“When I was 8, my mom told me I could be poor in life, but I should never be poor in experiences,” San Francisco-based creative Jiun Ho recalls. “It’s why I travel the way I do, and why I’d rather design something I’ve actually lived than something I saw in a magazine.”

Ho grew up in a lower-middle-class family in rural Kuala Lumpur, Malaysia, in the 1970s, with little exposure to art or architecture. That changed at age 9, when he visited Japan, marking his first trip outside Malaysia.

“I didn’t know interior design was a job,” Ho recalls, “but I knew I’d seen something I couldn’t forget: the buildings, the craft, the care in everything, the sense of history.”

That trip sparked a lifelong love of architecture and design, along with a thirst for travel. Having visited 135 countries and counting, Ho finds inspiration in every trip. “I come home, and I want to make something,” he says.

His first major project brought him full circle: designing the interiors of architect César Pelli’s Petronas Twin Towers in Kuala Lumpur. “Suddenly I was helping design the interiors of a building my whole country was watching go up,” explains Ho, who still counts it among his best projects. “And it was home. A Malaysian kid working on the building that put Kuala Lumpur on the map. You don’t forget that.”

A residential project in Taipei 26 years ago opened another door. After Ho completed the apartment’s interiors, the client asked him to design original furniture, lighting, and rugs. Though he’d never designed furniture before, Ho presented 35 watercolor sketches, and the client wanted every piece produced. “One piece led to the next, then a whole collection,” he says.

Jiun Ho’s sketch of the YuanYang side table. Photography courtesy of Ho.

Since then, Ho’s studio has grown into a global lifestyle brand, designing high-end residential, hospitality, and restaurant interiors while producing furniture, lighting, and textiles for the trade.

For today’s Friday Five, we spent five minutes with Jiun Ho. He shares the inspiration behind three pieces from Unbound, a limited-edition capsule collection released this fall in collaboration with four other designers.

The Whisper Pendant in the Unbound Collection by Jiun Ho. Photography courtesy of Ho.

Unbound: Visions, One Extraordinary Collection

Ho invited four designers he admires—Francis Nicdao of Pembrooke & Ives, James Hunter of The Wiseman Group, Jamie Drake, and Nicole Fuller—to collaborate on Unbound, with a simple brief: “Nothing bigger than 36 by 36 by 36 inches.” Each designer was asked to create a one-of-a-kind object incorporating their specialty, whether furniture, lighting, or textiles, and one of two crafts: hand-painted wallpaper or cloisonné by Lala Curio, one of Jiun Ho’s creative partners. The collection debuted in September 2026.

On his vision behind the project, Ho says: “The point was to show what we can really do. Our craft. How far we can take customization. And what happens when you put creative people together and say yes to their ideas instead of no.”

Sketches by Jiun Ho

Ever the overachiever, Ho designed three objects rather than one, each inspired in some way by his global travels and what he’s learned along the way. Below, Ho shares his inspirations in his own words.

What Inspired Unbound: Visions, One Extraordinary Collection?

The Yuanyang Hani Rice Terraces in China inspired Jiun Ho. Photography by Ho.

Yuanyang Rice Terraces

“Yuanyang County is in the Yunnan province of China, where generations of farmers have carved whole mountainsides into rice terraces. Thousands of steps of water and earth, all shaped by hand. To me, it’s one of the most beautiful examples of people and nature working together.”

The YuanYang Side Table by Jiun Ho. Photography courtesy of Ho.

“That’s where the YuanYang side table came from. It’s clad in metal with a cinnamon bronze finish, and the steps down each side are covered in intricate cloisonné. The steps on each echo the terraces, and the cloisonné captures the pattern of the fields catching light.”

The silkworm cocoon also inspired Jiun Ho’s work. Photography by Ho.

The silkworm cocoon and kintsugi

“A cocoon is one of nature’s perfect forms. It’s soft and strong, protecting something while it changes. That’s the shape of the Whisper pendant. The surface comes from kintsugi, the Japanese art of repairing broken pottery with gold, where the crack becomes the most beautiful part.”

“We tore handmade Japanese washi paper into pieces, glued them back together, and traced the seams in gold leaf to create a kintsugi-inspired pattern. When it’s lit, it glows like light through silk.”

Whisper Pendant by Jiun Ho. Photography courtesy of Ho.

The number 8

“In Chinese culture, 8 is the luckiest number. It means good fortune and prosperity. Turn it on its side, and it becomes the symbol for infinity. The Forma pendant comes from that double meaning: good fortune and infinity; luck that never ends. Its shade is painted in gold and silver leaf; the fortune is falling from heaven.

The Forma pendant in the Unbound collection by Jiun Ho. Photography courtesy of Ho.

Once a largely practical accessory, mirrors have become a canvas for experimentation with form, material, and light. Contemporary designers are moving beyond conventional frames and flat reflective surfaces, creating sculptural objects that change how we see both ourselves and the spaces around us.

During an opening talk for the inaugural Walker Design Triennial last month, Eleni Petaloti, co-founder of the New York- and Athens-based studio Object of Common Interest, explored how manipulating reflective surfaces can raise questions about memory—another form of reflection. Her observation points to the mirror’s potential beyond its everyday function. Unlike the digital screens that mediate so much of contemporary life, a physical mirror engages directly with its surroundings, responding to light, movement, and the viewer’s presence.

That relationship between object, environment, and viewer runs through the nine designs below. Some treat the frame as the primary sculptural element, while others manipulate the reflective surface itself through color, texture, and unconventional fabrication techniques. From tinted resins and cast bronze to glazed ceramics and hand-worked metals, these mirrors demonstrate how even a familiar household object can become a compelling piece of design.

Photography courtesy of Bower Studios

Roll & Hill × Bower Studios: Fringe

Collaborating with manufacturer Roll & Hill, Brooklyn-based Bower Studios pushes reflective glass toward sculptural territory with its new Fringe collection. Founders Danny Giannella and Tammer Hijazi explore rich dimensional layering using precise geometric arrangements, integrating warm timber frames that anchor multi-toned mirrored panels interspersed with subtle graphic outlines. This careful composition creates depth across flat planes by interlacing clean silhouettes with tactile nuance.

The Fringe collection is available at rollandhill.com starting at $3,960.

Photography courtesy of MoMA Design Store

MoMA Design Store × Ready To Hang: Jelly Ring Mirror

Produced for MoMA Design Store by New York-based Ready To Hang, the Jelly Ring Mirror introduces playful, almost childlike sculptural tension to functional home decor. Founder Jeffrey Renz extends his studio’s garment-inspired language by embedding smooth, hand-turned spherical elements around a rounded reflective plane. The resulting silhouette mimics an embrace or compressed form, establishing a subtle dialogue between rigid glass and organic curves. Produced in vibrantly colored glass, this playful wall ornament transforms a straightforward daily ritual into an unexpected visual encounter.

The Jelly Ring Mirror is available at store.moma.org for $995.

Photography courtesy of Salon 94

Salon 94 × Sabine Marcelis: Phase / Phase Vertical Mirrors

Debuted at Salon 94 Design in Manhattan, the Phase collection by Dutch designer Sabine Marcelis examines light dynamics through circular and vertical forms. Utilizing her signature ombré-hued cast resin, Marcelis creates subtly tinted surfaces that filter incoming light alongside reflections of the surrounding environment. The compositions change continuously depending on natural light conditions, reminiscent of quiet lunar cycles and shifting atmospheric moods. Rather than functioning as ordinary looking glasses, these luminous objects blend precise forms with fluid gradient tones, an effect Marcelis has explored in many other applications. The resulting objects invite quiet contemplation.

Inquire about the Phase collection at salon94design.com.

Photography courtesy of Mutina

Mutina × Ronan Bouroullec: Carrousel Dynamic Mirrors

French designer Ronan Bouroullec collaborated with Italian tile producer Mutina to create Carrousel, a series of limited-edition ceramic-framed mirrors offered in various sizes. Covered in high-gloss Gris or Orange glazes, these openwork borders interact dynamically with surrounding sunlight, scattering highlights across domestic rooms as much as the mirrored glass they hold. In his distinctly playful yet restrained style, Bouroullec emphasizes clean, minimalist geometry, showing how traditional ceramic techniques can yield sleek modern accents while retaining the slightly imperfect imprint of the human hand. The reflective glass paired with textured ceramic frames establishes a palpable material presence on the wall.

Carrousel is available at mutina.it. Price available upon request.

