Arnaud Eubelen *Offline Design, Reused Materials and Urban Craft

ARNAUD EUBELEN
*Material Is Offline, Everything Else Just Scrolls Past

interview + written MELANIA MUSCI

Arnaud Eubelen’s design unfolds intriguingly at the crossroads of art and industrial design. Trained between Liège and Brussels, he has cultivated a strong interest in discarded materials, a fascination that has become one of his defining traits.

His creations are deeply informed by their surrounding environment, reflecting society’s evolution through the very materials it chooses to abandon. By giving new life to what is often overlooked, his practice opens a dialogue about consumption, transformation, and the narratives embedded within everyday matter.

Arnaud’s pieces are unique yet reproducible. Every assembly system and proportion is engineered for duplication, ensuring his work can be reconstructed without compromising its conceptual integrity. What changes, however, is the material itself—an element at the very core of his practice—shaped by the resources available in what Arnaud calls his personal hardware store: the city itself. This approach keeps each work flexible and adaptive, anchored in a specific time and place, and deeply rooted in sensory experience.

Diplomatic Corps / design by Arnaud Eubelen

“For me, the most rewarding aspect is knowing that an object will find not a definitive home, but a context where it can exist, be used, and activated.”

Arnaud Eubelen speaks with Melania Musci
for LE MILE OFFLINE Edition Nr. 39 FW25/26

Many of his pieces are designed to invite direct interaction: objects that must be touched, activated, and transformed, shifting in shape or proportions, and encouraging audiences to rediscover a tactile dimension that is gradually disappearing from everyday life. In this sense, being offline is part of the artist’s approach and an experience shared with those who engage with his work, where touch and physical presence are essential to its meaning. Arnaud reflects on the influences that shaped him during his academic years and on how he has found a balance between analog and digital processes in his creative practice.

He addresses timely issues such as social media’s impact on the creative scene and the gentrification of cities—forces that affect today’s available materials and will shape their future use.

Rooted in research, his work increasingly looks beyond urban environments toward rural spaces free from constraints, enabling continued experimentation and new ways of embracing an offline, tangible reality.

He Drank Us, 2019 Detail / design by Arnaud Eubelen

He Drank Us, 2019 Detail / design by Arnaud Eubelen

Melania Musci
Your fascination with discarded materials began during your teenage years, but initially manifested through graffiti art and photography. What pushed you to experiment hands-on with these materials?

Arnaud Eubelen
I think the first key influence was my industrial design studies. At the academy, the focus was heavily on how objects are made, their composition, and the strengths and weaknesses of different resources. At that time, I didn’t have the financial means to work with expensive components, so it felt natural to turn to what was freely available around me.
During this period, I also co-founded a collective with friends. We focused on creating decorations for clubs, organizing events where most of the decor was built from items we salvaged from the streets. That experience deeply shaped my artistic approach, merging a kind of scenographic sensibility with a fascination for the objects we discovered.
Soon after, I joined an artist residency in Toulouse, France, where the entire project revolved around creating a piece from objects found on the street. That experience made me start collecting discarded items more consciously and realize that I was far more drawn to them than to new ones.
This completely challenged the principles of my academic training, which had taught me to strive for objects that seemed entirely new. Through these insights, I was able to develop my own distinct perspective and let go of the frustration that came with chasing an unattainable ideal of perfection.

In a previous interview, you reflected on how traditional design studies can often shape and standardize the vision of emerging artists, potentially leading to a certain uniformity in their work. Given this perspective, if you could go back, would you still choose the same academic path?

I don’t believe this applies universally to every school. There are many design and industrial design programs, and increasingly, art schools are becoming highly interdisciplinary, integrating different fields. However, when I attended over a decade ago, things were quite different.
Today, through my experiences as a jury member, I see many schools adopting a very open-minded approach to how we engage with objects—not only industrial ones—which promotes a broader understanding of the things we interact with daily.
Despite this, I don’t regret my studies, as they were truly formative. I attended two different schools, one in Liège and one in Brussels, each with a distinct teaching philosophy. Liège focused heavily on industrial and technical aspects, with less emphasis on artistic expression. In contrast, Brussels, while still rooted in industrial design, pushed us to think conceptually and to delve into the motivations behind our desire to create. It was less about simply solving problems and more about clarifying your core intentions.
For me, this dual experience was invaluable. That said, whether a program is suitable depends largely on your personal goals and on the school itself. Perhaps the first question any institution should ask is: What do you truly want to achieve?.

Would you mind telling me about the design phase of your work? When building something new, do you start with the idea of the final object, or do you experiment with materials until they take on a concrete form?

