A brand that lives up to its name in design, sound, and business practices. Transparent hooked me from the moment I saw their award-winning speakers. Made with aluminum and tempered glass for long-lasting quality, its unique transparency allows it to blend seamlessly into any room. Designed for a circular economy, the modular design allows for repairs and upgrades as needed since technology is constantly evolving. If it’s less (electronic) waste, it’s a yes from me.

If I could explore anybody’s home, it would be @adenwang’s interior designer-filled space in San Francisco, California. Full of all the big names, his loft is ablaze with every color and shape that I can only imagine it feels like a hit of dopamine walking into the room. With all the craze surrounding the Barbie movie, I immediately gravitated towards the adorable pink donut pouf from Hem, but as I explored his Instagram page further, I found myself adding every piece to my wishlist.

Hot stone massages are a treat, but going to the spa routinely can add up to big bucks. As an alternative, this at-home tool has been something I’ve been eyeing for my overly tense shoulders. Made of porcelain and glazed with crushed tourmaline crystal, it’s like having a hot stone massage right in the palm of your hand. The tourmaline is what’s key, as it’s a special crystal that emits far-infrared heat energy when heat is applied, allowing you to experience a more penetrating, therapeutic type of heat to relieve your muscles.

During one of my late-night scrolls in April, I happened upon the Untitled Folder Wallet from @nikbentel and I thought it was so ingenious! Now he’s released three more designs for The Folder Wallet Collection and I don’t know which one I need. From each wallet’s design to the reels created to showcase them, I’ve really enjoyed how he’s executed it all. Whether you’re a PC or Mac user, there’s a folder wallet for everyone. There’s even a manila folder wallet for those who are more traditional with their folder preferences!

With summer in full effect, I’ve been extra adamant about applying my facial sunscreen every day. The problem with the fine print is that most people, myself included, forget to “reapply every 2 hours.” When it’s midday and I’ve already gotten myself done up for the day, the last thing I’m thinking of is to reapply my SPF. Luckily, these misters make it too easy that I end up feeling guilty for skipping this step! Designed for touchless application, all you have to do is spray and you’re good to go. I especially like to keep mine in the fridge for a cool, refreshing pick-me-up before I head out into the heat. Plus, they smell absolutely delicious!

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 Social Media Consultant, Maivy is always dreaming up new ideas to curate content. If she’s not glued to her phone, she’s probably at the dog park with her pup Koda, training at the gym, or trying the latest food/drink trends! See the BTS of her life over on Instagram.

LAYER founder Benjamin Hubert describes the Vale collection for KFI Studios – featuring a chair, high and low stools, and armchair – as “a study in restraint.” The assessment rings true in regards to the seating collection’s gently organic form, subtle hues, and minimalist design language. But Hubert’s statement is also applicable when taking into account the chairs are manufactured using recycled PET plastic bottles pressed into the form of a PET felt shell, an eco-friendly effort to abstain from adding to an already excessive amount of manufactured plastic in and out of circulation today.

The Vale collection’s felt cover wraps around and drape over a steel frame, with the shell attached to the frame only using simple bolts, allowing for easy disassembly and eventual recycling at the end of the seating’s life. The curved shell is indented in the center to cradle the occupant with a distinctive edged detail.

If additional support is desired, KFI Studios offers optional matching cushions for both the chair and armchair.

Launched in June at NeoCon in Chicago and winner of three awards at the annual exhibition, including an Interior Design‘s 2023 HiP Award, the collection of sustainable chairs takes its name from the Middle English word for “valley,” physically manifested in the seating’s rolled edge wrapping around the entirety of the shell form.

Similar to its precursor, the Eames Molded Shell Chair, the Vale collection’s stackable design makes it especially suited for office and institutional settings, including schools, universities, and homes.

Vale is currently available in six colors – Charcoal, Grey, Stone, Midnight, Sage, and Garnet – across side chair, arm chair, lounge chair, ottoman and various height and style stools, for contract customers via authorized KFI Studios’ reps and dealers starting at $750.

Gregory Han is the Managing Editor of 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.

Crescent shaped columns of travertine and marble slabs form an object with a texture reminiscent of the moon’s crust. Olivier Vitry’s MOONLIGHT luminaires are pierced by slits that run the length of the pillar, allowing light to appear from within and highlighting the materials chosen. Olivier’s designs seek to bring beauty, harmony, and well-being to his work, while demonstrating flexibility and clean, minimalist lines. Modularity also plays a large role in his work – place two MOONLIGHT luminaires together in various positions to create new ways for the light to reverberate through their architectural forms. Olivier recognizes the reality that life is constantly on the move, and likes to account for it in his projects, allowing the user to adapt an object to their own needs.

