A Curated Look at the Latest in Design Innovation
Unveiling Tomorrow's Aesthetics: A Journey Through Design Innovation
Mieke Ten Have's Eclectic Vision for Rejuvenation
Mieke Ten Have, a distinguished interior designer and stylist, champions the unconventional, preferring unique character over flawless symmetry. Her design philosophy, which values the 'weird' over the 'perfect,' resonated deeply with Rejuvenation, a brand celebrated for its vintage-inspired lighting and hardware. This alignment led to a compelling collaboration, where Ten Have infused her eclectic sensibilities into a new product line.
Drawing inspiration from a diverse range of sources, Ten Have's inaugural collection is a tapestry of global influences and personal history. She meticulously explored ancient Indian block prints, classic English documents, and even the sophisticated elegance of a Billy Baldwin Manhattan living room. Further inspiration stemmed from the natural beauty surrounding her 18th-century barn in New York’s Hudson Valley, with Japanese spider chrysanthemums and peonies informing both color schemes and motifs. The subtle yet vibrant palette of ancient Roman wall paintings at The Met also played a pivotal role in shaping her distinct color narrative, resulting in pieces that are both timeless and refreshingly original.
The fruits of her extensive research are designs crafted to endure, embodying an heirloom quality Ten Have herself sought for her projects. The collection features hand-knotted medallion rugs, reminiscent of 19th-century Iranian artistry, alongside practical yet elegant drinks tables inspired by those she utilizes in her photoshoots. Petite brass lamps add a touch of refined charm, while pillows and quilts burst with lively florals and a symbolic Tree of Life motif. Launched with an array of carefully selected antiques, the collection aims to foster interiors that engage in a dynamic dialogue across diverse eras and global cultures. Ten Have believes that true novelty in decorating isn't found in entirely new concepts, but rather in the imaginative reinterpretation and combination of existing elements.
Ralph Lauren Home: Urban Loft Elegance Reimagined
The inherent adaptability and raw charm of loft spaces have long captivated our collective imagination, from the historic cast-iron structures of Lower Manhattan to the transformed artist studios in Montmartre. Suzanne Slesin, a renowned design writer, aptly described them as "the interior design laboratories of our time" in her influential 1986 publication, The International Book of Lofts. This enduring appeal is perfectly encapsulated in Ralph Lauren Home’s latest furniture and lighting collection, designed with these sophisticated urban environments in mind. Mr. Lauren himself embodies this ethos in his New York City apartment, where a spacious, downtown open-plan layout seamlessly integrates with an uptown prewar setting.
The Fall 2026 Loft collection masterfully blends industrial aesthetics with classic automotive and nautical design elements, exuding an effortlessly cool ambiance. The color palette features sleek chrome, rich leather, and solid stone. These robust materials are softened by unexpected warm details, such as the intricately woven-rope seat of the tubular Lucien chair, or the subtly brutalist, rustic wooden base of the Anderson cocktail table, which is elegantly topped with either Belgian Blue limestone or sandstone. This thoughtful combination creates a harmonious balance between strength and comfort.
Together, these pieces evoke the quintessential loft experience. One can envision returning to the embrace of the Tournament sectional’s channel-tufted leather upholstery, resting on a gleaming chrome frame—a perfect sanctuary after a demanding day. The ambient glow of Harbor wall lights would create an intimate atmosphere, and with the sleek glass-top Octane drinks table, a chilled martini would always be conveniently at hand. The collection seamlessly merges functionality with a touch of luxury, inviting residents to savor their urban oasis.
Joël Brodovsky-Adams: A Celebration of Queer Club Culture in Ceramics
In Joël Brodovsky-Adams’s Brooklyn studio, the pulsating rhythms of 1970s dance music are a constant companion. The Canadian-born ceramic artist openly declares Robyn as his ultimate pop icon, and it was the radiant, sunset-inspired hues of her Honey album cover that served as a pivotal inspiration for his latest body of work. This vibrant collection is currently featured in a solo exhibition at Manhattan’s Superhouse gallery, where it continues to captivate audiences.
The exhibition, titled “Like a Rumor,” draws deeply from queer theories of club culture and is on display until October 17. Its name is a direct homage to José Esteban Muñoz’s seminal 2009 work, Cruising Utopia, while McKenzie Wark’s 2023 text, Raving, provided the philosophical groundwork for the sculptures’ fluid and ambiguous forms. Brodovsky-Adams explains that Wark’s depiction of the dance floor as a space of blending and edgelessness profoundly influenced his artistic approach. At Superhouse, his creations, characterized by their organic, flowing shapes, playfully reinterpret everyday objects. A basket-like piece, for instance, features handles that suggest two beings in a tender embrace or sharing whispered secrets. Elsewhere, intriguing alien hooks hint at an otherworldly cloakroom, inviting viewers into a realm of imaginative possibilities.
