The design equivalent of the Oscars came to a close yesterday, with BRP Design & Innovation Team winning the Red Dot Award: Design Team of the Year 2025. Over the years, the awards program has provided this very distinction to absolute industry legends like the Thule Design Team, the Logitech Team, Studio F. A. Porsche, Flavio Manzoni & Ferrari Design Team, as well as the Adidas Design Team, to name a few. Awarded annually since 1988, the ‘Team of the Year’ goes to studios and companies that consistently exhibit outstanding innovation, creativity, and exceptional design quality.

“This honorary title recognises a company’s overall design achievements and highlights the collaborative efforts of the design team. Awarded teams showcase a deep commitment to innovation, user-focused design, and sustainability principles,” says the Red Dot Award: Product Design. Yanko Design had the opportunity to interview Denys Lapointe, Chief Design Officer at BRP just moments after he collected the award on the Red Dot ceremonial podium. Here’s a look at what the most decorated design team of this year has been working on for the past few months.

Denys Lapointe – Chief Design Officer of BRP

Yanko Design: Many, many congratulations on winning Red Dot Design Team of the Year. I’m sure it’s a very proud moment for you and your entire team right now. If you had to describe how you feel in just three words at this very moment, what would they be?

Denys Lapointe: Excited, proud, and energized. It’s been years of work leading up to this, and it brings so much pride to the entire team. In fact, we have an internal survey that measures team sentiment, and after this announcement, our team score went up by four points. That shows how meaningful this recognition is for everyone.
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Yanko Design: That’s amazing. And of course, your Can-Am Maverick R MAX has secured a win this year as well. Tell me more about this project – what about it stands out to you?

Denys Lapointe: This product is designed for enthusiasts and is mostly used in widespread areas where there are lots of deserts or trails, like in Canada, the US, or even in the Middle East. It’s designed for enthusiasts. It’s like a Lamborghini for off-roaders – something very distinctive that stands out and uses form language that’s more on the aggressive side because of the nature of what it does. It provides a feeling of being able to ride something with 200 horsepower going through moguls about one meter in size. It’s a unique, fun experience for enthusiast-type individuals, like driving a sports car in the desert or on trails. It’s really for individuals seeking a high-thrilling feeling. It’s not necessarily for everybody, but it’s for those seeking this kind of thrill. It’s a great, powerful product. The engineering is amazing, and to see that it wins races everywhere it participates – including the Paris-Dakar rally – it’s great.
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Yanko Design: We have many young designers in our Yanko Design community who look up to leaders like you. Could you share a bit about your own journey with BRP and what initially drew you to mobility design?

Denys Lapointe: My father is, or was, a designer. So I followed in his footsteps. My father took me to my first F1 car race when I was two years old in Canada. I’ve been passionate about transportation for many years and decided to study design. I didn’t have the means to go to some of the top schools in the world, but nonetheless, I went back later in my career after designing several products. I went back to the more formal design schools, but to hire people. The nice thing is that today, my son is actually a third-generation designer. He went to RCA in London to finish his master’s degree in transportation mobility.

Yanko Design: Your company boasts 135 multicultural and multidisciplinary design experts coming together to make BRP what it is today. What role does diversity play in shaping the creativity and output of your design team?

Denys Lapointe: We encourage all our design managers to engage with schools worldwide to identify emerging talent. We even created our own design challenge involving eight international schools to find talent beyond traditional recruitment channels. For us, we believe that if you’re all from the same schools and you all have the same degree and you were all exposed to the same culture, you’re not bringing enough richness from the rest of the world. So we actually have 20 nationalities represented in our three design studios everywhere. I believe that the perspective that each individual brings from coming from all over the world is so different, which challenges us on a daily basis. Of course it brings its fair share of challenges – language being one of them – but it brings so much richness when people are coming with their toolbox, with their skill set, with their interpretation of opportunities.

We try to take in all this creativity, blending all of this together. I think it’s so much richer if you approach it this way. So we are very open to the world – for the world to come within one of our studios, based in the south of France, in the U.S., and in Canada. We’re very open to bringing all kinds of people coming from all over – cross-generations, cross-gender. We endorse these huge differences because it brings a lot of creativity and a lot of things that we wouldn’t have seen the same way with the same eyes looking at the same lens. Different perspectives are very important.
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Yanko Design: That resonates with us at Yanko Design too. We’re a small team spread globally, all working towards one goal: advocating for good design. How do you foster a culture of risk-taking and experimentation, especially in an industry with such high safety and reliability standards?

Denys Lapointe: One of the things that we’ve done at BRP that is quite different from other industries is that we realized that in a linear process, when you want to diverge, sometimes the risk stops at a certain point in the linear process. We realized that all the best ideas sometimes got tossed away because now we need to converge and eliminate risk beyond a certain point in order to bring products that are safe for people to use. So we decided to go the other way and we created what we call an advanced concept process, which enables us to diverge as much as we can and then start converging slowly, but validating with consumers at an early point of this divergence to validate if the concept resonates with people. So we’re a lot more risk-takers at that point because, first, we want to validate whether the consumers will really appreciate what we have in mind. And secondly, because we’re not in production, we can test in a very different manner. With this, if it resonates well with the consumer, then we put it in our regular stage-gate process, which is more linear, because we validated the risk. So it’s one way to avoid throwing all the best ideas away, but validating if those ideas would resonate with the consumer. It’s very important.

Yanko Design: That’s a smart approach. With new technologies emerging rapidly, what excites you most about the future of mobility design?

Denys Lapointe: Oh, there’s so much we can do. Unfortunately, I cannot share what we’re working on because it’s too exciting. But there’s a lot of good stuff, good things going in all kinds of directions that will be novel that we will introduce in the future. I’m very stimulated by what our teams are working on for the future, encompassing sometimes technology with new product architectures that will enable consumers to live totally new experiences that consumers don’t know about as of today. This process really is very stimulating to me. In fact, it’s going to be tough for me at some point to give up on this process because it’s actually what I like the most. It’s to start with a little white piece of paper and contribute in creating new industries like some of these products we see here today.

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Yanko Design: So, what advice would you like to give young designers hoping to break into the world of mobility and industrial design? What is that one piece of advice that you would like to give?

Denys Lapointe: Have faith in yourself. Continue to work hard. I think perseverance can do a lot. And don’t get despaired the first time you do something and you think your concept is not good enough. I remember doing my first car sketch when I was a kid and I threw it away because I thought it was bad. But ultimately I kept on working and getting to learn from others and going to school… I mean, creativity can come in all kinds of forms. You just need to find the skills and learn the tools to be able to express your creativity. So hopefully, if you don’t get discouraged at first, just push and move on, and at some point, things will become clearer.
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Yanko Design: Finally, what does “Adventure by Design” mean to you personally, and how do you hope it resonates with BRP’s global community?

Denys Lapointe: “Adventure by Design” is our motto. When our marketing folks actually brought up the idea at some point, I was touched by it at first, but it also represents a burden on all of us to create new adventures and create stimulating adventures so people are drawn by these communities that we’re creating all over the place, all over the world. Hopefully, it’s bringing the best out of our designers and our engineers and our marketers, and it’s stimulating to continue creating these new experiences. So “Adventure by Design” suits us, and I’m proud that our marketing folks have opted for this.
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Yanko Design: Thank you so much for your time today. It’s been truly inspiring speaking with you.

Denys Lapointe: Thank you, it was a pleasure.

The post “Lamborghini for off-roaders” designer BRP wins Red Dot Design Team of the Year 2025 first appeared on Yanko Design.

Innovation doesn’t live in laboratories or concept boards; it lives in the products we touch, use, and rely on every single day. At Yanko Design, we’re perpetually fascinated by the moment when brilliant ideas transform into tangible reality, when visionary design meets manufacturing prowess to create products that genuinely improve our lives. This transformation is precisely what the Red Dot Award: Product Design celebrates with unmatched prestige. The 2025 “Best of Best” winners represent more than just exceptional design; they’re proof that great products can reshape entire industries while seamlessly integrating into our daily routines.

