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

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

Easy Does It in Spice. Photography courtesy of FLOR

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

Midnight Muse in Navy. Photography courtesy of FLOR.

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

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

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

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

Midnight Muse in Fawn. Photography courtesy of FLOR.

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

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

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

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

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

New York’s historic Gramercy Park neighborhood may be known for its private park, but inside one nearby apartment, openness and sunlight were in short supply. Studio Rosenthal was tasked with changing that. Originally built as a two-bedroom, the home had been converted into a three-bedroom, with partitions that encroached on the living area and limited the flow of natural light. Working as both architect and interior designer, Studio Rosenthal undertook a gut renovation that restored the apartment to its original two-bedroom configuration, reclaiming space for the living room and allowing sunlight to travel more freely throughout the home.

Photography by Adrian Gaut

The clients, a couple based primarily in Australia who split their time across several countries, wanted a calm and highly functional retreat from New York’s cultural energy. Studio Rosenthal shaped the apartment around their lifestyle as international, part-time residents.

Photography by Adrian Gaut

Throughout the apartment, new wood flooring and trimless lighting establish a quiet backdrop for a restrained material palette. Whitewashed oak cabinetry, rope wall coverings, and a Lapitec kitchen island and counter extend across the kitchen and living areas. In the primary bedroom, unfilled travertine shelving is integrated into solid European oak cabinetry that also conceals the apartment’s HVAC units, while Pietra Gray marble forms a sculptural vanity in the powder room.

Photography by Adrian Gaut

Several pieces were commissioned specifically for the space. A walnut entry console by Jacques Jarrige is mounted near the front door, while Eric Schmitt designed the primary bedroom’s fully upholstered headboard, with sconces integrated directly into the piece. A custom coffee table in straw marquetry completes the trio in the living room.

Photography by Adrian Gaut

Belgian, Brazilian, and Japanese influences inform the interior, contributing to the refined, hotel-like atmosphere that carries from the entry to the primary bedroom and powder room. Works by Sheila Hicks, Jenny Holzer, and Rafi Ajl add another layer to the rooms, complementing the materials, custom furnishings, and architectural interventions that transformed the apartment.

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

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

Photography courtesy of Rick Tegelaar

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

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

Photography courtesy of Rick Tegelaar

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

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

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

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

Photography courtesy of Moooi

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

Photography courtesy of Moooi

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

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

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

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

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

Photography by Ronald Smits

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

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

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

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

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

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

For a dog whose everyday wardrobe consists of little more than a red collar, Snoopy has developed a surprisingly impressive fashion résumé. Over the decades, designers including Chanel, Hermès, Dior, Armani, and Givenchy have dressed the Peanuts character, with some of those creations appearing in a 1990 exhibition at the Louvre in Paris. Now, a new generation of designers is getting its turn.

Courtesy of Peanuts Worldwide

Opening Sept. 2 in Manhattan’s Meatpacking District, Snoopy in Style NYC brings together archival fashion, new designer commissions, and installations exploring the Peanuts character’s influence across fashion, sports, music, and popular culture. The 16,000-square-foot exhibition follows a previous presentation in Paris, but expands the concept for New York with 10 immersive zones curated by The Charles M. Schulz Museum and Research Center.

Snoopy and Woodstock designs by BODE. Courtesy of Peanuts Worldwide.

Fashion is at the center of the exhibition, with BODE, Christopher John Rogers, Coach, Collina Strada, GAPStudio designed by Zac Posen, Kith, Levi’s, LUAR, Sandy Liang, and others creating new looks for Snoopy and Woodstock.

Snoopy and Woodstock clothing designed by STAPLE. Courtesy of Peanuts Worldwide.

“They all have a way of interpreting looks for him that display some semblance of their own taste, but give Snoopy the personality and style he deserves,” explains Melissa Menta, SVP of global brand and communications at Peanuts, adding that the designers were given complete freedom in their interpretations.

Courtesy of Peanuts Worldwide

By placing archival pieces alongside the new commissions, Snoopy in Style NYC also creates a timeline of sorts, showing how different generations of designers have interpreted the same deceptively simple character.

“Snoopy is the only character who can claim a decades-long relationship with designers dating back to the early ’80s,” Menta says. “It’s been incredible to see designers embrace designing for Snoopy and see how they make him ‘their own’ with their designs.”

