What is the future of the modern home going to look like? According to LG Electronics, it should be smaller, smarter, modular, and markedly more energy efficient (and of course, operated by their own ThinQ app). Such prognostication takes form in the LG Smart Cottage, a pre-fabricated residence fully stocked with the Korean brand’s line of premium appliances and high energy-efficient heating and cooling solutions.

Despite the decor and lifestyle associations attached to the word “cottage,” the LG interpretation more closely resembles other contemporary prefabricated structure rather than any countryside abode. LG did make efforts to give their hi-tech small home some invitingly homey details, using touches of warm hardwood, tile, and fabric finishes throughout to project the brand’s “gentle, stable, and refined” ethos, partnering with European timber prefab company Dan-Wood to bring the latest showcase home to life for the IFA 2023 technology show in Berlin.

The structure itself is realized in a “Sea Ranch exterior meets Silicon Valley condo” aesthetic, and has been presented with both lighter and darker themed interiors and exteriors (the 2023 IFA showcase took on a more darkly themed interior than previous iterations).

As part of LG’s Better Life for All initiative, the two-story, studio-style layout is all about optimized functionality, space efficiency, and eco-conscious performance, all with creature comforts one might expect from an idealized home of the future.

Everything LG is integrated level where one cannot separate the technologies from the home, and vice versa, with various built-in kitchen appliances, the WashTower Compact, QuadWash dishwasher, a water purifier, and the Therma V Monobloc air-to-water heat pump (AWHP) for cooling and heating, all stamped with LG’s moniker. And of course, everything is operable and customizable using LG’s smart home centerpiece technology, ThinQ connectivity.

While not designed as a fully off-the-grid residence, the LG Smart Cottage partially self-produces its own power via solar panels installed across its slanted roof. The roof-mounted 4-kilowatt (kW) solar panels are paired with the company’s Energy Storage System (ESS)  allowing homeowners to collect and store solar power for use when needed, generating as much as 15 kilowatts of electricity per day.

Over the years we’ve seen numerous prefabricated homes built with similar high-minded intentions. Brands like Muji and Vipp have also designed similar architectural solutions featuring optimized efficiencies and furnished with turnkey features designed for modern living to varying degree of sustainability and attainability; pre-planned communities like Serenbe propose a more interpretable architectural canvas. But none of these homes of the future – LG designed or otherwise – have become a reality addressing the challenges of turning an innovative home concept into a scalable and livable place to call home for the many.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Gregory Han is a Senior Editor at Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

Artist Daniel Arsham has made a career of turning his favorite playthings into the subject of his artwork. Arsham is also renown for his affinity for his Porsche 930 Turbo, making him a fascinating, if not delightfully unexpected Mattel’s Hot Wheels future Legends collaborator in a capsule collection that dares to cross the line between plaything and prized collectible.

At the heart of Arsham’s Future Legends miniature die-cast collection are eight Hot Wheels 1:64-scale vehicles, one including a replica of his own Porsche in an eroded state.

Arsham’s work is often described as “archaeological,” utilizing deterioration and erosion as his hallmark style across a wide range of contemporary objects: sculptures, vehicles, sports memorabilia, iconic pop cultural items, and now, Hot Wheels vehicles.

The artist’s love for Porsche is realized in the form of his own Porsche 930 Turbo in Hot Wheels form, alongside an Eroded Super Rally Case in the shape of a wheel and tire finished in the artist’s signature mythical contemporary archeological aesthetic.

The two-year collaborative project by Arsham Studio and the Mattel Creations design team first goes live October 27th with Lap One; Arsham was inspired by the heritage and history of the Rodger Dodger – a modified 1973 Dodge Charger SE with a blown V8 engine emerging from the hood.

The interior case of the Eroded Super Rally Case features eight slots for each vehicle designed for the collaboration and is a nod to the original 1968 Hot Wheels Rally Case.

Arsham credits Hot Wheels toymaker Mattel for allowing the artist to experiment with new materials and processes, leading to the unique use of Silkstone, a composite material made with bauxite mixed in a vacuum with polyester resin, then hardened at high temperature. Barbie enthusiasts may also recognize Silkstone, as it is the same material embellished with paint across the limited Barbie Signature dolls collection similar aimed at adult collectors rather than children.