It really depends. Some pieces are created specifically for exhibitions, where I already have a clear vision of the final outcome, and the process is guided by that goal. Other works, however, arise simply from the urge to bring something into existence, without a predefined endpoint. In that sense, context plays a crucial role: where I produce the work, and for whom it is intended, often shape the process itself.
The materiality of the object is also deeply connected to my surroundings, particularly the area around my workshop. I draw immense inspiration from urban spaces, public or semi-private places like bars, train stations, or other environments designed for people to gather, socialize, or wait. I’ve always had a strong interest in these in-between spaces that aren’t fully private. This environment often determines the materials I find and influences the way they evolve into new forms.

Road Trip, 2018, 70x100x50 / design by Arnaud Eubelen
photo by Ludovic Beillard

Altar Process / design by Arnaud Eubelen

The theme of this issue of Le Mile is "Offline," and that perfectly aligns with your process, which we could call totally analog. Have you ever integrated digital or virtual design processes into your work?

I typically use very simple digital tools. In school, I worked with more advanced software, but I found it too restrictive for my way of working and ultimately unnecessary. The programs I use now are minimal, focused mainly on proportions and dimensions rather than elaborate renderings.
They’re ideal for integrating my work into 3D models of interior spaces. For instance, if I can’t visit an exhibition site beforehand, I’ll create a basic model of the space and place digitized versions of my objects inside it.
These tools are valuable for visualizing how my work interacts with a given environment and, more importantly, for avoiding mistakes. The materials I use may not hold monetary value for others, but for me, they are unique pieces. I need to ensure I don’t waste them by making incorrect cuts or working with the wrong measurements. 3D modeling gives me precision, especially when preparing for photography or sharing my work on social media.

Staying on the topic of digital, do you think it's important for a contemporary product designer to share their work on social media? Since you're more connected to a "concrete world," do you find this challenging?

That’s a big question, and I’m not sure there’s a definitive answer, because digital platforms are profoundly reshaping our world. For example, galleries no longer hold the same authority they once did, as social media has changed how audiences engage with art and design.
On one hand, there are clear advantages. An artist can work from a small, remote studio and still reach a global audience. On the other hand, social media is largely about image. I’ve noticed exhibitions sometimes designed specifically to be “social media-friendly,” and that imposes certain constraints.
It’s a delicate issue because we still have eyes, hands, and bodies; we continue to live in the physical world. Experiencing objects in person should remain fundamental. Too often, we see images online without ever encountering the real object, and this can create a disconnect from reality and, in some cases, limit creative thinking.
This idea of disconnection is central to my work. I try to actively counter it by engaging with reality, context, and tactility. Many of my objects are interactive. You need to touch them to activate them, changing their shape or proportions.

That said, social media has undoubtedly opened doors for me. I would estimate that half of my projects have come from people discovering my work on Instagram. As I mentioned, it’s a complex subject, one we could easily spend hours exploring.

Do you think there are designers in the current art scene who are on the same wavelength as you? How do you see the world of design evolving?

Absolutely. There is a strong sense of community, or rather, several communities with distinct approaches and perspectives. For example, in Brussels, the design scene is relatively small for the country, yet vibrant, with many designers working in the hybrid space between design and art.
Belgium has only about three or four design schools, fewer than in many other countries. However, its position as a crossroads in Europe attracts a diverse group of people, many of whom stay because, I believe, life here is quite comfortable (laughs, ed.).
Within this field, I’ve noticed different motivations. Some designers focus mainly on commissioned work, responding to specific client requests, while others pursue a more expressive and personal approach.
What I find most important is the organization of independent, artist-led events. These are crucial for moving away from purely commercial considerations. Although selling work is necessary, too much commercial pressure can constrain creativity and impose standards that artists feel forced to conform to. We definitely need to break free from that.

Artists often develop a strong connection with their work. Have you ever found it difficult to part with one of your creations once it's complete and ready for sale?

Yes, definitely. However, in the end, I’m usually quite content. For me, the most rewarding aspect is knowing that an object will find not a definitive home, but a context where it can exist, be used, and activated.
It’s somewhat disheartening to think of an object being confined to a storage room or kept in a private space where the owner doesn’t interact with it.
I have held exhibitions where objects from my own apartment were displayed and sometimes sold. That created a distinct feeling of disconnection. For example, when a sofa you’ve sat on for a year is no longer in your home, it feels a bit strange, but that’s simply how it is.
What makes it easier for me is knowing that I can reproduce the piece. This concept is central to my work: my objects are designed with reproducibility in mind. All the assembly systems and proportions are engineered to allow duplication. It’s like a skeleton onto which different materials can be applied. The materiality can change, but the core system remains the same. So, while each piece may be unique in its specific materialization, it is not unique in its underlying idea or engineering.

Soft & Clear Prototype / design by Arnaud Eubelen

Considering that your upbringing in certain Belgian neighborhoods, with their social and economic complexities, was fundamental to the development of your art, how do you view the growing trend of gentrification in distressed city areas?