Courtesy of Peanuts Worldwide

That adaptability may have something to do with Snoopy’s original design. Charles M. Schulz gave him relatively few visual ingredients to work with: a white body, black ears and nose, and an economical hand-drawn line. What Snoopy lacks in visual complexity, however, he makes up for in personality.

“What I think is really at the heart of it for designers is the simple art and beauty of Charles Schulz’s line,” Menta explains. “That, coupled with the multi-faceted personality of Snoopy, makes it easy for designers to want to make their own mark.”

Courtesy of Peanuts Worldwide

Beyond fashion, the exhibition features a dedicated tennis installation that explores Schulz’s relationship to the sport, including his friendship with Billie Jean King and his advocacy for Title IX and the Women’s Sports Foundation. Joe Cool’s Listening Lounge turns to another part of Peanuts history, celebrating the music of Vince Guaraldi through a DJ booth, rare albums, archival material, and music-inspired merchandise. The New York edition also highlights the comic strip’s link to the city, including the fact that the newspaper syndicate that originally debuted Peanuts was based there.

Courtesy of Peanuts Worldwide

For a character first drawn in 1950, Snoopy has proved unusually capable of moving between mediums and generations without requiring much reinvention. His costumes change, as do the designers dressing him and the cultural worlds surrounding him, but that spare silhouette remains instantly recognizable.

Designs by Christopher John Rogers. Courtesy of Peanuts Worldwide.

Snoopy in Style NYC is on view at 25 Little West 12th Street in New York City until Sept. 26.

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.

Some NFL quarterbacks choose to spend their fortune in a wildly ostentatious fashion, buying private jets, yachts, $300,000 watches, or flashy supercars. Joe Flacco, 2013 Super Bowl MVP with the Baltimore Ravens and current Cincinnati Bengals quarterback, built a home near where he and his wife, Dana, grew up that perfectly suits his large family of seven. 

Photography by Brian Wetzel Photography

Add in that five of the seven are active school-aged children (four of them boys), and it’s obvious this project took some serious design savvy. Dana Bergman Falcione and Erica Vassalotti, co-founders of Philadelphia–based interior design practice Bergman Vass, collaborated with architecture firm Asher Slaunwhite + Partners to make this home work. The result is a refined, minimalist aesthetic that balances sophistication with the demands of a large, busy family. 

Photography by Brian Wetzel Photography

Though the couple bought this 3.5-acre plot of land in the Philadelphia suburb of Haddonfield, New Jersey, years ago, they only decided to build their forever home once they knew their family was complete. More than a decade and five kids later, the Flaccos commissioned the architects and designers to demolish the existing house and custom-build this 10,000-square-foot home. 

Photography by Brian Wetzel Photography

Their number one requirement: They wanted the home to be functional for how they actually live. “The spaces that were really important to them were the kitchen, pantry, homework room, and mudroom,” Falcione and Vassalotti explain. “That’s where functional design would ease their everyday lives.”

Photography by Brian Wetzel Photography

The mudroom was an absolute essential for this sports-loving family. The home’s main entrance opens into the mudroom, which includes laundry facilities, so kids can come home, ditch their sports gear, stow their backpacks, and toss dirty clothes straight into the wash. Individual lockers for each child feature metal-mesh doors and keep everything in its place. 

Photography by Brian Wetzel Photography

Thoughtful material selections for hard surfaces, millwork, stone, and casegoods were key to adding polish while creating durable spaces that could take a beating from the kids. 

Photography by Brian Wetzel Photography

“We knew the family was going to need practical materials, performance fabrics, wool rugs that were naturally stain-resistant, and surfaces that were wipeable,” the designers share. “We didn’t let this stop us from selecting lighter fabrics or elevated wallpapers; we just ensured the materials were durable and would be able to stand the test of time, such as vinyl wallpaper made to look like grasscloth and performance linens. We brought in a level of refinement with throw pillows that were in mohair and silk linen but more easily replaceable.” 

Photography by Brian Wetzel Photography

The family’s lifestyle also dictated the circulation flow. “Through the main hall, the first stop is the homework room, with individual desks and a table in the center,” the Bergman Vass duo says. “The pantry is a working kitchen across from the homework room that’s nearly as large as the main kitchen and includes snack cubbies for the kids to pop in and grab [food] while working on homework.” 