Photography courtesy of The Future Perfect

The Future Perfect × Studio RENS: Glass Ensemble

Eindhoven-based Studio RENS introduces Glass Ensemble at New York’s The Future Perfect, a series of mirrors made from fused sheets of upcycled glass. The expansive collection stems from an ongoing exploration of color theory, expressed, in this case, as layered reflective compositions. Designers Renee Mennen and Stefanie van Keijsteren combine the transparent material with colorful foils and polish the resulting surfaces to alter light transmission. Each piece functions as both a three-dimensional geometric accent and a practical mirror, creating subtle tonal shifts that evoke an emotional response.

Glass Ensemble is available at thefutureperfect.com, starting at $4,900.

Photography courtesy of Cristina Grajales Gallery

Cristina Grajales Gallery × Fernando Mastrangelo: The Divide

Presented at Cristina Grajales Gallery in New York as part of Fernando Mastrangelo’s recently debuted Territories collection, The Divide mirror combines raw earthlike textures with refined silvered glass. Mastrangelo casts crushed minerals, colored sand, and cement along the perimeter, creating a stark contrast with the smooth central plane. The subtly variegated gradients appear to erode, suggesting the natural strata of vulnerable coastal landscapes. The viewer sees their own reflection within this imagined yet plausible setting. By treating the frame as the primary expressive element of this functional sculpture, the designer turns a standard looking glass into a work of fine art.

Inquire about The Divide at mastrangelo.co.

Photography courtesy of Otras Formas

Otras Formas × Jennifer Choi: Seasons Mirror

Unveiled at New York showroom Otras Formas, the Seasons Mirror by designer Jennifer Choi presents a harmonious study in proportion and craft. Measuring 33 inches square, the wall-mounted piece features a sculpted wooden frame that contours smoothly around its central glass panel. Choi draws inspiration from natural cycles, translating organic shifts into fluid lines and warm tonal variations across carved timber surfaces.

The Seasons Mirror is available at www.otrasformas.co. Price available upon request.

Photography courtesy of Blu Dot

Blu Dot: Mojo Mirror

Introduced as part of Blu Dot’s recent releases, the Mojo reimagines classic floor-standing mirrors with a generous organic outline. Standing 79 inches tall, its fluid asymmetrical contours depart from conventional rectangular shapes to reflect the natural form of a roughly hewn rock. The undulating form transforms what’s ordinarily a dressing aid into a dramatic, room-defining centerpiece. The Minneapolis brand pairs accessible manufacturing with impressive proportions.

The Mojo is available at bludot.com for $1,250.

Shopping for someone who prefers fewer things can be tricky. After all, the last thing a minimalist wants is another object taking up space without serving a purpose. The best gifts for minimalists aren’t necessarily the smallest or simplest, though. They’re the ones that make everyday life a little better, whether through thoughtful functionality, beautiful materials, or a detail that makes an ordinary object feel extraordinary.

With that in mind, we’ve gathered gifts that offer more than good looks. Think everyday essentials with clever design features, well-made objects that age gracefully, and pieces that balance practicality with a strong point of view. Because when you’re intentional about what you own, every addition should be worth making room for.

Photography courtesy of Fellow

Clyde Electric Kettle by Fellow

With its rounded silhouette, matte finish, and oversized handle, Fellow’s Clyde Electric Kettle brings a sculptural quality to an everyday kitchen essential. The 1.5-liter capacity makes it practical for everything from morning tea to French-press coffee, while a simple LED switch keeps operation refreshingly straightforward. It’s a countertop appliance that doesn’t need to be tucked away between uses.

The Clyde Electric Kettle is available at Fellow.com for $99.95.

Photography courtesy of Muji

Cuckoo Clock by Muji

Muji gives the traditional cuckoo clock a minimalist makeover, trading ornate woodwork for a simple white silhouette. A tiny bird emerges to announce the hour and half hour, while a built-in light sensor keeps things quiet when the room gets dark. Designed to sit on a shelf or hang on a wall, it’s a charming combination of Japanese simplicity and old-fashioned whimsy.

The Cuckoo Clock is available at muji.us for $79.90.

Photography courtesy of Joon Loloi

Sumaira EcoMix Bowl by Joon Loloi

With its weathered texture and classical silhouette, Joon Loloi’s Sumaira Bowl looks like an artifact unearthed from another era. But its construction is decidedly contemporary. Handmade in Jaipur, India, from EcoMix, a material incorporating recycled paper, the sculptural vessel brings depth and character to minimalist interiors without relying on color or ornament. Display it on its own or use it to artfully contain your everyday essentials.

The Sumaira EcoMix Bowl is available at joonloloi.com for $79.

Photography courtesy of Poppy Barley

Cosmetic Case by Poppy Barley

A streamlined exterior conceals clever organizational features in Poppy Barley’s Cosmetic Case, available in two sizes. Crafted from pebbled leather in Caspian, Resort Red, Biscotti, or Black, the structured case features a diagonal zipper that allows it to open flat, revealing elasticated and mesh pockets alongside a central zippered compartment. It’s a practical solution for keeping toiletries and makeup organized, whether at home or on the road.

The Cosmetic Case is available at poppybarley.com for $110 (small) or $155 (large).

Photography courtesy of Apto

Tidy Magnet Set by Apto

Even a refrigerator covered in appointment reminders and holiday cards can look considered. Apto’s Tidy Magnet Set replaces mismatched magnets with solid wood pieces in four sizes that fit together like a puzzle inside a sleek steel tray. The warm walnut finish contrasts with the black metal, while silicone backing protects surfaces from scratches. It’s a clever organizational upgrade for one of the busiest spots in the kitchen.

The Tidy Magnet Set is available at theapto.com for $48.

Photography courtesy of Cultiver

Linen Robe Edition II by Cultiver

Sometimes the simplest things feel the most luxurious. Made from 100% European flax linen, Cultiver’s relaxed robe features an open collar, wide sleeves, and a sewn-in waist tie for an effortlessly comfortable fit. The breathable fabric softens with every wash, making it the kind of everyday essential that only gets better with time. It’s available in midi and full lengths and a range of understated colors.

The Linen Robe Edition II is available at cultiver.com for $160.

Photography courtesy of West Elm

Leonard LED Table Lamp by West Elm

With its slender stem, compact shade, and clean silhouette, West Elm’s Leonard LED Table Lamp makes a case for keeping lighting simple. The rechargeable, cordless design eliminates unsightly cables, while a built-in dimmer lets you adjust the warm glow. Available in five colors—Sage Green, Sky Blue, Navy Blue, Moonstone Gray, and Black—it’s a versatile gift for anyone who appreciates an uncluttered space.

The Leonard LED Table Lamp is available at westelm.com for $89.

Photography courtesy of The Citizenry

Vati Vase by The Citizenry

Sometimes the most interesting part of a design is what’s missing. The Citizenry’s Vati Vase uses an open arch to create a sculptural silhouette, with a subtly textured matte-white finish that lets the form take center stage. Handcrafted by artisans outside Delhi, India, the ceramic vessel comes in two proportions—tall and wide—and looks just as compelling empty as it does holding fresh flowers.

The Vati Vase is available at the-citizenry.com for $79 (wide) or $99 (tall).

Photography courtesy of Our Place

Serving Platters by Our Place

A pair of softly rounded ceramic platters brings quiet sophistication to the table without unnecessary embellishment. Handcrafted from stoneware, each features a satin exterior, glossy interior, and delicate hand-painted rim. The two oblong sizes are equally suited to serving appetizers, pastries, or a family-style meal, while their stackable design makes storage refreshingly simple.

The Serving Platters are available at fromourplace.com for $37.99.

Photography courtesy of Bellroy

Mag Wallet by Bellroy

For the minimalist who prefers to travel light, Bellroy’s Mag Wallet keeps the essentials close without adding unnecessary bulk. Designed to attach magnetically to MagSafe-compatible phones, the slim cardholder eliminates the need for a separate wallet while maintaining a clean, understated silhouette. Available in premium leather or a leather alternative, it’s a thoughtful combination of form and function for anyone who believes less is more.

The Mag Wallet is available at bellroy.com for $25 to $45, depending on material.

Photography courtesy of Cove Home

Brass Mini Trivets by Cove Home

Who says practical kitchen essentials can’t double as decorative objects? Handcrafted in India, Cove Home’s Brass Mini Trivets pair a simple, crossed silhouette with a warm, hammered brass finish. Measuring just four inches square, they’re perfectly proportioned for saucepans, teapots, and smaller cookware. The set of two makes a thoughtful gift for someone who appreciates beautiful materials and everyday objects worth leaving on display.

The Brass Mini Trivets are available at cove-home.co for $59.