What sets this year’s selection apart is the remarkable diversity of problem-solving approaches. From groundbreaking consumer electronics that redefine how we interact with technology, to sustainable solutions that address our planet’s most pressing challenges, these winning products demonstrate that thoughtful design isn’t just about aesthetics but about creating meaningful impact through meticulous execution. The Red Dot’s rigorous evaluation process continues to serve as the gold standard for identifying products that successfully bridge the gap between ambitious vision and market reality. We’re excited to share our carefully curated selection of standout winners that caught our attention for all the right reasons.

01. LG Transparent OLED TV-77T4 by LG Electronics, Inc.

Remember when TVs were these massive black rectangles that dominated whatever room they occupied? LG’s design team clearly decided that was getting old and went completely in the opposite direction with the Transparent OLED TV-77T4. This isn’t just another thin TV; it’s a 77-inch screen that’s practically invisible when turned off, embedded in a sleek aluminum frame that doubles as actual furniture. When you’re watching content, images appear to float in mid-air like some kind of holographic magic trick, creating that campfire effect where people naturally gather around just to witness the spectacle.

What makes this design genuinely brilliant is how LG solved the fundamental problem of transparent displays: sometimes you actually want a traditional viewing experience. Hit a button and motorized fabric panels deploy to give you that classic black screen for serious movie watching, while the wireless AV solution keeps cables to an absolute minimum. The modular aluminum structure isn’t just aesthetic; it creates a shelf system that integrates into your interior like a piece of modern furniture rather than dominating it like traditional TVs. It’s the kind of product that makes you realize we’ve been thinking about televisions all wrong, treating them as appliances when they could be architectural elements that enhance rather than interrupt our living spaces.

02. MAZZU Mattress by LAYER, Benjamin Hubert

Sleep is one of those things we all desperately need but rarely get right, and more often than not, it comes down to that slab of springs and padding we call a mattress. LAYER’s Benjamin Hubert clearly got fed up with the “one-size-fits-nobody” approach that dominates the mattress industry and decided to completely reimagine how we think about sleep surfaces. The MAZZU isn’t just another mattress; it’s a modular system that treats your bed like a customizable piece of furniture rather than a monolithic block you’re stuck with for the next decade.

What makes MAZZU genuinely brilliant is its snap-fit pocket spring system that lets you configure different firmness zones exactly where you need them. Too soft on your side but perfect for your partner? Just swap out those modules. Moving to a different bed frame? Reconfigure the size. Need to wash a section or replace a worn area? Pop it out and deal with just that piece. By ditching foam entirely in favor of lightweight, recyclable polymers and textiles that connect without adhesives, LAYER has created something that’s not just better for your back but actually sustainable. It’s the kind of thoughtful design that makes you wonder why nobody figured this out sooner.

03. HORL® Scissors by Timo Horl, Otmar Horl

You’d think scissors hit their design peak sometime around the Bronze Age, but the father-son team at HORL clearly never got that memo. What started as a simple quest to create a better way to sharpen household scissors spiraled into a three-year obsession that completely reimagined one of humanity’s most basic tools. The HORL scissors aren’t just another pair of kitchen shears; they’re precision instruments that happen to cut things, engineered with the kind of meticulous attention usually reserved for Swiss watches or German automotive components.

The real genius lies in that spring-loaded quick-release mechanism that keeps both halves under dynamic tension until you need to sharpen them. When you overcome that resistance threshold, they audibly release with a satisfying click that lets you know you’re dealing with serious engineering. This isn’t just about making cuts; it’s about making clean cuts along the entire blade length, every single time, with high-grade forged steel that’s built to outlast your kitchen, your house, and possibly your grandchildren. HORL essentially created the last pair of scissors you’ll ever need to buy, which is either a terrible business strategy or the most confident design statement ever made. Given that these are acoustically, visually, and functionally perfect according to the Red Dot jury, we’re betting on the latter.

04. 2050 Edible Cutlery by Weirong New Material Technology

Single-use plastic cutlery is one of those environmental villains that’s so ubiquitous we barely notice it anymore, but the team at Weirong New Material Technology clearly couldn’t ignore the mounting waste crisis. Their solution is brilliantly simple yet technically complex: cutlery made entirely from food waste that you can literally eat when you’re done with your meal. Using rice flour curds, soy protein, and tapioca starch, they’ve created utensils that can handle hot soup for an hour at 55°C, then either become dessert or compost in your garden within two weeks.

What makes this design particularly impressive is how they solved the inherent brittleness of starch-based materials through pure engineering rather than synthetic reinforcement. The handle design alone required numerous trials to achieve the right balance of rigidity and flexibility, proving that sustainability doesn’t have to mean compromising on functionality. The fact that they’ve developed variants for different global eating habits, plus chocolate and vanilla-flavored options, shows they’re thinking beyond the novelty factor toward genuine market adoption. This isn’t just eco-friendly tableware; it’s a complete rethinking of the disposable utensil category that makes plastic forks look ridiculously outdated.

05. Novara Cantilever Umbrella by Zhejiang Zhengte Co., Ltd.

Outdoor umbrellas are one of those products that everyone needs but nobody really thinks about until they’re wrestling with a heavy, unwieldy shade that refuses to cooperate with the sun’s movement. The design team at Zhejiang Zhengte clearly spent time watching people struggle with cantilever umbrellas and realized the problem wasn’t just about size and weight, but about how different people naturally interact with these oversized objects. Their solution was refreshingly human-centered: extensive studies revealed that tall people adjust umbrellas from behind using upper body strength, while shorter individuals work from the side using both hands and lower body leverage.

The Novara’s genius lies in its front-mounted handle system that encourages an intuitive upward movement, like lifting a dumbbell, making it accessible regardless of your height or strength. The conical grip for horizontal adjustment was specifically designed with older users in mind, while the perfectly matched base ships in the same box to eliminate the usual post-purchase headache of finding compatible accessories. Built primarily from recycled materials, the Novara represents what the designers call “emotional longevity” – creating something so well-designed and user-friendly that people will actually want to keep it around for years rather than replacing it after one frustrating season.

06. TN1 Fan Heater by Shenzhen Lanhe Technologies Co., Ltd.

Fan heaters have always been caught in that frustrating design trap where you can either have something that looks decent or something that actually heats your room properly, but rarely both. The team at Shenzhen Lanhe Technologies clearly got tired of this compromise and decided to completely reimagine what a domestic heater could be. The TN1’s racetrack-inspired oval form isn’t just aesthetically striking; it’s a clever engineering solution that extends the heating element’s surface area without turning your heater into a bulky eyesore that dominates your baseboard.

But the real magic happens when you turn this thing on. The heating element gently rises up through an integrated lifting mechanism, creating this almost organic moment where the appliance seems to come alive and acknowledge your presence. It’s not just theatrical flourish; this movement optimizes heat distribution while protecting the internals from dust when retracted. Combined with a graphene coating for enhanced thermal efficiency and a crossflow fan that accelerates once the element is fully extended, the TN1 delivers that rapid warmth we all desperately want from space heaters. The fact that it retracts flush when turned off means it disappears back into your interior design rather than permanently announcing its presence like most heating appliances.

07. Ferrari F80 by Ferrari Design Team (Dr. h. c. Flavio Manzoni)

Creating the next Ferrari supercar isn’t just about making something fast; it’s about continuing a bloodline that includes absolute legends like the GTO, F40, and LaFerrari. The Ferrari design team clearly felt the weight of that legacy when developing the F80, but instead of playing it safe, they made some genuinely radical decisions that push the entire supercar category forward. The controversial “1+” architecture completely reimagines the two-seater paradigm by placing the driver dead center with the passenger seat offset and almost invisible, creating this fighter jet-like focus that makes every other supercar interior look like a compromise.