Photo: Xavier Harcq

Photo: Xavier Harcq

Photo: Xavier Harcq

Photo: Xavier Harcq

Photo: Xavier Harcq

Photo: Xavier Harcq

Olivier Vitry Photo: Eline Willaert

To learn more about Moonlight, visit claisse-architectures.be.

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 Mater tile collection is a graphic lover’s dream come true. Designed by Patricia Urquiola for Mutina, the bold yet organic design is inspired by graphics from the 1950s and the artisanal ceramics of Vietri. Mater, a name derived from “matter,” is a nod to the earth used to create the tile’s neutral base.

“The collection started from the floor of the Mutina meeting room. Massimo and I strongly wanted to reinterpret that handcrafted tile. So we started this empathetic journey, made up of a lot of research and discoveries,” shared Urquiola. “In fact, inside Mater there is technology, experimentation, visual craftsmanship.”

The collection offers a selection of tactile surfaces that bring with them a strong visual impact, with glossy enamel playing a main role. An innovative VOC-free glazing technique is used to apply it that achieves the effect of a pleasant touch and striking color. Once finished, Mater’s geometric, saturated tiles are ready to cover residential and commercial environments – both inside and out.

Mater is produced in three size formats, 15x60cm, 60×60 cm, and 120×120 cm. Available in a basic version with neutral background in Uni Beige and Uni Moka, the two styles are able to develop into six with the Segno pattern. In Uni Beige it gives rise to the Segno Bianco, Segno Blue, and Segno Terra variants. Using Uni Moka it gives life to Segno Nero, Segno Verde, and Segno Ocra. The double finish and range of colors of the Mater collection gives you plenty of room to experiment, until you get the combination just right.

Blue Sign

Green Sign

Earth SIgn

Black Mark

White Sign

To learn more about the Mater tile collection, visit mutina.it.

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 stage: the Solomon R. Guggenheim Museum in New York City. The canvas: the BMW M Hybrid V8. The artist: New York-based artist Julie Mehretu, a MacArthur Award and the US Department of State Medal of Arts Award recipient with works exhibited at LACMA, Whitney Museum of American Art, and the Walker Museum of Art.

Unanimously chosen by an international jury of museum directors and curators, the announcement of the 20th BMW Art Car was staged at the Solomon R. Guggenheim Museum in New York City. Mehretu will have carte blanche to embellish the latest “rolling sculpture”– the 640-hp BMW M Hybrid V8, capable of track speeds upward of 215 mph – ahead of its appearance in the 24-Hour race of Le Mans in June 2024.

Since 1975, the German automaker has invited artists from all over the world to participate in the BMW Art Cars collection, an initiative born from French racing driver and art lover Hervé Poulain, who, in collaboration with then Head of BMW Motorsport, Jochen Neerpasch, asked his artist friend Alexander Calder to paint an automobile. The result was a BMW 3.0 CSL, a vehicle that went onto compete in the 24 Hours of Le Mans in 1975, adorned by Calder’s artistic touch.

Since then, the likes of Frank Stella, Roy Lichtenstein, Andy Warhol, Jenny Holzer, David Hockney, Cao Fei, and John Baldessari have created racing cars for BMW. A few of our favorite past BMW Art Cars below:

Roy Lichtenstein’s 1977 3rd edition BMW Art Car Photo: Enes Kucevic

Andy Warhol’s 1979 4th edition of the BMW Art Car

Robert Rauschenberg’s 1986 6th edition BMW Art Car Photo: Enes Kucevic

César Manrique’s 1990 10th edition BMW Art Car Photo: Enes Kucevic

Esther Mahlangu’s 1991 12th edition BMW Art Car

David Hockney’s 1995 14th edition BMW Art Car Photo: Enes Kucevic

Olafur Eliasson’s wildly imagined 2007 16th BMW Art Car stands out for its steel mesh skin and layers of ice.

John Baldessari standing with the BMW M6 GTLM Art Car #19 in 2016.

I’ve loved cars for most of my life, as toys, as objects, as possibilities. It is from that space that I’m really excited to be working on the next BMW Art Car more than anything. The thrill of the speed, the 24 Hour race of Le Mans and what is possible to invent in hybrid and fully electric vehicles as future modes of play and pushing ahead into new terrains of transportation and motorsports.

– Julie Mehretu

The 20th BMW Art Car will go on to be presented together at the Zeitz Museum of Contemporary Art Africa in Cape Town in 2025 alongside works born from the Translocal Media Workshop Series, gatherings in eight African cities over the course of nine months hosted by Julie Mehretu and Mehret Mandefro, intended to strengthen the media ecosystem across Africa and create spaces for artists to meet, exchange, and collaborate.

