Situated in Limache within the Valparaíso Region of Chile, Catalejo House is a striking architectural project designed by the studio Tololo Ugarte. The micro-house is nestled within a monumental landscape defined by an oasis of ancient quillayes and molles trees, some of which are over 300 years old. Designed to emerge organically from its context, the residence sits on an extension of highly fertile soil that is exceptionally sensitive to seasonal shifts. During the summer months, the surroundings take on a stark, desert-like appearance, while winter and spring bring forth dense, irregular vegetation that creates the illusion of the house floating amidst nature.

Conceived as a "spyglass" micro-house, Catalejo functions as an architectural experiment that blurs the boundaries between the indoors and the majestic outdoors. A defining feature of the structure is its prominent circular, vaulted roof crafted from a combination of steel and wood, which facilitates a spacious, double-height interior. This distinct geometry establishes a direct spatial connection with the exterior environment, fostering a sense of continuity. By leveraging the unique attributes of the site, the interior layout transforms the surrounding landscape into living art, where each window acts as a dynamic frame capturing a new, ever-changing view of the ancient trees.

The materiality and construction of the Catalejo house are deeply rooted in a philosophy of environmental integration and respect. Tololo Ugarte specifically selected materials intended to generate a mimesis with the surrounding landscape, allowing the built structure to seamlessly fuse with its natural context. This intentional camouflage serves to minimize the visual footprint of the architecture, ensuring that the monumental trees remain the focal point of the site. Ultimately, the residence proposes a new way of inhabiting spaces by inviting deep reflection on the relationship between humanity and nature, offering a continuous, evolving dialogue with the Chilean landscape.

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Summary

ILKW introduces the SNOWMAN12 Portable Lamp with a playful, architectural aesthetic.It features a bolder, contrasting two-tone body and expanded 12cm shade.At around $71 USD, the fixture delivers up to 260 hours of wireless illumination.

South Korean lighting studio ILKW (ILKWANG Lighting) has expanded its iconic lighting lineup with the SNOWMAN12 Portable Lamp. Building upon the beloved, whimsical silhouette of its predecessors, this newly available lighting fixture seamlessly merges playful geometry with functionality.

Aesthetically, the lamp distinguishes itself from previous iterations through a bolder, more pronounced form factor. The most notable design shift is its expanded shade, which now boasts a 12cm diameter. To support this wider canopy, the design team introduced a substantial, two-tone body that utilizes contrasting materials and colors to give the product a highly distinctive presence.

Explaining this deliberate evolution, Creative Director Sunman Kwon noted that the expanded shade necessitated a heavier body, leading to the integration of a "balloon-like base plate to bring balance to the overall form." This careful attention to proportion ensures that the lamp retains the charm of the original SNOWMAN series while feeling significantly more grounded and architectural.

Beyond its visual updates, the SNOWMAN12 is engineered for untethered versatility, boasting a battery life of up to 260 hours on a single charge. According to the brand's Senior Manager of Development Minhyuk Cho, the new model features vastly improved battery performance and light output compared to the brand's existing portable products, resulting in a fixture that "lasts longer, shines brighter, and enables freer use."

Retailing at 100,000 KRW (approx. $71 USD), the SNOWMAN12 is currently available for purchase through ILKW's official webstore and select global stockists.

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Summary

&Tradition debuts Numbra, its first lighting collection by Teruhiro Yanagihara.The TY1 Pendant features a 122cm linear silhouette of oak and aluminium.The TY3 Portable Lamp offers a compact, rechargeable format with a 10-hour battery.

Danish design brand &Tradition has introduced Numbra, its first lighting collection by Japanese designer Teruhiro Yanagihara. Featuring the TY1 Pendant and TY3 Portable Lamp, both designs emphasize elemental simplicity, combining lacquered oak with tumbled aluminium for a minimal yet expressive aesthetic.

The Numbra TY1 Pendant is rooted in the idea of the straight line, presenting a long, linear silhouette that balances clarity with warmth. Within an interior setting, the TY1 acts as an elegant, floating centerpiece, ideal for anchoring dining spaces or living rooms with its tranquil, minimalist silhouette. Crafted from solid lacquered oak panels and tumbled aluminium fixtures, the pendant integrates an acrylic diffuser and stainless steel core to create a soft, dimmable glow. Measuring 122cm in length, it is designed for communal spaces, offering a 15W LED light source with 700 lumens and a warm 2400K temperature. Beyond its visual appeal, the pendant is made with sustainability in mind, with FSC-certified wood, water-based lacquer and designed for disassembly to ensure repairability and recycling.

Complementing the pendant, the Numbra TY3 Portable Lamp translates this same design language into a compact, battery-powered format. Built for adaptability, the TY3 brings quiet elegance and gentle illumination to various settings, transitioning effortlessly from a bookshelf or bedside table to an evening terrace. Standing at 25.5 cm tall, it features a three-step dimmer, a rechargeable battery with up to 10 hours of use and a magnetic USB charging system. Like the pendant, it is crafted from oak, aluminium and sandblasted acrylic, reinforcing Yanagihara’s focus on material honesty and tactile simplicity.

Visit the &Tradition website for more information regarding the Numbra series' price range and availability.

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Summary

Artek and Paul Smith released the Edition Three Stool 60, reimagining Alvar Aalto’s 1933 classic with bold color contrasts.The stool features stained birch legs, hidden Malachite Green underside and stackable versatility.The limited-edition piece doubles as seating or a side table.

Artek and Paul Smith have introduced Edition Three of the iconic Stool 60, continuing their collaboration that began in 2024. Building upon a shared appreciation for timeless, functional design, this collaborative iteration once again reimagines Alvar Aalto’s legendary 1933 Stool 60. Edition Three juxtaposes Artek’s strict, Nordic modernist sensibilities with Paul Smith’s signature colorful, "classic with a twist" philosophy, resulting in a piece that functions both as practical everyday furniture and a vibrant, collectible design object.

The stool retains Aalto’s classic three-legged birch construction but introduces striking stained finishes inspired by Smith’s Signature Stripe. The legs are presented in Lemon Yellow, Burgundy and Melrose Pink, while the seat maintains a natural wood top with a hidden Malachite Green underside, revealed only when flipped. This concealed detail adds a sense of discovery and wit, aligning with Smith’s design ethos. The stool remains versatile, functioning as seating, a side table, or a decorative surface, while its stackability - up to ten stools - creates a striped visual rhythm when grouped.