Mattel Creations developed creative ways to deliver my vision by thinking outside of the box and experimenting with new materials and processes. This is the first time Silkstone has been used on a Hot Wheels model, and my first time working with this material, making it a historic moment for both of us.

– Daniel Arsham

The Mattel Creations x Daniel Arsham Hot Wheels collection, along with a selection of accessories including keychains, stickers, and a limited collection of prints to complement and commemorate the eight model collection.

While Hot Wheels are toys by definition, there’s no doubt Arsham’s collection is aimed to appeal to a growing segment of adult collectors who may not consider these miniatures as mere playthings but as historical artifacts of their own childhood memories worth cherishing.

The Mattel Creations x Daniel Arsham Hot Wheels collection, including a selection of accessories including keychains, stickers, and a limited collection of prints are available starting today on MattelCreations.com.

Gregory Han is a Senior Editor at Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

It started with an engagement and ended with the Galliforms furniture collection – that’s the story according to Leah Ring of Another Human and her now husband, artist Adam de Boer. The new furniture collaboration went into development shortly after the duo were betrothed, inspiring Leah to daydream about what the bedroom of a mid-century couple living in the suburbs might look like. Both the furniture designs and color palette are directly inspired by this journey.

Ring spearheaded the furniture and lighting designs, while de Boer developed a vintage-inspired floral pattern that would have perfectly fit in with the 1960s mod era. Wood was chosen as the main material, simply because she’s never worked with it before in her product design work and wanted to try something new.

Ring’s work is always a display of saturated, interesting color combinations, and she knew she wanted the furniture to feature a matte lacquer finish so that color could be added. The palette she settled on is one of chartreuse, tan, and peach because it felt true to both time period and her own design ethos. These colors then act as through lines between all of the materials and pieces used throughout Galliforms.

The artistry of de Boer’s pattern work was often drawn from the plumage of peacocks. (It’s also behind the collection’s name – Galliforms is a play on the word Galliformes, which is the order of birds!) Silk fabric for the shades of the table and floor lamps showoff his signature batik technique and original patterns. When the light hits it creates an effect that’s close to that of stained glass.

Galliforms includes unique pieces such as the Floor Lamp and Table Lamp, with the rest of the collection being released as limited editions.

Galliforms will be on view as part of INTRO / LA 2023, at Los Angeles’ Small Office (3465 Casitas Ave, Los Angeles, CA, 90039), from October 27 – October 29, 2023.

Photography by Stephen Paul.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

“I knew at a very young age that I loved design,” said president of Portland, Oregon based JHL Design, Holly Freres. “My mom restored a 1920s Tudor when I was in high school. I vividly remember helping her select the finishes for each space and watched how she developed the story by weaving our family history and modern finishes together.” Today, she proudly leads a woman-owned and run business that was founded in 1999 by her mother, Jane Freres.

“[My mother] nurtured me to be a savvy-minded business woman, but she also showed me how to have a discerning eye. Jane started the business and trained me in my twenties. One of my first pitches was to a group of investors for a new commercial building – the entire interior package and branding. She let me run the show, and from then on I’ve been learning and growing my practice. Twenty years later, I am still loving it.”

Holly took the lead as Principal in 2003, and now leads a 12-person team of collaborative, dynamic design visionaries. Her husband, David Horning, leads the building design and architecture side of JHL. Both Oregon natives, their backgrounds includes a mix of residential and commercial projects, including restaurant and hospitality clients, high-end single-family homes, and retail and industrial designs.

Holly’s extensive experience traveling – which includes living in France and New Zealand, as well as visiting much of Europe, Mexico, Southeast Asia, India, and Africa – has helped shape her modern aesthetic. She relishes the juxtaposition of textures and colors encountered during her travels, such as vibrant, hand-dyed ikats from Indonesia or hand-made artifacts of Africa.

As well as a successful business, Holly seems to have her work/life balance down pat – which includes belting out a few songs in the car each day. “My commute home is delightfully short, so I find a good tune or two helps me reorient my joy to share the love with my family of four when I get home. My little ones are five and seven, so we dive right into art, cooking together, and telling stories of their school day,” she shared.

We’re happy to have Holly Freres joining us today for Friday Five!