Photography courtesy of Mahabis

Lite Slippers by Mahabis

Minimalist in form but thoughtfully engineered for comfort, Mahabis’ Lite Slippers weigh just 3.7 ounces each. Made in Portugal from recycled polyester with lightweight EVA soles, they feature supportive, antimicrobial footbeds and neoprene heel locks that keep them securely in place. The streamlined, unlined design is also machine washable and packs easily for travel, making these a practical gift for anyone who appreciates simplicity without sacrificing comfort.

The Lite Slippers are available in select colors at mahabis.com for $119.

Photography courtesy of Parachute

Organic Rib Knit Throw by Parachute

Minimalism doesn’t have to mean sacrificing texture. Parachute’s Organic Rib Knit Throw uses a chunky, stretchy ribbed construction to bring dimension to an otherwise understated design. Made from 100% organic cotton in a warm garnet shade, the 50-by-70-inch throw adds a soft, tactile layer to a sofa, armchair, or bed without introducing unnecessary pattern or color.

The Organic Rib Knit Throw is available at parachutehome.com for $99.

Photography courtesy of Lawa

Raw Block Candle by Lawa Candles

Inspired by the irregular forms of the natural world, Lawa’s Raw Block Candle looks more like a small sculpture carved from stone than something made to burn. Handmade in Los Angeles from plant-based soy wax, each unscented candle features subtle dents and folds that soften its geometric silhouette. Available in four earthy colors and two sizes, it’s a thoughtful gift that combines sculptural design with everyday function.

The Raw Block Candle is available at lawacandles.com for $38 (small), $52 (large), or $80 (set of 2).

Photography courtesy of Le Labo

Santal 26 Concrete Home Diffuser by Le Labo

Le Labo turns home fragrance into a sculptural experience with this diffuser, pairing a hand-cast concrete base with an exposed Edison bulb that dims and brightens as the scent disperses. A heat-free nebulizer releases the brand’s Santal 26 fragrance, while the concrete’s natural imperfections and evolving patina give each piece its own character.

The Santal 26 Concrete Home Diffuser is available at lelabofragrances.com for $950.

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.

I’ve covered Steinbeisser in this column before, and the Amsterdam studio’s approach to rethinking objects and how we use them continues to hold my interest. Its latest chapter took place on Oct. 23 at the Houston Center for Contemporary Craft (HCCC), where 50 guests sat together at a single long table in the main gallery, surrounded by the exhibition A Material Inheritance, to celebrate the institution’s 25th anniversary.

Houston Center for Contemporary Craft’s 25th-anniversary experimental dinner in collaboration with Steinbeisser. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

Founded in 2009 by Jouw Wijnsma and Martin Kullik, Steinbeisser launched its Experimental Gastronomy initiative in 2012, pairing chefs and artists for one-of-a-kind dinners worldwide. This was its first in Texas and one of the few held in the U.S. The menu was entirely plant-based and seasonal, with produce from regional farms that use organic and biodynamic growing practices. The cooking came from two Michelin-starred restaurants: Tatemó in Houston and Nicosi in San Antonio.

The evening opened with Bohyun Yoon’s Singing Buoys, an interactive work in which guests used handheld remotes to steer blown-glass vessels carrying small bites across a water table. When the vessels collided, they rang like bells.

Guests interact with ‘Singing Buoys,’ an interactive sonic installation by artist Bohyun Yoon, created for the amuse-bouche at the Steinbeisser dinner. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

The dinner itself kept the focus on the objects. Tatemó’s first course of nixtamalized squash, rice, kosho, and carrot came on Jaydan Moore’s Sustenance #1, a platter assembled from salvaged antique silver-plated serving pieces.

The first course featured nixtamalized squash, Koshihikari rice, kosho, and carrot, served on Sustenance #1 by Jaydan Moore, a sculptural platter assembled from reclaimed antique silver-plated servingware. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

Nicosi’s Kudzumochi Tamal, with pumpkin juice, mushroom, masa foam, hoja santa, and gold leaf, was prepared by chefs Jorge Luis Hernández and Ben Hjelm.

Chefs Jorge Luis Hernández and Ben Hjelm of Nicosi plate the second course. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

The course arrived on Adam Knoche’s Exploding Plate, made from crushed basalt clay pressed and fired at 2,250 degrees Fahrenheit to intentionally fracture, alongside his carafe and sauce bowl made from foraged Texas clay and Galveston shells.

CLOCKWISE FROM LEFT: A ceramic carafe by Adam Knoche, made from foraged Texas clays and filled with roasted mushroom broth; a carved maple wood ottchil lacquer spoon by Kyungwon Hwang; a ceramic sauce bowl by Knoche, incorporating Galveston seashells into locally foraged clay; and Knoche’s Exploding Plate. Photography by Kerrisa Treanor; courtesy of Houston Center for Contemporary Craft.

Guests ate it with Lisa Marcolongo’s Utensilia spoons, carved from trees felled by storms in Milan and fitted with electroformed recycled copper handles.

A guest uses Lisa Marcolongo’s Utensilia spoon. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

Utensilia spoons by Italian artist Lisa Marcolongo. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

The third course, from Tatemó, featured smoked sweet potato, savory granola, and two moles on Seok-hyeon Yoon’s Zwaart Plate, finished in ottchil, a Korean lacquer made from tree sap and used by monastic artisans for some 2,000 years. It was served with Kyungwon Hwang’s lacquered maple spoons. Nearby, Heejoo Kim’s paper-and-lacquer Gokkal Cups sat in front of Mark Reddy’s towering, carved Standing Spoons.

Gokkal Cups by South Korean artist Heejoo Kim, with Mark Reddy’s monumental hand-carved wooden Standing Spoons. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

Curator Sarah Darro selected the 13 participating artists, and her statement describes how their work turns the table into “a site of experimentation, sensory discovery, and material invention.” Through carving, casting, firing, and weaving, she writes, “familiar utensils become sculptural provocations.”

Guests hold monumental hand-carved spoons by British artist Mark Reddy. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

Guests could purchase the pieces after dinner. Since 2016, Steinbeisser’s online store has offered similar tableware made by artists for its dinners, objects appreciated as much for their beauty as for their thought-provoking functionality.

Ceramic bowls by artist Adam Knoche, crafted from locally foraged Texas clays and finished with richly textured glazes. Photography by Jenny Antill; courtesy of Houston Center for Contemporary Craft.

It was a fitting way for an institution devoted to craft to mark 25 years. The dinner also doubled as a fundraiser for HCCC, and its setting, among an exhibition on silver as both material and metaphor, tied the evening to the institution’s own history. Silver has long been valued for what it reflects, and the dinner offered its own reflection: on an institution’s past and a field that keeps finding new uses for old materials, from storm-felled wood to antique silverware. By handing guests a spoon, a cup, or a plate and asking them to rethink it, HCCC made the case that craft is something to be used, shared, and taken home.

The participating artists, whose work expanded the definition of dining utensils through collaborations with fine-dining chefs, included: Kaye Winwood and Nuala Clooney (glass, USA), Kyungwon Hwang (wood, South Korea), Heejoo Kim (jewelry, South Korea), Adam Knoche (ceramics, USA), Molly Koehn (fiber, USA), Namgwon Lyu (craftsman, South Korea), Lisa Marcolongo (contemporary jewelry, Italy), Edward Lane McCartney (jewelry and multimedia, USA), Jaydan Moore (metalsmith and printmaker, USA), Jakob Niemann (wood, Sweden), Mark Reddy (contemporary maker and artist, UK), Bohyun Yoon (glass, USA), and Seok-hyeon Yoon (designer, Netherlands and South Korea).

Finding a great gift for less than $25 can feel like a challenge, especially when you’re looking for something more memorable than another candle or pair of cozy socks. But a small budget doesn’t have to mean settling for a mundane present. Often, the most interesting holiday treats are the little things: a cleverly designed everyday object, an unexpected pop of color, or an accessory that brings a bit of personality to an otherwise ordinary routine.

For this year’s guide, we’re focusing on affordable finds that deliver style beyond their price tag. From playful home accessories to useful objects with a creative twist, these gifts under $25 prove that thoughtful design can come in surprisingly small packages.

Photography courtesy of MoMA Design Store

Faceted Crystal Bud Vase by MoMA Design Store

A single stem gets a colorful upgrade with this sculptural bud vase. A slender glass tube rises from a chunky, multifaceted crystal base that catches the light and casts colorful reflections across nearby surfaces. Available in orange and green, red and blue, and light blue and peach, the playful design makes an impression even without flowers, especially when placed somewhere sunny.

The Faceted Crystal Bud Vase is available at ⁠store.moma.org for $25.