What’s brilliant about the F80 is how this driver-centric philosophy cascades through every design decision. The slimmer cockpit doesn’t just look more dramatic; it broadens the car’s shoulders and improves aerodynamics, while that glass bubble cabin creates an almost spacecraft-like silhouette that’s pure visual poetry. The six slits in the rear engine compartment, each representing a cylinder, show how Ferrari’s designers think about the connection between mechanical function and sculptural form. This isn’t just another hypercar with aggressive styling; it’s a complete rethinking of what a Ferrari can be when designers, engineers, and aerodynamicists work as a unified team rather than competing departments. Whether the F80 achieves legendary status remains to be seen, but as a design statement, it’s already rewritten the supercar playbook.

08. Mac mini M4 by Apple Industrial Design Team

Apple’s Mac mini has always been the scrappy underdog of the Mac lineup, but the M4 version feels like it’s finally gotten the respect it deserves. Packing up to 1.8 times faster CPU performance and 2.2 times faster GPU performance into that same iconic aluminum box isn’t just impressive engineering; it’s a masterclass in thermal management and silicon optimization. Except now the box is also smaller, measuring just 5×5 inches in size. The fact that Apple Intelligence runs entirely on-device while maintaining privacy through end-to-end encrypted Private Cloud Compute shows how serious they are about making AI feel seamless rather than intrusive.

What really sets the M4 apart is Apple’s decision to completely rethink the thermal architecture, flowing air through multiple internal layers and exhausting it entirely through the bottom. It’s the kind of invisible innovation that makes everything else possible, allowing them to cram desktop-class performance into something you can literally hide behind your monitor. The addition of front-facing ports and Thunderbolt 5 in the Pro model shows Apple finally listened to users who wanted better connectivity without sacrificing the minimalist aesthetic. Plus, being the first carbon-neutral Mac means this tiny powerhouse isn’t just efficient with space and power; it’s efficient with the planet too. Sometimes the best designs are the ones that make incredible complexity look effortless.

09. nwm ONE by NTT sonority, 83Design Inc.

Most headphones follow the same basic formula: put speakers in cushioned cups and clamp them to your head, but the design team at NTT sonority clearly decided that approach was fundamentally flawed. The nwm ONE takes Dieter Rams’ “less, but better” philosophy to almost radical extremes, stripping away everything that isn’t absolutely essential, including the ear cushions that define virtually every other headphone on the market. What you’re left with is this impossibly minimal ring-shaped design that floats around your ears rather than sealing them off, creating a wearing experience that’s more like having invisible speakers following you around.

The real breakthrough is how they solved the obvious problem of open-ear headphones: sound leakage and ambient noise interference. Their proprietary PSZ (Personalised Sound Zone) technology uses inverse phase waves to cancel out sound leakage, essentially creating a bubble of audio that only you can hear while keeping your ears completely open to the world around you. The speaker units pivot to deliver sound directly into your ear canal without physical contact, while a two-way driver structure optimizes bass reproduction despite the open design. It’s the kind of technical wizardry that makes you wonder why we’ve been accepting the isolation and discomfort of traditional headphones for so long when this elegant solution was theoretically possible all along.

10. Nokia 5G 360 Camera by Nokia Group

Surveillance cameras have this unfortunate tendency to scream “you’re being watched” with aggressive, intimidating designs that make everyone uncomfortable. Nokia’s design team took the opposite approach with the 5G 360 Camera, embracing what they call “quiet intelligence” – the idea that good design doesn’t dominate but earns trust through restraint. This isn’t just philosophical posturing; it’s a practical recognition that surveillance technology works better when it blends seamlessly into its environment rather than announcing its presence like a digital gargoyle.

The genius is in what they left out: no protruding antennas, no fragile components, no bright colors or aggressive styling. Just a clean, dark grey form that makes dirt less visible while maintaining an understated authority. The 360-degree camera technology and 5G connectivity are packed into a surprisingly compact, lightweight package that’s tough enough for mining tunnels and wildfire zones, yet unobtrusive enough for public spaces. Replaceable protective lens covers mean this thing can keep working in harsh conditions without requiring complete replacement, while the shock and vibration resistance make it suitable for vehicles, ships, and drones. It’s surveillance technology that doesn’t make you feel surveilled, which might be the smartest design decision of all.

The post Top 10 Most Ingenious Designs That Will Change How You Live: Red Dot Awards 2025 Winners first appeared on Yanko Design.

In the heart of northeastern Thailand’s Taklang Village, where humans and elephants have coexisted for over four centuries, a quiet architectural revolution is taking shape, one rooted in empathy, ecology, and interspecies care. Thai architect and designer Boonserm Premthada brings this powerful vision to the global stage with Elephant Food House, presented at the 24th International Exhibition of Triennale Milano under the theme Inequalities.

Premthada’s project is more than an architectural showcase; it is a call to action, responding to the deepening crisis of elephant food scarcity in Thailand. With forests depleted by deforestation, urban sprawl, disrupted crop cycles, and climate change, the elephants of Taklang Village, now numbering over 200, face dwindling sources of nutrition. The surrounding forest, once a generous provider of sustenance, no longer meets the needs of these giants. In this increasingly strained landscape, Premthada offers a gentle, yet radical solution: architecture that nourishes.

Designer: Boonserm Premthada

At the center of this proposal are traditional Thai rice barns, once vital for storing grain for human consumption, now reconfigured to serve as shelters for elephant food. These barns, reimagined as Elephant Food Houses, are scattered along forest paths, functioning as collection points where villagers bring bundles of fresh plants. Designed with sensitivity to both form and function, they are constructed with timber frames and encased in handwoven bamboo winnowing baskets, agricultural tools from the region that have been scaled up and recontextualized. Their breathable, lightweight surfaces offer protection and natural ventilation, making them ideal resting points for both elephants and their human companions during long walks through the forest.

This act of walking, of movement through space and shared environment, is intrinsic to the project’s success. The treks to the shelters aid in the elephants’ digestion and promote their overall health, restoring a rhythm once defined by seasonal migration and free foraging. Along these routes, the shelters offer not just nourishment, but shade, pause, and connection. In this way, the architecture fosters mutual reliance, a humble form of interdependence between species.

At Triennale Milano, Premthada distills the essence of this project into a compelling installation. A partially enclosed timber structure replicates the airy barns of Thailand, with the woven bamboo facade foregrounding regional craft. Inside, a striking figure commands attention: a Vitruvian Elephant, inspired by Leonardo da Vinci’s famous Vitruvian Man. This sculpture, made from paper crafted using elephant dung, reflects the cyclical nature of waste and nourishment. “The very material where my elephant-centered and nature-centered design began,” Premthada notes, using this symbol to illustrate his belief that the built environment must embody empathy and sustainability.

For Premthada, inequality is not limited to the human realm; it is also about how we treat the non-human lives we share the planet with. His design promotes an ethos of care, not dominion. “Inequality, in my view, is not about granting rights to animals but about fostering empathy that humans should have for other living beings,” he shares. The Elephant Food House thus becomes a physical and philosophical framework, a shelter built not just of bamboo and timber, but of compassion and ecological wisdom.

By repositioning a structure traditionally reserved for humans into a shared, interspecies resource, Premthada opens a broader conversation about architecture’s role in a world of entangled ecologies. He calls this vision a Human and Non-Human Nation , a recognition that humans are not separate from nature, but part of a larger, interconnected system. The Elephant Food House does not seek to dominate that system, but to honor it. It does not monumentalize architecture, but softens it, allowing it to breathe, to nurture, to coexist.

