Object Edit: The Design Launches Defining the Moment
From a trio of classic Robert Mallet-Stevens reissued by Ecart to a stunning Kallista stone sink basin that mimics Romanesque arches
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 Dazzling Bocci Luminaires Freeze Molten Metal
The mesmerizing luminaires that Galerie Creative Mind designer Omer Arbel conceives for Bocci often examine how disparate materials can coexist. Consider the Canadian brand’s 21 Series, whose porcelain shades envelop borosilicate glass diffusers to create a seamless whole. The new 93 Series charts a different course: Arbel pours molten aluminum into a heated glass vessel, allowing liquid metal to race across the interior before it cools and oxidizes. Each piece preserves the aluminum’s fluid path through the glass, creating an amber-hued fixture whose glowing interior records the split-second drama of its creation.
According to Arbel, the 93 Series “emerged from a decade-long interrogation of the relationship between glass and metal.” Concealed LEDs cast light through the thickness of the glass wall, which refracts it across the aluminum’s gleaming surface before an interior metal disk reflects it outward in a warm haze. Light reveals the contrasting finishes left by the molten metal, from polished areas protected from the air to blackened patches created through oxidation. “I’m fascinated by the forms that emerge when a process is frozen in progress,” says Arbel. Hand-formed in Bocci’s Vancouver studio, the series comprises pendants, surface mounts, table lamps, and vases, while subtle variations in the glass and aluminum ensure every piece is unique.
Ecart Revives Three Seminal Robert Mallet-Stevens Chairs
When Pierre Yovanovitch relaunched Ecart earlier this year with a revival of ten iconic Paul László furnishings, he reaffirmed the mission that Andrée Putman established when she founded the Parisian gallery in 1978: return significant early 20th-century furniture to contemporary life through meticulously researched re-editions. He also pledged to revive select works from Ecart’s storied catalogue, which includes Pierre Chareau, Jean-Michel Frank, Eileen Gray, René Herbst, and Robert Mallet-Stevens. Yovanovitch has already begun making good on that promise. The gallery recently announced faithful reissues of three Mallet-Stevens chairs that first entered the Ecart catalogue in 1978 and together offer a compelling view of how one of France’s most celebrated design figures translated his architectural ideals into furniture.
The collection revives a chair, armchair, and deck chair originally created for Mallet-Stevens’s residences, namely the iconic Villa Cavrois in Croix, France, his masterpiece for textile industrialist Paul Cavrois. Completed in 1932, the low-slung château ranks among French Modernism’s defining works, with ribbon-like windows, sweeping terraces, and custom furnishings conceived to complement the architecture. The 1930 Chair, intended for service areas, pairs a rounded spindle back with a pared-down steel frame, while the 1929 Deck Chair furnished terraces with a suspended canvas sling and a reclining profile suited to languorous outdoor living. The 1927 Armchair predates Villa Cavrois yet shares the same geometries through its broad upholstered seat, generous armrests, and rectilinear silhouette. Each is fabricated from painted tubular steel and available in light gray, off white, dark green, and dark brown.
According to Cedric Morriset, a longtime collaborator of Yovanovitch who serves as Ecart’s CEO, Mallet-Stevens was the natural choice to inaugurate the gallery’s next chapter, both because the architect appeared in Putman’s debut catalogue and because his work feels remarkably current yet ripe for rediscovery. “Nearly a century after it was conceived, his furniture retains an extraordinary sense of clarity, restraint, and modernity,” he tells Galerie. “It feels every bit as relevant and radical today as it did then.”
Two New Tabletop Collections Showcase Laguna~B’s Murano Mastery
During New York Design Week, another name surfaced repeatedly amid the buzz surrounding ICFF’s headline-grabbing decision to move from May to November next year: Laguna~B. That’s because two influential New York studios unveiled exuberant yet drastically different collaborations with the storied Venetian glass atelier, long celebrated for its signature Goto glasses, hand-blown one by one with swirling strips of vivid color that make every vessel truly unique.
