impressive range: wood-joined and paper-wrapped sconces anchored by textured, only slightly warped ceramic surfaces; a large, free-floating hanging pendant held in place by a small, equally finished ceramic weight. The possibilities of this collaboration seem endless.

In the past, both have operated Brooklyn studios within earshot of each other but did not realize it until recently. However, in response to the exorbitant rents mentioned before, Merchant recently moved to Minneapolis, where he is able to work in a larger, far less costly workspace.

Photography by Ben DeHaan.

Italian food is unlike any other, and when it’s shared with others, it is savored even more. The cuisine is so special that UNESCO designated it as an intangible cultural heritage, recognizing not only the cuisine but also the conviviality of the country’s cherished rituals, from family meals to age-old traditions still practiced today.

Füm, a new contemporary Italian restaurant in Atlanta, named after the Italo-Gaelic word for smoke, celebrates this same spirit. Designed by Arcturis | Square Feet Studio, Grassfed Culture Hospitality, and HAND Studio, a bustling piazza served as inspiration for the eatery. “There’s an expansive open space and the activity happens around it,” says Rachel Uhelski, interior designer and project manager at Square Feet Studio. “All of these different moments create a beautiful community.”

The layout is reminiscent of an open market, which encourages guests to circulate throughout the restaurant and gaze at the culinary delights on the menu. There’s a pasta maker’s room, wine station, and a chamber for dry-aged meat. One addition is not typically found in a town square—a DJ booth. All types of music are on rotation to keep the atmosphere in the 150-seat dining room lively. A wood-fired open hearth sits at the center of it all, paired with a show kitchen where executive chef Sebastián Vargas prepares signature dishes like cavatelli and trout.

Sculptural plaster forms a curved soffit overhead and wraps columns, creating softer lines in the space. A hand-finished limewash brings subtle texture to walls and complements the millwork. Blackened metal, forged by a local workshop, pays homage to craft. Coupled with brass accents, an interplay of light and dark elements offers just enough sheen.

A cocktail bar doubles as a glamorous statement piece. Its polished Ceppo Rosso marble top with embedded pebble fragments is reminiscent of Italy’s famous mosaics. The color palette takes its cues from farm-to-table tints. Paprika-toned ceiling insets are illuminated by cove lighting. The same rich red hue reappears across the wall behind the kitchen, and on banquette and bar stool upholstery. A coffee bar boasts shelving and tiles in a luxe pistachio green shade that enhances walnut wood furnishings.

At Füm, different facets meld as easily as the flavors do to highlight every detail and transform a simple meal into a memorable occasion. “The restaurant was designed to be engaging,” Uhelski notes. “And as you move through it, you experience each of the senses in one place.”

Photography by Andrew Thomas Lee.

In the current design landscape, collaboration has become a language unto itself, often compromising more considered ideas for quick commercial success. Fashion houses court architects, furniture brands invite artists into the studio, and retail giants translate the vocabularies of established designers into objects that can move far beyond the collectible gallery or rarefied residential interior. The results are mixed: some collaborations flatten a designer’s voice into surface treatment, while others open a more democratic path into a fully formed world.

Kelly Wearstler’s forthcoming collaboration with H&M HOME belongs to the latter category. Having debuted through a conceptual installation during Milan Design Week, the collection marks several firsts: H&M HOME’s first appearance at the fair, Wearstler’s own Milan Design Week debut, and the brand’s first designer collaboration to include large-scale furniture alongside smaller design objects.

That shift in scale matters. Rather than treating the collaboration as a limited assortment of decorative accents, Wearstler and H&M HOME have built something closer to a spatial proposition. The collection includes objects and furniture in wood, metal, ceramics, marble, and textiles, extending Wearstler’s command of material, proportion, and atmosphere into a format designed for a broader audience. Pieces such as the NOXEN Modular Stool, ETRINE Marble Tray, CURVA Vase, and SOLUNA Lounge Chair suggest a vocabulary of strong silhouettes, tactile contrast, and sculptural presence. Each has its own personality, yet none feels isolated from the larger interior narrative.