Photography by Brian Wetzel Photography

Despite their family’s size, Joe and Dana didn’t prioritize privacy far beyond their primary suite, which includes a spa-like bathroom, two large closets, and a separate vestibule for Dana’s shoes. Their daughter’s bedroom is across the hall from their own, while their sons are off in a separate wing. The couple requested that the boys share rooms to foster “a sense of togetherness and to not lose sight of that—despite the home’s large square footage,” the designers explain. In response, Bergman Vass designed a wing with two bedrooms, each shared by two brothers, connected by a Jack-and-Jill bathroom for all four boys. From there, a hallway leads to the wellness room and, ultimately, the sports court. 

Photography by Brian Wetzel Photography

“The sports court and gym were big must-haves,” the designers explain. “Joe needed a space to work out, and it created an area where all of the kids could play, especially when friends were over.” 

Photography by Brian Wetzel Photography

Though this may be a 10,000-square-foot house, the thinking behind its design comes down to the same things that matter in any busy family home: a place for backpacks, snacks, homework, laundry, and, in this case, a whole lot of sports. 

For more than a decade, the original Osteria Morini was a constant in New York’s dining scene. The Northern Italian restaurant, opened in 2010 under chef Michael White, quickly became a go-to Soho spot. So it came as a surprise when Altamarea Group announced that Jun. 1, 2024, would be its final day of service. At the time, the restaurant group confirmed plans to relocate a new, “refreshed” version of the longtime favorite—and that recently came to life as Piccolo Morini.

Photography by Mcguire McManus

Opened in June, Piccolo is just a short walk down the street from the original Morini. The new 92-seat restaurant trades some of its predecessor’s formality for a more social, energetic approach centered on handmade pasta, martinis, and shareable plates.

That shift extends to the interiors. “We didn’t erase the old identity to create the new one,” says Alsun Keogh of Nusla Design, who led the project. “We literally layered the new generation onto it.” To translate that evolution into the interiors, Keogh started with the design concept of an Italian grandmother’s living room, reimagined by her cool grandchild.

Photography by Mcguire McManus

“It was about loosening it up,” she explains. That meant keeping pieces with a genuine connection to the original restaurant, including its solid-wood butcher-block tables, restored multi-colored trattoria chairs, vintage mirrors, and Il Fanale Murano-shade lighting—but throwing out the traditional rules for using them.

In the new space, those familiar pieces now sit against oxblood walls, a dark ceiling, forest green banquettes, linen café curtains, raw concrete, contemporary art, and unexpected patterns and textures.

Photography by Mcguire McManus

“We kept thinking of Piccolo as the younger generation taking possession of something they genuinely love,” Keogh says. “They’re not throwing out their grandmother’s furniture—they’re putting their own things next to it, changing the music, and inviting their friends over.”

Just as a real grandmother’s living room might contain pieces that are inherited, practical, or even “slightly questionable,” Keogh explains, she sourced items from previous Morini restaurants, auctions, vintage dealers, flea markets, garage sales, and even her own collection.

Photography by Mcguire McManus

Take a look at the hutch in the dining room: It contains an old Morini wine-cork bucket next to antique books, family silver, vintage Italian signs, a new lamp, a Le Creuset pot, and a live plant. Elsewhere, an intentionally unstructured gallery wall brings frames, photographs, maps, needlepoint, and decorative plates together without the formality of a grid.

Photography by Mcguire McManus

Color was another way Keogh signaled that Piccolo belonged to a different generation. A palette of deep oxblood burgundy, forest green, amber, burnt orange, coral, and flashes of yellow could belong in an older Italian interior, but the saturation is amped up to feel more contemporary.

Photography by Mcguire McManus

The clearest expression of the generational shift is outside: The sign features Morini in the original large orange letters, with Piccolo added above in loose yellow neon script. “Piccolo is lighter and cheekier, almost as though someone came along afterward and wrote their name above it,” the designer says. “In a way, that’s the entire project in two typefaces.”

Photography by Mcguire McManus

Back inside, the restaurant is divided into two distinct moods: a warm, intimate dining room and a lively neighborhood bar. The designs suit different kinds of evenings—but both work together. Keogh imagines the dining room as a place to bring your parents, have a long dinner, and order a “serious” bottle of wine, while the bar is darker, younger, and a “little less behaved.”