Photography courtesy of Anthropologie

Striped Stoneware Monogram Mug by Anthropologie

A personalized gift doesn’t have to come with a personalized price tag. Anthropologie’s Striped Stoneware Monogram Mug pairs playful stripes with an oversized initial, giving an everyday coffee cup a bit of extra personality. Available in all 26 letters, the glazed stoneware mug holds a generous 15.2 ounces and is both microwave- and dishwasher-safe. At just $16, it’s an easy gift for coworkers, friends, or anyone who takes their morning coffee seriously.

The Striped Stoneware Monogram Mug is available at anthropologie.com for $16.

Photography courtesy of Piecework

The Pasta Tarot

Forget reading tea leaves. The Pasta Tarot serves up fortunes with a generous helping of Italian-American culture and a healthy dose of humor. Illustrated by Lindsay Mound, the 78-card deck reimagines traditional tarot suits as different pasta shapes, from stuffed ravioli to long strands of spaghetti. Pop culture references and colorful illustrations bring a playful twist to the centuries-old practice, making it a fun gift for pasta lovers, design enthusiasts, and anyone curious about what the future holds.

The Pasta Tarot is available at pieceworkpuzzles.com for $22.

Photography courtesy of Galison

Liberty Premium Notecard Set by Galison

A handwritten note feels even more special when the stationery is this striking. Featuring patterns from Liberty’s textile archive, this notecard set brings the London design house’s distinctive approach to color and pattern to everyday correspondence. It’s a gift well-suited for anyone who appreciates the art of putting pen to paper.

The Liberty Premium Notecard Set is available at galison.com for $19.99.

Photography courtesy of Mud Pie

Scallop Marble Coaster Set by Mud Pie

A small piece of marble goes a long way, especially when it comes with a playful edge. Mud Pie’s set of four coasters trades the usual round silhouette for a softly scalloped shape that feels both classic and contemporary. Crafted from white marble, each four-inch coaster features natural veining that makes every piece slightly different. They’re a wonderful holiday gift for a host or new homeowner that looks more expensive than it is.

The Scallop Marble Coaster Set is available at mudpie.com for $21.

Photography courtesy of John Derian

Color Studies Notebook Set by John Derian

John Derian’s fascination with antique prints finds a new home on the covers of these three notebooks. Each features a different design on the front and back, drawn from the designer’s extensive archive of vintage imagery. With stitched spines and 64 blank pages apiece, they’re equally suited for sketches, lists, and whatever else deserves to be put on paper.

The Color Studies Notebook Set is available at johnderian.com for $20.

Photography courtesy of Ban.do

Sardines Trinket Tray by Ban.do

Sardines are having a moment, and this playful trinket tray from Ban.do brings the trend to your nightstand or dresser. Shaped like an open tin of sardines, the ceramic dish features colorful fish illustrations and a metallic-looking rim that mimics the real thing. It’s just the right size for holding rings, earrings, and other tiny treasures, adding a touch of humor to an otherwise practical accessory.

The Sardines Trinket Tray is available at bando.com for $19.95.

Photography courtesy of 4 Art Partners

Heaven Sent Real Food Tea Towel by Lakwena for 4 Art Partners

Who says kitchen towels have to be boring? London-based artist Lakwena brings her signature bold typography and vibrant color to this everyday kitchen essential, adapting artwork originally painted on cardboard packaging collected from East London’s Ridley Road Market. The graphic design draws on the visual language of market signage, transforming something ordinary into a celebration of color, culture, and creativity. Made from 100% organic cotton, it’s equally at home drying dishes or hanging on display.

The Heaven Sent Real Food Tea Towel is available at 4artpartners.com for $22.

Photography courtesy of Papier

Wave Fountain Pen by Papier

A good pen can make jotting down even the most mundane to-do list feel a little more special. Papier’s Wave Fountain Pen brings a playful detail to a classic writing instrument with its sculptural, wavy clip and smooth, weighty barrel. Available in gold or dusty sage, the refillable pen uses water-based blue ink and has a satisfying heft that belies its $18 price tag. It’s a perfect stocking stuffer for anyone who still appreciates putting pen to paper.

The Wave Fountain Pen is available at papier.com for $18.

Photography courtesy of Danica Studio

Pome Jacquard Dish Towel by Danica Studio

Danica Studio brings a playful mix of color, pattern, and texture to the kitchen with its jacquard-woven cotton towels. The Pome design features a cheerful fruit-inspired pattern that adds some much-needed fun to everyday chores. Measuring 18 by 28 inches, the machine-washable towel is as practical as it is visually appealing. And with plenty of other colorful patterns, from bold geometrics to whimsical florals and wildlife, there’s a design to suit just about any kitchen.

The Pome Jacquard Dish Towel is available at danicastudio.com for $12.

Photography courtesy of Hommey

Dip Bowls (Set of 2) by Hommey

These petite stoneware bowls prove that even the smallest tableware can have personality, with their contrasting matte exteriors and glossy interiors. Handmade in Thailand and available in six colors, they’re equally suited to serving olives, sauces, and dips or containing tiny odds and ends around the house.

The Dip Bowls (Set of 2) are available for $25 at ⁠us.gethommey.com.

Photography courtesy of Williams Sonoma

Henriette Hen Kitchen Timer by Küchenprofi

Who needs another boring kitchen timer when you could have Henriette? This retro-inspired little hen is as functional as it is fun. Simply wind the mechanical timer and set it for up to 59 minutes to keep track of everything from soft-boiled eggs to freshly baked cookies. At just 3.5 inches tall, Henriette is small enough to tuck away in a drawer, though she’s arguably too charming to hide.

The Henriette Hen Kitchen Timer is available at williams-sonoma.com for $19.95.

Photography courtesy of Uncommon Goods

Upcycled Record Coasters by Jeff Davis

Give old records a second spin with these clever coasters made from reclaimed vinyl. Designed by Jeff Davis and handmade in Philadelphia, each set of six preserves the original record labels, creating a colorful assortment of miniature music memorabilia. No two sets are exactly alike, and the coasters are backed with felt to protect your furniture. They’re a fun way to bring music history to the coffee table, even when the record player isn’t spinning.

The Upcycled Record Coasters are available at uncommongoods.com for $24.

Photography courtesy of Fredericks & Mae

Shape Dominoes by Fredericks and Mae

Fredericks and Mae gives the classic game of dominoes a colorful geometric makeover. Instead of traditional dots, each Baltic birch tile features silkscreened shapes, with the number of sides representing values from zero to six. It’s a clever visual twist that makes a familiar game feel fresh without changing how it’s played. Equal parts graphic design and old-fashioned entertainment, this set is a fun gift for anyone who appreciates creativity on game night.

Shape Dominoes are available at fredericksandmae.com for $20.

Photography courtesy of Crate & Barrel

Cheese Knife 3-Piece Set by Crate & Barrel

Here’s a small upgrade for the friend who takes their cheese boards seriously. Made from stainless steel, these three knives feature exaggerated oval handles that give otherwise utilitarian tools a sculptural quality. Each serves a different purpose, with blades designed for hard, soft, and creamy cheeses. They’re also dishwasher-safe, making them as practical as they are distinctive.

The Cheese Knife 3-Piece Set is available at crateandbarrel.com for $20.

Photography courtesy of Kinto

Sacco Vase by Kinto

Who says you need a whole bouquet to make a statement? Kinto’s Sacco Vase is designed to give even a single stem its moment in the spotlight. Made from colored glass with a subtle gradient, its softly rounded, asymmetrical silhouette reads as a small sculpture, even when empty. The angled opening adds an unexpected twist, while the weighted base keeps taller stems stable. Available in green, brown, and gray, it’s a thoughtful gift for anyone who appreciates good design.

The Sacco Vase is available at kinto-usa.com for $24.40.

Photography courtesy of Piecework

Ceramic Washbasin Tray by Puebco

Who knew a bathroom sink could make such a charming catchall? Puebco’s miniature ceramic washbasins borrow the familiar forms of traditional bathroom fixtures, complete with tiny faucets and plumbing details. Available in two styles, including a rectangular basin and an oval pedestal sink, they’re sized for holding rings, earrings, or other small treasures. Inspired by architectural design, it’s a playful addition to the nightstand or dresser.

The Ceramic Washbasin Tray is available at pieceworkpuzzles.com for $24.

Photography courtesy of Cate Paper Co.

Wax Seal Stamp & Wax Stick Set by Cate Paper Co.