Gregory Han is the Managing Editor of 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.

Interior designer Amy Pigliacampo creates modern, warm, and inviting spaces with an emphasis on playful colors, contrast, muted tones, and organic shapes. She describes her approach as subtractive, peeling back the layers of a space to find the soul of every home. Amy’s resulting modern rebuilds use thoughtful materials to enhance – not overwhelm – the space underneath.

Amy’s appreciation for textiles runs deep, and she names her collection of vintage Indian cotton dresses as her most treasured possession. “A stylist that I worked for years ago introduced me to these gorgeous things, and I’ve hunted and purchased them obsessively,” she said. “The fabrics are so soft and thin that it’s like wearing gauze; you sneeze the wrong way or pass too closely to a lever door knob and you can rip them in half. I had to stop wearing them for a while when my children were babies because they would grab onto me and pull. They are so fragile and beautiful and difficult to find in the wild, most of them have been gobbled up and are being sold at crazy prices. Every once in a while I will still go down a rabbit hole on eBay and find a special one.”

That love began early on, when Amy first saw the Marc Jacobs collection for Perry Ellis Spring 1993. “I had had my Vogue subscription for maybe a year at that point in middle school and still remember the Steven Meisel shoot with Naomi Campbell and Kristen McMenamy,” she recalls. “It was so wildly casual and different than anything I had ever seen before. I wanted combat boots so badly and I was so young at that point that I didn’t even understand how to find them.”

After spending many years living in New York City and Los Angeles, Amy traded it in for a big yard to raise her kids in Boulder, Colorado, where she designed projects from Denver to Aspen, while also working remotely with clients from Brooklyn to Los Angeles. Recently, Amy and her husband, Corey, purchased their forever home on a couple of acres in Topanga Canyon, California.

As a mother herself, Amy also focuses on beautiful yet functional design for growing families and everyday life. When she’s not emailing herself or leaving voice notes of future ideas, she can be found watching dollhouse furniture tutorials with her kids. “We are obsessed with this incredible woman, Cath, and her channel The Square to Spare on YouTube,” Amy said. “They are the most mesmerizing and inspiring videos, we love them and we have made a few of her more simple designs. Her voice is so soothing and what she creates is next level.”

This week, Amy Pigliacampo is joining us for Friday Five!

Photo: Cactus Collective

1. Neon Sign Graveyard

One of my favorite places on earth, I saw it in a Saks Fifth Avenue catalog maybe 20 years ago and had no idea what it was. I figured it out around 2008 and wanted to get married there, but it wasn’t allowed in 2010. We got over it and came back to visit three more times, and on a whim looked into renewing our vows there over Christmas 2022. They had one opening that coincided with passing through Vegas – so I got my wish. The vintage fonts and the fallen grandeur of these creations move me every time. I love the bits and pieces of different time periods and eras in Las Vegas, but also the faded colors and innovative fonts and type treatments bring me so much joy. My husband was first a graphic designer, so we have a shared love of typography.

Photo: Amy Pigliacampo

2. Olympic Peninsula

I visited this area on a road trip with my husband before we had children and then again this past summer with them. It was magical the first time and extraordinary to re-experience it with them. I adore Port Townsend, Lake Crescent, the Log Cabin Resort, and the Hoh Rainforest – the vibe there is so specific and the colors are practically fluorescent.

Photo: Amy Pigliacampo

3. Secret Stairs

I bought a book many years ago called Secret Stairs: A Walking Guide to the Historic Staircases of Los Angeles by Charles Flemming, a writer for the LA Times that documented urban hikes around many neighborhoods in the city. Completely fascinating and filled with curious and beautiful architecture and bits of neighborhoods you could never experience in a car, these staircases are my favorite thing about the city and filled with inspiration.

Photo: Amy Pigliacampo

4. Coney Island

My husband took me out to Coney Island early on in our relationship and then he proposed there in front of the Wonder Wheel. It was a part of New York that I didn’t know until I met him and I fell completely in love with the history, the colors, the kitsch, the mermaids, and of course, HIM. Makes me so happy to think about the time we spent there and I always find something new to appreciate each time we visit.

Photo: Amy Pigliacampo

5. Airstream

I have always been fascinated with these classic metal campers. I’m not one for tent camping, but I love road trips and wondered if I could ever become a person that loves to travel this way (my parents had a camper for a while when I was a kid, some of my earliest memories). We bought one almost on a whim in 2021 and we became a family that caravans. I learned a lot about myself during these trips and wouldn’t trade them for the world. Best investment ever.