The collection showcases a unified palette dominated by vibrant orange, expressed through a variety of textures and applications. Glaze dots adorn a cantaloupe-colored vessel, while painterly pumpkin stripes, inspired by a cherished tank top, invigorate a legged vase. Brodovsky-Adams aimed for a rich sensory experience, a “feast of textures and colors.” He believes that self-imposed constraints, or “parameters,” can be incredibly liberating for creativity. Working within a “smaller infinity” ultimately fosters innovation and helps to refine artistic expression.
An Immersive Marquetry Music Room in Amsterdam
Designer Rio Kobayashi vividly describes the private music room in Amsterdam as resembling a train car, its interior enveloped in a mesmerizing marquetry. This intricate design features cut and spliced cherry, walnut, and oak, among other fine woods, creating a visually dynamic and immersive space. The room is an extension of Future Days Shop, a concept store and workshop established downstairs by musician Tomo Katsurada and textile designer Eloïse Ptito in a building that once housed an Art Nouveau fish and produce market.
Katsurada's vision for the space was to be “inside an instrument,” a concept sparked after encountering Kobayashi's veneer-clad speakers at the London Design Festival in 2023. The Japanese-Austrian designer, who honed his craft as a furniture maker in Tyrol and under London’s renowned woodworker Martino Gamper, embarked on this complex, puzzle-like project over two years ago. Collaborating with designer Onni Aho and a Helsinki-based team, he executed the intricate details with remarkable precision. The room's aesthetic was completed with a hanging textile piece by Ikumi Kawashima. During the installation, Kobayashi’s spontaneous artistic spirit led him to add striking spray-painted accents, enhancing the room’s unique character. Closer inspection of the timber surfaces reveals subtle inlaid motifs of flying fish, cherries, apples, and pears, each a playful homage to the building’s historical roots. Guests are invited to relax on the fold-out benches, bask in the soft glow of Jasper Morrison lights, and enjoy impromptu jam sessions. Katsurada believes that the room's design profoundly influences the musical experience, making performances feel truly cosmic within this extraordinary setting, which is also used for DJ sets and live broadcasts.
Dior's Rechargeable Corolle Lamps: Sculptural Elegance
In 1947, Christian Dior initiated a revolutionary shift in women's fashion with the debut of his New Look, a collection defined by its graceful, sinuous suiting, gently rounded shoulders, and voluminous skirts. It is this iconic skirt silhouette that now inspires the house’s latest lighting collection, the Corolle lamps. Breaking free from traditional cords and outlets, these portable, rechargeable lamps are the brainchild of Noé Duchaufour-Lawrance, a frequent collaborator with the brand. Each lamp features a sophisticated calfskin strap, an elegant aluminum crown, and a mouth-blown bell crafted from rippled Murano glass. Available in two sizes, six-and-a-half and nine inches tall, these fixtures showcase the meticulous attention to detail and artisanal craftsmanship inherent to Dior. Duchaufour-Lawrance emphasizes that the expressive savoir-faire behind each piece stems from the individual touch of each artisan, noting that "From one craftsman to another, from one atelier to another, the gesture differs," highlighting the unique human element in their creation.
Lizzie Fortunato: A Showroom Dedicated to the Unique
Lizzie and Kathryn Fortunato, twin sisters and co-founders of the esteemed jewelry brand Lizzie Fortunato, share a profound appreciation for the singular and distinctive. Kathryn explains that this commitment to individuality has always been the guiding principle for their brand, influencing their personal styles and homes alike. This philosophy is vividly brought to life in their recently redesigned showroom and atelier in Lower Manhattan, where unique craftsmanship takes center stage. This includes their exuberant jewelry designs, crafted from individually chosen glass, stone, and porcelain beads, as well as the numerous vintage treasures that enrich the space.
When the sisters first leased the space seven years ago, having outgrown their previous office, they only made minor, ad-hoc adjustments to what was then a law firm. However, the pandemic drastically reshaped their business model, transforming it from wholesale-only to a consumer-facing operation, as customers increasingly sought direct engagement. Consequently, devoted clients began requesting in-person fittings, necessitating a clearer division between public and private areas. Lizzie humorously recalls, “We realized a curtain rod wouldn’t cut it,” emphasizing the need for a more substantial redesign.