Photography by Mcguire McManus

That flexibility also gets at the larger question Keogh faced with Piccolo: How do you bring back a restaurant people already know without simply rebuilding it?

At 40 Kenmare Street, the answer isn’t a replica of Osteria Morini or a complete break from it. The old tables, chairs, mirrors, lights, and even the name remain recognizable, but they’re surrounded by enough new personalities to give Piccolo an identity of its own.

The eaves at Moment project six feet from the wall line and run unbroken around all four sides of the house, a depth carried by a two-story timber frame on a hillside site in Sakai City, Osaka. Satoshi Kurosaki of APOLLO Architects & Associates designed the 2,300-square-foot residence with a frame engineered by Motoi Nomura Structures. That expansive overhang, together with the wall surrounding the property, guides the architecture of the rest of the residence.

Photography by Masao Nishikawa

A retaining wall and perimeter enclosure conceal the interior from the sloping street below, so privacy is handled at the boundary rather than at the window. The eaves, meanwhile, prevent direct sun on the south elevation and rain on the glazing.

Photography by Masao Nishikawa

Past the entrance gate, the architecture switches from seclusion to openness through an entry where lacquerware, woodwork, bonsai, and artworks are arranged like an exhibition.

Photography by Masao Nishikawa

Walnut boards line the underside of the eaves, illuminated by lighting designer Ken Okamoto of Ripple Design. After dark, the lit soffit emphasizes the depth of the structure and defines the house at night.

Photography by Masao Nishikawa

A dry garden of vintage olive trees and other plantings surrounds the residence at ground level. Outdoor furniture sits beneath the eaves, sheltered from the elements but positioned to take advantage of the site’s elevation.

Photography by Masao Nishikawa

Inside, that balance between enclosure and openness continues. The staircase runs along the windows and serves as a sculptural object while marking the shift between floors; it lands on a second-floor library, where a built-in sofa bench turns the landing into a second living area with its own view.

Photography by Masao Nishikawa

Two children’s rooms open onto a shared cantilevered balcony and can be combined or divided with movable partitions, allowing the space to change as the family’s needs do.

Photography by Masao Nishikawa

Throughout Moment, the oversized eaves do more than give the house its defining silhouette. Together with the perimeter wall, they create layers of shelter and privacy without closing the residence off from its surroundings. The result is a house that feels protected at its edges while remaining open to the garden, views, and changing light beyond them.

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

Photography courtesy of Audo Copenhagen

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

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

Photography courtesy of Audo Copenhagen

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

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

Photography courtesy of Audo Copenhagen

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

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

Photography courtesy of Audo Copenhagen

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

In the 17 years since Singer Vehicle Design was founded, the California-based company has become one of the most recognizable names in the world of restomods, restoring and modifying classic Porsche 911s through what it calls “reimagining.” At Monterey Car Week 2026, Singer took that approach somewhere new, revealing its first collaboration with Louis Vuitton.

Photography courtesy of Singer Vehicle Design

The partnership produced two distinctly different cars. The Porsche 911 Reimagined by Singer – Classic combines Louis Vuitton’s saffron, cobalt blue, and yellow with the fashion house’s long history of travel, luggage, and watchmaking. Its counterpart, the Porsche 911 Reimagined by Singer – Classic Turbo, was conceived with Louis Vuitton Artistic Director of Women’s Collections Nicolas Ghesquière and takes a more unexpected nautical turn.

The Porsche 911 Reimagined by Singer – Classic. Photography courtesy of Singer Vehicle Design.

According to Singer’s founder and executive chairman Rob Dickinson, the twin 911s were years in the making, with teams traveling between Paris, California, and England throughout the process.

Sketch courtesy of Singer Vehicle Design

“We were constantly exchanging ideas, with an enormous volume of renderings, digital design data, paint, and leather samples, and then photographs of the cars as they evolved,” he says. “Our two houses brought different expertise to the project, but we share the same standards and the same ambition. Every major decision was made together.”

Porsche 911 Reimagined by Singer – Classic Turbo. Photography courtesy of Singer Vehicle Design.

What became an unusually comprehensive collaboration began with something much smaller: a Singer client wanted a Louis Vuitton clock installed in their car. Louis Vuitton approached Singer about creating it, and Singer chief strategy officer Mazen Fawaz says the conversation quickly expanded until “the collaboration was extended to encompass every element of the car.”