As it stands in Milan, half a world away from the forests of Taklang, the Elephant Food House brings with it the voices of elephants and villagers, the scent of bamboo and dung paper, and the soft sound of empathy woven into every wall. It is a reminder that meaningful architecture doesn’t always build up. Sometimes, it humbly shelters.

The post How Architecture Is Helping Save Thailand’s Elephants with Empathy and Care first appeared on Yanko Design.

The intersection of biotechnology and traditional craftsmanship reached a defining moment at Copenhagen’s 3 Days of Design 2025, where MycoWorks’ Reishi biomaterial took center stage in a groundbreaking exhibition that challenges our understanding of sustainable luxury materials.

Curated by: Marie-Louise Høstbo

A Living Material Meets Visionary Designers

“Reishi in the Nordic Light” brought together five of Denmark’s most celebrated design studios in an unprecedented collaboration. Curated by Marie-Louise Høstbo at Galerie MøllerWitt from June 18-20, the exhibition explored how this mycelium-based material responds to the subtle interplay of natural and artificial light that defines Nordic design philosophy.

The timing couldn’t be more significant. As the design world increasingly seeks alternatives to environmentally damaging materials, Reishi has emerged as a genuine contender in the luxury market. More than just an eco-friendly leather alternative, mycelium leather has luxury brands excited because of its remarkable quality. Major fashion houses including Hermès, Stella McCartney, and Calvin Klein are already partnering with mycelium innovators like MycoWorks.

Beyond Traditional Materials: The Science of Sustainable Luxury

Reishi represents a significant advancement in biomaterial technology. MycoWorks has developed a patented mycelium-based technology called Fine Mycelium, resulting in luxury mycelium leather that looks and feels like fine animal leather but with much lower environmental impact. The material meets or exceeds furniture industry benchmarks for flexibility, abrasion resistance, colorfastness and aging, while producing only 6 pounds of carbon dioxide equivalent for every 11 square feet manufactured, far less than animal or synthetic leathers.

The commercial validation is impressive. Reishi recently debuted in a Ligne Roset couch and on the inner door panels of a concept electric General Motors Cadillac. MycoWorks operates a 136,000 square foot plant in Union, South Carolina, using artificial intelligence and robotics to automate production, with materials shipped for tanning to Igualada, Spain.

Masters of Modern Danish Design

The exhibition featured an extraordinary roster of talent, each bringing decades of expertise to this biomaterial exploration. Cecilie Manz, who founded her Copenhagen studio in 1998, has become synonymous with refined industrial design through collaborations with Bang & Olufsen, Iittala, Muuto, and Hermès. Her recent work includes the launch of Bang & Olufsen’s A1 3rd generation speaker in May 2025 and the Maku screen collection, demonstrating her continued relevance in contemporary design. Named Scandinavian designer of the year in 2024, Manz’s participation signals the serious consideration biomaterials are receiving from established designers.

OEO Stamp

OEO Studio, founded in 2003 by Thomas Lykke and Anne-Marie Buemann, has garnered international recognition for redefining contemporary Scandinavian style. Their recent projects include designing the interiors for Noma Kyoto’s 2024 pop-up, and their work spans from Michelin-star restaurant interiors to medieval hotels in Italy. With pieces in the permanent collection of London’s Victoria and Albert Museum, their involvement with Reishi represents a significant endorsement of biomaterials in high-end design applications.

Maria Bruun

Maria Bruun brings particular gravitas to the collaboration. The 2022 Wegner Prize recipient also won the prestigious Danish Finn Juhl Prize in 2021, making her one of Denmark’s most decorated contemporary furniture designers. Her approach to working with natural materials, exemplified by acclaimed pieces like the Pioneer stool and Islets table for Fredericia, makes her collaboration with Reishi particularly compelling. Currently participating in the Bruno Mathsson Design Residency 2025, Bruun’s sculptural designs showcase a deep understanding of material properties.

Frederik Gustav

Frederik Gustav, established by Royal Academy graduates Frederik Weber and Gustav Dupont, continues pushing boundaries of construction and materiality from their Amager workshop, while atelier axo, founded in 2019 by Rose Hermansen and Caroline Sillesen, brings a crossdisciplinary approach characterized by poetic and structural sensibility.

Market Forces Driving Change

This Copenhagen showcase represents more than aesthetic experimentation. It signals a broader shift driven by market realities. The mycelium leather market, which reached $12 million in 2024, will soar up to $336 million by 2033, indicating massive growth potential for biomaterials. The global leather goods market exceeded $400 billion in 2021 and is expected to surpass $720 billion by 2030, creating enormous opportunity for sustainable alternatives.

The exhibition’s focus on light interaction reveals another crucial aspect of material design. By emphasizing how Reishi responds to Nordic lighting conditions, the designers demonstrated that sustainable materials can enhance rather than limit creative expression. Each object is designed to capture and diffuse light, emphasizing texture, subtle detail, and emotional resonance.

The material’s versatility was demonstrated across multiple venues during the Copenhagen event. Beyond the main exhibition, Reishi appeared at ADORNO, showcasing the DUK floating side table conceptualized with Studio TOOJ, and at BIG’s Materialism presentation, indicating broad industry validation.

The Future of Conscious Design

What makes this collaboration particularly significant is its demonstration that sustainable luxury doesn’t require compromise. As mycelium leather becomes more accessible, it serves as an excellent choice for designers looking to create quality products with a low carbon footprint. MycoWorks has focused on refining the material’s unique properties rather than attempting to imitate leather, creating what they call “not an alternative material, but a new category altogether.”

For designers and manufacturers watching this space, the Copenhagen exhibition offers a clear message: sustainable materials have moved beyond experimental status to become viable options for high-end applications. When designers of this caliber, from Manz’s industrial precision to Bruun’s material poetry, choose to work with emerging materials, it signals approaching mainstream adoption.

The exhibition ran from June 18-20, 2025, but its impact on sustainable design thinking will likely extend far beyond those three days in Copenhagen. As the design industry continues to grapple with environmental responsibilities, collaborations like this provide a roadmap for how traditional craftsmanship can evolve without losing its essential character and perhaps discover new expressive possibilities in the process.

The post When Nature Meets Nordic Design: MycoWorks’ Reishi Transforms Danish Craftsmanship first appeared on Yanko Design.

Paper umbrellas have deep roots in Chinese culture, symbolizing both shelter and celebration. For centuries, these umbrellas were crafted from bamboo and oiled paper, often hand-painted with intricate designs of flowers and birds. They were used in weddings, parades, and even in the quiet moments of daily life, offering not just protection from rain or sun, but also a sense of artistry and ritual. MAD Architects, celebrated for their futuristic and poetic approach to architecture, have taken this humble, beloved object and reimagined it for the modern era. Their “Chinese Paper Umbrella” is more than a nod to tradition: it’s an invitation to see the familiar with fresh eyes and to experience a new kind of shelter that bridges past and future.

Situated in the garden of the China Pavilion at the 2025 Venice Biennale, the installation transforms a simple outdoor space into a place of sensory discovery and quiet reflection. The umbrella is crafted from Xuan paper, a material revered in Chinese calligraphy for its soft texture and absorbency. The paper is treated with layers of tung oil, which gives it water resistance and an elegant, translucent quality, making it both practical and beautiful for the Venetian climate.

Designer: MAD Architects

This structure is not just about providing shade; it’s about creating an intimate, inviting atmosphere that encourages visitors to pause and experience the interplay of light, shadow, and air beneath the canopy. The umbrella’s lightness and airy contours echo the gentle elegance of its traditional inspiration, while its scale and setting make it feel welcoming and contemporary. MAD’s design goes beyond the static. The Chinese Paper Umbrella features a built-in misting system at its apex, which automatically activates to cool the space when temperatures rise. This thoughtful addition ensures comfort for visitors and elevates the experience, making the umbrella not just a visual delight but also a responsive, almost living element within the garden. Throughout the day, the translucent canopy filters daylight, casting shifting patterns and creating a dynamic, immersive environment.