Priced at €390 EUR (approx. $451 USD), the Stool 60 Edition Three is part of a limited series that also includes restocks of Editions One and Two, encouraging collectors to build a complete set. Available through select Artek and Paul Smith flagship boutiques globally, as well as their respective official webstores.

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Summary

Nan Shufang has opened its first Hong Kong store at Pacific Place, its debut location beyond the Chinese mainlandThe brand builds each space around the tradition of the Chinese scholar's study, uniting objects, setting and cultural activityWooden wares, porcelain wares, and gold and silver wares anchor a lineup meant to be used and passed down rather than simply displayed

Nan Shufang, a premium Chinese cultural brand rooted in the tradition of the scholar's study, has officially opened its first Hong Kong store at Pacific Place. The opening marks a significant step in the brand's global expansion, framing the space as an immersive experience that ties together objects, setting and cultural engagement.

The brand's identity reaches back to its 2008 founding. Nan Shufang established its first location in Beijing's Houhai area and takes its name from the "South Study," or Nan Shufang, of the Forbidden City, a nod to its scholarly lineage. That heritage informs a guiding belief that objects are not simply functional vessels but carriers of culture, craft and spiritual value. The brand roots that idea in a line from the Zhuangzi's "Ren Jian Shi" chapter: "The achievement of beauty takes time; the making of ugliness allows no room for correction, how cautious one must be."

The Hong Kong store arrives as part of a wider footprint. Nan Shufang now runs cultural spaces across Beijing, Shanghai, Shenzhen and Hong Kong, a four-city network of seven stores that each interprets the scholar's-study theme through object display, spatial design and cultural experience. The mainland locations range from the founding Houhai store to metropolitan settings at Beijing's China World and SKP, a Shanghai Xintiandi space built around refined pursuits such as incense appreciation and tea tasting, a historic Amanyangyun site, and a Shenzhen Bay MixC store attuned to that city's open, contemporary character.

At the center of the offering sit three craft categories. Wooden wares focus on classical furniture and scholar's-study objects built through mortise-and-tenon joinery and hand carving, with an emphasis on proportion, line and spatial rhythm. Porcelain wares carry forward classical ceramic forms and glazing, spanning everyday tea wares to desk pieces. Gold and silver wares apply traditional techniques such as chasing, repoussé and lost-wax casting to tea and incense implements and decorative objets d'art. Together they reflect the brand's aim of bringing objects that carry centuries of cultural knowledge into contemporary homes.

Beyond the objects, Nan Shufang treats its stores as active cultural venues. The brand runs experiential activities spanning calligraphy, Chinese painting, incense culture, seal carving, guqin, tea culture and woodblock printing, alongside cultural talks, themed gatherings and seasonal events led by specialists in art, culture and collecting. Since 2017 it has also operated the "Fang Weng Cultural Tour," a program of in-depth journeys through exhibitions, museums and historical sites. In Hong Kong, positioned as a meeting point of Eastern and Western culture, the brand sees a new platform to connect these traditions with an international audience.

Nan Shufang
Shop 320, Level 3
88 Queensway, Admiralty
Hong Kong

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Summary

Brickle debuts a premium LEGO table combining smart storage and a creative play surface.Features include size-sorting drop holes and a 41-compartment specialty drawer.Available in multiple finishes, prices range from around $1,900 - $4,800 USD.

Brickle’s Premium LEGO Storage & Creative Play Table is a design‑driven piece of furniture that organizes large collections of LEGO bricks while doubling as a creative play surface.

Conceived as both storage and play deck, the table comes with a raised edge to prevent pieces from falling, while cleverly engineered drop holes sort bricks into drawers by size. A dedicated “special pieces” drawer offers up to 41 compartments for unique elements, while additional shelves and stools provide display and comfort.

Available in finishes such as black, cream, and oak, the Brickle is designed to sit at the heart of the home, encouraging creativity and reducing clutter. Its premium craftsmanship ensures longevity, with thoughtful details like chamfered drawer edges and Teflon runners to protect floors. Available through the brand’s official webstore, pricing varies by model: the full‑size Brickle retails around £1,850 – £3,650 GBP (approx. $2,400 - $4,800 USD depending on finish), while the smaller version is priced from £1,460 GBP (around $1,900 USD).

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Summary

Kelly Wearstler and H&M HOME debut a 29-piece furniture and 8-piece apparel collection.The modular, sculptural pieces mark the brand's first-ever furniture collaboration.Priced from $30 - $749 USD, it releases globally on September 3.

H&M HOME has partnered with American designer Kelly Wearstler to launch an expansive new collection, marking the brand's first-ever collaboration to include furniture and homeware. The 29‑piece collection is revealed alongside an 8‑piece ready‑to‑wear capsule, all rooted in the philosophy of democratic design. The resulting pieces merge Wearstler's bold, confident aesthetic to a wider audience by blending artisanal craftsmanship with accessible, everyday functionality. The overarching concept explores design as a daily ritual, focusing on adaptable architectural systems and sculptural forms that easily integrate into various living spaces.

At the center of the interior collection is a focus on modular versatility, allowing furniture pieces to be continuously reconfigured. Hero items include the plush POMA accent chair, which can be coupled to form two loveseats, and the SOLUNA lounge chair, which can be multiplied to create a cloud-like sofa. The collection also features the angular AVERN armchair and the ORTRA sofa table, designed to stand alone or combine into a larger circular surface.

Complementing the furniture is a curated array of tactile decor pieces crafted from wood, metal, marble, and ceramics. Notable accents include the ceramic MORRA lamp, COVA candlesticks, CYMA vases, and the MONA metal clothing rack, ensuring each room is furnished with visually striking, highly functional objects.

Standout pieces from the ready-to-wear range include a coated cotton trench with layered leather collar, a cropped leather jacket, a sequin skirt and a vase‑printed slip dress, alongside everyday staples like a white cotton T‑shirt embroidered with a vase motif. Prices range from $30- $749 USD, the full collection launches globally on September 3, 2026, with interiors available in select stores and online, while the clothing capsule will be sold exclusively via H&M's website.

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Summary

Jil Sander and Thonet expand the JS. THONET collection with reimagined S 411 lounge chairs and S 1070 tables.Designs merge tubular steel Bauhaus heritage with tactile luxury.Offered in SERIOUS and NORDIC lines, each engraved for authenticity.

Expanding on their acclaimed inaugural partnership, Jil Sander and the historic German furniture maker Thonet have introduced the latest additions to their collaborative JS. THONET signature collection.