Photography courtesy of Singer Vehicle Design

Word of the project also traveled within Louis Vuitton, eventually reaching Ghesquière. “This in turn led to a collaboration on a second car, which became the turbocharged cabriolet,” Fawaz explains.

Photography courtesy of Singer Vehicle Design

The original coupe shows just how far the project moved beyond a dashboard accessory. La Fabrique du Temps, Louis Vuitton’s watchmaking workshop in Switzerland, developed a removable mechanical clock inspired by the house’s signature Tambour watch, but integrating it convincingly meant Singer couldn’t simply drop the timepiece into the existing dashboard. The surrounding speedometer, tachometer, and gauges were ultimately redesigned to speak the same visual language, turning what began as one new component into a roughly year-long exercise in rethinking the instrument panel.

Photography courtesy of Singer Vehicle Design

That same level of attention extends throughout the cabin. Natural-toned leather references the cowhide associated with Louis Vuitton luggage, with yellow stitching and diamond embossing adding subtler connections to the house’s leatherwork. Even the hardware received attention: Plastic components that might normally go unnoticed gave way to metal switches, locks, vents, and controls, finished with techniques borrowed from watchmaking.

Photography courtesy of Singer Vehicle Design

Outside, the saffron bodywork is paired with cobalt blue accents and a specially designed roof rack that can carry luggage, skis, or a surfboard. That emphasis on packing for the road reaches surprisingly far back into Louis Vuitton’s history, as the house began making automobile-specific trunks in the late 19th century.

Photography courtesy of Singer Vehicle Design

The drop-top Classic Turbo takes the collaboration in an entirely different direction. Conceived with Ghesquière, the Calcaire Lutétien white cabriolet looks to classic motorboats for many of its cues. Wood becomes a defining material, appearing on the bumpers and throughout the storage areas, including a rear luggage deck whose varnished finish recalls the deck of a runabout. Even the lightweight white roof contributes to the nautical character, its stretched form evoking a sail.

Photography courtesy of Singer Vehicle Design

The clock is also handled differently, with the timepiece positioned in the center console. Gold-toned gauges and natural leather continue the material palette, while the varnished wood compartment behind the seats has been shaped around both the car’s luggage and removable roof. One of the more playful references appears at the gearshift, where a leather drawstring borrows the familiar closure of Louis Vuitton’s Noé bag.

Photography courtesy of Singer Vehicle Design

Both cars are accompanied by bespoke capsule collections that carry their individual design languages beyond the vehicles themselves. Clothing, helmets, driving accessories, and luggage were developed around each car, with some pieces designed specifically around how they would be transported. For the coupe, that means a Louis Vuitton surfboard and a pair of skis that can ride on the roof rack.

Photography courtesy of Singer Vehicle Design

“Witnessing the absolute confidence of an organization like Louis Vuitton at the peak of its powers, and channeling that focus through Singer’s own unique lens was pretty thrilling and also challenging,” Dickinson says. “This was an incredible joint effort from the team, which I think highlights the celebration not just of cars but of the human element—the craftsmanship, art, and engineering that lies at the heart of both companies.”

Photography courtesy of Singer Vehicle Design

The two cars mark the first collaboration between Singer and Louis Vuitton, but perhaps not the last. “If the opportunity arose to work with the team at Louis Vuitton again,” Fawaz says, “we’d be up for the challenge.”

For now, the brands are planning to take the cars—and elements of their accompanying collections—to additional locations around the world in the coming months.

Photography courtesy of Singer Vehicle Design

The rise in retro-style tech signals a significant shift in consumer electronics, as both established brands and startups move away from all-in-one devices and embrace more purpose-built alternatives. This trend is driven by more than just nostalgia: These gadgets reflect a growing desire to reduce screen fatigue, combat social media addiction, and return to a simpler time before the constant noise of online connectivity and digital saturation. 

Aesthetically, the market is pushing back against the uniformity of modern smartphones that conceal everything behind sleek, opaque shells. In contrast, the resurgence of transparent and semi-transparent designs from the 1980s and ’90s offers a sense of distinction and authenticity. Being able to see an instrument’s inner mechanics, even without technical understanding, can create a greater sense of connection to the object itself. Rather than hiding how a device works, transparency makes its components part of the design.