That’s a complex question. While I prefer not to engage in purely social or political debates, since my main goal is not to politicize my work, I can share my observations from the streets.
Gentrification, in a way, is reshaping the interiors of buildings. In Brussels specifically, many new owners and the government focus on improving energy efficiency inside buildings. This often requires renovations that are typically affordable only to those with financial means. As a result, the government unintentionally ends up assisting wealthier individuals, while those with fewer resources are pushed further out from the city center into the suburbs.
What I find particularly sad is the loss of unique interior character. Many beautiful and distinctive elements such as fine carpentry, original doors, and old floors are being removed to make way for a more standardized, “clean” aesthetic. These elements are often handcrafted objects from the past, carrying history and charm. In a way, preserving and reintroducing this character is exactly what I try to achieve by creating new objects from discarded materials.

You've often stated that you consider the city your "personal hardware store" or "materials library." Have you noticed a change in discarded materials that has gone hand-in-hand with the evolution of society?

I don’t think I’m old enough to have witnessed dramatic shifts, but it’s true that the types of discarded materials do change over time. In Brussels specifically, you can find almost anything on the street. This city has a rather unique approach to unwanted objects: people often leave items they no longer need directly on the pavement, which makes them accessible for reuse. This isn’t necessarily the case everywhere, as other European cities tend to have stricter regulations or different cultural attitudes toward street dumping.
If you know exactly what you’re looking for, you can often come across truly unique objects for free, items that can be valuable because of their history.
Naturally, there’s a lot of plastic waste, but plastic is very difficult to reuse, especially since many plastic objects carry strong, specific associations in our minds. I tend to reuse more neutral materials like wooden planks, sheets of glass, or cuttable materials such as concrete.
Historically, designers focused on creating objects by drawing them and giving them functionality. This makes it challenging to reuse objects from mass-produced functional goods because they are hard to disassemble. Moreover, more and more objects now include electronics, automation, processors, and so on. For this reason, it’s easier to reuse materials from architecture and construction. However, even in construction, the use of composite materials is increasing.

In the past, designing objects for easy disassembly was just the norm, not a “statement.” Now, packaging brands advertise how you can separate cardboard from plastic as if it were a special feature. It’s become something to highlight, whereas before it was simply how things worked.

Still on this point and regarding the gentrification we mentioned earlier, what do you think are the next materials destined for abandonment in cities that increasingly aim to escape decay?

That’s a very interesting question, and honestly, I’m not sure I have the necessary knowledge to answer it with certainty. It would require thorough analysis and in-depth research to make reliable predictions.
What I can say is based on personal observation: cardboard seems increasingly present in the streets, largely due to delivery and consumption habits. Designers like Max Lamb, for instance, have already explored its potential for furniture, which I find clever and timely.
Beyond that, it’s hard for me to make confident forecasts. I suspect that certain building materials, like insulation, could become a challenge in the future, but that’s more of an intuition than an expert assessment.

How do you believe your work and artistic practice have evolved from when you started until now, and how do you envision them evolving in the near future? What do you have planned?

My work has evolved significantly in terms of precision. Now, when I approach a project, I immediately have clearer ideas about connecting and assembling elements. I'm also focusing more on the exhibition setup and how to create interaction between the objects themselves. In terms of production, I have greater control over each step. This means my process is somewhat less experimental, and, though it might sound strange, less overtly expressive, as I lean more into that hybrid zone of truly functional, well-crafted objects. I really enjoy the paradox of questioning whether an object was mass-produced or not.
I'm also experiencing more collaboration with architects. This feels like a new, exciting step for my work: being integrated directly at the beginning of a building's life, reintroducing these types of objects for the long term. Looking ahead, I want to delve deeper into the idea of residencies, moving away from my workshop to experiment in different contexts, not just urban, but even rural settings or other environments.
Residencies, in particular, are a great way to step out of my comfort zone and alter my routines. My current work is a direct result of choosing to work with these specific materials. While this presents significant constraints, it also offers a unique shortcut. It demands constant adaptation in terms of time, economics, and technical approaches. So, in the near future, my plan is simply to continue experimenting and adapting.

Underground Party, 2020 100X45X50 / design by Arnaud Eubelen

“My objects are designed with reproducibility in mind. The materiality can change, but the core system remains the same — like a skeleton onto which different materials can be applied.”

Arnaud Eubelen speaks with Melania Musci
for LE MILE OFFLINE Edition Nr. 39 FW25/26

header image
Corner Table, 2017 / design by Arnaud Eubelen

Paloceras Method with Mika Matikainen

The Paloceras Method
Eyewear That Remembers Your Dreams

written + interview MONICA DE LUNA

Paloceras spreads across the table as frames bloom from sketches and colors press against translucent daylight. At the center, Mika Matikainen, co-founder and creative force behind the brand, shapes eyewear that grows in his hands, each form a quiet hallucination, a new skin for identity.