The 2026 expansion introduces reimagined versions of the S 411 lounge chair and the S 1070 table, uniting industrial tubular steel design with warm, tactile luxury. Rooted in a shared appreciation for the Bauhaus - particularly the work of Marcel Breuer - the collection emphasizes timeless design, intuitive usability and exceptional craftsmanship. To guarantee authenticity and highlight the premium nature of the collaboration, every new piece is finished with a precisely engraved "JS. THONET" inscription on its steel frame.

A standout of the new release is Jil Sander's elegant update to the S 411 lounge chair, a classic Thonet factory design originally dating back to 1932. The chair features a striking, curved S-shaped tubular steel frame that flows seamlessly into armrest coverings designed to resemble skate blades, creating a sculptural lightness that appears to float in space. Sander elevated the piece by wrapping the generously cushioned sprung upholstery entirely in leather, utilizing a specialized minimal seam and piped backing to give the chair a serene, monolithic appearance. Designed to pair effortlessly with the collaboration's B 97 nesting tables released in 2025, the seating also includes a matching S 411 H footstool for complete lounge comfort.

The collection is further anchored by the S 1070 table, which reimagines a 2004 concept by Glen Oliver Löw into a minimalist, contemporary dining or conference centerpiece. Its 220 by 100 cm tabletop is distinctively divided down the middle lengthwise, offering a sense of lightness and the ability to mix or match surface colors.

Both the table and the S 411 chair are offered in two distinct aesthetic lines: SERIOUS and NORDIC. The SERIOUS line utilizes a smoked glossy titanium finish for the steel frames, paired with high-gloss accents and leather in rich graphite shades like black, ruby red, green, or blue. Conversely, the NORDIC line presents a softer, understated warmth, featuring frames with a matt nickel silver finish and a golden shimmer, completed by white pigmented oak details and lighter leather tones such as burnt walnut or alabaster white.

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For modern digital nomads constantly on the move, staying powered without being weighed down is essential. The Baseus PicoGo Series emerges as the ultimate everyday carry, presenting the thinnest power duo designed specifically to meet the demands of modern travel. By combining the ultra-slim 5,000mAh PicoGo Air with the robust 10,000mAh AM52, Baseus has created a complementary system that covers virtually every charging scenario on the road with minimal burden. Embracing the mantra to "charge your passion, power your journey," this series provides travelers with an ideal, lightweight solution that perfectly supports an unencumbered, nomadic lifestyle.

Leading the lineup with a pioneering, minimalist fashion aesthetic is the Baseus PicoGo Air 5K. Measuring a razor-slim 6.9mm and weighing just 3.7 ounces—roughly half the weight of an iPhone 17 Pro—it provides exceptionally thin, light, and fast charging tailored for mobile phones. The power bank utilizes the same semi-solid-state cells found in the iPhone Air, ensuring high performance within a remarkably sleek footprint. Furthermore, it introduces seamless NFC battery visibility; with a single tap, users can access real-time cell health, temperature, and safety status directly through the Baseus app. Better yet, from July 1 through August 31, 2026, travelers can grab the PicoGo Air for just $39.99 USD (down 34% from its original $59.99 USD price tag) when using the promo code EHYGXRMR at checkout.

Beyond its striking physical design, the PicoGo Air sets a new benchmark for portable power safety and thermal management. The device features thermal control from its core to its case, utilizing a combination of graphene, aerogel, and an iPhone-matched aluminum alloy housing to maximize heat dissipation. This hardware cooling is paired with a proprietary AI chip that monitors temperatures 18,000 times per hour for precise regulation. Conforming to one of the world's most stringent mandatory safety standards under China's Safety Technical Specification for Power Banks, the PicoGo Air has successfully passed both a 20kN crush test and a nail penetration test without catching fire.

Perfectly complementing the Air is the Baseus PicoGo AM52 with built-in cable, which scales up the capacity to 10,000mAh while maintaining an ultra-slim 16mm profile that remains lighter than an iPhone 17 Pro. While the PicoGo Air is ideal for quick phone top-ups, the AM52 handles heavier travel loads, featuring a built-in cable capable of delivering 45W wired charging to quickly power both mobile phones and computers, alongside maximum Qi2.2 25W wireless speeds. It can reliably power up to three devices simultaneously without compromising performance and solves the common "hot phone" issue by operating about 12 percent cooler (approximately 39°C compared to the typical 44°C) to prevent thermal throttling. Running through August 31, 2026, you can score $37 USD off the AM52 by applying promo code UTYJDF7V, bringing its $79.99 USD list price down to a final price of $42.99 USD. Together, they form an unbeatable, complementary travel setup.

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Summary

WILDSIDE, the conceptual project from Yohji Yamamoto, has partnered with furniture atelier Mitsukoshi Seisakusho for the first time on a blacked-out edition of the historic "Bamboo Chair"The piece renders a 1937 design in a deep lacquer-like black, with the WILDSIDE logo laser-engraved into the backrest in a subtle matte finishEach chair is fully made to order and handbuilt by a single Mitsukoshi Seisakusho craftsman

WILDSIDE Yohji Yamamoto has joined forces with Mitsukoshi Seisakusho for its first collaboration with the storied maker, producing a jet-black interpretation of the "Bamboo Chair." The project takes a piece of mid-century Japanese design history and refinishes it in the black that defines WILDSIDE's world, arriving as a made-to-order object built entirely by hand.

The chair leads with material. Bamboo's natural give, its curved lines, and the fine detail of its weave carry the form, qualities that have long drawn admiration from furniture designers working in the modern idiom. Here those elements meet WILDSIDE's signature black, producing a version of the chair with a depth recalling the black of traditional Japanese lacquerware and architecture. The finish does more than color the surface; it sharpens the material's texture and throws the contours and structure into relief, giving the supple curves a more sculptural, arresting presence.

The branding is deliberately quiet. On the reverse of the glossy, lacquer-like body, the WILDSIDE YOHJI YAMAMOTO logo is laser-engraved, then finished in a subdued matte so it surfaces only as the light shifts across it. It is a restrained touch that lets the object's silhouette do the talking, and it reinforces that this is a built-to-order piece rather than a mass product; every chair is made one at a time by a Mitsukoshi Seisakusho artisan.