The following eight products integrate contemporary functions—such as Bluetooth connectivity and high-capacity power support—within the familiar formal language of a bygone era. Wrapped in translucent shells of icy blue, neon green, and clear polycarbonate, these gadgets turn internal components into visible design elements. Whether shaping a standalone keyboard or handheld console, this transparent aesthetic offers a tactile counterpoint to our increasingly screen-based lives without sacrificing contemporary performance.

8 Transparent Tech Gadgets Bringing Retro Design Back

Photography courtesy of Beats by Dre

1. Beats Studio Buds +

The transparent version of Beats Studio Buds + arrives as a striking example of mechanics-forward design. By shedding the opaque, monolithic casings typical of contemporary, increasingly infinitesimal audio, Beats has put the earbuds’ inner workings on display. The frosted aesthetic takes on the minimalist yet organic quality of space-age design, perhaps even the shifting interior backdrop of a Jamiroquai music video. With up to 36 hours of listening time with the charging case, this product proves the transparent retro-tech trend hasn’t come at the cost of the latest performance advancements.

Photography courtesy of Analogue

2. Analogue3D Prototype Limited Edition

A modern console designed to play original Nintendo 64 cartridges, the Analogue 3D Prototype Limited Edition is a high-fidelity homage to the golden age of gaming. It pairs compatibility with original N64 cartridges with 4K output and contemporary hardware. Wrapped in a limited-edition semi-transparent shell available in Ghost, Glacier, Atomic Purple, Extreme Green, and Ocean,, the console evokes the tactile thrill of Saturday mornings for many millennials.  That’s what it offers, nothing more. No chat notifications pop up, and no split video-call screens show opponents in faraway places chiming in. 

Photography courtesy of MoMA Design Store

3. Holo Digital V2 Camera by Manual

This transparent camera by Manual embraces the intentional imperfections of early digital, lo-fi photography, a welcome alternative to the hyper-processed, over-enhanced images of contemporary smartphones. Housed in a clear, revealing chassis that highlights its internal circuitry, the Holo Digital V2 nods to a more considered mode of image-making, even if the result is grainier than what is deemed acceptable these days. It strips away the digital noise, focusing instead on the tactile experience of the click and capture. The V2 is set for release at MoMA Design Store in September. 

Photography courtesy of Mondo

4. Mondo Freestyle Transparent Headphones

The Mondo Freestyle Transparent Headphones harness the zany postmodern aesthetics of ’80s audio gear with contemporary, crystalline updates. Bright orange ear cushions contrast with the transparent earcups, revealing the drivers within and turning the functional act of listening into sartorial spectacle. Beyond nostalgia, the decidedly old-school set pairs 36mm drivers with Bluetooth 5.3 and up to 22 hours of playtime. It’s a playful, hardware-forward accessory that prioritizes the visceral experience of music over the invisible, often slippery, software-locked passivity of standard earbuds.

Photography courtesy of Lofree

5. 1% Transparent Mechanical Keyboard by Lofree

Lofree makes perhaps the ultimate expression of the “clear” trend with the 1% Transparent Mechanical Keyboard, rendering every keycap, switch, and chassis component in crystal-clear, ice-like polycarbonate. Typing becomes a rhythmic, mechanical performance, exposing the underlying circuit board and the precise movement of every stroke. Each keystroke takes on more visceral and technical weight. It’s a far cry from the sterile, silent surfaces of standard office equipment. 

Photography courtesy of MoMA Design Store

6. Retro Beeper Portable Power Bank

For a time, beepers (also known as pagers) were an essential communication device, a step in the call-and-response process that has now been collapsed into smartphones and altogether replaced by text messaging. “Calling back” the small, hip-mounted accessory in what can only be described as an unabashed nostalgic exercise, the Retro Beeper—available through MoMA Design Store—has taken on new relevance by powering other digital devices. But it isn’t merely pager-shaped: The 10,000mAh power bank can also exchange 86 preset messages with other Retro Beepers within range, complete with an audible beep. Its credit-card-sized form packs 30W fast charging, proof of how far portable power has come.