Together, the releases reveal the breadth of Laguna~B’s artistry. Dusen Dusen founder Ellen van Dusen conceived a made-to-order series of anthropomorphic jugs and cups during her maternity leave in early 2025, pairing each animal “mother” pitcher with a matching “baby” cup. The Galerie Creative Mind lighting studio In Common With, meanwhile, expanded its Lido collection of orb-like chandeliers, pendants, sconces, and flush mounts with Meadow Glass, its debut foray into tableware. Each tumbler employs the centuries-old murrine technique, in which colored glass canes are stretched, sliced, and fused into daisy-like motifs that bloom across the surface. Individually blown by master Venetian glassmakers, every piece varies slightly in size, pattern, and surface.
The two collections follow recent Laguna~B collaborations with J.W. Anderson and Frédéric Malle, as well as blink-and-you’ll-miss-it cameos in Greta Gerwig’s Barbie. What draws such starry clientele to the atelier? “They use color in such a sophisticated way and their patterns are bonkers,” raves Van Dusen, who looked to Laguna~B to achieve the same vivid contrasts that define her coveted textiles and homewares. That adventurous spirit has underpinned the Venetian mainstay since Marie Brandolini founded the company in 1994 and introduced the Goto; its rare command of murrine only broadens the creative possibilities. If these collaborations are any indication, Laguna~B’s influence will surely continue spreading well beyond Venice.
Galerie Green Debuts a Summer Assortment of Garden Antiques
Jacqueline and Damien Harrison relish the thrill of the chase—and the rich patina that decades outdoors bestow upon antique garden furnishings. After the founders of landscape firm Harrison Green found themselves regularly combing Paris’s Les Puces flea markets and filling their Brooklyn warehouse with wrought iron chairs, Hollywood Regency stools, and Royère-style loungers, they realized they had amassed a collection worth sharing. “We look for pieces with authenticity, presence, and a sense of permanence,” Damien tells Galerie. “They don’t need to be perfect. The best pieces feel timeless rather than fashionable.” That philosophy inspired last year’s launch of Galerie Green, an ever-evolving collection of American and European outdoor furnishings and garden ornaments amassed over years of sourcing.
Galerie Green has now refreshed the assortment for summer with more than 30 new arrivals. Highlights include a reclaimed Belgian bluestone trough, rare handwoven chairs by Mathieu Matégot, a monolithic stone dining table, faux bois stools, Willy Guhl marmite planters, cast concrete mushroom sculptures, and Portuguese terracotta pots encrusted with oyster shells. “Each piece shares the same underlying qualities: honest materials, beautiful patina, and timeless design,” continues Damien, who hopes collectors will commingle these vintage finds into contemporary gardens and interiors. “When objects are chosen for those qualities rather than a particular period, they sit comfortably together, creating spaces that feel layered, collected, and entirely personal rather than confined to a single era.”
A Monumental Stone Sink That Mimics Romanesque Arches
Rarely do sink basins command entire kitchens, but Kallista’s new Voussoir collection wields such power—especially for anyone drawn to historic architecture. Designed by Richard Anuszkiewicz of Raith Design, each sink is carved from a single block of natural stone, its apron meticulously sculpted with a procession of Romanesque-inspired arches that evoke centuries-old masonry. Continuous veining flows across the basin and front panel, highlighting the stone’s individual character while celebrating the solidity of its monolithic construction.
“The goal was to create a sink collection that has presence, anchors the space, and allows for personal expression,” explains Anuszkiewicz. “Depending on the stone selection, Voussoir can feel quiet and restrained in a soft neutral stone or become a bold focal point in a richly veined exotic stone material.” Available in the understated White Carrara, moody Nero Marquina, earthy Crema Marfil, the exuberantly veined Calacatta Viola and Macchia Vecchia, and the showstopping Fusion Green Quartzite, the collection offers dramatically different expressions of the same architectural language. A matching natural stone drain cover completes the setup.