The heritage behind the form is a large part of the appeal. The Bamboo Chair was designed in 1937 by Umonji Kidokoro, then working in the Mitsukoshi furniture design studio, the operation that would become Mitsukoshi Seisakusho. Kidokoro's work is said to have influenced French designer Charlotte Perriand, and he traveled Japan's craft regions alongside figures including Sori Yanagi and Junzo Sakakura, even presenting a bamboo chaise longue. Recasting that legacy piece in black adds a new reading to a recognized classic while keeping its craft thinking intact.

The maker's résumé lends the collaboration further weight. Founded in 1910 and run by Mitsukoshi Isetan Property Design, Mitsukoshi Seisakusho is a woodworking furniture workshop whose commissions span custom pieces for the Imperial Household Agency, the National Diet Building, the Supreme Court, five-star hotels, and luxury brands, along with furniture restoration for historic buildings. Working from a concept centered on craftsmanship built to last a century, the atelier handles everything from design to production in-house, an approach that pairs naturally with WILDSIDE's tradition-meets-innovation framing.

The WILDSIDE Yohji Yamamoto x Mitsukoshi Seisakusho Bamboo Chair is available to order via the WILDSIDE official online store now. A special exhibition runs at WILDSIDE YOHJI YAMAMOTO OSAKA from June 26. As a fully made-to-order piece, production takes roughly one year and six months from order.

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Summary

Simon Weckert debuted "Digital Camouflage," an apparel collection engineered to trick AI surveillance.Generative patterns prevent camera detection from any angle or fabric fold.Digital printing applies visual noise onto recycled polyester textiles.

Berlin-based artist Simon Weckert is pushing back against the rise of ubiquitous digital surveillance with his 2025 installation. The designer officially unveiled "Digital Camouflage," a conceptual garment collection that serves as a wearable shield against AI-driven tracking systems. As artificial intelligence continues to dominate public spaces through automated tracking cameras, personal privacy has become a highly debated topic. This project explores the boundaries of anonymity and visibility in modern society. By merging computational noise with everyday apparel, Weckert offers a physical countermeasure to digital overreach.

At first glance, the clothing appears to feature nothing more than a striking abstract graphic pattern. The collection is actually a highly engineered tool specifically developed to disrupt object-recognition algorithms used in security and autonomous systems. This design approach relies on the concept of an adversarial attack. The technique deliberately manipulates the visual data received by a machine so that it incorrectly interprets the scene. When an individual wears the collection, their body essentially becomes invisible to AI person detectors because the software completely fails to identify the human figure amidst the high-frequency visual noise.

Previous attempts to evade machine vision typically relied on fixed printed patches or isolated graphics. Those early designs shared a critical vulnerability known as the segment-missing problem, where the illusion breaks down the moment the fabric folds or the camera angle changes. Weckert solves this technical hurdle by deploying a seamless Adversarial Texture that covers the entire surface of each piece. A specialized generative AI method called TC-EGA generates the continuous pattern. This computational approach optimizes a tileable textile design that constantly produces false visual features regardless of the viewing perspective.

Physical production of the garments matches the meticulous nature of the software engineering behind them. Manufacturers in Latvia construct the collection using a durable blend of 65 percent recycled polyester and 35 percent standard polyester. Developers apply the computational patterns through precision digital textile printing to ensure the visual noise remains intact across the fabric. These resulting garments effectively blend digital pattern generation with tactile textile production to challenge modern recognition systems.

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Summary

Paulin, Paulin, Paulin has installed its iconic Dune seating system for Fred again.. and Latin Mafia’s creative retreat in MexicoSet up by Benjamin Paulin at Lago Algo, the modular landscape formed the creative heart for their collaborative mixtape '9 months & 50 hours'Originally designed by Pierre Paulin in 1970, the setup was featured throughout a YouTube livestream documenting the recording process

Paulin, Paulin, Paulin has partnered with music artists Fred again.. and Latin Mafia to create a bespoke installation featuring its iconic Dune seating system at Lago Algo in Bosque de Chapultepec, Mexico. The sculptural setup served as the central workspace for the artists while writing and recording their collaborative mixtape, 9 months & 50 hours.

Personally installed by Benjamin Paulin, the Dune modules established a fluid, open environment designed to foster conversation, movement, and spontaneous creation. The modular landscape was captured throughout an ongoing YouTube livestream documenting the making of the mixtape, naturally integrating Pierre Paulin's design into the visual identity of the music project.

Originally designed by Pierre Paulin in 1970, the Dune system reimagined traditional furniture as an adaptable, borderless landscape rather than a set of fixed objects. Unproduced during the designer’s lifetime, the piece is now faithfully brought to life by Paulin, Paulin, Paulin in highly limited editions. By integrating the design into the artists' Mexico studio retreat, the design house continues its ongoing dialogue with contemporary culture and modern artistic expression.

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Summary

PlayLab, Inc. designs Laneige’s Seoul flagship, a four‑floor interactive retail space in Myeongdong.Each level highlights bespoke product experiences, from Cream Skin to Lip Sleeping Mask Swirl.A massive, glossy red sculptural tube spirals through the building, connecting all floors.

Creative studio PlayLab, Inc. has designed a vibrant new flagship store for Laneige, a well-known K-beauty brand. Located in the bustling Myeongdong district of Seoul, the new store spans four distinct floors built around interactive spaces that invite customers to formulate and create custom beauty products.

Each floor of the flagship is dedicated to a specific product interaction, with bespoke experiences shaping the mood. The ground floor introduces Laneige’s core collections, while upper levels highlight Cream Skin, Lip Sleeping Mask Swir and NEO lines through immersive installations.

PlayLab's design emphasizes tactility and personalization, encouraging customers to engage with materials, textures and product rituals in a way that feels both futuristic and intimate. Serving as the primary unifying element of the space is a massive, glossy red sculptural tube. This twisting, arterial installation spirals continuously from the main ground-floor lobby all the way up toward the sky, visually and conceptually connecting the diverse interactive zones across the building's multiple levels.

Take a look inside the space in the gallery above.

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Summary

NOT A HOTEL AOSHIMA debuts two new villas, CHILL 2.0 and COAST, designed by Shin Ohori.The CHILL 2.0 maisonette features a 21-meter infinity pool, outdoor lounge, and sauna.The COAST duplex offers a private pool, garden and 3.2-meter ceilings.

NOT A HOTEL AOSHIMA has expanded its beachfront retreat in Miyazaki with two new villas, CHILL 2.0 and COAST. The new architecture and room layouts were designed by Shin Ohori of GENERAL DESIGN, who also helmed the original buildings, ensuring a seamless visual harmony with Aoshima's lush, subtropical landscape. By expanding the property's public spaces to include a skateboard park and verdant green park areas, the updated resort invites guests into a richer, more engaging lifestyle experience.