As part of the China Pavilion’s broader exhibition for the Biennale, the installation fits seamlessly into themes of cultural dialogue, innovation, and the blending of nature with human creativity. It’s a perfect example of how traditional motifs can be reinterpreted in contemporary forms, offering both a sense of nostalgia and a vision for the future. The “Chinese Paper Umbrella” will remain on view at the Venice Biennale’s China Pavilion garden through November 23, 2025. It stands as a gentle reminder that the most meaningful designs are those that honor the past while embracing new possibilities.

With this project, MAD Architects have created a space that is both timeless and refreshingly modern—a haven where tradition and imagination meet, and where every visitor is invited to linger under its graceful canopy. For design lovers, collectors, and anyone who appreciates cultural artistry, this installation is a must-see highlight of the Venice Biennale—one that captures the enduring spirit and innovative future of Chinese craft.

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Art has always been a mirror, reflecting not just what we see around us, but also what we feel, remember, and dream. In Nosheen Iqbal’s Botanical Allegory series, nature is not just a subject but a metaphor, a memory, and a celebration of resilience. If you’re a collector or simply a lover of contemporary textile art with a story, this series is worth a closer look. Nosheen Iqbal is a British-Pakistani artist whose innovative work pushes embroidery into exciting new territory. She’s best known for her sculptural embroideries on wood, where traditional hand-stitching meets the sturdy, organic surface of timber. Iqbal’s multicultural heritage weaves through her art, creating a rich tapestry of influences that speak to belonging, identity, and the beauty of cultural intersection.

Botanical Allegory is one of Iqbal’s most evocative and visually stunning bodies of work. Here, she uses botanical motifs like leaves, vines, petals, and tendrils to explore themes of growth, transformation, and the cycles of nature. But these aren’t simply pretty plants; they’re carefully chosen symbols, each telling a layered story. In this series, Iqbal drills precise grids or organic patterns into wooden panels, then hand-embroiders vibrant threads through the holes. The result is a three-dimensional artwork where the softness of thread and the solidity of wood create a harmonious tension. The botanical forms seem to grow from the wood itself, as if nature is reclaiming and transforming the surface.

Designer: Nosheen Iqbal

One of the most captivating aspects of the Botanical Allegory series is its use of allegory. She uses the language of plants to express deeper ideas. Each piece is like a visual poem, inviting you to look beyond the surface. Many works feature plants pushing through cracks or reaching towards the light, echoing themes of perseverance and hope. Iqbal also often draws on South Asian floral motifs, linking each piece to her own cultural background and the history of textile arts. Moreover, the merging of wood and embroidery reflects the ways we change and adapt, blending old roots with new growth. The artist’s choice of rich, earthy tones and jewel-like colors adds another layer of meaning. The threads shimmer against the grain of the wood, suggesting vitality and renewal, reminding us of the cycles of life, loss, and rebirth that we all experience.

Collectors are always searching for artwork that feels unique, heartfelt, and beautifully made. The Botanical Allegory series delivers all this and more. Each piece is meticulously hand-stitched, meaning no two are ever alike. The tactile contrast between wood and thread makes these works stand out on any wall, inviting viewers to linger and look closer. Moreover, Iqbal’s art is deeply personal yet universally resonant. Her use of botanical metaphor bridges cultures and generations, making the series meaningful for a wide range of collectors. Whether you’re drawn to the craftsmanship, the symbolism, or simply the sheer beauty of the work, each embroidery is a conversation piece—one that brings warmth, story, and inspiration into your home.

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One of the favorite past times of friend groups the past few years are teaming up or going against each other in escape rooms or mystery rooms. I haven’t tried it myself since I know I’m not that great at problem solving games but from what I’ve heard it’s a good activity for groups and even as team building activities for companies. Imagine though that you’re going through rooms surrounded by items from a luxury brand and trying to solve such a rich person mystery.

That’s what Hermès’ Mystery at the Grooms’ interactive installation is all about. Instead of just doing the usual exhibit to showcase their collection, they created an immersive journey that blurs the line between art, fashion, and playful discovery. They’re offering a feast for the senses and a treasure trove of inspiration for both collectors and design aficionados or those who are just interested in doing a high-end escape room.

Designer: Hermès

The installation is actually based on “The Grooms” which is a reference to the iconic bellboys that are already part of the Hermès universe with their dapper uniforms, polished brass buttons, and a dash of old-world charm. A row of bellboys actually welcome you into the exhibit as you prepare to play detective, piecing together clues and exploring themed rooms. The mystery is that the horses have gone missing and through a phone-based game, you need to locate them as you move through the six rooms, namely the Head Grooms’ Office, Dormitory, Pantry, Refectory, Laundry, and Stock Room.

You start off in a stylized garden with horse-shaped topiaries, various floral arrangements, and of course, some Hermès motifs tucked into these displays. Each of the rooms serve as a stage set and a showcase of their items like ready-to-wear clothes, ceramics, leather goods but they are integrated into the narrative to make everything cohesive. As expected from the brand, they have a meticulous attention to detail with their polished oak cabinets, hand-painted tiles, and other things that you will notice (or maybe not notice).

The clues are both visual and tactile. a concealed safe opens only when the right code is cracked, while in the dormitory, a secret peephole tucked behind a painting reveals another elusive member of the herd. The entire adventure is set against a ticking clock with guests getting just seven minutes in each room, with their progress tracked digitally as they move from clue to clue. And what do you get when you solve it? You get a notebook and a coloring book. Unfortunately there are no Hermès products, although those gifts were designed by the brand.

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Mexico City hosts the inaugural Electronics Home Mexico today through June 19, 2025, at Centro Banamex. The three-day trade fair marks Grupo Eletrolar’s expansion into North America after 17 years of organizing successful electronics events across Brazil and Argentina.

The event spans 10,000 square meters of exhibition space, showcasing over 300 exhibitors and drawing major buyers from Mexico, Central America, and South America. Carlos Clur, CEO of Grupo Eletrolar, presents this launch as the third component of Latin America’s “business triathlon,” joining the established Eletrolar Show in Brazil and Electronics Home Argentina.

Strategic Market Position and Organizational Excellence

Mexico consolidates itself as the new regional center for the consumer electronics industry amid international uncertainty marked by tariff tensions and commercial disputes with the United States. The timing proves crucial as Mexico’s import market reaches approximately $467 billion annually, creating substantial opportunities for electronics manufacturers and distributors optimizing supply chains and ensuring timely product delivery across Latin America.

“Mexico is a challenge, but it’s something in our strategy that we need to do, because we want to integrate Latin America total market,” explains Carlos Clur. “We are in the three biggest markets. Mexico was the second, at least the second economy. So we needed to put the feet here.” The CEO acknowledges the complexity of entering Mexico’s concentrated retail landscape while emphasizing the strategic importance of creating a unified Latin American electronics ecosystem.

The fair features consumer electronics, large and small home appliances, telecommunications equipment, and technology products. Exhibitors display smartphones, tablets, laptops, smart TVs, audio devices, gaming consoles, washing machines, refrigerators, microwaves, vacuum cleaners, air conditioners, and IoT solutions. The event showcases more than 600 exhibitors and high-level executives , with over 1,000 international brands participating. The fair operates daily from 11:00 to 19:00 hours throughout the three-day period.

Grupo Eletrolar brings extensive experience from managing two major regional events. The Eletrolar Show in São Paulo occupies 50,000 square meters at Distrito Anhembi, attracting over 40,000 visitors and featuring more than 600 exhibitors showcasing 12,000 products from 1,500 brands. Electronics Home Argentina, running at Centro Costa Salguero from June 30 to July 2, 2025, serves as the country’s most important business fair for household goods and consumer electronics.