Work by Amy Pigliacampo:

Camp Altezza / A 1970s Rocky Mountain Cabin with my take on a modern Swiss chalet at 11,000 feet. Photo: David Lauer

Nobo Net Zero A dilapidated foreclosure in Boulder CO that we turned into a modern family home in spite of multiple setbacks, including a fire. Photo: David Lauer

Ironic Meets Iconic We brought bold personality to a remodeled brownstone in Brooklyn. Photo: Corey Szopinski

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

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.

Located in Born, one of Barcelona’s oldest neighborhoods, this 65-square-meter apartment is housed in a building that’s dated back to the 13th century. A young Italian woman who works in fashion purchased the flat and hired Colombo and Serboli Architecture (CaSA) to completely refurbish it. The transformation resulted in a new, more open layout with vaulted ceilings, a playful color scheme, and original details. With the Barbie movie making a big splash everywhere, the pink used throughout is on trend.

The apartment was originally dark with three bedrooms and a broken layout. Walls were removed, leaving one bedroom and a large open living space for entertaining. Two large windows in the kitchen and living space keep it light and bright.

The open kitchen includes a rounded island and warm grey cabinets with an adjacent bright coral volume that disguises the powder room.

The tiny powder room is clad in glossy pink tile inside the coral-colored arched structure.

The bedroom hides behind pale pink doors just off the living room.

Shades of pink show up throughout the interior, including in the seating area where there’s a Roll Club Chair from Kettal.

A massive storage partition was custom designed to divide the entryway and the living area with rich blue doors and pink interior surfaces in the cut outs.

Photography by Roberto Ruiz.
Styling and art direction by CaSA.

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

While gathering ideas for a summer sipping round up, I kept repeating: “Don’t judge a book by its cover.” But the truth is we judge almost everything by its covers. Books, dish soap, albums, even booze… As design enthusiasts, you know that particular colors, architecture, shapes, and materials can evoke a mood and feeling. A great cover, or bottle label in this instance, serves as a visual storyteller, expressing the essence of a brand and its offerings effectively. Granted what you see on the outside is not always a true indicator of what you’ll find behind the surface… Dubbed as “Marketing Magic,” I had the chance to explore the narratives behind the shelf appeal of three brands and put their claims to the taste.

Gabriela Lawrence, Gabby Arce, and Mia Tonelli have high standards. So, when they decided to get into the Mezcal business, they wanted to bottle an earthy, exhilarating, and full-bodied mezcal rooted in wellness – 100% Plant based, gluten free with zero carbs, no added sugars, no yeast, and no additives. Mindfully made in Oaxaca, Mexico, Doce Trecenas Mezcal is a company founded and owned by women in partnership with a third generation family-owned distillery, led by Matriarch & Maestra Mezcalera, Margarita Blas, mother of 5 children, with 3 of whom play a key role in creating the artisanal mezcal. The 3 generations of mezcalaros have made it their life’s passion to polish the artisanal production of mezcal, maintaining tradition and quality in every step of the process.

Designed by Morgan Light, the bottle packaging inspiration was pulled from an ancient Mayan calendar showcasing the philosophy of following the pathway to reach your highest self at 12 & 12 each day. With its bold colors, holographic type, a step pattern cut-out, and laid paper texture – the bottle is recognizable, reads quality, and resonates with conscious consumers seeking cleaner, mindful choices connecting to their core ethics.

Below are some highlights from my interview with Gabriela Lawrence, Doce’s Co-Founder + Chief Communications Officer, after being schooled on the proper way to sip mezcal slowly with a slice of orange. Doce did not disappoint with its aromatic start, and flavorful smooth finish.

Can you discuss the role of packaging design in creating a luxurious and premium feel for your mezcal? What specifically about your typography, color palette, and overall aesthetics choices incorporates the rich history and heritage of mezcal-making?

Packaging was one of the major lighthouses when building the brand identity. Doce Mezcal’s visuals are the culmination of both the vibrancy of Mexico paired with our founder’s previous backgrounds and personal affinity for fashion and style. Color can be found all over Mexico – and we were inspired by the vibrancy within the region’s flora, the street art, and visuals across the country. Our previous careers in fashion also directed the way we approached packaging, playing with color, and texture to create something visually stimulating. Mezcal is a true gift from the earth, its dynamic, filled with heat and created with passion and tradition. We realized most options available on the back-bar and on the shelves of our local liquor stores didn’t echo the stylistic tastes of today, and many felt detached from our modern ideals. Mezcal is a spirit that is traditionally experienced with friends and loved ones. We wanted to create something that people would be excited to share and engage with – packaging that excites you and makes you take a second look. The goal was to create a product that exceeds your usual expectations when it comes to spirits, one that earns a coveted spot in your beverage rotation.

Did you collaborate with any designers or agencies during the brand creation process? If so, how did you ensure a seamless partnership between the design team and your brand’s vision?