Serving as an evolution of the resort's flagship "house of the horizon," the new CHILL 2.0 room is a third-level maisonette designed to maximize panoramic views of the Pacific Ocean. Accommodating up to six guests, this expansive suite features two ocean-view bedrooms that step directly out onto a shared terrace to catch the sea breeze. The focal point of the outdoor space is a massive 21-meter infinity pool, expanded from the original CHILL footprint, which blends effortlessly into the distant horizon. Adjacent to the water, a floating outdoor living area with a sunken sofa and fireplace invites guests to relax, while a seamlessly connected bath, sauna, and cold plunge system ensures a continuous flow of wellness and tranquility.

The second new addition, COAST, is a duplex spanning the first and second floors that comfortably accommodates up to four people. Situated on a prime oceanfront plot, this house merges the best elements of the property’s earlier "SURF" and "GARDEN" suites by offering both a private pool and a lush, secluded private garden. One of the four units is pet‑friendly, allowing guests to stay with dogs. Inside, COAST boasts soaring 3.2-meter-high ceilings in the living room, establishing a profound sense of depth and openness that complements the tropical environment.

Together, these meticulously crafted residences - alongside the recently renewed, ocean-facing LDK restaurant designed by Ryu Kosaka of A.N.D. - elevate the site’s experience into a fully realized, luxurious beach community. For more details, head over to NOT A HOTEL AOSHIMA’s official website.

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In a cityscape built on towering skyscrapers and a constant sensory rush, the retail landscape often feels like a loud shouting match to catch people’s attention. Standard luxury storefronts in Hong Kong consistently fight for dominance by making their presence known through grand architectural designs, bold iconography and distinctive branding engineered for instant consumer recognition. Van Cleef & Arpels, however, operates at the opposite extreme.

The French High Jewelry Maison embraces a calculated subtlety, frequently tucking its logo away in an unassuming, less in-your-face manner on its store façades to cultivate an intentional sense of mystery that quietly intrigues passersby to look closer inside. It is precisely this quiet philosophy that guides its newly relocated Hong Kong Maison in Central’s Alexandra House. Moving from its home at the Landmark Prince’s Building where it had sat since 2011, Van Cleef & Arpels turned to long-trusted architectural partners Patrick Jouin and Sanjit Manku of Studio Jouin Manku to build something far more complex than a standard storefront: a structural antidote to the modern digital age.

The space’s poetic subversion begins with an 825-square-meter stone and textured glass façade that mimics a "rain of light," adorned with giant white plaster petals hand-sculpted by artisans in England. "Can you successfully captivate a modern city by whispering when everyone else is shouting?" Manku muses. "We believed we could, provided the whisper possessed enough depth." This structural whisper continues inside, where a grand winding staircase of oak and light limestone acts as the latest of the studio's ongoing dialogue with the city. By removing sharp corners and rigid lines, the architects guide guests through fluid, homey domestic salons that encourage unhurried exploration.

Your partnership with Van Cleef & Arpels began 20 years ago, and you originally designed their first Asian Maison at Landmark Prince's back in 2011. What is it like creatively to return to and rewrite the same Maison footprint in the same city after all these years?

Patrick Jouin: We have indeed been working together for a very long time, but every single project presents a completely fresh opportunity. The physical space and the structural flow are always entirely different, meaning we constantly have to discover a new visual language to express the core identity of Van Cleef & Arpels.

At the same time, we are now 20 years older. Our personal understanding of the Maison - and what its heritage represents - has matured. We are much more aware of its internal mechanics. The Maison itself is also constantly evolving, developing new high jewelry expressions. Because we explicitly refuse to repeat ourselves, we have to look for new boundaries within the Maison's DNA, spirit and heritage. Translating that culture into a physical, architectural reality is a magnificent challenge. This new project at Alexandra House isn't just a simple relocation; it is effectively "Version 3" of our creative vision for the Maison in Hong Kong.

Sanjit Manku: To understand why we view this as "Version 3," you have to look back at that first Maison we built at Prince's Building. That was perhaps the first time Patrick and I spent significant time immersing ourselves in Hong Kong. We were completely romanced by the energy of the city — specifically the dramatic relationship between the urban architecture, the surrounding sea, the native flora and fauna, and the steep mountain forests. It’s an incredible mix of contrasting elements.

Every single architectural project we take on is deeply rooted in context: where we are located in the world, the physical parameters of the building we are operating within, and where we stand on the evolutionary timeline shared between our studio and Van Cleef & Arpels. Because of that, the design equation changes every single time, and the ultimate answer is never identical. What is truly remarkable about Van Cleef & Arpels is that they grant us the creative freedom to explore. They never ask us to clone a previous concept or stick to a rigid corporate template; there is an immense amount of built-in flexibility. We are constantly pushing ourselves to get closer to a perfect target, but we purposefully avoid a clinical "bullseye." Leaving that slight margin ensures that the next iteration will always have room to evolve.

"We’ve been working [with the Maison] for a very long time, but every single project presents a completely fresh opportunity… We constantly have to discover a new visual language to express the core identity of Van Cleef & Arpels." - Patrick Jouin

With this new iteration at Alexandra House, how did you approach retaining Hong Kong’s unique identity while introducing a brand-new architectural aesthetic?

Patrick: It’s about training the client to look at the environment with both their eyes and their heart. In a fast-paced city, it is incredibly easy to pass by a flower and never truly observe it. But when you slow down and actually inspect it, you notice the extraordinary gradients — how a petal shifts seamlessly from green to a deep red. If you’ve ever tried to replicate that transition with paint, you know just how difficult it is to master.

Our job as architects is to craft an atmospheric envelope that awakens that innate sensitivity. A single piece of high jewelry can take a full year of meticulous labor by multiple master craftsmen to achieve. When we first started working with the Maison 20 years ago, we knew absolutely nothing about jewelry. What we did know was how to build a narrative link between historical heritage and contemporary design. That is why we focused on creating a calm, rich and elegant interior. The architecture itself is designed to subtly recede, allowing the physical structure to disappear so that the focus remains entirely on the artistry of the jewelry.

