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.

John Derian Turns Botanical Prints Into Exuberant Leaf-Shaped Rugs

For decades, John Derian has transformed antique printed matter into objects of uncommon charm, helping revive decoupage as a sophisticated decorative art through botanical studies and natural-history illustrations drawn from his vast archive. His latest collaboration, with Amsterdam homewares brand Doing Goods, carries that fascination underfoot with five leaf-shaped rugs rendered in plush New Zealand wool. Derian discovered their source imagery in a 19th-century milliner’s sample book, whose cutout leaves immediately stood apart from his familiar lithographs. “They were sort of a new discovery,” he recalls, captivated by “the fine printing, the texture, and the color.” Enlarged into exuberant Fatsia, African Mask, Ceriman, Garden Croton, and Elephant Ear leaves, the rugs translate delicate printed specimens into tactile bursts of emerald, cream, and rose. “There’s so much natural beauty around us,” Derian muses. “Sharing this natural imagery is how I continue to connect.”

Porcelain Lamps That Mimic a Centuries-Old Horticultural Practice 

For centuries, gardeners have trained fruit trees against walls and trellises through espalier, a horticultural practice that found particular refinement in French estate gardens. New York ceramist Zac Zimmerman has long admired that exact dialogue between cultivated nature and architecture. “What I find beautiful is that balance—a tree that’s still alive and growing, but held to a discipline, a structure,” he says. That fascination now blossoms into Espalier, a hand-built lighting collection for Wentworth. Crafted in pure English white porcelain, each lamp rises like a miniature orchard specimen, with Zimmerman meticulously sculpting every branch, leaf, and fruit individually before assembly. Six botanical variations range from pear and apple to pomegranate and camellia, their pale silhouettes animated beneath opaque shades that cast intricate shadows across surrounding walls. No two pieces are alike. “An espalier tree in a garden isn’t a fixed object either,” Zimmerman says. “It’s shaped over years by a gardener’s hand, and I wanted the lamps to carry that same evidence of intervention.”  

Sarah Sherman Samuel’s Latest Collection Evokes Her Michigan Childhood 

Relocating from California to Michigan, the state where she grew up, has profoundly influenced Sarah Sherman Samuel’s creative practice. For the interior designer’s fall furniture collection, childhood recollections of flying kites across open fields and building forts in the woods resurfaced with newfound clarity. “Those experiences have become part of the collection’s visual language, sometimes intentionally and other times more subconsciously,” she explains. The Kite Chair captures the angular silhouette of a kite aloft, while the Au Sable dining table traces the gentle meander of its namesake Michigan river. Elsewhere, substantial pieces such as the Fort Cabinet and upholstered Bivvi Chair give way to more pared-back forms, with wood grain and handmade ceramic accoutrements lending the collection a tactile, distinctly hand-wrought character.  

Sherman Samuel produces the pieces in Michigan with local craftspeople and manufacturers, drawing on West Michigan’s generations-deep furniture-making traditions. “A big part of what I want to build with this collection is a model that supports American craft and manufacturing,” she explains. She photographed the collection at the Shirakaba House, a historic West Michigan residence whose low horizontal lines, wood-clad walls, and Frank Lloyd Wright sensibility echo the myriad ideas and sentiments coursing through her work.   

These Dreamy Wall Coverings Capture Light’s Fleeting Apparitions 

Daniela Pinotti, the Rome-based textile and surface designer, has long gravitated toward elemental phenomena, but light proved especially liberating for Aura, her latest series of wall coverings. “Trying to represent it in my own way freed me from structures and let me focus purely on the gesture,” she says. Four hand-drawn patterns translate its mutable effects into powdery, desaturated fields: Veil evokes sunlight filtering through spring foliage; Haze glows with amber warmth; Glint flickers in violet and green; and Echo fractures lavender light into windowpane-like fragments. Pinotti prints each motif on surfaces ranging from traditional paper to metallic gauze and flamed silk, whose varied textures alter how the imagery catches illumination. “I needed surfaces that were textured and reflective, but still had the warmth and tactile quality of textiles,” explains the designer. She debuted the collection at Et Al, her new Rome studio housed within the timeworn walls of a former dairy, suspending the wall coverings throughout the space above mirrored surfaces to dazzling effect. “I’m still not sure whether I chose the space or it chose me,” she says, “but you can feel the connection when you walk in.” 

Emily Del Bello Channels Her Flair for Florals Into Ribbed Marble Vases  

Years spent styling natural flowers for interiors—then repeatedly buying and replacing them—compelled Emily Del Bello to explore artificial alternatives and eventually launch Emily by Emily, the New York designer’s collection of lifelike silk arrangements. That experience now informs a welcome collaboration with BAS Stone, a series of carved marble vases conceived especially for flowers. “I’ve spent a lot of time thinking about how stems actually sit in a vessel,” Del Bello says. A narrow neck gently flares at each vase’s rim to guide stems into place, while curved ribbing lends the substantial silhouette a softer edge. “We were thoughtful about proportion and height, ensuring it works equally well for taller branches or smaller, everyday arrangements,” she continues. Each comes carved from one of five marble colorways, including creamy Corchia and mottled Ceppo di Sicilia to inky Black Copper. Del Bello relishes the innate characteristics of the stone that makes every piece truly singular: “The fact that these slabs come from the earth, with their movement, veining, and coloration occurring so naturally, feels almost unbelievable.”   

Lutron Gives Matthew McCormick’s Sleek Luminaires a Smarter Glow

Vancouver lighting designer Matthew McCormick has drawn admirers from Rossana Orlandi to the Victoria and Albert Museum, while prestigious firms such as BurdiFilek have tapped his sculptural fixtures for ambitious interiors. Now Lutron is bringing its sophisticated technology into the equation. The architectural lighting purveyor’s new Native by Design partnership integrates full-spectrum illumination directly into McCormick’s decorative fixtures, beginning with his sleek Line Light series. The slender luminaire, CNC-milled from solid wood and hand-finished, celebrates the grain and warmth of its material through a clean-lined silhouette perfectly suited to a kitchen island or suspended statement piece. Designers can now specify Line Light with linear Ketra fixtures, allowing its illumination to shift in intensity and color temperature in sync with daylight while connecting seamlessly to a Lutron control system. And it all recedes behind honeyed wood, McCormick explains, “leaving precisely tuned light that drenches the materials, colors, and objects throughout the space, rendering the design exactly as intended.”