Our internal team spent months gathering creative references and inspirations that we felt best encompassed our brand identity. When it came time to create the final product – we were led to our designer Morgan Light who we met through the former women’s networking group + Coworking Space – The Wing. Morgan’s experience working in beverage + lifestyle brands within beauty & wellness coupled with her like-minded aesthetic made her the perfect partner for Doce. Together we worked hand-in-hand pairing our team’s vision with Morgan’s creative expertise. We went back and forth with weekly check-ins sharing historical references and creative inspirations, and after a few months and iterations we were able to bring the final product to life.

How did you incorporate sustainability and environmentally conscious practices into your brand’s design and packaging?

As an emerging brand, when building Doce Mezcal we focused on the details. Small changes that would make a big impact in the long run as we grew and scaled. Creating with recyclable and reusable materials, taking into consideration factors such as bottle weight and certain types of bottle caps, label paper, and more were at the forefront when dictating design decisions. Every part of Doce Mezcal from cap to paper to bottle is environmentally conscious.

What book have you read solely based on the cover design? Did it live up to the judgement? 

Anything by Assouline never falls short. Their coffee table books are always equally as stunning on the outside as the content on the inside. The Windows at Tiffany & Co. was the most recent buy. Coffee table books are always known for the visuals, but this edition served dual parts stunning imagery + informative of the brand’s creative history. A treat for fashion lovers.

Pinhook Bourbon Photo: Taste:Work:Shop

With a steadfast commitment to tradition, an eye for contemporary design, and a nod to the equestrian world, Pinhook Bourbon & Rye stands as an embodiment of artistry, flavor, and the indomitable spirit of Kentucky.

Breaking away from convention, Pinhook takes a winemaker’s approach to craft bourbons, creating and releasing a unique vintage year after year. Rooted in the concept of using oak barrels as terroir, their whiskey-making process yields exceptional results that captivate both seasoned connoisseurs and newcomers to the world of whiskey.

Pinhook Bourbon

Beyond this approach, Pinhook also pays homage to Kentucky and the rich parallels between horse racing and whiskey. Bottles are inspired by the vibrant colors and bold geometries of jockeys’ silks, and each vintage is dedicated to a new and promising thoroughbred, tying the spirit of both industries seamlessly.

Pinhook Bourbon

The very name Pinhook draws inspiration from the old Kentucky term for acquiring young thoroughbreds, nurturing them as they mature, and ultimately selling them when ready to race. This analogy finds a profound connection with whiskey-making, where success is a harmonious blend of instinct, experience, quality appreciation, a touch of luck, and, above all, patience.

At first glance, Pinhook’s bottle reads quality and authentic. With thoughtfully clean graphics that are not overly modern or trendy, the bottle neck is dip sealed with a slightly muted bright color wax to match the geometric color pop pattern on the label. Clearly the brand prioritizes the user experience and has a very straightforward pull tab for opening the wax seal effortlessly.

Behind this brand stand the three original co-founders, each contributing their unique expertise: Sean Josephs, the Master Blender; Jay Peterson, the Wharton business expert; and Charles Fulford overseeing brand, marketing, and packaging. The trio’s collective efforts proved so successful that they convinced Alice Peterson, Jay’s wife and Harvard Business School alum, to take on the role of CEO when the side project evolved into a year-round business.

Below is more of what I learned straight from the horses’ mouth… Alice Peterson, Pinhook CEO and Charles Fulford, Pinhook Co-Founder and Chief Brand and Marketing Officer.

How long has Pinhook been in the bourbon business and what are your most popular markets?

Alice Peterson: Pinhook’s journey began in 2010 when we acquired a set of barrels. In 2011, we purchased 20 full barrels in Indiana as we sought a distillery that could distill to our exact specifications. Our first bourbon was released in 2014, and by 2017, we had our first year-round product. Since then, we’ve expanded our presence and are now available in 30 different states, with California, New York, Louisiana, Kentucky, Ohio, Colorado, and Illinois being our largest markets.

Can you share the unique characteristics and flavor profiles that set Pinhook apart from other bourbon/rye brands?

Alice Peterson: We tend to bottle at a pretty high proof alcohol content. We do that because we want it to stand up to a cocktail and dilution. We want you to tell that it’s a rye cocktail, and taste it, unlike the vodka lemonades that are “so good – I can’t even taste the vodka.” Because we’ve set ourselves free from uniformity and consistency, we can play with the alcohol integration until we get it right. So, we try different complexities. Basically, play with it until its perfect.

Each year’s release has different expressions due to our wine-like approach, using barrels as the natural ingredients that allow us to compose and combine unique flavor profiles. This results in every vintage having its own label, united by color but distinguished by shapes, creating a visually compelling and varied collection.