There’s something satisfying about sealing a letter the old-fashioned way. Cate Paper Co. gives the centuries-old tradition a contemporary update with five design options, such as a ribbon bow, citrus fruit, and delicate florals. Each set includes a reusable brass stamp and a wax stick, ready to add a personal touch to handwritten notes, invitations, or wrapped gifts. The one-inch stamp can also be used with ink pads, making it a versatile addition to any stationery collection.

The Wax Seal Stamp & Wax Stick Set is available at catepaperco.com for $24.

Photography courtesy of Kikkerland

Fishermen Tea Bag Holders by Kikkerland

Even making a cup of tea could use a little whimsy. Designed by Wang Lei, these miniature fishermen perch on the edge of your mug, dangling tea bags from tiny stainless steel hooks while they steep. Inspired by the Chinese story of Jiang Taigong, who believed fish would come to him when they were ready, the design is a playful reminder that good things take time. Made from silicone and stainless steel, the set of four turns an everyday ritual into a charming scene.

The Fishermen Tea Bag Holders are available at kikkerland.com for $20.

Photography courtesy of DWR

Mini Recycled Colour Crates by Hay

Hay’s popular Colour Crates get the miniature treatment with these stackable storage bins, perfect for corralling everything from paper clips and pens to makeup. Made entirely from recycled plastic, the ventilated crates come in an assortment of colors that make organizing feel less like a chore. Like their larger counterparts, they even fold flat when not in use—although their playful, industrial-inspired design makes a good case for keeping them on display.

The Mini Recycled Colour Crates are available in sets of two at dwr.com for $14.

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.

Les Tells founder Brianna Tell’s work is best explained by the intersections that inspire it. There’s the influence of her hometown of Lancaster, Pennsylvania, and her professional experience in Milan, Italy. There’s the intersection of experimental design and generations-old Italian craftsmanship. But perhaps the most important intersection is the one between bag and body. Where rigid corners and bulky silhouettes can cause discomfort, Tell wanted to explore what physical cohesion between bag and body could look like—a piece that functions not simply as an accessory, but as an extension of the wearer’s silhouette.

Photography courtesy of Les Tells

The result is the first collection from Les Tells: six luxury Italian-made bags and accessories designed to fit and complement the wearer’s body. Released on Nov. 3, the collection features four bags, a wallet, and a wristlet designed to follow the body’s natural curves. The idea was that an accessory could be luxurious and distinctive without the discomfort and awkwardness that can accompany high-concept design.

Photography courtesy of Les Tells

The idea came to Tell while she was visiting Paris. “I was watching all of these beautiful French people walking down the street as they are, and I just saw all of them in these beautiful outfits,” Tell recalls. “But then I saw some of the bags that they were wearing, and it just felt like they were sticking out from their body. That was the moment that I was like, why aren’t there bags that move better with your body?”

From there, she began the design process, sketching out silhouettes for crossbody bags and handbags. The concepts were distinctive, but the true test would come in how they moved with the body.

Photography courtesy of Les Tells

Tell’s approach to testing is, admittedly, a bit unconventional. Knowing the importance of how the pieces worked with a body in motion, she constructed paper models, testing out the bags’ mobility and identifying points of friction. The approach had its initial skeptics.

Photography courtesy of Les Tells

“I showed up with these paper models and [my friend] was like, ‘Nobody’s going to take you seriously. This is something that is not professional,'” she recalls. “But I still believed in this, and I wanted to keep on going. I went down and talked to those ateliers.”

She found a collaborator in a family-run atelier in Scandicci, near Florence. “They looked at me like I built something so different and unique that it really verified my gut feeling that I was on the right track.”

Photography courtesy of Les Tells

Over two years, she refined the designs. The Alexandras, a cylindrical bag with a detachable strap, has an inward curve designed to nestle comfortably against the wearer’s hip. The Logans, featuring an asymmetrical, oblong silhouette, is a crossbody bag designed to sit comfortably under the arm or along the curve of the back. The Kathleens, a shoulder bag, features a gentle curve that doesn’t compromise its interior capacity. Each design follows the same principle: structure without sacrificing comfort.

Photography courtesy of Les Tells

The decision to use Italian leather was inspired by Tell’s upbringing near horse farms in Pennsylvania, where leather was a familiar material, as well as her time studying in Florence. The hardware and jewelry were designed alongside the bags, echoing their forms and creating a cohesive finish. Offered in four colorways, Tell wanted to create a collection that felt both personal and universal—one designed to be worn across a range of genders and body types.

Photography courtesy of Les Tells

“In the campaign photos, there are different body types; there are different ages; there are different people,” Tell explains. “They get to decide if they want to wear that bag. It’s not me that says, ‘Okay, this is just for a woman.'”

Photography courtesy of Les Tells

Tell’s focus has remained squarely on design, down to the collection’s less visible details. To improve comfort and functionality, the “Les Tells” embossed tab on the Alexandras acts as a latch for the magnetic clasp that secures the flap. The Kathleens feature a hidden strap extender tucked inside the bag, plus a microfiber case for glasses. After two years of meticulous development, Tell believes the attention to detail has paid off. After all, you only get one chance to launch your first collection.

Photography courtesy of Les Tells

Tell has already started work on the next iteration, including a new set of the paper models that raised eyebrows when she began developing the debut collection. This time, however, she’s confident in the process that brought her designs to life. “I’ve had this gut feeling for so long that people are really going to appreciate the bags,” she says. “And I’m really ready to show the world.”

Photography courtesy of Les Tells

The Les Tells collection is now available at lestellsworld.com, with prices starting at $350.

For most retailers, a climbing wall would be an unusual addition to the sales floor. For Arc’teryx, it became the starting point for an entirely different kind of store. The Canadian outdoor brand recently opened its first climbing-focused retail concept on Abbot Kinney Boulevard in Venice, California, rethinking the traditional shopping experience around climbing culture, creativity, and community.

Rather than simply dedicating more floor space to climbing equipment, Arc’teryx designed the location as a place where people could gather, exchange knowledge, and spend time together.

Photography by Julian Berman; courtesy of Arc’teryx

“We started this new concept with a desire to reimagine traditional retail as a community-driven experience hub,” explains Whitney Kirk, Director, Future Concepts at Arc’teryx. “Inspired by the climbing ethos of ‘sharing beta’—exchanging knowledge, insights and experiences—we set out to create a space that brings people together, builds meaningful connections and deepens their relationship to the brand.”

That philosophy informed everything from the layout and materials to the furniture and programming.

Photography by Julian Berman; courtesy of Arc’teryx

For Senior Retail Designer Kirsty Marsland, the existing building provided an opportunity to establish a distinct architectural identity without relying on overt references to climbing. Original timber beams and columns remain exposed throughout the interior.

Photography by Julian Berman; courtesy of Arc’teryx

Those elements are complemented by a deliberately restrained selection of materials. Galvanized steel draws inspiration from the texture of granite rock faces, while Douglas fir plywood brings warmth to the interior. Red upholstery and furniture provide occasional bursts of color, drawing from Arc’teryx’s signature Dynasty red.

Photography by Julian Berman; courtesy of Arc’teryx

“The materials aren’t intended to mimic the crag directly,” Marsland explains. “Instead, the crag is the conceptual starting point for the design—a place to gather that feels informal, joyful, and dynamic. It’s this spirit that shapes the space, rather than any literal reference to the crag itself.”

Photography by Julian Berman; courtesy of Arc’teryx

The climbing wall itself occupies a prominent position near the front of the store, establishing an immediate connection between the activity inside and the street beyond. Developed in collaboration with Grasshopper, the wall was integrated into the surrounding millwork rather than treated as a separate installation.

Photography by Julian Berman; courtesy of Arc’teryx

Local climbing gym Long Beach Rising helped develop the routes, arranging the holds with an attention to composition that gives the wall a sculptural quality. Some of the holds are even made from clay.

That emphasis on local collaboration extends to the Beta Lounge, where furniture by Los Angeles design studio Waka Waka offers a place to sit, read, and connect.

Photography by Julian Berman; courtesy of Arc’teryx

“We were looking for light, movable furniture that we could rearrange easily when using the climb wall,” Kirk explains. After meeting Waka Waka founder Shin Okuda and his wife and creative collaborator, Kristen Dickson-Okuda, Kirk says the team knew they’d found the right fit. “They were so open and really understood what we were trying to do with the space,” she adds.

Photography by Julian Berman; courtesy of Arc’teryx

That adaptability extends to the architecture itself. Tables on the retail floor can be repositioned for workshops, gatherings, and other programming, while an outdoor patio provides additional room for events and screenings.

An existing wall was sandblasted to expose the brick beneath and reveal its natural texture. “It brings a softness and raw tactility to the space,” Kirk says. “It offers a visual pause, provides a canvas for our Arc’ Presents films, and lets the building’s history become a part of the story.”