“From the outset, the thinking was always spatial,” Wearstler explains. “Even though the collection exists as individual pieces, they were conceived in relation to one another — how they can be personalized to live together, how they shape a room, how they support the way people move through a space.”

That distinction is crucial. In a mass retail context, design is often asked to become more legible, efficient, and broadly palatable. But accessibility does not have to mean reduction. Here, the collection demonstrates emotional and sensory intelligence, bringing the nuance of a highly authored interior into objects that can circulate through many kinds of homes.

Wearstler describes luxury today as something less tied to material value alone than to experience, intention, and atmosphere. “In a mass context, the challenge is to preserve that level of nuance,” she says. “It’s not about simplifying the work, it’s about distilling it and bringing clarity to the idea so that it can exist at scale without losing its integrity.”

That clarity comes through in the collection’s emphasis on daily ritual and modular synergy. Furniture, in Wearstler’s view, is not merely something to be admired but something to be lived with over time. It should support identity, movement, and mood. “When you think about furniture as a companion, it has to be adaptable, it has to have longevity, it has to earn its place in someone’s life over time,” she says. “It’s not about a moment; it’s about a relationship.”

The Milan presentation made that relationship visible. Installed at Palazzo Acerbi, a 17th-century Baroque palace on Corso di Porta Romana that has long been closed to the public, the preview placed the collection in deliberate tension with architectural grandeur. Soaring columns and frescoed interiors became more than a dramatic backdrop; they sharpened the contemporary language of the work. Produced by Studio Boum, the installation unfolded as an immersive, choreographed journey through the senses, with each room exploring a different facet of the collaboration.

For H&M HOME, the setting signals a more ambitious design position. “This collection represents many firsts for us,” says Evelina Kravaev-Söderberg, H&M HOME Head of Design & Creative. “Having a presence at Milan Design Week has long been a dream, and with Kelly, we knew the moment was right.”

For Wearstler, the palace revealed something a neutral retail environment could not. “It created a dialogue between past and present, ornament and restraint, permanence and flexibility,” she says. “That contrast brought the collection into sharper focus. It showed that the work isn’t dependent on a neutral backdrop. It can hold its own, it can create its own atmosphere, and it can exist within a broader architectural narrative.”

That may be the collaboration’s most compelling achievement. It understands that collectible design is not simply a matter of rarity, price, or limited availability, but of authorship, material intelligence, emotional charge, and the ability of an object to alter the room around it. By bringing those qualities into a more accessible framework, Kelly Wearstler and H&M HOME suggest a different kind of democratization: design made more widely available without surrendering its atmosphere.

The Kelly Wearstler H&M HOME collection will be available beginning September 3, 2026, in select stores and online.

Photography by Piergiorgio Sorgetti, courtesy of H&M HOME.

For well over a decade, British designer Max Lamb has been challenging the code and conduct of a contemporary furniture industry still mired in Modernist convention and the bottom-line economic model of often-disjointed mass manufacturing. Defined by a reinterpretation and revitalization of age-old craft techniques, the provocateur has carved, sand-cast, molded, and folded an approach all his own: one predicated on finding fresh applications for salvaged components and those unexpected natural elements no one before him deemed suitable.

For Lamb—like Augustus Pugin and the proponents of the Arts and Crafts movement—aesthetics, and perhaps also function, should always be the outcome of making and reflective of the inherent properties of the materials incorporated. This career-defining proposition is fundamentally sustainable. Little processing or adulteration is necessary.

A lot of that results in roughly hewn formations—rock settees where the function of sitting is just barely decipherable—but that isn’t always the case in Lamb’s work. Take the long-developed Economy Chair, now called the Min Chair. In this design, pinewood beams, all in the same dimension, are carefully cut at just the right angle and fitted together in an exacting and bold assembly. The approach is as rudimentary as it is hyper-engineered.

