Object Edit: The Design Launches Defining the Moment
From bone-inspired bouclé chairs by Faye Toogood to Block Shop’s savvy reinterpretation of a Shaker masterpiece into prints and home textiles
Welcome to Object Edit, Galerie’s twice-monthly survey spotlighting the most noteworthy new furnishings, lighting, textiles, and objects debuting around the world. Every month brings a flood of launches, but only a select few distinguish themselves through exceptional craftsmanship, fresh ideas, and a distinctive point of view. Here, we highlight the pieces worth knowing about—and unpack the stories behind them.
Kim Mupangilaï’s Sculptural Silhouettes Now Sweep Across the Wall
Kim Mupangilaï has built her furniture practice around a deeply personal visual vocabulary. Born in Antwerp to a Belgian mother and Congolese father, the Brooklyn-based artist burst onto the collectible design scene with a star-making 2023 debut at Superhouse, introducing monumental pieces distinguished by surrealist-inspired silhouettes and richly tactile materials such as rattan and banana fiber. Now she has carried that language into architectural surfaces through a collaboration with Belgian wall covering maker Omexco, whose expertise in natural materials provided an ideal canvas for her evolving vision. “I was curious about what would happen if the forms and symbols that usually exist as objects in space could expand into something more immersive,” she says.
The collection encompasses four patterned wall coverings and three plains crafted from wood, raffia, and sisal, with intricate mural marquetry that carries Mupangilaï’s recurring motifs across entire rooms. Curved profiles, shield-like emblems, abstracted tools, hairstyles, and architectural details draw from Congolese material culture, Art Nouveau, vernacular buildings, and years of research, creating layered compositions that resist any single interpretation. Soft wood tones, earthy ochres, verdant greens, and shades of black enrich the natural surfaces. “The recurring forms in my work are never meant to be read as fixed symbols,” she explains. “They’re more like fragments of a visual language that keeps returning.”
Block Shop Textiles Reimagines a Shaker Painter’s Divine Masterpieces
During the Shakers’ mid-19th-century Era of Manifestations, believers reported divine visions, angelic visitations, and messages from the spirit world. At Harvard Shaker Village, artist Hannah Cohoon translated those revelations into luminous Gift Drawings, including her celebrated Tree of Life (1854), whose fruit-laden branches and radiant palette have become enduring icons of American folk art. Those visionary images captivated Block Shop Textiles co-founder Hopie Stockman Hill from an early age. Raised on visits to Shaker communities across New England, she returned often, drawn by Cohoon’s vivid color and visionary imagery. “Their commitment to beauty, utility, and spiritual purpose has only become more compelling with age,” Stockman tells Galerie, comparing them to the work of Hilma af Klint and Agnes Pelton.
That lifelong admiration now finds expression in Block Shop’s collaboration with Hancock Shaker Village, a collection of three limited-edition block prints and four hand-printed table linens with coordinating napkins inspired by the village’s remarkable Gift Drawing archive. Rather than reinvent Cohoon’s imagery, the studio preserved its distinctive character while introducing its own vernacular through dotted details, crosshatched grids, and delicate linework woven into fruit and foliage. “We spent nearly a year refining these designs,” Stockman continues. “The real creative challenge was knowing when to step back.”
Faye Toogood Mines Fresh Inspiration in Fossils and Stones
When we last caught up with Faye Toogood, the superstar British designer was preparing an array of collectible furniture crafted from English oak and Purbeck marble, which she likened to an archaeological dig. “I used to be preoccupied with delivering something avant-garde, but now I feel the desire to connect us all to nature,” she told Galerie. Her latest collection—Bone, Roll, and Slump—carries that evolution forward. The pieces organically arose from clay maquettes she fashioned by hand, as well as years spent gathering bones, weathered stones, and fallen branches across the British countryside.
Bone recalls unearthed fossils through generously rounded dining chairs sculpted from wool, coconut husk, and latex over timber frames, paired with a solid oak table whose softly carved legs echo ancient knucklebones. Roll pares furniture to smooth lozenge-like volumes, each console and nightstand carved from solid timber and finished by British woodworkers. “Rather than adding complexity, I reduced forms until they felt almost inevitable,” Toogood says. Slump heads in another direction, gathering generous folds of upholstery around a plush, bagel-like lounge chair inspired by the drawstring closure of a duffel bag.
The collection follows Toogood’s recent decision to close the workwear-focused fashion label she founded with her sister in 2013 and devote herself fully to furniture. Fashion, however, still remains deeply intertwined with her approach. “It taught me an enormous amount about the relationship between objects and the body,” she muses. Liberated from the industry’s relentless calendar, she now embraces a more reasonable pace that affords her ideas and material studies ample breathing room to develop. “The function comes later,” she says.