Photography by Julian Berman; courtesy of Arc’teryx

Arc’ Presents is a rotating series of climbing films and related content. Elsewhere, displays combine athlete photography with artifacts, books, and personal narratives that explore the preparation and experiences behind significant climbs. Climbing guidebooks and copies of Alpinist and Summit Journal in the Beta Lounge give visitors another reason to linger.

Photography by Julian Berman; courtesy of Arc’teryx

While the Abbot Kinney location is Arc’teryx’s fourth store in Los Angeles, it represents a departure from the brand’s established retail format. Beyond its specialized assortment, the differences extend to the materials, fixtures, circulation, and approach to storytelling.

The concept also suggests a broader shift in how physical retail spaces can operate. Rather than treating community programming as an occasional addition to shopping, Arc’teryx has made it a defining part of the architecture. The climbing wall, movable furniture, and gathering spaces support activities that don’t necessarily involve making a purchase.

Photography by Julian Berman; courtesy of Arc’teryx

For Kirk, that adaptability is essential to the store’s long-term success. “Our approach was to create a flexible, multi-purpose environment that could evolve with the needs of the local community.”

Whether gathering for a film screening, exchanging climbing advice, or spending an afternoon reading in the lounge, visitors have plenty of reasons to stop by beyond shopping. For Arc’teryx, the culture of climbing has become the foundation for a different kind of retail experience.

Photography by Julian Berman; courtesy of Arc’teryx

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.

When New Yorkers land in Los Angeles, the first thing that rattles them is, “Where is everyone?” Unlike the bustling life on Manhattan sidewalks, people in LA tend to stay in their bubbles. Life in this city is deeply insular that way. But you adapt. You curate a bubble of haunts and neighborhoods, and then you navigate to those bubbles from inside another bubble: your car, or, if you’re Gen Z, a Waymo.

Holland Denvir tackled that problem head-on in 2024 when they co-founded LA Design Week/end (LAD/W) alongside Meghan McNeer, who serves as creative director. Now in its third year, the festival brought together more than 130 designers, studios, galleries, and brands across more than 15 Los Angeles neighborhoods during the first week of October, drawing thousands of locals and visitors beyond the beaches and Hollywood sign to discover what makes this city tick: its creative community.

LA Design Week/end co-founder Holland Denvir helped bring together more than 130 designers, studios, galleries, and brands for the festival’s third edition. Photography by Michelle Pullman.

Attempting to make the rounds at all the studios involved would be overwhelming, but like a Choose Your Own Adventure book, the fun is in discovering how many versions of the festival you can experience. What follows is my experience and chosen stops at LA Design Week/end 2026.

Work and gallery spaces inside Small Green Door. Photography by Sydni Stearns.

My first stop was Small Green Door (SGD), a creative studio set in an unassuming cluster of warehouses on the only tree-lined street in Boyle Heights’ industrial zone. A bright soul waved me into the courtyard—Denvir, as I later learned. There, we met SGD’s co-founder Leo Estévez, who graciously walked us through the complex, which includes artist workspaces, an R&D kitchen, several galleries, and even a bunker.

After the Tide, an open-call group show curated by Nadia Khagani and Rose Zhang, gathered 19 artists and designers whose work is shaped by the forces of nature—mostly ceramics, many with a gothic edge. A sonic water installation by Edge Sound Research grounded the presentation, alongside sand pedestals made at the studio. While circulating through the sea of sand pedestals, I couldn’t help imagining the bay scallop and pineapple guava aguachile I’d kill to serve in Kimberly Meyer’s shallow clay bowls, featured in the show.

Before leaving SGD, Estévez handed out retro cassette cases filled with mini zines. Like a secret skate spot of yesteryear, each held a hidden green key, which supposedly gets you into the studio.

Kimberly Meyer’s Shallow Clay Bowls from ‘After the Tide,’ an open-call group show curated by Nadia Khagani and Rose Zhang at Small Green Door in Los Angeles. Photography by TJ Girard.

Over lunch with Holland at Henrietta in Echo Park, we chatted about the festival’s beginnings and evolution. They chose this small, unassuming brick storefront—a market-driven sandwich shop by day and California bistro by night, helmed by owner Mark Lesser. He regaled us with stories of growing up in the storage room of his mother’s toy store back east and the arduous process of ordering the understated tiles lining the counter’s façade.

Henrietta is a quintessential neighborhood spot with a gourmet bodega-like corner for picking up giftable olive oil, fancy chocolate bars, and bottles of wine. But the mountainous, snowy Parmesan-capped radicchio salad is what stays with me, along with the most decadent fried smashed potatoes, which were impossible to leave unfinished.

Between courses, Holland explained the thinking behind LAD/W’s approach: “We want LAD/W to be accessible to everyone. Whether you’re in the design industry or not. We want people to come discover and connect with the creatives that make LA special.”

The format is deliberately decentralized. Rather than being anchored to a convention center or a single design district, LAD/W unfolds across the city: each day centers on one or a cluster of Eastside neighborhoods, with events planned around one another so you can move by foot, bike, scooter, or Metro.

“Leave your car at home? In LA?” I asked Holland.

“I want every moment you spend participating to be about discovery and connection, not sitting in your car in traffic; we can do that any other day of the week,” they replied.

To prove this point, after lunch we walked down the block to see Our Joy is Resistance at Alabaster Gallery, hosted by Enzo. But what came next was a true example of why I really do love Los Angeles.

‘Our Joy is Resistance’ at Alabaster Gallery. Photography by Sydni Stearns.

Enter the Living Paul McCobb Museum, where I met Yogi Proctor and, later that evening, his wife, documentary filmmaker Carol Martori. Proctor, a British transplant who came to the States through skateboarding, turned his private obsession into a living museum dedicated to collecting, preserving, and studying McCobb’s 1950s Planner Group furniture and its accompanying accessory lines.

Vignettes from inside the Living Paul McCobb Museum. Photography by TJ Girard.

In the 1950s, Paul McCobb’s name was synonymous with American-made furniture. The Manhattan-based designer was even among the first to embrace the idea of a designer’s signature as a brand. By adding a watermark stamp at first, and later a foil mark, McCobb made his work easy to identify.

A collection must start somewhere: I learned Proctor first came across a McCobb piece while living in Chicago. After 20 years of collecting, his midcentury Silver Lake home (built in 1949 and remodeled in 2017) now houses a third of his collection.

Vignettes from inside the Living Paul McCobb Museum. Photography by TJ Girard.

Walking through the museum, you are surrounded by McCobb, stacked on top of more McCobb. At one point, for fun, I started to look for the non-McCobb items: a cat sculpture by the front entrance, a wall of books in the study, and anniversary cards on the nightstand. But back in the living room, the bright colors and remarkably minimal shapes of the Contempri tableware and functional objects on display caught my eye.

Proctor explained that in 1957, McCobb worked with porcelain makers in Japan on what became an early example of dishwasher-safe porcelain tableware. We talked about the trickiness of a living museum—the wear and tear that comes with actually using the objects day to day. I confessed my own hesitation about using my Wagenfeld-designed Kubus glass storage jars for fear of chipping one. But like McCobb’s work, the design is simply too brilliant not to use.

Vibrant and colorful Contempri tableware on display inside the Paul McCobb Living Museum. Photography by TJ Girard.

I then made my way to the Silver Lake Reservoir and Richard Neutra’s former home, now the Neutra VDL Studio and Residences, a National Historic Landmark and house museum committed to education, architecture, art, and culture. There, the Yamaha Design Laboratory, the company’s in-house design division, established in 1963, presented Companionship. The exhibit positioned musical instruments as companions that stay by one’s side throughout life. Ten design works and instruments were placed throughout the space for visitors to explore.

Classic guitar stand-stool designed for living with the instrument. Photography courtesy of Yamaha.

On the ground floor, we met multimedia artist and photographer Johnny Le, who served as guest curator. His photographs, taken at Yamaha’s headquarters and piano factory in Japan, were also on view. The exploded overhead view of every single part of a Yamaha piano was quite impressive. Then we moved upstairs to experience two guitar stand-stools designed for living with the instrument, and the TransAcoustic guitar, which can play music via Bluetooth.

The exhibition also included the first public showing of a prototype for Dreaming of the Sea, a low chair made with Karimoku Case that produces soothing, wave-like sounds when you sit on the cushion and move gently. The small metal balls inside roll and rub against one another, shifting from crashing waves to quiet ripples.