Sanjit: Today, we live in a culture dominated by a constant influx of digital images streaming onto our smartphones. A strange byproduct of this hyper-connectivity is that a lot of spaces globally are beginning to look identical. Right now, we are caught in a clear cultural conflict. On one side, there is an obsession with the newest, loudest, most attention-grabbing digital distraction of the hour. On the other side, especially in a post-pandemic landscape, people are actively searching for spaces of pure peace, calm and absolute clarity. We are looking for stronger foundations, a slower pace and a deeper relationship with nature. These two forces are pulling society in opposite directions.

This tension heavily fueled our design philosophy for the new Maison. Our primary goal was to create an environment that encourages you to put your phone down. We wanted to design a physical haven. If we can entice you to step through the front doors, comfort you and provide an atmosphere where your shoulders naturally drop, you suddenly become receptive to experiencing the craftsmanship inside. We want to prepare your senses for the beautiful things created by Van Cleef & Arpels.

It’s interesting you mention that, because the moment I set foot into the Maison, I immediately felt a sense of calm. The moment you cross the threshold, time genuinely feels like it slows down and you are drawn to observe every detail in every corner.

Patrick: That is exactly what we were aiming for. The floor plan is intentionally non-linear. It isn’t strict or clinical; it is designed as a spatial choreography, a promenade, or an organic dance. As you walk through the space, you will notice there are absolutely no dead ends.

Sanjit: And no sharp corners. We purposely eliminated harsh geometric angles. A sharp corner forces a literal pivot — it dictates a change of direction where you have to consciously turn left or right. We believe that when a client is on an aesthetic journey, they shouldn’t be forced to make rigid structural decisions. You should be softly guided through space. It should feel like a child exploring a candy store; you can't make a wrong turn because a fluid, welcoming path is constantly unfurling in front of you. This fluidity directly mirrors the human form. Jewelry is designed to be worn on the contours of the body, and the human body is entirely devoid of straight lines. Our spatial lines mimic that organic elegance — it’s like a dancer moving through space, or a path winding naturally through a forest. It invites curiosity and adventure.

We also wanted to show the sheer breadth of the Maison’s creative universe. Most people are familiar with the iconic Alhambra collection, but that is only one facet of their storytelling. By gently guiding visitors through different architectural zones, they can naturally discover Perlée, the timepieces, or the historical patrimony archives. It’s one cohesive, overarching ambiance, but it avoids monotonous repetition by borrowing the structural concept of a home. A house is comprised of distinct rooms — spaces for dining, spaces for resting. The Maison operates on that exact same domestic intimacy.

"Jewelry is designed to be worn on the contours of the body, and the human body is entirely devoid of straight lines. Our spatial lines mimic that organic elegance — it’s like a dancer moving through space, or a path winding naturally through a forest." - Sanjit Manku

That domestic feeling is incredibly apparent. The moment you step into any of the individual salons, you feel separated from the grand scale of the main floor, almost as if you’ve walked into a private residence.

Sanjit: “Choreography” is our definitive word for it. We rely heavily on the concept of "emotional choreography" when we sit down to map out a space. Our approach changes entirely based on the urban context of the building. For example, our old footprint at the Prince's Building was a standalone boutique. It was a tight, vertical, highly concentrated space where you parked your car and walked directly in off the street. At Alexandra House, the architectural reality is completely different because we have three distinct entrances, each requiring its own unique emotional choreography.

You can enter from the ground level, but you are arriving through a bustling mall entrance. You can enter from the upper level, but you are walking across an elevated pedestrian bridge where you only get a glancing, diagonal view of the space. Or, you can arrive via what we call "the prow" — the prominent corner drop-off where a driver sets you down and you walk directly into a spectacular, three-story-tall entrance. Each of those three scenarios alters the client's state of mind. Our responsibility was to configure the interior architecture so that no matter which doorway you use to enter, the layout addresses your immediate sensory needs, shifts your energy and prepares you for the world inside.

Walk me through the initial brainstorming phases for this layout. When you first sat down with the drawing board for this project, what were the foundational keywords or concepts you mapped out?

Patrick: The primary structural hurdle was mastering the multi-level flow. Because we were dealing with significant level changes between the street entrances and the internal floors, constructing a seamless, intuitive physical flow was paramount. We wanted the journey between the levels to feel majestic, which naturally led to the development of the central staircase. We spent months collaborating with the local teams to balance the practical corporate requirements - the placement of consultation desks and operational logistics - with this overarching idea of an architectural promenade.

Sanjit: Once we resolved the internal flow, our attention shifted to the exterior façade. We asked ourselves: How do we express the poetic soul of Van Cleef & Arpels to a dense, hyper-commercial city like Hong Kong? If you look at the surrounding luxury landscape, almost every brand is visually shouting on their façades to command attention. We wanted to take the opposite approach — introducing pure elegance by whispering rather than screaming. Can you successfully captivate a modern city by whispering when everyone else is shouting? We believed we could, provided the whisper possessed enough depth.

Instead of wrapping the building in a flat, paper-thin branding skin, we treated the façade as a three-dimensional sculpture. It works with deep window recesses and layers of transparency that create an X-ray effect, allowing glimpses into the warmth of the interior. The moment you step inside, the structural gravity shifts. The environment becomes beautifully, magically strange — an intentional departure from the frantic pace of the outside world.

"The floor plan is intentionally non-linear. It isn’t strict or clinical; it’s designed as a spatial choreography, a promenade, or an organic dance. As you walk through the space, you’ll notice there are absolutely no dead ends." - Patrick Jouin

The exterior façade is incredibly striking. I understand that the custom sculpted panels were created in collaboration with specialized artisans in England. Why was it vital for you to bring that level of handcrafted artistry to the exterior architecture?

Patrick: As designers, we sketched the organic forms for the panels, but we then had to find the ultimate craftsmen capable of translating those lines into a physical medium. It was a lengthy process of trial and error to find the perfect technical execution. We experimented extensively with papier-mâché, advanced 3D printing, and heavy plaster mockups. Ultimately, we developed a specialized material formulation that is very close to traditional plaster. It allowed us to achieve an incredibly graceful, hand-sculpted texture, which was flawlessly executed by a master craftsman in the UK named Tom Palmer.

Sanjit: What the public doesn't see when they look at those graceful, organic lines are the intense engineering hoops we had to jump through behind the scenes. Because of its location, this façade has to be typhoon- and extreme-weather-proof. It cannot rot, it cannot degrade and it must comply with incredibly strict structural safety codes.