How do you envision people enjoying Pinhook, and what are some of your favorite ways to serve it?

Alice Peterson: We want people to feel comfortable and at ease when enjoying Pinhook. There’s no right or wrong way to drink it. It’s accessible to everyone, whether you prefer it neat, on the rocks, or in cocktails. I’ve always admired the versatility of whiskey, and I want to share that with others. Tying back to the brand and the spirit of hospitality, one of my personal favorites is to prebatch a cocktail, put it back in the Pinhook bottle, and bring it as a hostess gift.

The bottle itself is beautiful. Sometimes I feel like if I appear at someone’s house, and they’re hosting a dinner and I put a bottle of bourbon in their hands, it’s almost like giving people flowers without a vase… And who doesn’t love offering a cocktail. Most people haven’t prepared a cocktail for a dinner. And so you’re adding something super easy and ready to go feels like it’s helpful as opposed to potentially intimidating.

Batched cocktails are also great to keep in the fridge, the flavors can infuse and it speeds up service. Even if you still need to shake a la minute, they are labeled with simple wrap around tape, ready to serve to unexpected guests without pulling out the cutting board. You can just grab a glass and pour. For that reason, all our recipes have a single serving and batch version on the website.

Alice introduced me to the “Boulevardier,” a bourbon version of a Negroni. The cocktail is delightfully simple, and easy to sip. A great evergreen cocktail that suits all seasons.

8oz of Pinhook rye
8oz of Forthave Red
8oz of Antica Sweet Vermouth

Simply combine all the ingredients and dilute with 4 ice cubes, funneling it back into a Pinhook bottle. Serve it over ice and garnish with an orange peel.

Can you discuss the role of marketing and packaging design in creating a luxurious and premium feel for your bourbon/rye? Besides your typography, color palette, and overall aesthetics choices what else incorporates the rich history and heritage of whiskey-making? 

Charles Fulford: We discovered that the 275 whiskey products on the market all came from 13 distilleries. Revealing that most brands don’t have their own still, and rely on the a huge market for buying barrels. So, storytelling becomes the main differentiating factor. And the story out there is always about the same – faux antiqued grandpappy recipe found in the barn by the creek. We felt an enormous opportunity to do something different aesthetically. With my creative agency background – how do we modernize things? These barrels are wildly different. Sean coming from the wine world asked why is the industry not treating this like natural product and treating it more like wine? Instead of hiding behind the curtains – and wasting a lot of products let’s celebrate that it is different year after year.

Let’s not play the same BS game, let’s tell an authentic story. The global industries in Kentucky are bourbon and thoroughbred horses. No one has really put these worlds together beyond putting a horse on the label. So we partnered with a thoroughbred farm, and merged the product with active thoroughbred race horses.

The decision to use bright colors had historical significance. Before the era of phones and screens, at the racetrack, people placed bets and wanted to follow their horse during the race. The distinct colors and shapes on the jockey silks allowed spectators to recognize their chosen horse easily. We metaphorically connected this to people walking into a bar or retail shop and easily spotting Pinhook amidst other bottles due to its tall shape dipped in wax of an extremely bright color, like a beacon on top.

To go further we’ve added an augmented reality aspect to the package itself. People want to know everything about the juice they are consuming. And we have a rich brand story to tell. So we bridged digital and physical – arming people, bartenders especially, with an AR browser base scan code on the back to get the history of that specific bottle from the water, to the grains, to the barrel, the horses career and races they’ve won, and allows people to dive deeper into what they’re drinking.

How did you incorporate sustainability and environmentally conscious practices into your brand’s design and packaging? 

Charles Fulford: Biggest impact with paper type and soy inks.. and trying to be as sustainable as possible in all our choices. The larger environmental challenge – initially we wanted the weight of bottle to have a heft, as it connotes quality. People think of weight with being premium. But there is a tax on that, case weight is heavy. And shipping takes a toll on environment. With our current production numbers, we are discussing creating our own custom bottle mold to address this issue.

How did you consider target audience – and balanced the existing and new customer through design choices? Did you collaborate with any designers or agencies during the brand creation process?

Charles Fulford: We needed to teach people that we are a singular brand with consistent identity but with varying annual releases.

Introducing Pinhook to a broader audience without alienating existing audiences – balance was key. You could come too far left field with packaging, do something hyper modern, but then alienate a large group of traditional folks. We wanted to balance traditional and modern.

We collaborated with Noli Novak, a Wall Street Journal illustrator, to create pen and ink portraits of thoroughbreds for each bottle. Noli’s illustrations act as a hat tip to heritage olden times, and the bright colors and geometry help balance it out and make it seem modern. The word mark and typeface is from Grilli Type – GT sectra, a serif type leaning to the past, but with angular elements looking very modern in certain light.