Photo: Holly Freres

1. Cape Town, South Africa

Cape Town, South Africa is a place I visited with my husband about a decade ago. It quickly became the favorite trip of my lifetime. The city was very metropolitan yet also felt like it was on the verge of being engulfed by rugged, natural beauty. The blend of historic and modern architecture was incredible. In particular, the buildings in the wine region of Franschhoek are centuries old, and yet the interiors were so gracefully modernized. The people coming from all over the world, combined with beautiful views and amazing food and wine, made for a life-changing experience.

Photo: Darlene DeMichele

2. Handmade Textiles

I am fascinated by anything woven. When I travel, you will find me deeply immersed in the textiles of a region. There is so much to glean about a culture through an understanding of fabric makers. I always ask about the tools they use, what fibers they work with, and how the art and production of textiles impacts a community. I love learning about what the different patterns and symbols mean. Some of the richest conversations I have had were in Jaipur, India where everyone I talked to spoke from a place of incredible pride. I’ll also never forget hiking to some of the smaller villages in Sumba, Indonesia to learn about the beautiful Ikats made by local women on the island.

Photo courtesy Civic Wines

3. The Versatility of Etna Rosso

We are doing so much work in wine country these days, and I am very much delighting in all of the perks that come along with it! I haven’t yet earned the title of wine aficionado, but I definitely know my way around a cellar. I am really enjoying the versatility of Etna Rosso. It’s a medium bodied, dry red wine with a very fresh taste. It comes from a volcanic region of Italy, so there is an acidity and minerality to it. You can eat it with meaty pasta, or chill it and enjoy with lighter fare like grilled shrimp.

Photo: Holly Freres

4. Sacré-Cœur Basilica, Paris, France

I lived in France in my twenties, and when I visited Paris for the first time I fell completely and totally in love with Sacré-Cœur Basilica. This ancient Roman gem of Byzantine architecture is like nothing I had ever stepped foot into. Its mass, its location on the hill, its solitude and peace. I will never forget the feeling of sitting inside and taking in all of the details. I visited during the daytime and at night to study both the interior and the exterior form. It truly is the sacred heart of Paris. I can’t wait to show it to my children one day and see it again through their eyes.

Photo: Lincoln Barbour

5. Local, Natural Materials

In our designs, we advocate for use of natural materials in their purest form. This stems from my upbringing in Oregon, where my family has been in the wood products business for more than 100 years. In order to have this type of tenure in the business, you have to think long-term about how you are using the earth’s resources. I am very proud of the approach my family has taken over the last century to harvest sustainably, use every last piece of a log, and ultimately re-plant.

Work by Holly Freres + JHL Design:

Cosmo Modern Portland, Oregon, condo interiors by JHL Design Photo: Lincoln Barbour

Silver Falls Custom home interiors by JHL Photo: Haris Kenjar

Studio Penthouse Portland, Oregon, Corporate office interiors by JHL Photo: Haris Kenjar

Tanner Place Portland, Oregon, condo interiors by JHL Design Photo: Haris Kenjar

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

The words “homey” and “corporate office” don’t normally go together but that’s what British-Nigerian artist and designer Mimi Shodeinde, founder of design studio Miminat Designs, accomplished for venture capital firm Giant Ventures’ new office in Holland Park, London. Formerly a pottery studio, the space is a warm, inviting work haven that feels elevated yet relaxed, professional yet cozy. It’s perhaps one of the most un-office-like offices we’ve seen yet.

The office offers an abundance of sunlight streaming through the glass ceilings and floor-to-ceiling windows. To balance out the natural light, a mix of sustainable raw materials, including wood, jute, and stone grounds the space while luxe finishes of velvet, glass, and brass add a layer of elegance. Wood plays a prominent role as a material; a variety of different timbers including British Oak, Ash, Mahogany, Wenge, Zebrano, and Walnut make up the flooring, walls, and furniture.

Tonal hues of mustard, ochre, and cognac act as the pop of color in this mostly neutral office. The built-in storage and shelving highlight the beauty of the wood grain while custom furniture, including a RINA Cabinet by Miminat Designs that shines proudly in the boardroom, create a one-of-a-kind workspace.