The organization implements proven programs including the VIP Buyer Program, which sponsors airfare and accommodation for qualified buyers from South and Central American countries attending all three fairs in the business triathlon. The Matchmaking Program facilitates pre-scheduled meetings between distributors and retailers, ensuring direct contact with potential buyers.

Walking Through the Ultimate Electronics Treasure Hunt

The exhibition floor delivers exactly what you’d expect from a hybrid of Amazon’s endless variety, Best Buy’s tech showcase energy, and TJ Maxx’s treasure-hunting excitement. Within minutes of entering, unexpected discoveries emerge around every corner.

At one booth, a cold bourbon dispenser catches attention not for its electronics, but for solving a problem whiskey enthusiasts know well. “If you add ice, that means you reduce the taste of the whiskey,” explains the exhibitor, demonstrating how their $250 USD unit maintains optimal temperature without dilution. The compressor-based system preserves the pure taste that ice traditionally compromises.

Here’s where trade fairs get interesting. Despite being neither a bourbon enthusiast nor someone who typically drinks whiskey at 11 AM on a Tuesday morning, the sample proved impossible to refuse. The cold bourbon hit differently than expected: smooth, clean, and surprisingly palatable even to someone who usually avoids brown liquor. The exhibitor’s point about ice dilution became clear immediately. This wasn’t the harsh bite associated with room-temperature whiskey, nor the watered-down taste from melted ice. The controlled temperature created an entirely different drinking experience.

For bars and restaurants, this represents the kind of specialized solution that makes B2B trade fairs valuable. The minimum order quantity (MOQ) conversation reveals the fair’s true nature. At 100-200 units minimum, this isn’t consumer retail. The unexpected morning bourbon tasting also highlights how these events blur professional boundaries: where else would trying whiskey at 11 AM count as market research?

A few aisles over, CJ Tech from Guangzhou displays 100-inch televisions that reveal the complex economics behind consumer electronics. The company operates as a pure ODM/OEM manufacturer, producing displays for European markets, Middle East, Africa, and select US clients. Their booth showcases the invisible supply chain powering familiar brands.

The pricing structure tells the real story. A standard 100-inch 4K TV costs $900 USD at factory level, while the Mini LED version jumps to $1,800 USD. The MOQ requires a minimum order, but their standard container capacity holds 46 units, meaning a single container of Mini LED displays represents an $82,800 investment at factory pricing. “American market certification cost is very high,” explains the representative, revealing why US electronics carry premium pricing. Certification alone costs 100,000 Chinese yuan (approximately $14,000 USD), making small orders economically unfeasible.

The mathematics become clearer when considering volume. While the factory price seems reasonable, certification costs must be distributed across units sold. For a single container of 46 Mini LED TVs, the $14,000 certification adds roughly $300 per unit. For smaller orders of one or two containers, this burden becomes prohibitive. The representative explains why “American customers want one container, two containers, but the certification cost is very high.”

This conversation illuminates why certain markets dominate global electronics. The certification barrier explains why CJ Tech focuses on European and African markets, where regulatory costs prove more manageable. The $1,800 factory price becomes significantly higher after logistics, certification, and regulatory compliance, explaining why a comparable 100-inch Hisense TV retails for $5,000 USD in American markets.

The company also produces speakers for Hisense and displays for Harman, demonstrating how major brands rely on specialized ODM partners. Their booth features products destined for Amazon’s private label program, revealing the interconnected nature of global electronics distribution. The Mini LED technology costs “between double and triple” the standard 4K version due to enhanced local dimming capabilities that improve color reproduction.

CEO Vision: Building Latin America’s Connected Electronics Ecosystem

Carlos Clur’s strategy extends beyond individual trade fairs to create an integrated regional marketplace. “We want to create these meetings with the C-level executives. They can create joint ventures, ideas to produce in Mexico, ideas to create alliances with the retail, with the suppliers, with the industry, with the components market,” he explains. “We want to have this industry more connected. This connection makes the economy stronger.”

The challenge lies in Mexico’s retail concentration. “The retail is very concentrated in some points, the industry also,” Clur acknowledges. “What we are doing for our challenge is bring the small retail, medium retail, and the big ones, but also the most strategic is bring the neighboring countries.” This international approach distinguishes Electronics Home Mexico from domestic trade shows.

Clur emphasizes the fair’s role in democratizing business opportunities. “Maybe this small retail in the future will be a big retail, and this is something that for us is important. Also bring professionals to the show, create strong relations for long term.” He describes how a single connection can transform businesses: “One company in a show can change the life, the economic life, because they said, ‘Okay, Walmart, make an order.'”

The CEO recognizes technology’s role in market education. “Journalists and influencers, they connect with the consumers, show the new technology, the new prototypes, the new trends, and they promote the industry,” he explains. In Brazil, Grupo Eletrolar works with influencers commanding 50 million followers, while Mexico features Shark Tank personalities discussing artificial intelligence and entrepreneurship.

Even Clur participates in the discovery process, purchasing a recording device from a Mexican company during the fair. “This is our work,” he concludes, emphasizing that successful B2B events require continuous investment in matchmaking programs, buyer initiatives, and marketing campaigns to “bring the right people to the right place.”

Understanding the Hidden Value Chain

These conversations provide invaluable insight into electronics pricing that consumers never see. Walking through Electronics Home Mexico offers education worth thousands of dollars in business consulting fees. The direct access to ODM manufacturers, MOQ discussions, and certification cost breakdowns reveal why electronics cost what they do in different markets.

The bourbon dispenser conversation alone demonstrates how specialized B2B products find their markets. Understanding that 100-unit minimums separate consumer purchases from commercial distribution explains why certain products remain invisible to regular shoppers. These aren’t products you find on Amazon or Best Buy shelves, yet they represent significant business opportunities for the right buyers.

The CJ Tech discussion provides even deeper value. Learning that a $5,000 consumer TV starts at $1,800 factory pricing, then understanding how certification costs, logistics, retailer margins, and brand premiums build the final price, offers insights typically reserved for industry insiders. The revelation that certification costs can add $300 per unit for small orders explains why electronics companies focus on high-volume markets.

This knowledge transforms how you view electronics retail. Every smartphone, television, or appliance carries similar hidden costs and supply chain complexities. The fair provides direct access to manufacturers who typically remain invisible behind brand names, offering education about global trade mechanics that business schools struggle to teach.

These discoveries encapsulate the fair’s treasure-hunt atmosphere. Buyers arrive expecting smartphones and appliances, but leave with deep understanding of supply chain economics, MOQ requirements, and certification barriers that reshape pricing strategies. Each conversation reveals the complex calculations behind consumer electronics pricing, from factory floor to retail shelf.

Current Impact and Business Integration

Electronics Home Mexico strengthens Latin America’s position in global electronics trade while addressing international trade tensions. The event targets Chinese companies seeking strategic partnerships in Mexico, capitalizing on shifting supply chain dynamics amid global uncertainty.

For exhibitors, participating in Electronics Home Mexico represents the opportunity to position themselves as innovation leaders in the sector. Direct contact with highly specialized audiences allows companies to understand market needs and adjust commercial strategies with valuable information about consumption trends and behaviors. The event positions itself as a platform designed for real retail, where inspiration, innovation, and action converge , rather than simply an exhibition space. This approach mirrors the successful format established at Eletrolar Show, facilitating in-person meetings between industry and retail partners to eliminate trade barriers and enhance networking opportunities.

Mexico City serves as an economic hub for the entire region, with the country recognized as a regional center with modern infrastructure enabling efficient logistics throughout the continent. The location proves strategic given Mexico’s increasing role in global supply chains and manufacturing, especially as companies seek alternatives amid international trade disputes.