The old stable turned studio gathers objects with stories—large sheets of paper, bamboo handles, a loyal Olivetti typewriter humming, sculptures from vanished journeys. Every shelf leans toward experiment, every corner pulses with possibility.

Lines gather mythic form, softening at the edges while lenses shimmer with the quiet promise of change. Mika drifts between drafts, old ideas, bursts of color, textures pulled from the edges of the seasons. Candlelight flickers next to stacked books, loose archives of obsession and plans. Pebble, Velvet Rouge VX, translucent blue, wild honey—each frame gives off a subtle current, a pulse charging the everyday.

Paloceras, named for butterflies and lost afternoons, gathers light and memory in a single gesture. The process moves at its own rhythm, tuned to curiosity and the feel of weight and absence. Limited editions drift out of the stable-studio, carried by collaborations and the slow choreography of design, always searching for a new edge, another fiction, another face. Mika’s practice fills space with resonance, objects settling in the psyche and gently nudging the face toward the unreal. Frames move past accessory, falling into ritual, calling for a new kind of gaze at the reflection in glass. Paloceras skips across language and function, alive in the space between hand and dream, echo and artifact. Eyewear dreams up its own mythology and writes new bodies, all in the flash it takes for a stranger to see themselves—shifted, for a moment, by the promise of another form.

Mika Matikainen
seen by Carl Bergman

“It’s in our DNA. We imagined something magnetic without limitations, then found ways to make it real. It’s believing in self-transformative distortion in the ordinary. If you feel it, you go for it.”

Mika Matikainen speaks with Monica de Luna
for LE MILE Offline Edition - FW 2025 Nr. 39

Monica de Luna
You design objects that sit on people’s noses and rewrite their entire sense of self in under four seconds. At what point did you realise that glasses are less about vision and more about fiction?

Mika Matikainen
Straight from the beginning, so I would say it’s in our DNA. When it comes to eyewear, it’s all just repeating the same, and to us as outlier designers it felt appalling, so we took a step back, imagined something magnetic without any physical limitations, then scratched our heads finding ways to make it physically possible. But I believe it was worth the hassle for the good of people’s excitement. I really like that you paired fiction and vision, because that’s exactly what it is: believing in magical self-transformative distortion in the ordinary. If you feel it, you go for it.

There’s something about your frames that feels allergic to branding, or drama, even allergic to anything that moves too fast. How do you keep things quiet without making them disappear?

What a question! Maybe by revisiting older drafts, ideas, and concepts quite occasionally with Alexis, my co-founder, and trying to intuitively embrace or focus on details that feel relevant after they’ve had a beauty nap in our design archives. When it comes to a physical design object like eyewear, there are some limitations (that we don’t respect) that set the table for something in which a few creative key decisions define the product. If you just nail the details, it’s not enough.

Do you believe good design should leave a mark, or is it more like perfume, something people can’t quite name but keep turning their heads for anyway?

I’m not a big fan of perfumes, even though I love the conceptual thinking behind them, so yes, definitely a perfume-like floating shadow that absorbs into your psyche when you least expect it.

“Anything that comes from within is genuine and interesting. Time is a subjective pocket of life for each person. Focus on what resonates instead of seeking validation. Resonance to the max.”

Mika Matikainen speaks with Monica de Luna
for LE MILE Offline Edition - FW 2025 Nr. 39

A Paloceras customer walks past their own reflection and forgets it’s them for a second. Is that the point?

Exactly, the whole point is about embracing the paradox of multiple realities simultaneously. I see this as a bigger societal issue when people rationalise themselves into their fact-based truth bubbles. We need imaginary spikes piercing the imaginary bubbles between individuals, thus making life less imaginary through real presence. Those spikes can and should be used also on yourself. PUFF!

Walk us through your studio, what’s always within reach? What’s broken but never thrown out? And what’s there just to remind you that not everything needs a purpose?


Recently, a journalist who visited my studio called this space a Stable Studio, since this used to be a stable for three racehorses. Now, more boringly, it’s a set of two large desks with a lot of shelf space for objects of interest, a repository for ideas. Always within reach: large sheets of paper, ink, brushes, markers, pencils, candles, books. An old, fully functional Olivetti typewriter that just inspires by its presence. A bit broken but not thrown away is a set of bamboo handles and their parts for a bag project that’s been way too long on a to-do list. Objects without purpose are small statues or sculptures from adventures; they light up something in me even though I can’t remember the origins of all of them.


People keep romanticising analog, but most of them still refresh their inbox with two fingers. What’s your relationship with being unreachable/offline?