Put into serial production by innovative Swedish brand Hem—translating a self-build logic into a scalable model—the Min Chair is the result of intensive trial and error: research into attaining maximum character with minimal means. There’s no extraneous energy exerted in systematically cutting and assembling the modular components, and so, in turn, no superfluous decorative detail is added. The design is unabashedly sculptural but also straightforward in ontologically self-communicating its purpose, deftly turning the Modernist tenet of form following function on its head.

“This is an exciting continuation of our work with Max,” says Petrus Palmér, Hem founder and CEO. He and his team have collaborated with Lamb since beginning to develop his Last Stool product in the early 2010s. Hem works with a tight roster of talents, ones it has returned to time and again over the years. “As editor, our role was to bring this iteration into production without compromising the idea.”

To see this and other works by the designer, visit maxlamb.org.

Photography by Erik Lefvander.

Montreal is no stranger to Brutalist architecture. The iconic utopian housing complex that overlooks the St Lawrence River (Habitat 67 by Moshe Safdie for Expo 67) is just one of many, albeit the most famous. During the 6 years that I lived in the city, my time was marked by raw, unfinished concrete—from Concordia University’s Hall Building to Place Bonaventure Metro station, and many others. In fact, much of the architectural landscape of the city bears the weight of its brutalist forefathers. It’s in this context that Montreal-based culinary studio Menu Extra crafted a gastronomic experience rooted in brutalism, local flavours and immersive design.

“After our activation at Habitat 67, we felt compelled to highlight other, perhaps lesser-known gems of Montreal’s modernist built-heritage. There’s a grounding quality to brutalist architecture that creates a striking backdrop for an experience exploring fine dining as ritual. The raw materiality and monumental character of these spaces naturally lend themselves to a sense of contemplation,” shares Creative Director Samuel de La Courtemanche.

Designed as part of Montréal en Lumière, an annual winter festival set in the city’s downtown core, Menu Extra transformed Chapelle des Franciscains in Rosemont into a cinematic, chartreuse-tined stage for a multi-course tasting menu of Québec’s finest flavours. Created by a multidisciplinary team of sommeliers, chefs, designers and other creatives, the soiree was dubbed Efflorescence—a name that aptly combines art and brutalism, referencing both the chalky powder excess that appears when water evaporates from concrete and a state of flowering.

Designed by Menu Extra and Montréal-based design studio Martha, the graphic identity of Efflorescence is anchored in architecture, with an elongated typography and logotype that references the geometry of its setting.

Blooming from within the stark, but soaring, vaulted ceilings, a 40-foot-long, communal dining table draped in sultry green fabric—with a hollowed diamond motif that mirrors the ceiling—emerges as the central focal point. In its center, guests can discover a fluted-acrylic lightbox full of live plants, designed to mimic Canada’s boreal forest. Other design touches included aluminum chairs designed by LESORR to complement the raw surroundings, steel stands displaying the menu’s core ingredients (scallops from the Magdalen Islands, among other local delicacies) and a soundscape by local artist KROY paired with two futuristic speakers designed for the event by MYCOAUDIO. Designed by Creative Director Samuel de la Courtemanche with Creative Producer Amanda Prow, the immersive set design was meant to inspire interactions between guests and foster a sense of exploration and discovery.

“Our experiences are ephemeral in nature, which inspires guests to be truly present, knowing the moment cannot be repeated,” says Co-Founder and Sommelier Alexis Demers.

Illustration by Nicolas Lapierre.

With the chefs cooking on full display and a choreographed service—which included an aromatic hot towel and scented smoke to complement select dishes—Menu Extra channelled fine dining as ceremony. And like a call to prayer, the sound of a bell guided guests to their seats.

Rooted in seasonality, the menu—created by Francis Blais, Co-Founder and Executive Chef of Menu Extra with selected wines from Co-Founder and Sommelier Alexis Demers—featured Nova Scotian lobster, scallops from the Magdalen Islands, citrus grown by Vyckie Vaillancourt in Laval, and more.