A featured wall showcasing a massive collection of 3,000 vintage copies of National Geographic dating back to 1892 act as a focal point of the office. On the walls, art by renowned artists such as David Hockney, Bridget Riley, Sebastiao Salgado, and Mattea Perrotta, as well as Shodeinde’s own works, collectively create the office’s own little gallery.

Photography by Alixe Lay.

As the Senior Contributing Editor, Vy Yang is obsessed with discovering ways to live well + with intention through design. She’s probably sharing what she finds over on Instagram stories. You can also find her at vytranyang.com.

Today’s modern parents are most likely no stranger to Oeuf. The Brooklyn-based, kid-centric brand by husband-and-wife duo Sophie Demenge and Michael Ryan is known for a distinct style, one that celebrates the joie de vivre of childhood through its decor and clothing designs. While whimsical motifs and modern color palettes are often associated with Oeuf’s clothes, its furniture have largely been minimalist and Scandi-influenced – that is, until now. Launching today, the brand is sharing its most playful furniture offering yet with the Moss Collection, a 5-piece furniture series that beckons a new wave – literally – of design for Oeuf.

The Moss Collection consists of the Moss Crib (with a conversion kit available separately), Moss Toddler Bed, Moss Twin Bed, Moss Nightstand, and Moss Dressers (available as a 3 Drawer Dresser or 6 Drawer Dresser), all defined by a timeless wave pattern, save for the Dresser, which features oversized pulls instead and in a Birch/White color way only. The rest of the pieces are available in a punchy Tomato red, vibrant Peapod green, and classic Birch.

Oeuf’s previous furniture lines have always been co-designed by both Demenge and Ryan, but Moss marks the first collection designed entirely by Demenge. While maximalism is indeed having a moment, the eclectic style is not unfamiliar in their household, which is also where the collection’s photoshoot was held. The home’s wallpaper, collection of vintage artworks and antiques, and assortment of textures provided the perfect backdrop for the Moss pieces. “This collection is an invitation into our world,” Demenge shares.

Like all of Oeuf’s furniture, Moss is made from sustainably sourced, FSC-certified wood in a socially responsible factory in Latvia, Europe. The collection bears the GREENGUARD Gold mark which indicates low chemical emissions to give parents a peace of mind. Despite the collection’s marked aesthetic feature, it also pairs seamlessly with the rest of the brand’s furniture. After all, Oeuf was designed for generations to come. “Our heartfelt hope is that [the Moss collection] brings joy, becoming part of the fabric of your family’s story,” notes Demenge.

To shop the new Moss Collection, visit oeufnyc.com.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

As the Senior Contributing Editor, Vy Yang is obsessed with discovering ways to live well + with intention through design. She’s probably sharing what she finds over on Instagram stories. You can also find her at vytranyang.com.

The title of last year’s tome dedicated to the life and work of artist Josef Albers and textile artist and printmaker Anni Albers, You Can Go Anywhere, seems rather spiritually apropos of this new collaboration commemorating the creative imprint of the Albers across art, craft, and the study of color perception, with the  Projects Watches X Albers watch collection encapsulating Josef’s exploration of color and Anni’s textile artistry into a trio of timepieces appropriate to be worn anywhere and at any time.

Two of the watches, Persistent and Wide Light, each draw upon Josef Albers’ Homage to the Square series, paintings that applied a systematic application of colors in his exploration into the subjective nature of our senses. That same geometric abstraction of color is reinterpreted using stacked laser-cut to form the face of the two timepieces, in sum adding a physical dimensionality only implied by the original paintings.

Persistent

Wide Light

While the first two watches are bound by a box, 1925, the watch inspired by Anni Albers’ textile tapestry colors its circular watch face in a mesmerizing layer of circles assembled to turn with every passing minute.

1925

How does one read such an abstraction of an analog watch? Red represents the hours, blue for the minutes, and yellow for the seconds.

All three Projects x Albers watches feature a durable glass case made of hardened mineral crystal, and operate by battery-powered Japanese Miyota Quartz movement. If you’re a swimmer, you can rest assured you can take a quick plunge wearing these watches, with each rated for water resistance down to 30 meters.

Projects Watches describes the three as “one of our first releases with The Albers Foundation,” implying more designs may arrive down the line.