We wanted beautiful bottles, friendly for all, to be admired on the shelf, instead of the tired masculine narrative and aesthetic. The bouquet of fruits, herbs, and floral tastes lean more like wine and gender neutral then the typical manly attributes of tobacco and butterscotch. Through packaging and branding we aim to widen the aperture of the audience.

Have you received any notable recognition or awards for the design of your brand? 

Charles Fulford: We received a silver medal at the San Francisco world’s fair competition when we submitted Pinhook.

What book have you read solely based on the cover design? Did it live up to the judgement? 

Charles Fulford: I know where you’re going with it… In the wine world – if someone has the aesthetic eye to put together an absolutely beautiful label, chances are they are putting the same craft and care into the bottle too. FLOWERS wine, for example – stunningly simple, paper quality, embossing, typeface, this is going to be beautiful wine inside because they put so much care into the brand.

Something & Nothing Photo: Taste:Work:Shop

The award-winning brand from the U.K., Something & Nothing officially launched in the U.S. this May. Founder Olly Dixon’s background in design is reflected in the premium spritzes he’s developed that lead with flavor and natural ingredients and are inspired by travel and nature.

After starting his career in music, Dixon transitioned to running an award-winning cultural agency called Margaret. But it wasn’t until he opened his own pub that the idea for Something & Nothing came to be. First with a quality non-alcoholic soda, and then the Spritz.

Something & Nothing spritzes are made with the highest quality natural juices, extracts, and botanicals. But it’s the artistic & graphic packaging design that highlights their commitment to refresh people and planet, both literally and holistically, through inspirational ideas, moments, experiences, and culture. Oh and let’s not omit the funny connection the brand name has to my favorite TV buddy George Costanza – “It’s about nothing, everyone is doing something we’ll do nothing.”

Something & Nothing Spritz

The latest of the three expressions of premium spritzes … is the Japanese Junmai Sake & Yuzu. By carefully blending dry, umami and tart Junmai sake with complex and aromatic natural yuzu juice and botanicals, the gently effervescent spritz claims to taste like wandering Kyoto’s backstreets at golden hour. That said, I found the subtle flavors paired nicely with Nozawa-style sushi from Sugarfish.

The fresh and green Sauvignon Blanc & Cucumber claims to taste like running through a vineyard naked. I paired it successfully with grilled daurade dowsed in lemon butter and sprinkled dill flower.

And lastly, the French Rosé + Hibiscus & Rose Spritz is a nice option for terrace snacks at sunset. Leaning into a pale, dry French Rosé from the Côtes de Gascogne with complementary botanical and tart flavors from rose & hibiscus, the subtle bubbly tasted lovely with a summer pavlova topped with raspberries and white peaches.

Something & Nothing Spritz

Below are some design specific insights from my interview with Something & Nothing’s Olly Dixon. He is also founder of the Glimpse Collective, a group of artists, illustrators, copywriters, and makers who come together regularly to imagine a better world… and create a glimpse of it.

Can you discuss the role of packaging design in creating a luxurious and premium feel for your Spritz? What specifically about your typography, color palette, and overall aesthetics choices incorporates the essence of your brand?


The Spritz are an extension of the core brand, using all the elements of the Soda – the white frame, the imagery, the minimal design, and typography – but adding a more elevated feel that works for the alcohol occasion. This was achieved through the format change (the taller can) and the use of a bold, classic, angular typeface running along the can saying SPRITZ. The classic angular font plays off the core design elements of the brand, elevating and modernizing. The design and brand positioning for Spritz had to work for Wine and Sake, both of which have a legacy of craft and tradition but the way we have blended them with natural ingredients, water, and carbonation lifts them and brings a new energy. The design hopefully reflects this.

Did you collaborate with any designers or agencies during the brand creation process? If so, how did you ensure a seamless partnership between the design team and your brand’s vision?

Before starting Something & Nothing, I had a creative agency and the designers I collaborated with all the time were Studio AS/CC. I’ve worked closely with Studio AS/CC for several years now, firstly with my creative agency Margaret and then on collaborative projects such as Birch hotels where we developed the strategy, brand, and launch campaign together. So, when it came to developing Something & Nothing, we started exchanging ideas and visual references and having a lot of conversations years before it came to life. What we created probably wouldn’t get past most traditional drinks clients and companies. Something & Nothing is a very pure reflection of our conversations, references, and strategy that we discussed over several months.

What book have you read solely based on the cover design? Did it live up to the judgement?