Love it. Still waiting for the era when it’s possible to transform sensations more directly into something tangible. A small, bitter forest cherry into a frame, or the feeling of wet moss after rain under bare feet as the haptic feel for a product. When you think about it, using digital devices is basically tapping glass or plastic with your fingers for hours. Numbing. Anything else is easily more interesting as a sensory experience. Respecting offline moments alone and with friends, and always having Do Not Disturb mode on.


Do you think your glasses look better on people who don’t smile?

Whatever makes people more themselves is desirable; then it’s up to them if they feel like smiling, writing, observing, or whatever connects them more with themselves. Our dopamine systems are so entertained by external stimuli that we should wear eyewear with mirrors on the inside of lenses to highlight what’s in there. Not AR but AS—as in augmented self.

How do you feel about people calling things “timeless”? It usually sounds like something you say when you’re afraid of death or passing trends. What do you call it instead?

If one is after trends then it’s acceptable to be afraid of death. Anything that comes from within is more genuine and interesting and “timeless”. What is timeless, or time, is a different thing. It’s a subjective pocket of life on each person’s own timeline and means something different for each individual. Briefly, our time is limited so why settle for something ordinary? But to answer the question, I’d focus on sensing what resonates on an individual level instead of relying on external validation points. Resonance to the max!


You live in Finland, does the weather there teach you anything about surfaces?

I’ve also lived elsewhere in Europe—in the UK, Switzerland, Portugal—and what I really appreciate back here in Finland is the stillness, especially outside the urban areas in real connection with nature. Maybe because Finland has one of the oldest bedrocks on the planet, more than three billion years old. Maybe it’s the silent grounding effect it evaporates if one’s open to it. Weather-wise, we have all the seasons quite clearly, so there’s the possibility of experiencing all surfaces with different additions such as water, slush, ice, snow, all in different light and air density conditions. I believe it’s the layer of details and conditions paired with experiences of similar things in other places, through different cultural and climatic lenses.

What do your eyes look for when they’re tired of being fed?

As far as possible, looking at the horizon, the sky, the sea, the leaves of trees. Also just looking around and pausing auto-labeling of what the eyes communicate, and sensing visual surfaces just as they are.

all visuals (c) PALOCERAS

MOEBE *Rewriting the Rules of Design

MOEBE
*Rewriting the Rules of Design

written + interview Monica de Luna

MOEBE is rewriting the language of design. With Martin de Neergard Christensen, Nicholas Oldroyd, and Anders Thams leading the charge, this Copenhagen studio is all about pushing boundaries.

Their latest project, the Modular Sofa, premiered at 3daysofdesign 2024, embodies a new era of design thinking— modular, sustainable, and unapologetically forward-looking.
MOEBE’s design philosophy challenges conventions, blending modular innovation with an uncompromising focus on sustainability. Each piece is carefully thought out, designed for flexibility, and built to endure, reflecting a future where furniture adapts to life’s changes.

In the AGE OF CHANGE, Fall/Winter 2024 edition, we sit down with the visionaries behind MOEBE to explore the ideas and processes driving their work. This is design that moves with you, built for the ever-shifting rhythms of modern living.

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams

“Versatility and sustainability are a compound subject at MOEBE, and all of our designs adhere to these principles in one way or another, whether it’s through their construction or their adaptability.”

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams
speaking with Monica de Luna

first published
LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

Monica de Luna
The Modular Sofa made its debut at 3daysofdesign 2024. What was the core inspiration behind creating such a versatile and eco-friendly piece?

MOEBE
Versatility and sustainability are a compound subject at MOEBE, and all of our designs adhere to these principles in one way or another, whether it’s through their construction or their adaptability. Our commitment to designing in this way has only strengthened over the years as our collection grows, and the Modular Sofa is really a natural extension of this design philosophy.

MOEBE is renowned for its modular design approach. How does the Modular Sofa elevate this concept in the world of adaptable furniture?

The Modular Sofa is a continuation of that modular, component-based thinking, perhaps even taking it a step further. Of course we are not the first to have the idea of a sofa split into sections, but we have tried to push the boundaries of what modular design can do and what a modular sofa can be.
For example, not only is the sofa constructed from individual modules, but the modules themselves can be separated even further to their constituent parts. Modules can be easily reconfigured, the cushions can be changed out without affecting the rest of the sofa, and everything is designed to arrive flat-packed. You have more choice when it comes to colour and form, and you are not tied to one specific configuration. When most people think of modular design they tend to think of flexibility, but we are just as interested in its other benefits, such as how easy it is to assemble, and how parts can be repaired without needing to be replaced. All of this can be found in the Modular Sofa.

