Object Edit: The Design Launches Defining the Moment

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. 

These Eye-Catching Tiles Reimagine Centuries of Garden Treillage

Inspired by the formal gardens and trellises that thread through her sumptuous estate in Beverly Hills, Kelly Wearstler’s ninth collection for Ann Sacks distills centuries of latticework into a crisp architectural language. Produced by the MADE artisans at the brand’s headquarters in Oregon, the newly launched Treillage series comprises a quintet of six-inch square tiles whose lattice motifs recall trellises entwined with climbing vines. Each pattern stands confidently on its own or combines with the others to create eye-catching compositions. “We developed a system, approaching each tile the way I compose a room,” Wearstler explains. “Every pattern has its own rhythm and personality, but the real magic emerges in how they interact.” Raised and recessed surfaces lend subtle dimension as light moves across the fired clay, while hand-applied glazes give each installation its own character. Whether enlivening an accent wall, courtyard, or garden facade, Treillage captures the enduring romance of historic conservatories and formal gardens in the most unexpected of mediums.

Erwan Bouroullec’s Latest Luminaire Begins With a Crumple

Erwan Bouroullec has long explored the relationship between basic geometry and the natural world. His latest creation for Flos, called Maap and also available at Design Within Reach, brings that fascination into a wondrously expansive wall lamp whose final appearance depends on chance. A cross-shaped steel support holds an ultra-light Tyvek envelope, illuminated by four LED bulbs and secured with magnetic buttons. Once crumpled by hand, the paper-like polyethylene material develops a network of pleats that gives the luminaire both its character and structural stability, allowing every installation to assume a distinct appearance. Bouroullec compares the end result to the topography of tidal landscapes, vector fields, and cellular structures, and likens the process to perfecting a recipe: “The ingredients are known, and the tools are available, but the exact method can only emerge through endless practice, adjustments, and refinement until everything feels perfectly balanced.” The same spirit informs the installation; instead of following precise measurements, users rely on their own touch and intuition—and marvel as the softly illuminated surface casts a uniquely atmospheric glow.

This New Furniture Collection Reimagines the Possibilities of Woven Rope

As the children of Arteriors founder Mark Moussa, Tanner Moussa and Mackenzie Lewis grew up immersed in the furnishings business, spending summers wiring lamps in the company’s warehouse and joining their father on buying trips around the world. Those experiences sparked an early appreciation for craftsmanship that eventually compelled the siblings to launch their own furniture studio, Mous, in 2022. Their latest collection, called Tended Form, draws on repeated journeys through Southeast Asia, where they admired artisans transforming humble rope into finely wrought furnishings. “Rope is a fascinating medium because it’s inherently malleable and formable, yet structurally disciplined,” Tanner says. That duality informs pieces such as the rope-wrapped Mirage chair, Sirocco end table, and Mariner accent table, while cast brass and bronze bring heft to the mushroom-like Nimbus and Luma lamps, the brand’s inaugural foray into lighting. “We approached this volume as a carefully curated study in contrast,” Tanner says. “Every product earned its place in the collection by contributing to a unified sense of quiet gravity, functional art, and spatial warmth.”

Ukraine’s Tree of Life Flourishes Anew in These Artful Steel Panels

In villages across Ukraine, particularly the southeastern Podillia region, women once painted protective symbols onto clay walls to safeguard their homes and pass folk knowledge from one generation to the next. Faina, the collectible design brand founded by Ukrainian architect Victoria Yakusha, has been reviving that tradition through Drevo, a new series of 18 hand-engraved stainless steel panels drawn from archival wall paintings. Flowers, birds, and branching motifs rise in softly embossed relief, with many centered on the Tree of Life, a Ukrainian symbol of vitality and rebirth. “There was a special ritual behind these drawings,” explains Yakusha, who traveled to Podillia to study the surviving murals firsthand. “The women made them to bring life into their spaces, and you can feel that energy in the motifs.” Drevo also marks one of Yakusha’s first explorations of steel. Best known for pioneering Faina’s proprietary Ztista material, a composite of recycled paper, clay, hay, and other natural ingredients, she wields stainless steel to give centuries-old folk motifs remarkable permanence.

Alexander Girard’s Iconic Braniff Airline Blanket Takes Flight Again

In 1965, Braniff International Airways enlisted Alexander Girard to orchestrate “The End of the Plain Plane”—a sweeping reimagining of air travel that encompassed 17,543 branded elements, from aircraft liveries and airport lounges to baggage tags, china, and textiles. Among them was a vivid throw that distilled Girard’s exuberant graphic language into a plush in-flight companion. Herman Miller now revives the classic with Pendleton, the sixth-generation American woolen mill whose blankets Girard avidly collected. Woven from 82 percent virgin wool and 18 percent cotton, the Girard Throw also introduces three archival patterns selected by Girard Studio co-creative directors Kori Girard and Aleishall Girard Maxon, his grandchildren. “We went through a rigorous editing process to decide on these final three designs,” they say, explaining that each pattern suited Pendleton’s jacquard construction. Their saturated checks, stripes, and color blocks draw from the visual traditions of American folk art and the American Southwest, where Girard spent much of his life.