The Mexico-Brazil Chamber provides institutional support, reflecting the event’s role in strengthening bilateral trade relationships. Media coverage includes partnerships with outlets like Infobea, Energía Hoy, and Canton Fair Net, ensuring broad industry awareness across Spanish and Portuguese-speaking markets.

The opening day draws thousands of qualified visitors and hundreds of confirmed exhibitors across consumer electronics, home appliances, and related technology sectors. The event attracts decision-makers from retail chains, specialty stores, e-commerce platforms, and distribution networks throughout Mexico and neighboring regions. Attendees engage in business rounds, networking sessions, innovation forums, and conferences covering market opportunities in Mexico. These components mirror successful formats from the Brazilian and Argentine events, adapted for the Mexican market’s specific characteristics.

“This is the only show that Mexico has for consumer electronics,” Clur notes, emphasizing the event’s unique position in the market. “We believe that we will arrive with a very strong network in Latin America. This is our differential, but we think we have very long work for the next years.”

The inaugural Electronics Home Mexico establishes Grupo Eletrolar’s presence in North America’s largest Spanish-speaking market, completing their regional coverage across Latin America’s three major economic centers while addressing the current global trade environment’s challenges and opportunities. Early activity indicates strong interest from both exhibitors and buyers, with business meetings already underway across the exhibition floor. The event demonstrates Mexico’s growing importance as a strategic hub for electronics trade in the Americas.

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Play is something that isn’t really seen as a right but more often as a luxury in most places. While of course things like food, shelter, and health are fundamental needs, the opportunity to play is just as essential for the healthy development of a child. It’s through play that children learn to express themselves, interact with others, develop cognitive and physical skills, and navigate the world around them. Unfortunately, public spaces designed specifically with play in mind are still lacking in many cities around the globe. World Play Day, celebrated last June 11, is one such occasion that shines a spotlight on the importance of this often-overlooked right.

In a vibrant and fitting tribute to the day, a huge burger-inspired interactive structure was unveiled in London’s Kensington Gardens, not just as a playful architectural statement, but as a call to action to prioritize fun, imagination, and child-centered design in urban environments. Architect Sir Peter Cook’s Play Pavilion is positioned right next to the elegant and more restrained Serpentine Pavilion by Marina Tabassum. The fun, burger-looking pavilion is funded in partnership with the LEGO Group. Resembling a stacked burger, the structure features an orange cylindrical base beneath a domed roof punctuated by LEGO-like protrusions mimicking ketchup or mustard swirls.

Designer: Sir Peter Cook

The public art project invites visitors to interact with it to enable all the creative possibilities of play. It incorporates LEGO bricks in the design with bright ones covering the exterior in sculpted topographic forms. Inside, you get LEGO pillar installations and a central board where you can pin your own bricks and create new shapes. And if you want to exit the structure in the most fun way, there’s a yellow slide for you to, well, slide out of it.

But if you want to explore a bit more, there are wall openings, tunnels, and slides within the pavillon. The roof floats above the base, allowing shafts of light and airflow, while reminiscent of a semi‑theatrical observatory. Visitors can connect with the space both physically and visually. If you’re in London, this exhibit is available until August 10, 2025 at the Kensington Gardens and entrance is free.

Sir Peter Cook’s Play Pavilion is a bold, cheerful counterpoint to the refined architectural landscape of Kensington Gardens this summer. It blends interactive design, colorful exuberance, and a spirit of co‑creation. It reminds visitors, young and old, that play remains a powerful and essential form of public expression.

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Material innovation takes center stage at Copenhagen’s 3 Days of Design festival next week, as four international brands present new approaches to sustainable manufacturing. From furniture made with volcanic waste to chairs crafted from 29 layers of paper, the presentations demonstrate how established manufacturers are changing traditional production methods through distinct material strategies.

Armadillo Debuts Seven-Piece AGRA FORMA Collection

Australian rug manufacturer Armadillo enters furniture design through AGRA FORMA, a collaboration with Sydney designer Tom Fereday that comprises seven sculptural pieces anchored by the brand’s iconic Agra rug. The collection includes the Agra Forma Armchair in Ginger, Agra Forma Stool in Thistle, Agra Forma Ottoman available in both Ginger and Thistle colorways, Agra Forma Desk in Thistle, Agra Forma Chair in Thistle, and Agra Forma Low Stool in Ginger.

Key Details:

• Material Integration: Pure abrash-dyed wool and American red oak timber unite textile and woodworking craftsmanship in shared geometric language
• Design Philosophy: Tom Fereday’s approach celebrates natural material characteristics without overworking design, creating “honest and enduring” objects
• Dual Launch Strategy: Collection debuts simultaneously at Copenhagen’s 3 Days of Design and Melbourne Design Week (May 15-25, 2025)

Each piece demonstrates what Armadillo describes as “a refined exploration of materiality, form and the poetic potential of the handmade.” The collection pairs the sun-baked depth of Agra Ginger with the muted cool of Agra Thistle, anchored by the raw integrity of American red oak timber. Sculptural curves and deliberate forms create contrast in refined yet balanced compositions.

Fereday’s design philosophy centers on celebrating “the natural characteristics of natural materials to not overwork a design rather enhance the material and experiential interaction with an object.” His approach emphasizes the tension between natural materials and contemporary manufacture, seeking to create objects that are “honest and enduring.” The designer works at every stage of design, from concept through production and development alongside skilled makers, interrogating the role objects play in contemporary spaces.

The disciplines of rug-making and fine woodwork intersect in a shared language of minimalism and tactility. The raw beauty of sustainable materials, including pure abrash-dyed wool and red oak, are changed into vessels for innovation that transcend the ancient and modern. Each piece articulates what the collaboration calls “a quiet architecture,” inviting a sensory dialogue between surface, structure and space.

The collection launches at The Conary (Dronningens Tværgade 26) within Openhouse Studio’s “Gestures of Home” exhibition, styled by Henriette Schou. Armadillo co-founder Jodie Fried and designer Tom Fereday will be present for the press preview Tuesday, June 17, 9AM-6PM, with a cocktail party Wednesday, June 18, 3PM-6PM.

Arper Advances Sustainable Seating Through PaperShell Innovation

Italian manufacturer Arper presents two sustainable seating solutions at Odd Fellow Palace, building on a 23-year design legacy that began with the original Catifa 53 in 2001. Designed by Lievore Altherr Molina, the Catifa collection was Arper’s first product with an environmental product declaration, establishing the brand’s commitment to sustainable design practices.

Key Details:

• Carbon-Negative Production: PaperShell technology sequesters 1.5kg CO2 equivalent per kilogram of material, converting to biochar at end-of-life
• Waste Stream Utilization: 29 sheets of kraft paper sourced from Swedish wood production residues (sawdust, chips, branches) with no trees cut specifically
• Dual Material Strategy: PaperShell collection alongside Catifa (RE) 46 chairs made from 100% recycled plastic with BREATHAIR cushioning

The Catifa Carta 46 collection uses PaperShell technology, where 29 sheets of responsibly sourced kraft paper bonded with natural resin create chair shells that match traditional plastic durability while offering complete recyclability. The paper originates from Swedish wood production residues including sawdust, chips, and branches, ensuring no trees are explicitly cut for the material. Each kilogram of PaperShell sequesters approximately 1.5 kilograms of CO2 equivalent, making the chairs carbon-negative throughout their lifecycle.

At end-of-life, the chairs undergo pyrolysis, converting the material to biochar that locks carbon permanently while preventing CO2 release into the atmosphere. The original Catifa design, characterized by its bi-curved silhouette and all-in-one shell construction, helped define Arper’s brand personality over two decades. The new PaperShell iteration maintains this iconic form while advancing the company’s circular design principles through material innovation.