Sustainability seems to be a cornerstone for the Modular Sofa, with certified oak and EU Ecolabel- compliant foam. How crucial is sustainability in MOEBE’s overall design philosophy?

Sustainability is really important to us, and something we consider through every step of the design process. That said, it’s also an incredibly broad area, and sustainability means different things to different people. So we decided to build our own framework to operate in, and we came up with six guiding design principles that feed in to everything we do, and help keep us in the right direction.

For example, we also have a commitment to producing spare parts for all of our designs. We believe that it should always be easier to repair than to replace, so this commitment is our way of helping people keep their furniture for longer, instead of always having to buy something new. It sounds simple enough, but it actually takes a lot of work to make sure that our designs are made in such a way that they can be repaired. Looking again at Modular Sofa, the way it is constructed and put together means that it can be shipped flat- packed, which has the environmental advantage of reducing the carbon footprint of shipping, and the component-based design lets us focus on producing a set number of parts, which helps avoid overproduction.

Flat-packed and easy to assemble – what were the biggest challenges in designing a piece that balances simplicity, durability, and style?

Aside from the technical challenges that come with designing any piece of furniture, we really wanted to create something that could stand by itself, without needing to rely on its label as ‘flat-packed’, or ‘easy to assemble’ to be attractive. In short, we wanted to create a sofa that people fall in love with because of how it looks, as well as how it is built.
When you design a sofa to be as modular as possible, with modules that work in any angle and configuration, you are really challenging yourself. You have to put that extra bit of effort in to make it look just as sharp. To make sure that the corner module works just as well on the left or the right side, and so that the middle section can turn both ways. It needs to look good as a pouf, or as a two-seater sofa, or as a much larger configuration that can turn corners and even accommodate people sitting at opposing angles. It’s a challenge for us as designers, but it’s also an opportunity to show what modular design could do. All of this flexibility from four basic modules, without compromising visual appeal. Now that’s a challenge!

Your Modular Sofa is the first large-scale seating option. What does this launch signify for MOEBE's growth and future direction?

It underlines our commitment to our design principles, as we continue to grow into a full-scale design studio. MOEBE started over ten years ago, and in that time we have gone from making small accessories and design items through to bigger interior and furniture pieces. We design everything in-house, and we only add products to our permanent collection that we fully believe in.

Everything needs to be born of the MOEBE design philosophy, whether it’s a small Key Ring or a Shelving System that spans a whole room. The Modular Sofa will definitely not be the last big piece, but rather the start of the next phase of MOEBE. Perhaps we’ll push even further into architecture and finally build that little shed in the woods we always dreamt about?

“We really wanted to create something that could stand by itself, without needing to rely on its label as ‘flat-packed’, or ‘easy to assemble’ to be attractive.”

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams
speaking with Monica de Luna

first published
LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams

From single pouffes to multi-angled sofas with integrated tables, the Modular Sofa’s flexibility is impressive. How do you see this versatility fitting into modern living spaces?

We designed the Modular Sofa to work in many different situations, and we thought a lot about how it could help facilitate a more modern, dynamic lifestyle. We see two main scenarios where the flexibility can help achieve this. To start with, the modules can be added and changed over time, meaning that you can start with a single chair or pouf and add it to at a later time. You don’t need to start with a four-seater sofa from the beginning, but instead you can slowly work up to it as your living situation changes and evolves. Secondly, we wanted the modules to be adaptable in real-time, meaning that you can re-arrange and re- configure when the need arises.

We think the sofa looks beautiful in a big empty space, but we know that most of us live in smaller spaces or apartments where there is always the challenge of shared spaces. You want a comfortable sofa to watch TV, but perhaps you also want a more spread-out seating arrangement for when guests come over for coffee. With the Modular Sofa, you can simply break up the modules and move them around, easily adapting it to different needs at different times. It can do all of these things, and we think that’s super nice, especially over a long period of time. It’s a system you can build on, but you can also use its flexibility on a daily basis.

The smart construction of the Modular Sofa becomes evident in the details. What were the key considerations in ensuring the piece remains both easy to assemble and durable?

We think a lot about construction and how we put things together, so we love that you can see it. As designers, of course we are interested in forms, shapes, and colours, but it’s also incredibly important to remember that a sofa needs to be durable, hard-wearing, and suitable for years of everyday use. The requirement we set ourselves to make it both robust and easy to assemble was perhaps the real challenge of designing the Modular Sofa. Without getting into too much technical detail, we tested out hundreds of different construction methods in the design stage, and ended up finding elegant solutions that facilitated both of these demands.

Even if some of the details are hidden from view, you can see the constructional simplicity of the modules when you turn them upside down. The construction is easy to understand and never gets in the way, which is what we’re always aiming for.

How do you see the Modular Sofa challenging traditional furniture design and impacting future innovations?