Projects is selling each with a limited discount ahead of the collection’s upcoming release, priced at $139 for the 40mm brushed stainless steel 1925, and $159 for both stainless steel banded, Persistent and Wide Light. 

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Gregory Han is a Senior Editor at Design Milk. A Los Angeles native with a profound love and curiosity for design, hiking, tide pools, and road trips, a selection of his adventures and musings can be found at gregoryhan.com.

Repair specialist Lucy Ralph describes herself as “a future-focused designer who loves to experiment and play.” A recent graduate, she studied surface pattern and textiles at Swansea College of Art, and is now continuing her practice within fashion, exploring concepts of visible repair and reworking garments.

Tell me about your childhood, education, and background and how you first became interested in repair.

I think my mum should get the credit – she is a farmer, so is out working in all weathers and regularly catching her clothes on fences and things – she is quite a frugal lady, so will just patch them back up using scrap materials – either from other damaged clothing, or our old school t-shirts and pillow cases. So seeing that as I grew up forged my attitudes – I really never viewed anything as waste, always finding a second life for things, and instead of buying new, making things out of what I already had. This translated into my interest in fashion, and I began upcycling and reworking my existing clothing, which developed into my creative practice today as I learned about the impact the fashion industry has on the environment, driven by the quick turnaround of clothing, and how much is just sitting in landfill having barely been worn. Repair became my specific focus when I discovered the concept of visible repair, following an internship with Hiut Denim in West Wales, where I experimented with Sashiko embroidery. Even the phrase “visible repair” I find really lovely – I love that when you wear a visible repair, you’re not only extending the life of the garment, but you are promoting an alternative fashion future. It becomes a conversation-starter that can influence and inspire others.

What appeals to you about repairing existing objects versus creating something new?

You are putting your imprint on the item and, with clothing especially, there is a big disconnect emotionally as we no longer see the value in it and how it’s made, so we heartlessly dispose of it or lose interest in it so quickly. When you repair clothing to add to its story, and it becomes a richer item you are more emotionally connected to.

There are many words for repair with slight nuances in their meaning – mending, fixing, hacking, restoring, repurposing… which do you prefer in relation to your work and why?

I say “repurposing” because nowadays many people dispose of their clothing before it’s even worn enough to become damaged so, through repurposing the item, you are (hopefully) repairing the relationship between the clothing and the wearer. I think it also depends on who your audience is, because there are some items of clothing that are really loved for how they first existed, so an invisible “fix” would be required, likewise with workwear.

How would you describe this project or body of work?

Playful, experimental, and hopeful.

What is the inspiration behind it – where did the idea come from?

It came from me recognizing my responsibility as a designer to, not only lower the impact of the pieces I was creating, but to also educate and facilitate change through connecting with consumers, so they are able to lower the impact, with the idea of visible repair being a conversation starter, as well as something to be taught in workshops. At the Green Grads hub in Heals during the London Design Festival recently, I collaborated with fellow Green Grad Lucianne Canavan, to host a repair and patchwork workshop, with an outcome of “The Green Jean” which was a second-hand pair of jeans adorned in patches made from scrap materials, by participants in the workshop.

Which repair techniques are you using and why?

Sashiko, because it’s simple but beautiful, and also because the history behind it connected to the ideas of visible repair, and seeing the value in our clothing. And patchwork because it is a good way of highlighting that even the smallest of scrap fabrics can be utilized, and not thrown away. I also love to create collages, so I view patchwork as a sort of textile collage, and therefore a way to put art on your clothing – or make the clothing into art.

How did you learn the techniques you use in your work?

Practice and experimentation, but also from books, online, and in workshops – Restoration London do some great ones.

How do your repairs change the function or story of the object?

You can transform your clothing however you like with repairs, you can make it more jazzy, or keep it smart. One of my lecturers informed me of the word “palimpsest” – something that has been reused or altered but still bears visible traces of its earlier form – when repaired clothing becomes a palimpsest, it adds layers of richness and value and it becomes a conversation-starter.

How visible or invisible is the repair and why is that important?

I like to work with visible repairs, mainly because I recognize that people lose interest in their clothing before it has even become damaged, and are always seeking newness – through visible repairs, you can create novelty, and communicate the idea that clothing is non-disposable, and we should be utilizing what we’ve already got.