Photography by Vanessa Cassar and Jeremy Dionne.

An international family of four, described simply as collectors, commissioned Bergman Design House to design their second home in London. They came with a brief that was precise in its ambitions: refined, personal, and enduring. They wanted a space that would function as a living archive – where every object carried weight and every material had been chosen with accumulation in mind.

That brief shaped everything visible in the apartment. The London studio co-founded by Marie Soliman and Albin Berglund, organized the 4000 sqft listed residence around the logic of the collection rather than the logic of decoration. While decoration fills a space, a collection builds over time, and the objects in this apartment were selected for their capacity to mean more in twenty years than they do today.

Materials played a similar part. Take travertine, for example, which improves with use. The stone’s open pores collect light differently as surfaces wear, and the material’s inherent variation becomes more legible over years of contact. It is one of a small category of materials that rewards the passage of time rather than resisting it, and Bergman Design House built an entire apartment around this principle.

For the furnishings, Marcin Rusak’s bar cabinet – his practice suspends botanical matter, flowers and plant material, within resin – is an object whose surface contains a kind of preserved time. The three-dimensional wall installation by Swiss studio Beyond works through geometry and depth, holding attention across repeated encounters in a way that purely visual objects do not. Custom joinery by James Wellesley and stonework by Marco Pacitti connect the apartment to London’s specialist craft networks.

Bespoke plasters and natural marquetry cover the walls – both chosen, in Soliman’s framing, for tactile beauty and the ability to age gracefully. Fromental’s hand-painted wall coverings introduce a layer that only a human hand could produce, with the variation that comes from that process built into the surface from the start.

View more information on Bergman Design House’s website.

Photography by Vigo Jansons.

Highlights at Clerkenwell Design Week 2026: Day 3

Every day, Design Milk editors bring you the best to see, learn, and do during the UK’s leading design festival. Here are our picks for Thursday, May 21.

Editors’ Pick | Talks | All-Day Happenings | Products

Highlight of the Day

Fountain of Technicolour Beads
In collaboration withLeigei Stone, onebite design studio transforms the open space at Clerkenwell Green into a vibrant sensory experience titled “The Fountain of Technicolor Beads.” This installation is a call to action regarding inclusivity in design, specifically raising awareness for Colour Vision Deficiency (CVD), commonly known as colour blindness. READ MORE

Design Dialogues

Photograph by Sam Frost ©2026 – www.samfrostphotos.com

True to You: Building a Design Brand with Integrity
Design practices and product brands today need to build lasting identity in a fast-cycle, visibility-driven market. In an era of constant exposure, this session examines how firms define and protect their brand DNA beyond logos and visual identity.
11:00 – 12:00

Designing for a Workforce That Doesn’t Fully Trust the Office
Autonomy and flexibility are reshaping workplace expectations across the UK. This discussion explores how choice is becoming a central design principle, shaping environments that better reflect how people actually want to work.
12:00 – 13:00

Beyond Biophilia: The Next Phase of Nature-Integrated Design
How can we move past decorative greenery toward measurable wellbeing, biodiversity, and climate impact? This talk looks at how nature-integrated design is evolving into a more rigorous and measurable practice, focusing on health outcomes and neuroarchitectural benefits.14:00 – 14:00 – 15:00

The Post-Neuro Office
How can we design workplaces around cognitive load, focus, and long-term mental stamina? As workplace expectations shift, this session examines how environments can better support attention management, particularly in hybrid settings.
15:00 – 16:00

Happenings

Photograph by Sam Frost ©2026 – www.samfrostphotos.com

Norwegian Collection
Presenting ‘The Norwegian Boutique Bedroom,’ a showcase of materiality, sustainability, and Norwegian comfort. The collection features Eikund’s revived mid-century furniture icons, Jensen Beds’ world-leading sleep solutions, the tactile coolness of Lundhs Real Stone, and the luxurious warmth of Norsk Dun’s ethical, circular goose down. LEARN MORE