Danish design has a unique heritage, and when we started MOEBE ten years ago we wanted to build on that, demonstrating that it can be done differently, with more focus given to making things that are easy to repair, and can adapt to changes in how we live. And this of course has an impact on future innovations too. We are part of a movement showing how sustainable thinking can be designed in from the start, and the Modular Sofa is our biggest statement yet of that way of thinking. It’s proof that you can make a sofa that follows these design principles, that is flat- packed and component-based, but is also beautiful, functional, and comfortable. We are always seeking out better materials or design solutions, and we know that our customers are too. The more designers that are active in pushing for these things, the more chance there is that the rest of the industry will move in the same direction. That’s our hope for the future.

“We are part of a movement showing how sustainable thinking can be designed in from the start, and the Modular Sofa is our biggest statement yet of that way of thinking.”

Martin de Neergard Christensen, Nicholas Oldroyd and Anders Thams
speaking with Monica de Luna

first published
LE MILE Magazine, AGE OF CHANGE Nr. 37 Edition, Fall/Winter 2024

William Fan *Crafting Futures

William Fan
*Crafting Futures

written Alban E. Smajli

William Fan is scripting a new narrative in modern design, fusing his rich cultural heritage with an avant-garde approach to fashion. His designs emerge as an eloquent dialogue between architectural rigor and fluid dynamism, boldly questioning the industry's entrenched norms.

With each collection, Fan weaves together Asian heritage and European design sensibilities, crafting a sartorial rebellion that defies traditional boundaries and celebrates sustainability. Through his latest endeavors, Fan explores themes of gender fluidity and inclusivity, pushing the boundaries of conventional fashion. Fan's staunch commitment to using dead-stock materials and partnering with family-run businesses underscores his devotion to ethical fashion practices. This journey sets a bold new standard for what it means to be a designer today but also cements Fan’s status as a visionary and a profound storyteller in the ever-evolving fashion landscape.

William Fan
seen by Clemens Poloczek

“I feel the most empowered when I work close to my heritage because it feels the most authentic. The many travels to Hong Kong influenced my perspective on beauty, craftsmanship, and tradition. I look for the balance between Asia and Europe in every season.”

William Fan speaks with Alban E. Smajli
LE MILE Magazine TRANCE, Nr. 36

Alban E. Smajli
William, your journey in fashion has been inspirational and transformative. Could you share how your cultural heritage influences your design philosophy and how it has evolved over the years?
William Fan
When I started my brand, and also during my studies, I wanted my collections to be personal and close to my identity. I feel the most empowered when I work close to my heritage because it feels the most authentic. The many travels to Hong Kong influenced my perspective on beauty, craftsmanship, and tradition. I look for the balance between Asia and Europe in every season. In the beginning, the contrasts were more hard and visible. Nowadays, it has become a grey zone where you can hardly see the lines. It's more diffused now, like we work on the theme of unisex. You hardly notice which gender it's meant to be.

In your creative process, how do you enter a state of flow or "trance" to conceptualize and bring your visions to life?
I like to build up a storyline. At first, we started with a party night, 'THE DAY AFTER' came as a consequence. Then we had an afternoon in Chinatown and ended up in a karaoke bar. You know, it’s almost like a biographical film book; I try to visualize every occasion.

Now we've entered the 'CEREMONY' era, which is the current collection. Every season has a theme, and from that feeling, we create a full-vision world. From the set design to the music, we want to escape with our community and dive into 15 minutes of dreaming.

Your designs are known for their unique blend of architectural precision and fluidity. How do you balance these elements, and how has this signature style evolved in your SS24 collection?
I like to think about a functional wardrobe with a twist—things you can wear and be real about. Our garments are built to function and always have a little twist in color, texture, and material. I think clothing needs to move and flow and give the customer enough space between the body and the garment itself. I’m not a big fan of a very tight fit. If so, it’s knit where you still have the stretch element. I like to empower with simplicity and precise tailoring. Sometimes more formal, sometimes more playful. This season was a lot about textures and fabrics. The colors were mainly inspired by the LGBTQI+ Flag, which is mainly represented in monotone, single-color block looks. Furthermore, we questioned how we dress for ceremonial occasions and which general rules are given.

Can you give us a glimpse into the making of the SS24 collection? What were the key inspirations, challenges, and breakthrough moments during its development?
The SS24 collection was named 'CEREMONY,' and it's all about the special days we celebrate in our lives. Big Birthdays or Weddings. I got married myself in 2022 and was quite critical of what you have to do and all the rules you need to follow. We started researching Asian and European traditions—for example, for marriage. The red wedding in China and the white wedding in Europe. I wanted to be inclusive and make a statement through the rainbow color flag from the LGBTQI+ community. I wanted to put a sign out that everybody should have the same rights to celebrate, for example, a wedding independently of your sexuality. I gave a male model the veil or the final bride look a black short-sleeve tuxedo with feathers. For me, it felt very adult and emancipated.

