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.   

Jean-Louis Deniot’s New Furniture House Is Made for the Modern Francophile 

In Paris, Quai d’Orsay is a sweeping embankment along the Left Bank of the Seine, running through an area associated with government ministries, grand residences, and major cultural institutions. And it proved an apt name for Jean-Louis Deniot’s high-end furniture house, which debuted during Paris Design Week with a collection steeped in France’s storied decorative arts while intended for interiors far beyond its borders. “I imagine all these objects in different interior contexts,” Deniot says, adding how they can impart “a French refinement” wherever they land. 

That worldly outlook underpins pieces that freely mine history and nature. The Orsay chair reinterprets the Louis XVI medallion-back seat with an arched base reminiscent of miniature architecture; the stone-clad Oiseau credenza evokes Corsica’s craggy rock formations. Across the collection, French artisans employ techniques such as dinanderie—the centuries-old practice of hammering metal—alongside raku, biscuit porcelain, crackled lacquer, and cerused wood. He pairs this exquisite savoir-faire with new technology in the Onfroy console, whose interlocking volumes emerge from 3D-printed concrete. “It’s architecture translated to the scale of furniture,” says Deniot, who envisions Quai d’Orsay growing well beyond his own creations. Future collections will invite other artists and decorators into the fold, and will soon encompass rugs, bath fittings, and paints. “I’d like to develop a whole lifestyle around the brand,” he muses.  

Lee Broom Pushes Glass-Block Lighting in Dazzling New Directions 

When Lee Broom debuted his Chant fixture at Milan Design Week in 2022, glass blocks had yet to reclaim their current cachet. Inspired by Pierre Chareau’s luminous Maison de Verre in Paris and the material’s own resurgence during the 1970s and early ‘80s, the London-based designer reimagined the architectural staple as hand-blown glass cubes, each indented with a circular motif and assembled into lustrous grids. As clients increasingly requested bespoke configurations, Broom saw an opportunity to push Chant even further. “It made me think about how Chant could offer much greater freedom in scale, form, and configuration,” he tells Galerie. 

Now, during this year’s London Design Festival, Broom has transformed his Shoreditch showroom into “The Chant Chambers,” an immersive presentation that expands the collection into a complete family of oversize chandeliers, sculptural wall lights, and linear pendants alongside architectural lighting structures. Among the new additions are expansive square formations that transform Chant into large-scale illuminated planes. Chant will also appear in smoked glass for the first time, its sultry bronze-brown tint amplifying the late-’70s glamour behind Broom’s original inspiration. “The freedom of these variations and possibilities means Chant can continue to evolve,” Broom continues, “whether through my own designers or through the way architects, designers, and clients can choose to use it.”  

Sander Lak Gives Maharam Textiles a Touchable Twist 

Sander Lak has always been an adventurous colorist, from the Dutch fashion designer’s ethereal subversions of proportion at Sies Marjan to the textiles he conceives for Maharam. His latest, Arcana and Bolero, turn his chromatic instincts toward pronounced texture. Arcana, an opaque window covering, uses floating yarns to create a puckered surface reminiscent of hammered metal in saturated copper, coral, and chartreuse. “I embraced the luminosity of Arcana’s hammered metal look,” Lak says, likening its vivid colors to those “backlit on an iPhone screen.” (He even cut Arcana as a jacket for his latest Sanderlack ready-to-wear.) Bolero offers a plush foil: fleece-like curled yarns create poodle-like ringlets in lilac-gray, buttercream, and tangerine. Together, they reveal how Lak continues to test color against different surfaces—whether draped across a window, stretched over furniture, or cut for the body.  

Olive Ateliers Turns the Romance of Timeworn Furniture Into Something New 

After years spent hunting down furniture marked by time, Olive Ateliers is turning its eye toward making pieces intended to age just as gracefully. Poet & Painter, the buzzy Los Angeles vintage dealer’s latest collection, imagines 60 furnishings inhabiting a Normandy farmhouse shared by a painter and poet whose decades of daily life have been inscribed on everything around them. That conceit gives Olive Ateliers ample territory to explore its affection for the worn and weathered. “We imagined the painter mixing colors directly on cupboards and chairs, sanding back to just the pigment ghosts,” co-founder Kendall Knox tells Galerie. Handcrafted oak cabinets, sideboards, and tables feature distressed edges that suggest well-tended antiques. The brand’s first full assortment of upholstery, meanwhile, swathes the generously proportioned Maud sofa, chairs, and ottoman in heavyweight washed linen of ivory and cornflower blue. Each piece embraces the beauty of use over time. As Knox puts it, “beauty doesn’t come from pristine surfaces. It comes from repetition and devotion.” 

Collina Strada Brings Its Psychedelic Fashion Universe Home 

In her pursuit of radical transparency and sustainability at Collina Strada, Hillary Taymour has cultivated a fashion language that can turn pastoral one moment and psychedelic the next, sometimes within the same collection. Now she’s bringing that exuberance into the home with Swedish design house Layered, debuting four hand-tufted rugs and two sofas that mine her New York label’s exuberant visual history. One rug borrows its pattern from the floor of Collina Strada’s New York flagship, while another reprises the pink-and-green plaid of its autumn/winter 2026 runway. The same prints migrate onto the sofas, wrapping their generous modular silhouettes in hazy florals and candy-colored checks. 

“I think fashion and design should evoke emotion and individuality rather than perfection,” Taymour says. That spirit translates to the rugs’ tactile construction—two to three artisans spend up to four days hand-tufting each piece, then carve its pile heights and edges to capture the loose spontaneity of a fashion sketch. Taymour hopes they exert the same expressive pull as her clothes. “I want the collection to bring warmth, personality, and a sense of individuality,” she says. “I love the idea that a rug can completely shift the mood of a room and become something people connect to almost instinctively.”  

These Hand-Forged Washstands Mine Centuries of Decorative Arts 

When Jake Szymanski was in his early twenties, encounters with Antoni Gaudí’s architecture while studying in Spain galvanized an interest in interiors and furniture, eventually leading him to apprentice under William Sofield and establish his own Bronx-based studio in 2014. There, he masterfully wields blackened steel to fashion one-of-a-kind furnishings that draw from history yet read as distinctly contemporary. Until now, however, he had never applied his craft to the bathroom. A new collaboration with Waterworks sees Szymanski recast the humble washstand as architectural furniture, juxtaposing substantial marble tops and carved basins with exposed bases of his signature hand-forged steel.  

“Our hand-forged steel offers such a compelling alternative to the brass and bronze that dominate the bathroom,” Szymanski tells Galerie. Two distinct silhouettes mine centuries of decorative arts: Ferro pairs crisp Art Deco geometry with slender telescoping legs, their hammered surfaces darkened with an inky patina. Caldera references classical footed furniture through tapered supports that curl gracefully toward the floor. Their silhouettes may slightly diverge, but both illuminate Szymanski’s instinct for reinterpreting historical references for contemporary interiors. “A historical reference is the starting point for every design I create,” he continues. “It grounds the work in a visual language that has stood the test of time.”