Brew House
Studio Egret West presents the “Brew House,” a pavilion constructed from 600 innovative Brew Bricks. Over several months, approximately 300kg of waste coffee grounds were collected from London coffee shops, which were then delivered to the specialist brickmakers at York Handmade, who incorporated the organic waste into their clay-firing process. The resulting product is an aerated brick that reduces the use of finite clay resources by 10% and is 5% lighter than a standard brick. LEARN MORE

Austrian Collection
Taking over The Crypt in Detail, Austrian Collection brings together a leading selection of Austrian interior brands. Participating brands include Advantage Austria, Austriawood, Braun Lockenhaus, HUSSL, Kohlmaier, mafi, Studio Palatin, and Woka Lamps Vienna. LEARN MORE

Products

Teknion Aarea
Aarea blends tailoring with engineering, using second life materials and minimal components. Its mélange knit back, made from retrieved marine plastic, flexes naturally and creates zero waste.

Nordlux Akeno Pendant
Designed by Bjørn + Balle, the Akeno has a sleek, minimalist silhouette that feels effortlessly modern, while warm wood accents and elegant brass elements add a soft, tactile richness.

Corston Cotswold Lighting Collection
Corston’s first collection of easy-to-install lighting includes the Cotswold table lamp and desk lamps, which are free-standing and require no professional installation. Each piece is topped with a beautifully crafted shade, and is either available in scalloped porcelain, pleated fabric or fluted glass.

Dornbracht Coya
Created by Seiger Design, Coya’s complex combination of circle and square results in a transitional style: a mix of traditional and contemporary elements. Coya is available in a variety of finishes and customisation options, such as interchangeable handle inlays.

The Clerkenwell Design Week Awards, presented in partnership with Design Milk, celebrate the most innovative products at the UK’s leading design festival, as well as the creative leaders in London who are shaping the future of design. Click on the categories below to read more about each of this year’s winners:

BEST OF: Best of Clerkenwell + Best Craftsmanship | Best Material Innovation | Best for the Planet | Most Inclusive Design | Best Product for Healthcare | Best Product for Homes | Best Product for Workplaces

PRODUCTS: Accessories | Acoustics | Bath Fixtures | Carpet and Rugs | Cladding & Surfaces | Commercial Furniture | Hard Flooring | Lighting | Residential Furniture | Technology

PEOPLE: Interior Designer of the Year | Product Designer of the Year | Studio of the Year

This year’s Awards were sponsored by the American Hardwood Export Council. Photograph by Sam Frost ©2026

Best of Clerkenwell + Best Craftsmanship

Woodbender Scoop 33 Chair
An elegant steam-bent timber chair formed fthrough thirty-three carefully executed bends, Scoop 33 is designed by Jordan Bailiff. Providing sculptural, intuitive support to sitters, Scoop 33 embodies honesty, elegance, and enduring craftsmanship.

Best Craftsmanship Finalist: Dovetailors Flow Chair

Best Material Innovation

Cosentino Éclos
Éclos is a groundbreaking mineral surface featuring zero crystalline silica, recycled content, and patented through-body veining technology. It provides realistic aesthetics and a natural touch and feel for interior surfaces.

Finalist: Andreu World BIOThermopolymer

Best for the Planet

Andreu World Bolete Armchair
Designed by Patricia Urquiola, Bolete stands out for its ergonomics, thanks to the distinctive shape of the seat and its generous width. The upholstery is applied on a 100% recycled and recyclable Pure ECO® thermopolymer shell.

Finalist: Herman Miller Bound Sit-Stand Desking

Most Inclusive Design

One Bite Design Studio The Fountain of Technicolour Beads
In collaboration withLeigei Stone, onebite design studio transforms the open space at Clerkenwell Green into a vibrant sensory experience titled “The Fountain of Technicolor Beads.” This installation is a call to action regarding inclusivity in design, specifically raising awareness for Colour Vision Deficiency (CVD), commonly known as colour blindness.