I used to go to car boot sales a lot, mainly to buy vinyl but occasionally a book would catch my eye. I picked up a book called The Doyle Diary which was a collection of illustrations from Charles Doyle, the brother of Arthur, the author of Sherlock Holmes. The cover shows a strange skeleton wearing a pagan crown shaking hands with a gentleman in a suit.

Inside it’s full of detailed illustrations of nature mixed with mythical creatures and weird combinations of dark humor, horror, and charming country scenes. They are illustrations made whilst Charles Doyle was committed to a facility. He was seen as “mad” back then, now I believe he would have been viewed as a genius.

So there you have it… three brands that captivate consumers through their packaging designs, embodying their pleasantly tasty spirits and beverages with a touch of narrative and artistry. Happy Summer Sipping!

TJ Girard is a sought-after food designer and creative consultant, celebrated for staging theatrical, interactive food + beverage experiences. She now resides in California where her creativity is solar powered! TJ writes the Design Milk column called Taste.

Emerald Bay is a minimalist home located in Laguna Beach, California, designed by Studio Gutow. The project offered the studio an opportunity to stay true to its minimalist aesthetic while maintaining their iconic blend of modernity and traditional design aptly highlighted in the restoration. It integrates the original architectural structure from the 1930s with the untouched 1970s interior design within its nearly 5,000 square foot, four-bedroom layout.

This amalgamation of disparate styles, alongside the integration of personal collections, results in a home that reflects the property’s heritage and functions as a showpiece where furniture and walls seamlessly blend. Craftsmanship was key to diffusing the house with its unique charm, from specially designed ceilings painted in Wimborne White by Farrow & Ball to custom fabrics.

Amplified by a breathtaking ocean view, the living room is imbued with a luxurious feel, thanks to the MLK Sofa and antique rug. As a bustling family home, a warm and friendly atmosphere was a critical objective. To achieve this, the designers opted for a color scheme centered around taupe, cognac, and olive. The home’s design allows for a smooth transition from one space to another, making it ideal for entertaining.

Photography by Michael Clifford.

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.

Luxury kitchen appliance brand Signature Kitchen Suite believes that precision, performance, and versatility are the path to creating the perfect meal. Today’s home chefs are a new generation of forward-thinkers who love to combine their passion for food and appreciation of technology and innovation. These are a few reasons why Signature Kitchen Suite has engineered its 48-inch Dual-Fuel Pro Range with Sous Vide & Induction to be the first of its kind on the market, with built-in sous vide, induction, and gas – all on the cooktop!

The 48-inch Dual-Fuel Pro Range’s built-in sous vide (sue-veed) is an industry first, delivering the ultimate in cooking precision directly on the cooktop. French for “under-vacuum,” sous vide is a cooking technique where food is vacuum-sealed before being submerged in water at a constant, precise temperature until perfectly cooked. You’ll get professional results every time, capturing the full flavors of your meal without having to babysit all the while. Sous vide has been the go-to cooking method in some of the world’s best restaurants for years, and for good reason – it brings food to the exact temperature chefs look for while delivering perfect doneness every time.

If you think that’s where the features of the 48-inch Dual-Fuel Pro Range end, hold on. Two Ultra-High Burners are ready to deliver 23K BTUs of cooking power for better control over searing and stir-frying. Meanwhile, two UltraLow Burners can maintain temperatures as low as 100ºF to simmer delicate sauces and sweet confections to perfection. And when the recipe calls for temperature control, two induction zones are right there to meet the need. The zones can even be combined for use with a griddle, teppanyaki plate, or large cookware.

There’s more – the Steam-Combi and Convection Oven. Measuring 18-inches, the oven combines steam and convection cooking for gourmet results. The system cooks food quickly and evenly, while steam helps to preserve texture, appearance, and taste. The neighboring 30-inch oven features ProHeat™ convection technology with a rear-wall element and fan that evenly distributes heat to every rack. By providing high-quality built-in appliances that feature leading-edge technology, Signature Kitchen Suite gives you the luxury of flexibility to prepare food in the best possible way.

Once the table has been cleared and the dishes placed in the dishwasher, there’s only one thing left to do – and the 48-inch Dual-Fuel Pro Range can do it in a flash. The range’s SpeedClean® makes quick work of cleaning a lightly-soiled oven with just wiping away a mess after a ten-minute cycle, using only water in the process. Have you ever met a range that can do more?

One last thing for the tech lovers: all WiFi-enabled Signature Kitchen Suite appliances are powered by the free LG ThinQ app. Simply download onto an Android or iOS device to enjoy the benefits of remote controls, ThinQ Care, wine features, recipes, and more.

Learn more about Signature Kitchen Suite’s do-it-all 48-inch Dual-Fuel Pro Range with Sous Vide & Induction at signaturekitchensuite.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.