Richard June Hones His Woodshop Expertise for Visual Comfort
Before establishing his studio in Portland, Oregon, Richard June spent years building solid wood furnishings by hand, developing a vernacular informed by hand-craftsmanship, architectural silhouettes, and the rugged materials of the Pacific Northwest. That philosophy continues to propel Folk Built, his practice across furniture, lighting, cabinetry, architectural millwork, and select interiors. Yet June remains happiest when he’s getting his hands dirty in the shop. “There’s an intimacy that comes from working with your hands,” he says, a conviction that surfaces throughout his portfolio, which now includes collaborations with West Elm, Rejuvenation, and Schoolhouse to his latest partnership with Visual Comfort.
His debut collection for the lighting company encompasses 35 fixtures for ceilings, walls, tabletops, and outdoor settings, all united by a warm palette and timeless silhouettes. At its heart is Liora, a versatile family of pendants, sconces, flush mounts, and a linear fixture that pares familiar profiles to their essence. Raw ceramic stoneware shades in earthy hues join matte opal glass diffusers that cast a soft, even glow, while a sculptural Y-shaped connector lends each fixture a subtle point of distinction. Despite the collection’s breadth, every fixture shares the same thoughtful character; June refined each detail until the pieces felt imbued with a sense of purpose and classic appeal. “At the end of the day,” he reflects, “it’s still a light, and its first purpose is simple: beautifully bring light into a space.”
Luca Nichetto Translates Ginori 1735’s Porcelain Into Eye-Catching Furniture
“For an Italian designer, working for Ginori 1735 is one of the most important opportunities you can have,” says Luca Nichetto, who grew up immersed in Murano’s glassmaking tradition before establishing studios in Venice and Stockholm. After collaborating with the storied Florentine porcelain house on a home fragrance collection, Nichetto received a far broader brief: create the brand’s first comprehensive family of furniture, lighting, and home accessories while staying faithful to nearly three centuries of porcelain craftsmanship. He scoured Ginori’s history, studying archival motifs, silhouettes, and techniques that could thrive beyond the tabletop. Renaissance Florence soon emerged as a guiding thread, alongside explorations of Murano glass and other materials that complement porcelain’s luminous character.
The resulting Domus collection carries those discoveries across an expansive range of pieces. Arcis tables enlarge the gently domed profile of a Ginori coffee cup into sculptural tables suited to homes and hospitality spaces alike. Liora reimagines the Renaissance candleholder as a portable lamp with a graceful handle and gleaming porcelain body, while Trinitas balances three cylindrical Murano glass diffusers atop a glossy porcelain base. LaVenus, offered in upholstered and wireframe versions, draws its sweeping silhouette from the scallop shell beneath Botticelli’s The Birth of Venus—an apt reference for a Florentine house. Volina revisits the classic Thonet chair in lustrous metal, its looping lines echoing the hand-painted gold fillets that trace the rims of Ginori porcelain.
“We looked at the attitude of porcelain, the way shapes were developed for different functions, and tried to reinterpret those ideas,” Nichetto says, noting how the collection’s breadth doesn’t compromise its coherence. “When we finally saw all the products together, they naturally belonged to the same family. That style is just a consequence of following those principles.”
Newport Brass’s Latest Collections Highlight Meticulous Artisanal Brasswork
Brass’s innate durability, warmth, and remarkable capacity to capture the finest details have defined Newport Brass for nearly four decades. Those qualities come into crisp focus in the California company’s first major product debuts since its 2025 relaunch: the Pardees and Kimbell collections, which demonstrate how thoughtfully machined ornament can elevate everyday fixtures. Pardees spans pull-down and bridge faucets, pot fillers, bar faucets, and water dispensers distinguished by finely coined brass that lends each silhouette the character of a treasured jewel. Kimbell, meanwhile, introduces 24 bath products, from lavatory faucets and shower trims to tub fillers and coordinated accessories, each enriched by diamond-knurled brass that invites the hand. Both collections are available in Newport Brass’s full palette of 22 finishes, from polished nickel and Venetian bronze to unlacquered brass.
Such meticulous detailing is possible because Newport Brass continues to machine, finish, and assemble every fixture in Southern California. “It helps us to quickly concept and validate new ideas,” says principal design and development manager Chris Wilson, who credits the in-house process with giving the team complete oversight from prototype through production. He also notes that the collections reveal their greatest virtues in person. Pick up a handle and its reassuring heft becomes immediately apparent, while the coined ridges and finely knurled surfaces reveal the care invested in every pass of the cutting tools.