Finalist: Herman Miller Bound Sit-Stand Desking

Best Product for Healthcare

Interface noravant timber
noravant timber is the first PVC-free resilient flooring to combine high performance, bold design flexibility, and enhanced sustainability. Available in ten wood-inspired colors, it is designed to soothe.

Best Product for Homes

Knoll International Morrison Hannah Chair
This 1973 seating design by Andrew Morrison and Bruce Hannah has been updated for modern hybrid living and working. The thoughtful revival is available in contrasting color for a joyful design or monochromatic neutrals for an elegant edge.

Finalist: Corston Architectural Detail Cotswold Lighting Collection

Best Product for Workplaces

Andreu World Velo Chair
The Velo collection responds to the latest needs of flexible working with this lightweight, ergonomic, and easy-to-use chair designed by Benjamin Hubert. Its backrest follows the sitter’s movements without the need for adjustments.

Accessories

Bronze, Door Handle Tutorial, HR, Hardware, Harper, JPEG, Door, Handle, Indoors, Interior Design

Corston Architectural Detail Premium Hardware.
This beautifully engineered collection of spring lever handles, designed by David Gray & James Duffy, combes elegant detailing with a patented self-returning mechanism that balances performance and refinement.

Acoustics

Acoufelt Skipping Stones Ceiling Clouds
Inspired by stones skipping across water, these sculptural acoustic ceiling forms impressed the jury for transforming sound control into an expressive architectural statement.

Bath Fixtures

C.P. Hart Slide
A beautifully intuitive tap system designed by Fima, Slide replaces the traditional lever with a smooth horizontal movement designed for both elegance and ergonomic functionality.

Finalist: Dornbracht COYA

Carpet and Rugs

Shaw Contract Poetic Form Carpet Tile Collection
Inspired by poetry and geometry, Poetic Form combines texture, metallic accents, and elegant forms while optimizing for low embodied carbon.

Finalist: Ege Carpets Matter by Snøhetta

Cladding & Surfaces

Ecoscape UK Ltd Forma Click Cladding
Composite profiles click into a Grad aluminium rail substructure for a clean, fixing-free wall covering. It cuts installation labour by up to half, and is suitable for use across a wide range of both wall and ceiling constructions.

Commercial Furniture

Arper Aom
Minimal and unconventional, Aom adapts effortlessly to different contexts without changing its language. An innovative construction system eliminates the use of glue or staples, so Aom is designed for circularity.

Finalist: Teknion Aarea

Hard Flooring 

Parador Harmonia Collection
Harmonia is a beautifully textured engineered wood collection inspired by the balance of nature and modernist architecture. Each of the seven surfaces draws inspiration from the tactile signatures of the world: grain, stone, and bark.

Finalist: Shaw Contract EcoWorx Resilient Flooring Art + Science

Lighting

Chelsom Groove Reading Light
A compact reading light for hospitality interiors, Groove combines precision engineering with elegant architectural detailing. It was designed by Will Chelsom and James Bartlett.

Finalist: Nordlux Akeno Pendant

Residential Furniture

Leandesk
A folding sit-stand desk that’s infinitely adjustable in height and angle, Leandesk lets you work sitting or standing with ease. It folds to just 50mm for effortless storage, and is crafted from sustainable materials.

Technology

Yellowbox Global Smart Locker System
The leading smart locker system for modern workplaces, Yellowbox is
delightful to use and effortless to manage. It offers self-serve locker access and management through an app, integration with workplace software, or a touchscreen.

Interior Designer of the Year

Asia Miari, Kettle Collective
Asia is an Interior Designer, originally from Milan, with international experience across residential, commercial, and hospitality, working with leading developers in Europe and the Middle East. Her projects stand out for their emotional sensitivity and material richness while being centered around calm, connection, and human experience.
team/asia-miari

Developed by Aldar with interiors by Kettle Collective, The Row Saadiyat is a contemporary landmark within Saadiyat Island’s Cultural District in the UAE.