How have people reacted to this project or body of work?

Really positively! I’ve been told by a few people that it’s good to see a more contemporary “designed” approach to repair and patchwork and that it’s not just tartan squares, opening people’s eyes to what it is and can be.

How do you feel opinions towards mending and repair are changing?

I start thinking that they are really changing in a positive direction, but then I realize that I’m mainly surrounded by people with similar mindsets to my own, and outside of my bubble it is business as usual. I think it is going to take a lot more noise, but also for bigger businesses and designers to start exploring concepts of repair and repurposing, and collaborating with consumers to facilitate it.

What do you think the future holds for repair?

I think we will get there eventually – sustainability is already the buzzword of the moment, with circularity starting to gain traction as well, but it’s going to require big businesses to really adapt and make honest changes. As people begin to explore circularity more, it is really going to breed innovation and great design, which is really exciting – starting to see “haute repair” on the runway would be sick!

Katie Treggiden is a purpose-driven journalist, author and, podcaster championing a circular approach to design – because Planet Earth needs better stories. She is also the founder and director of Making Design Circular, a program and membership community for designer-makers who want to join the circular economy. With 20 years’ experience in the creative industries, she regularly contributes to publications such as The Guardian, Crafts Magazine and Monocle24 – as well as being Editor at Large for Design Milk. She is currently exploring the question ‘can craft save the world?’ through an emerging body of work that includes her fifth book, Wasted: When Trash Becomes Treasure (Ludion, 2020), and a podcast, Circular with Katie Treggiden.

Soul Sculpture Bench is a minimalist bench created by Madrid-based designer Verónica Mar for Les Ateliers Courbet. Mar’s approach to design goes beyond the tactile, incorporating elements with a spiritual sensitivity, featuring pieces designed to alter and balance the energy of spaces they inhabit.

Drawing inspiration from the recurring spiral patterns found in the vastness of galaxies, the intricacy of DNA chains, and the swirling of water currents, the Soul Sculpture Bench showcases the seamless ties between nature and design. Its form brings to mind the vastness of the universe and the delicate connections that exist within.

Intended as a versatile piece, it can seamlessly fit into both public areas and private indoor settings. More than just a seating solution, it serves as a thought-provoking installation, inviting those who encounter it to pause, reflect, and appreciate the profound intricacies of the natural world.

Photography by Joseph Kramm.

Leo Lei translates his passion for minimalism into his daily-updated blog Leibal. In addition, you can find uniquely designed minimalist objects and furniture at the Leibal Store.

Established & Sons took the event of the 2023 London Design Festival to add to their contemporary collection of lighting with the Filigrana 6 table lamp and the Mark Light. Designed by Sebastian Wrong and Martino Gamper, respectively, both are statement-making additions. The release took place at Betts Project Gallery, alongside a design intervention created by designer Tino Seubert that highlighted the craftsmanship of the Murano mouth-blowing technique used on both new pieces of lighting.

Wrong’s Filigrana T6 is now part of the growing Filigrana lighting family. The table lamp’s candy-colored stripes surround a mushroom-shaped Venetian mouth-blown, acid-etched shade that emits a soft, diffused glow when illuminated. The complex shape of the T6 is created through the use of a 16th century glass blowing technique that originated on the Venetian island of Murano, highlighting traditional craftsmanship, technical mastery, and contemporary design. The production process ensures that each lamp is uniquely one-of-a-kind. The T6 sits on a powder-coated, spun steel base with a black fabric covered electrical cable and dimmable switch.

Originally designed for the Marksman restaurant in East London, Gamper’s Mark Light also features traditional Venetian, mouth-blown glass with colorful edging and a diffused illumination. An opal glass shade is highlighted by colorful glass rings that are hand-applied during the blowing process. The pendant light is completed with acrylic and steel fixings and a fabric cable, as well as an adjustable steel suspension wire with a screw mounted fitting and positioning bar that ensures an even balance of weight. The Mark Light is available in three color combinations.

Yellow/Pink

Violet/Green

To learn more about the Filigrana 6 table lamp or the Mark Light, visit establishedandsons.com.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.