We ended our visit on the roof, where Manabu Kawada’s The Backrest for Sky Viewers was on display. According to Yamaha Design Laboratory, while leaning back on the plank of wood and looking up at the endless bright sky, everybody can believe in the beauty of the world.

Prototype for “Dreaming of the Sea,” a low chair made with Karimoku Case and Yamaha Design Lab. Photography courtesy of Yamaha.

By evening, I made my way to the Haas Brothers‘ studio, ready to party. Once again, the building’s exterior was unassuming—but once inside, you couldn’t help but smile with delight, surrounded by whimsical sculptures scattered throughout the fabrication shop where they were made.

The food displays by Zehra Ahmed were fittingly sculptural and playful. Among a dotted line of long-stemmed roses, two serpentine sandwiches made with braided brioche stretched more than 10 feet long atop a suede-like tablecloth, split apart and laced together to form a runner. I spent an embarrassing amount of time trying to find the seams that achieved this grand length, and I was admittedly very impressed with the execution. Dessert was a rectangular bed of sugar-dusted doughnut holes with three dipping sauces on pedestals. It felt a bit underwhelming by comparison. It wasn’t until the end of the evening that I stumbled onto the back patio, where freshly made wood-fired pizzas and a selection of natural wines were being served.

A food display by Zehra Ahmed at Haas Brothers LAD/W opening event. Photography by TJ Girard

One thing I’m still sorry to have missed: Los Angeles Sets a Table at Ravenhill Studio. The space featured two tables representing dawn and dusk, with contrasting palettes that brought clarity to a wide range of work. Cathy Callahan initially had the idea back in 2019, and it finally came together this year with curators Chelito Villaflor and Chris Albanese of Thought Forms Studio. The tablescape exhibition celebrated gathering in real life around things made by hand.

‘Los Angeles Sets a Table’ at Ravenhill Studio. Photography by Christopher Dibble.

If this edition of LAD/W proved anything, it’s that LA’s design community is bringing people together without a convention center, inviting them to leave their bubbles and stroll through someone else’s. Though many people I met were from LA or had lived here for decades, the recurring thread throughout my conversations was the pleasure of experiencing these particular parts of the city through studio visits. And of course, the people-watching and outfits at the evening events almost superseded the artwork and design on display!

Photography by Caitlin Parker

Each fall, the design world turns its attention to the year ahead: What colors and trends will shape the next 12 months? Leading paint manufacturers offer their predictions through annual Color of the Year selections, drawing on evolving aesthetics, cultural influences, and shifting attitudes toward the spaces we inhabit.

But these selections do more than anticipate what’s next. Over time, Colors of the Year have become influential trendsetters in their own right, inspiring everything from interiors and architecture to furniture, fashion, and product design. And while each brand brings its own perspective to the process, their collective choices often reveal broader shifts in how we think about color.

For 2027, greens, earthy browns, and muted blues feature prominently, reflecting a continued interest in nature, comfort, and spaces that feel personal and lived-in. As this year’s selections are unveiled, we’re taking a closer look at the shades making their mark, the thinking behind each choice, and what they might tell us about the year to come.

Photography courtesy of Valspar

Cottage Door by Valspar

Drawing on the raw, natural beauty of materials, Cottage Door by Valspar brings a sense of familiarity to the home. This muted blue reflects the growing shift toward intentional living, highlighting design choices as a form of self-reflection. Not defined by seasons or fleeting trends, Cottage Door seamlessly adapts to the natural world’s changing color palettes. Its understated character embraces the beauty of imperfection, celebrating the memories and lived-in details that personalize a space.

Read more about Cottage Door here.

Photography courtesy of Behr

Grounded by Behr

Behr’s 2027 Color of the Year, Grounded, invites the outdoors in. Merging mossy olive hues with brown undertones, the shade evokes a sense of stability. Grounded blurs the line between interiors and the natural world, transforming living spaces into natural sanctuaries.

Read more about Grounded here.

Photography courtesy of Sherwin-Williams

Celery by Sherwin-Williams

Celery by Sherwin-Williams introduces a fresh perspective to interiors, creating an organic, balanced environment within a soace. Its airy, pastel hue combines tranquility and vitality, emphasizing the relationship between interior design and well-being. Whether used as a quiet background or prominent accent, Celery brings a restorative quality to interiors, striking a balance between organic neutrals and contemporary color palettes.

Read more about Celery here.

Photography courtesy of Benjamin Moore

Webster Green by Benjamin Moore

Stepping beyond momentary trends, Benjamin Moore’s Webster Green carries the sophistication of classic design. Balancing tradition with contemporary appeal, this elegant green reflects the present while looking toward the future, bringing character to any room.

Read more about Webster Green here.

Photography courtesy of Glidden

Artifact by Glidden

Artifact, Glidden’s choice for 2027 Color of the Year, offers a fresh perspective on interiors through a calm, muted aqua hue, refreshing the home without the need for a complete renovation. A versatile backdrop for personal expression, Artifact reimagines the minimalist white trend, preserving the simplicity while introducing a delicate wash of color.

Photography courtesy of Little Greene

Marle by Little Greene

Paint and wallpaper brand Little Greene selected Marle as its 2027 Color of the Year. Mirroring the return of understated browns in both fashion and interior design, this earthy hue is designed to foster comfort and soften the surrounding space. Describing the shade as “sumptuous and impactful, yet relaxed and grounded,” Little Greene’s Creative Director Ruth Mottershead highlights the balance between richness and restraint that defines the color.

Photography courtesy of California Paints

Quiet Peace by California Paints

Quiet Peace by California Paints encourages us to slow down and take in our surroundings. This deep, moody blue creates a sense of calm while leaving room for self-expression through design. Rather than simply decorating a room, Quiet Peace helps create a thoughtful relationship between space, color, and the people who inhabit it, offering a welcome refuge from the chaos of the outside world.

Photography courtesy of Dunn-Edwards

French Press Coffee by Dunn-Edwards

Dunn-Edwards announced French Press Coffee as its 2027 Color of the Year, predicting the rise of desaturated, atmospheric hues in the coming year. This silky, rich brown evokes luxury and history, cultivating intimacy through warmth and understated sophistication.

Photography courtesy of Dutch Boy Paints

Deep Rooted by Dutch Boy Paints

As the name suggests, Dutch Boy Paints’ Color of the Year, Deep Rooted, aims to create a grounded, authentic, and dependable environment within a space. With its earthy terracotta hue and warm undertones, Deep Rooted encourages personalized, lived-in environments.

Photography courtesy of Ace Hardware

Vantage Point by Clark+Kensington

Ace Hardware’s paint brand Clark+Kensington chose Vantage Point, a radiant blue shade that brings a crisp, refreshing perspective to interiors and adds uplifting energy to everyday spaces.

Photography courtesy of Graham & Brown

Rose Earth by Graham & Brown

Inspired by the natural minerals and pigments found in Italian clay deposits, Graham & Brown’s Rose Earth connects modern spaces with historical painting practices. This subtle pink, enriched by a warm terracotta undertone, brings centuries-old influences into contemporary interiors.

Photography courtesy of C2

Pueblo by C2

C2’s 2027 Color of the Year, Pueblo, looks beyond simply finding a retreat and explores what it means to feel truly alive within a space. With its earthy pink and mauve tones, Pueblo encourages physical interaction with our surroundings, transforming interiors into spaces where people actively engage with their environment rather than simply retreat from it.

It’s a good day to be a watch enthusiast. The Louis Erard × Vianney Halter Futur Antérieur was recently unveiled—a limited-edition release that’s equal parts striking and unexpected. Despite this being the third collaboration between Louis Erard and Vianney Halter, the latest watch takes a decidedly different approach.

Photography courtesy of Louis Erard

The Futur Antérieur differs dramatically from its predecessors. Where past editions were essentially reinterpretations of an existing Louis Erard model, decorated with Vianney Halter’s signature design elements, this new release is far more elaborate, appearing instead as an adaptation of one of Halter’s iconic steampunk-inspired designs. The porthole-style dial windows, gold-plated rivets on the porthole bezels and crowns, and even the dial and hand configurations all reference the perpetual calendar Vianney Halter launched in 1998, which costs more than $200,000.

Photography courtesy of Louis Erard

Now, at a list price of about $6,000 USD (before taxes), the Futur Antérieur is obviously not a perpetual calendar, and its split dial needs a little explanation. The complete separation between its hour-and-minute dial and its running seconds dial is achieved through a rather unorthodox but straightforward solution: Each dial is driven by a separate Sellita SW100 automatic movement. This allows for both a unique time display and the ability to keep its case remarkably thin at just 8.85 mm.