Product Designer of the Year

Kerry Deffley, Design Manager, Shaw Contract EMEA
With over 20 years of experience in commercial interior design, Kerry Deffley, is a passionate advocate for customer-driven design. Her distinctive approach is grounded in her hands-on understanding of the manufacturing process. In 2025, Kerry designed the successful Creative Connections carpet tile collection, manufactured in Scotland, showcasing her ability to blend a craft-inspired vision with contemporary design thinking.

Shaw Contract’s Creative Connections collection

Studio of the Year

Oriel is a new home for the Moorfields Eye Hospital, UCL Institute of Ophthalmology and Moorfields Eye Charity.

Perkins&Will London
Perkins&Will is a global collective of designers and changemakers aspiring to create places where humanity thrives in harmony with nature. The 199-member London studio creates functional, beautiful and sustainable places through a distinctive, collaborative design process. The office also provides pro bono professional services to non-profits for whom such services would otherwise be out of reach, addressing human needs like affordable housing, childcare, healthcare, and education. With every project, the studio seeks to achieve positive social and environmental outcomes.

Much of design is conversation between what is and what isn’t—in binary code, the specific weave patterns in fabric, and the weight found in negative space. RAD Furniture brings this sensibility of contrasts to life in the Post Collection, devised in collaboration with Los Angeles-based designer Sam Klemick. An adaptation and expansion of Klemick’s wooden Bell Chair into furniture made out of metal, Post Collection features hefty metal legs that ground each piece firmly in space. The collection was on view at Afternoon Light during NYCxDESIGN this year.

In the past, each Bell Chair was made to order and crafted entirely by the designer. Wood and metal require different design approaches, though, so both teams had the opportunity to foster an appreciation for what the other does well—RAD’s commitment to craft and process, with Klemick’s integrated approach to comfort and form.

“Collaborating with RAD felt like hanging out with friends in design school— it was effortless. Metal is very different from wood. From my point of view, metal has more limitations, which pushes you to make smart, specific decisions and really consider design from a production standpoint. I often start with an impractical idea I’m not sure how to make, but with RAD, the focus was on creating something that worked, as well as comfort and simplicity.” says Klemick.

The Post Collection features a bench, ottoman, and lounge chair, all outfitted with gorgeously plush cushions, held on to the frame with solid, sturdy ties. The pieces give off a distinct air of solidity, even without the cushions, so one feels that these chairs are quite well equipped for flopping down upon, dramatically, after the end of a long day.

Choices of color and fabric make all the difference: a gorgeous burgundy Corduroy paired with a glossy black powdercoat makes the pieces lustrous and even luxurious, while the form remains quite playful, large ties and all.

The only color in the collection that may rival that beautiful burgundy is a deep brown, warm and inviting, orange notes turning the cool metal warm. The textured fabrics that take the curves of the upholstery to the next level are all Greenguard Gold Certified.

RAD Furniture is committed to bringing craft, durability, and delight to everyday moments in life. Founded in 2010, they have demonstrated a consistent penchant for creating objects to be used, and used well for many years. For her part, Sam Klemick spent 15 years working in fashion before harnessing her love for fabrics and quilting and focusing that energy into woodworking. Teaching herself how to turn, carve, and sculpt, woodworking opened up a new sense of pliability in her work. This collaboration brings out the best in both teams, using specific skills to work smarter, and create honest objects with a sense of style.

To learn more about the Post Collection by RAD Furniture and Sam Klemick, visit radfurniture.com.

Photography courtesy of RAD Furniture.

Itineraries are already filling up for the commercial interior design industry’s premier annual event, NeoCon 2026. With more than 450 established and emerging exhibitors, this year’s programming includes engaging exhibits, collaborations and more—plus a new lighting showcase, Illuminate at NeoCon. But one thing you won’t want to miss? NeoCon Talks, presented in partnership with Design Milk.