Photography courtesy of Sharge

7. Shargeek 170 Transparent Power Bank

The Shargeek 170 Transparent Power Bank turns the mundane necessity of portable charging into a high-tech design statement. By revealing its internal battery cells and circuit board through a transparent, prism-like form, it turns the engineering behind its 24,000mAh capacity and 170W maximum output into part of the aesthetic. A clear departure from the nostalgia of other retro-tech novelties, the device still borrows from the efficacy of transparent design to achieve a degree of authenticity.

Photography courtesy of MoMA Design Store

8. Seletti BIC Pen Lamp

With sculptural wit, the Seletti BIC Pen Lamp transforms the familiar BIC Cristal into a functional luminaire, scaled up 12 times. With this release, the Italian brand is playing up the fact that there’s potential in formally code-switching one typology into another. The pen’s clear body houses an LED tube where its ink cylinder would normally sit, while the familiar cap completes the oversized silhouette. Designed by Mario Paroli, the lamp can be mounted to a wall or suspended from the ceiling.

The Silver Cross stroller has been around since 1877, but its latest iteration borrows from a considerably faster form of transportation. The British brand has teamed up with Automobili Lamborghini for the Reef AL Giallo, a limited-edition stroller that translates details from the Italian automaker’s supercars into a four-wheeled design of a different sort.

Photography courtesy of Silver Cross

Photography courtesy of Silver Cross

The collaboration follows the earlier Reef AL Arancio, trading that model’s orange accents for Lamborghini’s signature giallo yellow against a predominantly matte-black frame. But it doesn’t stop at color and branding: The stroller pulls from automotive forms and materials throughout.

Photography courtesy of Silver Cross

An angular, high-gloss polycarbonate carrycot (or a “stroller bassinet,” as we call it in the U.S.) takes cues from the sculpted lines of a supercar hood, while automotive-grade suede, genuine leather, and bamboo fibers appear across the carrycot and reversible seat.

Photography courtesy of Silver Cross

Lamborghini references become more granular in the details. A debossed Y pattern on the seat comes directly from the automaker’s interiors, while the hand-finished handlebar, brake pedal, and exposed spring suspension borrow from automotive hardware. Even the storage basket gets a more engineered treatment, using origami-like folds to maintain the stroller’s angular geometry.

Photography courtesy of Silver Cross

Those visual references sit atop the functional requirements of a stroller: puncture-proof multi-terrain wheels, a reversible lie-flat seat, integrated bassinet ventilation, and a chassis that folds with the seat facing in either direction. The complete package also includes a footmuff, rain covers, car-seat adapters, a cup holder, a sun sail, and a mosquito net.

Photography courtesy of Silver Cross

Only 500 individually numbered Reef AL Giallo strollers will be produced worldwide. Priced at $4,999, the limited edition launches Aug. 27 through select retailers—making Lamborghini ownership marginally more attainable, even if this one tops out at walking speed.

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

For a brand built around delivery and takeout, Goop Kitchen’s latest opening marks a significant shift. On Aug. 31, the company will open its first dedicated dine-in restaurant at One Paseo in Del Mar, California, giving its previously off-premise concept a 92-seat home.

Photography by Michael P.H. Clifford

Michael Hsu Office of Architecture worked closely with Goop founder Gwyneth Paltrow on the restaurant, translating the brand’s familiar visual language into its first dedicated dining environment. Paltrow was involved in details ranging from the marble selections to the music.

Photography by Michael P.H. Clifford

A dramatically veined marble wall anchors the dining room, balanced by walnut millwork, black-and-white tile, sculptural pendant lights, and greenery. Steel-framed windows bring in ample California light and open the interior to views of the surrounding landscaping, while striped upholstered banquettes add pattern to an otherwise warm, restrained material palette. Indoor and outdoor seating further connects the restaurant to its Southern California setting.

Photography by Michael P.H. Clifford

The shift to a permanent dining room also creates new menu possibilities. Alongside Goop Kitchen staples (like the Brentwood Chinese Chicken Salad and Miso Salmon Salad), the Del Mar location introduces new dishes and drinks. Restaurant-exclusive items include the Field of Greens, a salad pizza layered with pesto, garlic confit, mozzarella, Parmesan, and arugula salad, as well as a strawberry-goji berry Palmer and passion fruit lemonade.

Photography by Michael P.H. Clifford

Del Mar marks the start of a larger San Diego expansion for Goop Kitchen, with future locations planned for La Jolla and Downtown San Diego.

Photography by Michael P.H. Clifford

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.