Our core challenge was balancing that industrial resilience with delicate artistry. The heavy structural engineering had to be flawlessly addressed, yet completely invisible to the eye. It required an immense global synchronization between our design team in Paris, the craftsmen in England, our partners in Hong Kong and the technical fabrication teams in Mainland China. Our studio directors orchestrated the entire process to ensure that the rigorous science of construction never compromised the poetry of the design.

In one of the private lounges in the store, there are these beautiful, rose-tinted stone walls that you created in collaboration with L'ÉCOLE, School of Jewelry Arts. Can you tell us more about this collaboration?

Sanjit: Yes, it is a truly spectacular room dedicated to the traditional tea ceremony and we wanted the atmosphere to feel weightless and serene. The palette is a soft blend of delicate pinks and warm peaches. To achieve that specific depth, we partnered with Caroline Besse, an extraordinary mineral artist based in France whom we have worked with previously on Place Vendôme. What appears to be a traditional painting from afar is actually a textured surface comprised of crushed semi-precious minerals and natural stone dust embedded directly into the wall panels. When you move through the room, the surface catches the light and shimmers in a way that traditional paint pigments simply cannot replicate.

Furthermore, we view this interior as a living, evolving canvas. The initial mineral layer is complete, but it is by no means static. Over the coming months, we will be returning to layer additional hand-painted cloud motifs across the walls, directly referencing the ethereal landscapes found in classical Chinese artistry. We don’t believe an architectural project is ever truly finished; it is a continuous, living painting that we constantly revisit, refine and evolve.

Patrick: That philosophy of continuous refinement is exactly why our relationship with Van Cleef & Arpels has endured for 20 years. A creative partnership of this scale requires two fundamental components: absolute trust and a shared luxury of ambition. Both our studio and the Maison are completely aligned in our desire to build things that are extraordinary. We refuse to compromise on the execution of those promises. Even when a site looks like a chaotic construction zone just weeks before the official opening, there is an underlying trust in the creative journey. We share the same elite standard, and that is what allows us to keep pushing the boundaries of spatial storytelling.

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Summary

Design firm Form Portfolios purchased heritage brand Dansk for $250,000 USD following Food52's Chapter 11 asset auction.Founder Mark Masiello is relocating the design studio to Copenhagen to relaunch archival grails like Kobenstyle cookware.

Design licensing firm Form Portfolios has officially taken stewardship of Dansk. The move marks a pivotal return for the beloved Danish-American midcentury design icon after years of corporate transitions. The acquisition by the Rhode Island and Copenhagen-based firm follows a Chapter 11 filing by Food52. The former parent company saw its assets split across multiple bidders during an intense Delaware auction. The heritage tabletop brand served as the final component of the sale and was secured for $250,000.

Founded in 1954 by American entrepreneurs Ted and Martha Nierenberg alongside principal designer Jens Quistgaard, the label helped introduce Scandinavian modernism to North American homes. It built a stellar reputation on everyday objects that blended sculptural beauty with high functionality. Form Portfolios founder Mark Masiello had already spent several years working with the Quistgaard family to manage the late creator's archive. Purchasing the company became a deeply personal mission to safeguard a massive design legacy.

The forthcoming relaunch strategy aims to restore the original creative formula. After Quistgaard retired, creative control migrated heavily to the United States. Masiello intends to reverse that shift by firmly rooting the design studio back in Copenhagen. The revival will feature a direct-to-consumer channel at Dansk.com. Loyal fans can expect to see reissued archival grails like the iconic Kobenstyle cookware arriving alongside completely new homeware concepts.

Addressing a historical blind spot in the product portfolio, the brand is expanding beyond rigid tabletop items. The label utilized the 3 Days of Design 2026 festival in Denmark to announce a major collaboration with 86-year-old textile artist Kim Naver. A defining figure in her field, Naver is currently developing a fresh collection of tabletop textiles. Her involvement signals an early indication of how the revived imprint intends to balance archival continuity with contemporary progression.

The resurrection arrives at a crucial moment for the broader interior design market. Consumers are increasingly pushing back against the disposable nature of fast furniture in favor of enduring objects with authentic histories. By leaning into honest materials and thoughtful craftsmanship, the revitalized company is positioned to capture a new generation of buyers seeking tactile permanence in their daily dining rituals.

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Summary

ADDI designs the STEKA, an octagonal sauté pan for Mozambique, blending Scandinavian minimalism with Japanese craftsmanship.Features include a solid aluminum body, a removable handle and a drop-lid-inspired cover.Available now via Mozambique’s webstore, priced at around $172 USD.

STEKA is an octagonal aluminum sauté pan designed by Swedish studio ADDI for Japanese cookware brand Mozambique. Conceived as a versatile cooking tool that bridges indoor kitchens and rugged outdoor environments, the pan was designed from a philosophy of structural logic and reduction rather than fleeting trends. Intended to transition seamlessly from a standard kitchen stove to an open campfire, the STEKA pan is engineered to be an adaptable, lifelong culinary instrument that ages and develops character alongside its owner.

Crafted from 5 mm solid aluminum, STEKA offers heat retention similar to cast iron but with a lighter weight. Its high, straight sides expand cooking possibilities, while the removable cast‑aluminum handle, secured with a single stainless‑steel screw, allows for easy replacement, oven use, or compact storage. The companion lid, inspired by the Japanese otoshibuta drop‑lid, features raised points underneath that circulate moisture during simmering and braising, creating a self‑basting effect. Each piece is hand‑finished, with production limited to ten units per day, underscoring its artisanal quality.

Available now via Mozambique's webstore, the STEKA pan retails at ¥27,500 JPY (approx. $172 USD) and comes with a five‑year warranty.

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Summary

Vollebak drops the hazard-yellow FWAHBL Jacket, limited to 10 pieces worldwide and priced at $3,995 USD.Engineered from double-faced polychloroprene rubber by Fothergill to resist chemicals, flame, and extreme weather.Comes in retro video game packaging alongside a comic book, trailer and upcoming video game.

Experimental gear maker Vollebak has released the FWAHBL (For When All Hell Breaks Loose) Jacket, a limited-edition trench coat engineered from high-grade chemical-suit material.

Strictly capped at just 10 pieces worldwide and finished entirely in a striking hazard yellow, the jacket is constructed from double-faced polychloroprene rubber coated over a woven polyester core. The ultra-durable textile is produced by Fothergill - a historic British manufacturer supplying protective gear to the military since 1847 - and is specifically designed to resist oils, ozone, weathering, flame and chemical exposure. Built to tackle extreme weather with a touch of existential dread, the coat comes packaged inside its own custom garment bag crafted from the very same chemical-suit fabric.