Located in the 7th Floor Exhibit Hall of The MART, 2026 NeoCon Talks will take over the NeoCon Talks Stage for a two-day run with 12 thought-provoking 20-minute conversations from leading voices. The talented list of speakers includes Elettra De Pellegrin, Architect Founder and CEO, SLALOM Acoustics; Janet Simpson, President and CEO, TVS; Dwayne MacEwen, Founder, Principal & Creative Director, DMAC Architecture & Interiors, and more. Sponsored by Slalom Acoustic Systems, Garden on the Wall, MOCKETT, Andreu World and Keilhauer—and hosted by Design Milk Assistant Editor Sophie Sobol—these inspiring talks and informative discussions will be too good to miss.

For its fourth year, NeoCon Talks has teamed up with Design Milk to platform influential and emerging voices that are sharing bold ideas about the future of commercial interior design. And after a successful call for talks and submissions period, this lineup represents the cream of the crop.

Monday, June 8th

12:45-1:05PM — Designing for Neurodiversity: Two Perspectives that Rethink Inclusivity. SPEAKERS: Arnold C. Levin, Principal, CWI & Zoe Levin Student, University of Washington.

1:15 – 1:35PM — A Practical Framework for Circular Interior Design. SPEAKERS: Brittany McNairy, Senior Technical Coordinator, Senior Associate, Perkins&Will & Timothy Anscombe-Bell, Fitwel Ambassador, ASID Director, Sustainable Design Collective.

1:45 – 2:05PM — Diving Deep: Designing What Isn’t Written—but Felt. SPEAKER: Dwayne MacEwen, Founder, Principal & Creative Director, DMAC Architecture & Interiors.

2:15 – 2:35PM — Teamwork Wins: Culture as Strategy. SPEAKER: Janet Simpson President and CEO, TVS.

2:45 – 3:05PM — Grassroots & Grants: Designing a Better Chicago. SPEAKER: Tanner Woodford, Founder, Iterative Work.

3:15 – 3:35PM — Why Nature’s Patterns Heal Us: Understanding Fractals and Biophilia. SPEAKER: Mette Shenker, LEED AP, IIDA Senior Principal, Design Director, SmithGroup.

Tuesday, June 9th

12:45 – 1:05PM — Being Invisible: A Design Journey. SPEAKER: Kristin Cerutti, ID+C Regional Design Leader, Workplace, NELSON Worldwide.

1:15 – 1:35PM — Designing for the Way We Feel, Think, and Experience Space. SPEAKER: Laura Guido-Clark CEO, LOVE GOOD COLOR PBC.

1:45 – 2:05PM — The Future of Furniture: How Disruption Creates Opportunity. SPEAKER: Lisa Gralnek Global Head of Sustainability & Impact, US Managing Director, iF Design.

2:15 – 2:35PM — Work & Wellness: Designing to Heal, Engage and Endure. SPEAKERS: Quána Madison Multi Disciplinary Artist, ArtLifting & Stephen Brown Senior Vice President of Global Market Development, International WELL Building Institute (IWBI).

2:45 – 3:05PM — Design for Wellness: How Sound and Color Shape Experience. SPEAKER: Elettra De Pellegrin, Architect Founder and CEO, SLALOM Acoustics.

3:15 – 3:35PM — Salutogenic Spaces: Designing Workplaces that Thrive. SPEAKERS: Jill Stewart President, Office Revolution & Kelly Colón Founder, Coach, Educator, and Author of “Life Interrupted”, Eledex Consulting.

Don’t miss the 2026 NeoCon Talks! Register for NeoCon, or find out more details here: https://neocon.com/programming/neocon-talks.

2026 NeoCon Talks sponsored by Slalom Acoustic Systems, Garden on the Wall, MOCKETT, Andreu World, Keilhauer.

Photography courtesy of NeoCon.