Photography courtesy of Louis Erard

Speaking of dimensions, the proportions of this watch are impressive across the board. Its case measures a modest 38 mm in diameter, and articulating lugs let the Futur Antérieur conform to a wide range of wrist sizes. After spending some hands-on time with the watch, I quickly realized something unexpected: It wears incredibly well on a single-pass fabric or NATO strap, which you wouldn’t necessarily expect given its design.

Photography courtesy of Louis Erard

During my time with the watch, one key question came up. If it’s fitted with two movements, why not offer it as a dual-time watch? Personally, I like the choice of a running seconds hand, and to me, the decision seemed to echo the Antiqua it was based on more faithfully. With the Antiqua, each porthole displayed something clearly different, and having a second similar dial with another time zone would seem like too great a departure from the intended vision.

Photography courtesy of Louis Erard

According to Louis Erard, the decision was a touch more practical. The Sellita SW100, despite its compact size, is not the most accurate or easily regulated Swiss automatic movement. Thus, getting the two movements to run in harmony would be too difficult at the price point the brand aimed for, and displaying running seconds allows far more leeway for differences in accuracy between the movements.

Now, before anyone gets too up in arms about this, look at how much watch you’re getting for the price of entry. It’s a statement piece, and if you want greater accuracy, that equivalent dollar figure is best spent on one of Grand Seiko’s Spring Drive watches or a Tudor with METAS certification (with a stated accuracy of 0 to +5 seconds per day).

Photography courtesy of Louis Erard

My one gripe in all this? These are very scarce, and likely long gone from the primary market. Louis Erard is only making 178 of each dial configuration, along with 78 collector’s box sets containing both watches for CHF 9,900 (approximately $12,075).

Photography courtesy of Louis Erard

Before arriving at its permanent home in Seattle’s Eastlake floating-home community, this two-story residence took a journey of its own. Built entirely on a concrete float at Dyna Builders‘ Ballard docks, the house was towed across the lake and installed in its Eastlake slip. Now, with expansive glass walls opening directly onto the water, Modern Beach House feels firmly connected to its surroundings, even as it floats above them.

Photography by Andrew Giammarco

Designed by Hoshide Wanzer Architects + Interiors and constructed by Dyna Builders, the 2,123-square-foot residence combines the relaxed character of a Nantucket beach house with the clean lines and material richness of Pacific Northwest architecture. Its three bedrooms and open living spaces accommodate an active family whose daily routines revolve around swimming, boating, and entertaining.

Photography by Andrew Giammarco

“The homeowners were drawn to the relaxed, coastal aesthetic of Nantucket, and that influence really helped shape the character of the home,” says Ren Chandler, president and founder of Dyna Builders. Rather than relying on overt nautical motifs, the design incorporates weathered wood, tactile finishes, and a palette of blues, greens, and warm neutrals.

Photography by Andrew Giammarco

Constructing a house on water requires a different approach from building on solid ground. The new concrete float provides a stable foundation for the home while accommodating utilities and simplifying long-term maintenance. Building at Dyna’s Ballard docks gave the team easier access to trades and equipment while minimizing disruption to neighboring floating homes.

“Weight, balance, and structural integrity are all critical considerations, and everything needs to be carefully coordinated from the beginning,” Chandler explains. Unlike a conventional foundation, the floating structure requires precise weight distribution, influencing decisions about everything from the structural system to interior finishes.

Photography by Andrew Giammarco

On the main level, the kitchen, dining area, and living room share an open plan oriented toward Lake Union. Large Fleetwood glass doors slide into pockets within the fireplace massing, allowing the living spaces to extend seamlessly onto the waterfront deck. The chimney continues through both floors, functioning as an architectural spine that organizes the interior.

Photography by Andrew Giammarco

A deep blue sectional anchors the living room, complemented by sculptural lounge chairs and a softly textured fireplace surround. Nearby, a built-in dining banquette wrapped in patterned upholstery offers generous seating beneath a chandelier of colorful glass globes. The kitchen pairs warm wood cabinetry with white upper cabinets and dramatically veined countertops.

Photography by Andrew Giammarco

Durability is central to the design. Weathered yakisugi siding extends from the exterior into the stairwell, while cork-rubber flooring, stain-resistant cabinetry fronts, and resilient tile accommodate wet gear, pets, and frequent gatherings. A dedicated mudroom with interior and exterior showers provides a practical transition between the lake and the living spaces.

Photography by Andrew Giammarco

“Living directly on the water introduces some unique considerations, particularly when it comes to moisture, durability, and long-term maintenance,” Chandler notes. Careful detailing around exterior openings, decks, and exposed surfaces helps the home withstand the Pacific Northwest’s damp climate.

Photography by Andrew Giammarco

Upstairs, the primary suite opens directly onto a private deck overlooking Lake Union. Glass railings preserve the view, while a corner fireplace, upholstered headboard, and warm wood millwork create a more intimate atmosphere.

Photography by Andrew Giammarco

An adjacent dressing area features a particularly striking detail: a sculptural wood partition composed of vertically arranged slats with carved, undulating profiles. Integrated storage turns the partition into both a functional element and a tactile architectural feature.

Photography by Andrew Giammarco

The two additional bedrooms maximize their compact footprints with custom built-in bunks featuring internal steel framing fabricated in Dyna’s metal shop. One features illustrated maritime imagery, while the other incorporates botanical motifs.

Photography by Andrew Giammarco

The stairwell offers another example of the project’s custom craftsmanship. Illuminated resin panels form a translucent screen alongside the steel-and-wood stairs, offering a subtle nautical reference while casting a soft glow across the circulation space. Carefully positioned ribbon windows and layered window treatments address privacy within the closely spaced floating-home community without sacrificing natural light.

Photography by Andrew Giammarco

For Chandler, the most successful aspects of the project are not necessarily the most visible. “There’s a tremendous amount of engineering and coordination that goes into a project like this, but ideally, none of that is particularly apparent when you’re walking through the house,” he says.

Photography by Andrew Giammarco

That balance between technical precision and everyday comfort defines Modern Beach House. With its adaptable interiors, expressive materials, and close relationship to the lake, the residence makes an unconventional way of living feel entirely natural.

A well-designed product can solve problems, but getting that product into the hands of the people who need it is another challenge entirely. Increasingly, designers are being asked to think beyond form and function to consider business models, manufacturing, marketing, and more.

In the latest episode of SURROUND Presents, METROPOLIS Editor-in-Chief Avi Rajagopal explores this evolving role with Souvik Paul, founder of medical device startup Aurie, and Sinclair Smith of the School of Visual Arts (SVA) MFA Products of Design program. Their conversation examines what it takes to move from identifying a problem to developing a viable solution—and why entrepreneurship is becoming an essential part of a designer’s education.

For Paul, the journey began on Wall Street, where he worked in finance before deciding to pursue a career in industrial design. Just two weeks before starting graduate school at SVA, his future sister-in-law sustained a spinal cord injury in a car accident. The experience fundamentally changed his approach to design, prompting him to dedicate his studies to understanding how products and services could improve the lives of people living with disabilities.

That work eventually led to Aurie, a medical device startup developing a reusable catheter system for people living with spinal cord injuries, spina bifida, and multiple sclerosis. Unlike conventional single-use catheters, Aurie’s catheter can be reused up to 100 times. The compact system automatically cleans, disinfects, and lubricates the catheter between uses. The approach reconsiders not only the physical product but also the economics of continued catheter use.

Yet designing the system was only one part of the challenge. After graduating, Paul worked as a design strategist at Johnson & Johnson, where he began to understand the difficulties of bringing new medical technologies to market. He eventually realized that if he wanted Aurie to exist, he would need to build the business behind it.

“If I believe that this product could—and should—exist in the world, I’m gonna have to do the legwork,” Paul recalled on SURROUND Presents. “I’m gonna have to take it across the finish line.”

That realization speaks to a broader shift in design education. At SVA, Smith has been rethinking how the MFA Products of Design program prepares students to develop ideas beyond the prototype stage. Drawing on his experience running the school’s Ground Floor Incubator, he has integrated business modeling and entrepreneurship more directly into the curriculum, allowing students to develop the commercial frameworks for their thesis projects alongside the products themselves.

Paul’s experience illustrates this broader approach. For him, the skills developed through design education continue to inform his work, whether he’s collaborating with other designers, communicating with investors, or navigating the regulatory requirements of medical device development.

The conversation ultimately highlights how designers increasingly need to understand the larger systems that determine how—and whether—their ideas can make a difference.

Listen to the full episode of SURROUND Presents, presented by SVA, to hear Avi Rajagopal’s conversation with Souvik Paul and Sinclair Smith.

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.