Arper also introduces Catifa (RE) 46 chairs made from 100% recycled plastic sourced from post-consumer and post-industrial waste streams. Eight new color options draw inspiration from sustainable architecture, emphasizing exposed materials and natural textures that complement contemporary interior design trends. The collection includes BREATHAIR cushioning, an elastomeric polyester material that provides breathability, water resistance, and full recyclability. The cushioning has been precisely shaped for the first time to fit Catifa specifications, merging comfort with sustainable material innovation.

The exhibition runs Wednesday-Friday at Bredgade 28, with press previews Wednesday, June 18, 12PM-4PM.

Foscarini Presents Dual Lighting Innovations

Italian lighting manufacturer Foscarini presents two major collections at Alice Folker Gallery: the Eolie Collection featuring chandeliers made from recycled lava stone, and the Etoile chandelier series designed by Dordoni Studio. The presentations demonstrate Foscarini’s approach to material experimentation alongside contemporary chandelier design.

Key Details:

• Volcanic Waste Transformation: Eolie Collection by Alberto and Francesco Meda converts recycled lava stone into functional lighting while preserving natural crater textures
• Transparent Structure Design: Etoile chandeliers use invisible Pyrex cylinders for support, creating floating effect with etched glass diffusers
• Dual Configuration Options: Grande Etoile (three-level) and Etoile Ronde (single-level) versions with silver-finished bulbs for optimal light distribution

The Eolie pieces, designed by Alberto and Francesca Meda, incorporate recycled lava stone that retains the porous, crater-like surface textures characteristic of cooled volcanic material. Alberto Meda, born in 1945 and trained as a mechanical engineer at Milan Polytechnic, brings decades of material innovation experience to the collaboration. His design philosophy emphasizes “lightness as a paradigm,” seeking to “produce a simple appearance while using complex technology to solve a problem.”

The father-son design team combines Alberto’s engineering background with Francesco’s focus on traditional craftsmanship. Alberto’s experience as technical manager at Kartell from 1973, where he developed plastic laboratory equipment and furniture projects, informs his understanding of material possibilities and manufacturing constraints. Francesco Meda, born in 1984 and educated at Milan’s Istituto Europeo of Design, gained experience at Sebastian Bergne’s and Ross Lovegrove’s studios in London before returning to collaborate with his father.

Foscarini also presents Etoile, designed by Dordoni Studio, which changes the concept of the chandelier while conserving its intrinsic allure. The design substitutes rich decoration of traditional chandeliers with a refined game of volumes. Contrast between the transparency of the central cylinder in Pyrex and the texture of etched glass diffusers creates balance between opposing elements.

Etoile comes in two versions: Grande Etoile with a configuration on three levels, and Etoile Ronde with a single level. No visible structural element appears at the center, with support for the lighting modules provided by a cylinder of transparent Pyrex that becomes almost imperceptible when the chandelier operates. Slender cylinders branch out from this core to sustain diffusers in blown glass of different sizes, arranged on staggered levels in the Grande model, and as an array in the Ronde version.

The cylinder contains the electrical wiring, left free to move, changing the concept of the arm in a minimal form. In Grande Etoile, the portions of glass vary at different levels: in the upper and lower planes they correspond to two thirds of a cylinder, while at the middle level they take the form of half circumferences, the same pieces utilized in the Etoile Ronde version.

Bulbs with silver frontal finish attach at the center of each diffuser, aiming light towards the glass and allowing the etched diffuser to absorb and then release it. The glass becomes the protagonist, producing soft, enveloping glow and spreading indirect, diffused and atmospheric effects.

The exhibition includes aperitivo events Wednesday and Thursday, 4:30-5:30PM, plus “The Art of Enlightenment” talk Friday, 10:30-11:15AM at Esplanaden 14, with Head of Design Matteo Urbinati leading technical discussions.

Ingo Maurer Challenges Perception with Three New Concepts

German lighting designer Ingo Maurer presents three pieces at Alice Folker Gallery: Nalum, SHHH!, and Jasna Kuchnia. Each design explores the relationship between light, material properties, and visual perception through the late designer’s philosophy of working with “the material which does not exist.”

Key Details:

• Wave Motion Technology: Nalum uses floating glass tubes with magnetic LED positioning to create shifting light patterns inspired by ocean waves and water reflection
• Perception Deception: SHHH! hides light source within noise-canceling headphones while visible bulb remains unlit, challenging conventional lighting expectations
• Porcelain Light Sculpture: Jasna Kuchnia transforms five white plates into wall-mounted lighting with LED backlighting and matchstick ignition illusion

Nalum translates the dynamics of waves and light into a lighting object inspired by the movement of ocean waves and the play of light reflections on water surfaces. The name combines ‘Nalu’, the Hawaiian word for wave, and ‘Lum’, an allusion to light. In addition to the physical meaning of ‘wave’, ‘nalu’ stands for reflection and contemplation. At the center sits a floating, undulating glass tube, illuminated from the outside. The contours of the glass create lines of light through multiple reflections, making Nalum appear to be made entirely of water and light.

The visual lightness results from precise use of glass as material. The wave-shaped inner tube, illuminated from the outside, creates complex interplay of lines, depth, and movement through reflection and refraction. The outer glass tube acts as a calm frame, stabilizing the form, enhancing the light effect, and making technical elements almost disappear. The linear light source integrates discretely, held in place by magnets in the outer glass tube and providing uplight and downlight. This makes Nalum suitable for long tables, such as dining or conference tables, and for spaces where targeted and atmospheric lighting is required. The lighting components can be dimmed independently and produce warm white light of 2700 K.

SHHH! subverts expectations and plays with perception through an unusual encounter between an accessory connected with industrial labor and a light source that paradoxically emits no light. What at first glance seems like a light source is something else again. As in an orchestrated illusion, the true source of light is not the visible bulb, but is hidden inside the noise-proof headset. The light spreads through the bulb into the space, creating an evocative atmosphere. Two directional spots positioned in the lower part of the headset project accent lighting onto surfaces below, combining visual impressions with functional quality.

Jasna Kuchnia consists of five simple white porcelain plates arranged vertically with a narrow LED strip that backlights the porcelain. The light is not diffused but absorbed, refracted, and reflected in subtle gradients of brightness. This interplay creates a vibrant choreography of light and shadow, giving the plates a sculptural presence. The synergy between porcelain and light shows the strength of the design, making the hard, smooth material appear weightless and translucent when illuminated.

Technical specifications include LED, 100/240V, 15.3W, 2700K, CRI ≥ 90, with dimensions of Width 22cm x Height 61cm x Depth 13cm. The fixture mounts directly to the wall with the driver discretely integrated into the wall bracket, making additional installation components unnecessary. The springs holding the plates can be shifted laterally, allowing users to choose strictly vertical alignment or a slightly offset configuration. Multiple elements can be combined for larger installations ranging from ten plates or more in a row.

The frontmost plate features a small, dark matchstick that blends into the overall composition. When the light turns on, the signature charm of an Ingo Maurer design appears: shining through the ceramic, the light source appears to ignite the match, and a warm yellow flame begins to glow.

Axel Schmid, Head of Product and Project Design, leads “Playfulness & Irony in Modern Art & Design” discussion Thursday, 10:30AM.

Festival Context and Material Innovation Impact

The presentations demonstrate how material innovation drives contemporary design development, with each brand addressing sustainability through distinct philosophical approaches. Tom Fereday’s celebration of natural material characteristics, the Meda family’s engineering-informed simplicity, Lievore Altherr Molina’s environmental consciousness, and Ingo Maurer’s perceptual experimentation represent different pathways toward responsible design practice.

The festival features over 200 exhibitions across eight Copenhagen districts, with press appointments coordinated centrally and several venues within walking distance. Copenhagen’s 3 Days of Design runs June 18-20, 2025, with extended hours for trade visitors and media representatives. The presentations collectively showcase how material innovation drives sustainable design development, from natural fiber and timber integration to bio-based composites, waste material change, and conceptual challenges to conventional manufacturing approaches.

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