Partnering with emerging designer Alexander Laing, an alumnus of the prestigious AD100 firm Studio Valle de Valle, they reimagined the space as a series of shiplap-clad rooms. A new entry vestibule now gracefully transitions into an elegant, yet seemingly effortless, showroom and office. Walls painted in serene muted cream and pistachio tones, from Little Green Paint, provide a calming backdrop for custom millwork and an eclectic array of art, ceramics, and home accessories. Kathryn highlights Lizzie’s talent for layering, pointing out the vintage Murano-glass ceiling light, Ikea table lamps, and Robert Mallet Stevens chairs, which all contribute to the rich, layered aesthetic. Behind the scenes, the bustling atelier, stock room, kitchenette, and conference room comprise the dynamic operational core. Kathryn playfully describes this area as “where the mania is,” underscoring the vibrant energy of their creative hub.
Today, clients from around the globe visit the showroom, either by appointment or on a spontaneous whim. Lizzie recounts an instance of customers arriving directly from the airport, fresh off a plane from Denmark, energized by the dynamic pace of their hybrid showroom-office model. Kathryn views this evolution as a natural progression, stating, “It’s the next step—everything we have done has been incremental.” She adds that, short of opening a dedicated store, having a space that so perfectly embodies their personal style is incredibly rewarding. The showroom, located at 217 Centre Street in New York City, stands as a testament to their unique vision.
Hillary Taymour's Layered Collaboration: Rugs for Every Generation
Hillary Taymour, the creative force behind the bold and feminine womenswear line Collina Strada, has long believed in the revival of floral couches, but with a contemporary, stylish twist. With the launch of her collaboration with Layered decor on September 16, Taymour brings this vision to fruition. This marks her brand's inaugural foray into furniture, presenting a collection that includes two distinctive sofas and four meticulously hand-tufted rugs, all steeped in her signature grounded-yet-girly aesthetic.
For one sofa, Taymour drew directly from the curtains of Collina Strada’s Chinatown flagship, integrating a melted floral motif. The other sofa features a fashionable plaid pattern, incorporating pink, brown, and green tones, a design that will also grace Collina’s AW26 runway. Taymour, at 39, observes that people, particularly Gen Z as they mature, are seeking more vibrancy in their homes. She humorously notes that her own weekend home north of New York City resembles “a 70-year-old man's cabin,” highlighting her desire for more lively interiors.
The collection also includes more understated designs for those who prefer less color. Her beige Garden Haze rug, for instance, offers a sophisticated alternative to standard bouclé. It is crafted with varied pile densities, creating the illusion of an undulating, camel- and bone-toned floral bed, adding subtle texture and visual interest. This nuanced approach ensures the collection appeals to a broad audience, from those seeking bold statements to those desiring refined elegance.
Taymour's design process was deeply rooted in creating a sense of organic, lived-in comfort, so much so that her country home served as the backdrop for the campaign photoshoot. The resulting imagery, much like the collection itself, is characterized by an edgy, botanical aesthetic, perfectly suited for both free-spirited flower children and the discerning Gen Z audience. The entire collection reflects a harmonious blend of nature-inspired motifs and modern sensibilities, designed to infuse homes with personality and warmth.
Nicholas Obeid Channels Frank Lloyd Wright's Geometric Restraint
Nicholas Obeid, a distinguished interior designer, vividly recalls his initial encounter with the architectural genius of Frank Lloyd Wright. Growing up outside Detroit, Obeid received a monograph on the pioneering American architect as a birthday gift from a perceptive neighbor. Obeid reflects on Wright's enduring legacy, noting, "So much of Wright’s work is intricate in its geometries but also shows considerable restraint." Two years ago, during a visit to the Detroit Institute of Arts, a series of Wright's early-20th-century stained-glass windows deeply moved Obeid, reminding him of that formative tome. He observed how Wright could create "something so visually impactful with one material in different shapes and colors." This principle now underpins Obeid’s new Frank collection of casegoods, which includes a side table and a cabinet.
Crafted entirely from white oak in Los Angeles, each piece in the collection is available in three distinct finishes: a high-gloss lacquer and two tones of ceruse, one light and one dark. Staying true to Wright’s design philosophy, strong geometric shapes are central to the collection, from the contrasting pulls to the asymmetrical doors. Obeid emphasizes the deceptive nature of the designs, stating, "It looks sharp and angular but it’s all soft to the touch." This collection embodies a harmonious blend of visual strength and tactile subtlety, reflecting a deep appreciation for the mastery of materials and form.