Beyond its construction, the FWAHBL Jacket arrives as part of a larger fictional universe. Each piece ships in retro video game-inspired packaging, accompanied by a Marvel-style comic strip and a film-style trailer, with a playable game currently in development. This narrative-driven approach transforms the jacket into more than functional apparel — it becomes a collectible artifact that merges fashion, gaming, and storytelling. While not certified safety equipment, the jacket is designed for extreme weather and existential dread, reflecting Vollebak’s ethos of creating clothing for the challenges of the future.

Priced at $3,995 USD, the FWAHBL Jacket is available via Vollebak's official website.

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If Book 1 laid the groundwork for Oakley’s Future Genesis by introducing a storm-ravaged world and a family torn between isolation and community, Book 2 serves as the explosive catalyst where those philosophical divisions collide.

The narrative leaps forward six years, finding the Fearlight family expanded to four with young Morgan, yet emotionally fractured. Max Fearlight’s need for security has deepened; he has severed the bunker’s communications with the outside world and poured his intellect into perfecting the “Echoverse”—a closed-loop digital simulation designed to preserve his family in a digital, risk-free reality. Meanwhile, young Maxine’s restless curiosity leads her to discover a mechanical tracking device, the "Beacon Acorn," in the garden, confirming her belief that life still thrives in the wasteland. When Sasha’s brother, Jupiter, arrives with a nomadic convoy of Fissionists warning of an impending threat, Max panics, locks down the bunker, and unintentionally seals Maxine outside in the midst of a blinding thermonuclear storm.

At its core, Book 2 is a crucial turning point, transforming the bunker from a safe haven into a gilded cage, framing the central tension between survival through retreat versus growth through exploration. Max’s obsession with the Echoverse represents an absolute fear of the unknown—a refusal to adapt to an evolving planet, preferring instead to construct a static, simulated sanctuary. In contrast, Maxine views the storm-ridden world not as a death sentence, but as an environment to be navigated, mastered, and learned from. When Max triggers the lockdown protocol, his instinct to protect actually fractures his family, leaving Maxine stranded outside. This narrative climax carries heavy symbolic weight: true progression cannot happen inside a self-imposed shelter; it requires stepping directly into the storm.

This generational and ideological friction is vital to Oakley’s brand messaging, directly reinforcing the ethos laid out in Future Genesis. Oakley has never been a brand that plays it safe within existing boundaries. By positioning Max’s fear-driven isolation against Maxine’s relentless curiosity, the story establishes that staying hidden might guarantee immediate safety, but it fundamentally stunts human and technological evolution. Maxine embodies the core Oakley mindset—a drive to push beyond the familiar, challenge established boundaries, and seek out what is possible rather than what is comfortable. Book 2 demonstrates that innovation stems from embracing tension and stepping into unpredictable environments.

Furthermore, Book 2 seamlessly links this narrative with tangible product design, showing how fictional artifacts act as the breeding ground for physical innovation. In the story, Maxine’s encounter with Jupiter and his signature eyewear, serves as the direct conceptual origin for Oakley’s real-world Infiniloop shades. Just as Jupiter’s frames are engineered to help him navigate the harsh, particle-laden wasteland, the Infiniloop translates that sci-fi vision into wearable reality using a dual-material fusion of Titanium and O-Matter™. This connection proves that for Oakley, world-building is an active design lab where narrative concepts are tested and transformed into tangible gear.

Book 2 cements Future Genesis as a purpose-driven brand storytelling. It captures the exact moment when comfort must be abandoned for the sake of progress. As the second story leaves Maxine locked out of the bunker, standing tall against the swirling dust and electromagnetic fires, it leaves readers with an undeniable truth that mirrors Oakley’s own design philosophy: the future isn't a controlled simulation to hide in, nor is it something to wait for. The future is a physical frontier waiting to be actively created.

Head to the official Oakley website now to learn more about Future Genesis.

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Summary

NEIGHBORHOOD is enlarging its signature ceramic incense chamber into a Big Incense Chamber format for a Harajuku exhibition titled "IDOLS OF SMOKE"Seven representative designs from the brand's incense chamber archive are rebuilt at big scale and offered as limited-edition art piecesCollaborative editions with graffiti artist FUTURA and tattoo artist Dr. Woo are among the works on show, all sold through an advance lottery held at the venue

NEIGHBORHOOD is scaling up its most collectible object with the Big Incense Chamber, the focus of a Harajuku exhibition titled "IDOLS OF SMOKE." Staged at StandBy, the show draws from the incense chamber archive first unveiled at last year's "NEIGHBORHOOD 30TH ANNIVERSARY EXHIBITION" at Laforet Museum, selecting seven representative designs and rebuilding them at dramatically larger scale as limited-edition art pieces.

The incense chamber has long been one of NEIGHBORHOOD's most emblematic products, a functional ceramic sculpture that has appeared in countless iterations and drawn a crowd with each release. It has also traveled widely through collaborations with brands and artists, becoming a piece that embodies the label's world in miniature. For "IDOLS OF SMOKE," the brand reconstructs seven of those archival designs on a big scale, inviting visitors to register a power and presence that the standard size simply cannot convey. Each design counts among roughly 15 pieces per shape and color, which keeps the presentation firmly in one-off art territory.

Two of the enlarged works carry outside authorship that deepens the cultural stakes. Among the seven are collaborative editions with FUTURA, the legendary graffiti artist active in New York since the 1970s, and Dr. Woo, the Los Angeles-based tattoo artist internationally acclaimed for the delicacy of his single-needle work. Blowing those partnerships up to gallery scale reframes what began as a home object as something closer to sculpture, and it underlines how far the incense chamber has traveled from novelty to collector grail.

That framing continues a story the brand has been telling for years. NEIGHBORHOOD was started by designer Shinsuke Takizawa in Harajuku, Tokyo, in 1994, and its ceramic chambers have carried the same fusion of subculture reference and Japanese craftsmanship that runs through the wider label. Building directly on the Laforet archive show, this supersized follow-up reads as a deliberate second chapter, one that lets the archive speak in a bolder register. To mark the occasion, a commemorative ceramic salt and pepper set and a run of T-shirts will also be available on site.

“IDOLS OF SMOKE" runs July 31 through August 2, with advance-lottery sales beginning July 31.

“IDOLS OF SMOKE”
StandBy, 5-11-1 Jingumae
Shibuya-ku, Tokyo
Japan

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