Sustainability is a critical conversation in fashion today. How are you integrating sustainable practices into your work, particularly with the SS24 collection?
We work exclusively with dead-stock materials. I like that way of using non-wanted resources and having a limited choice. That also means that most of the products are limited in their availability. All the manufacturers I am working with are visited personally a few times a year. I'm lucky to build up great relationships with family-owned businesses.

Everyone is very innovative when developing new styles. We don’t overproduce our products, and we never go on sale. I want to create a value that is hopefully long-lasting and sustains many trends and decades.


Reflecting on your career, who has been your most significant mentor, and what was the most valuable lesson you learned from them?
I had many people supporting me from the beginning. To be honest, I would say my parents. They always taught me to be bold and proud, regardless of where and who you are at the moment. I always keep saying: Fake it till you make it. This helped me through many moments :)

“I feel privileged to be able to have the runway medium and the city of Berlin, which offers so many monumental spaces. From the TV Tower to the Underground, I've tried all levels in Berlin to express my emotions through many spectacular locations.”

William Fan speaks with Alban E. Smajli
LE MILE Magazine TRANCE, Nr. 36

Fashion shows can be mesmerizing, almost trance-like experiences for the audience. How do you aim to evoke this sense of immersion and emotion in your runway presentations?
I feel privileged to be able to have the runway medium and the city of Berlin, which offers so many monumental spaces. From the TV Tower to the Underground, I've tried all levels in Berlin to express my emotions through many spectacular locations. I love to tell a story when it comes to runway presentations. Mostly, I'm looking for a space that has a certain power and an interesting history to tell. I also like to work with all senses. The moment you come into the venue, you will immediately experience a certain smell, texture, or lighting. Then the music starts, and I have 15 minutes to tell the concept of more than 6 months of intensive work.

From all the pieces you've created for the SS24 collection, is there one that stands out to you as a personal favorite or holds a special meaning? If so, why?
I’m a big fan of the 'Are you a friend of Dorothy?' jumper. A "friend of Dorothy" (FOD) is a euphemism for a gay man, first used in LGBT slang. Stating that, or asking if someone is a friend of Dorothy, is a furtive way of suggesting sexual orientation while avoiding hostility. I like the way to use historical references to hopefully remember we never need to talk in euphemisms again to express our sexuality.

What's next for William Fan? Are there any new projects, collaborations, or directions you're particularly excited about exploring in the near future?
Many new product groups will be added, and our new gift shop 'FAN PLAZA' just opened its doors a few months ago. We now have spaces for new visuals in partnership with artists, partners, and friends. I like the idea of bringing networks together that share the same love for small details and art.

follow artist @studiowilliamfan
discover online www.williamfan.com

all images (c) Clemens Poloczek

Studio GdB *Transforming Clay Tiles into Art

Studio GdB
*Transforming Clay Tiles into Art

written Benjamin Schiffer

Tiles are rarely the first object you notice when entering a room. Not so with the designs of Studio GdB - the Dutch design studio makes clay tiles the absolute center of attention.

The two founders and former graphic designers Gilles de Brock and Jaap Giesen challenged the status quo within the tile industry after realising that their ideas could not be translated with any of the conventional methods out there. Consequently, the duo created their very own custom digital printer allowing for a computer-controlled application of liquid glazes. The results are vibrant, unique and customizable tiles in a range of uplifting colours and extraordinary patterns.

Studio GdB
Gilles de Brock + Jaap Giesen

“There was never really a particular reason or planning behind working with tiles. It was more or less the instant idea ´Let's make tiles´. Apparently, we both thought that this was a really good idea.”

Jaap Giesen speaks with Benjamin Schiffer
LE MILE Magazine ISSUE, Nr. 35

Benjamin Schiffer
Your backgrounds are similar, right? Tell us about how you both met.
Jaap Giesen
We met in graphic design school eight years ago and since then our friendship has matured.
After that we decided to do an internship in Antwerp together, we moved there together. Gilles decided to keep on studying in Den Haag, so I went to Rotterdam. Luckily, the two cities are not too far apart from each other, so we got to meet every weekend.

When did you develop your first interest in interior design?
JG
We are both trained graphic designers and I started to grow a great interest in vintage furniture design. Gilles was more interested in technology and building machines. Looking at it now, it is the perfect collaboration and we found a middle way bringing together contemporary designs and technology.
Gilles de Brock
There was never really a particular reason or planning behind working with tiles. It was more or less the instant idea ´Let's make tiles´. Apparently, we both thought that this was a really good idea.

…and you successfully found your niche in the market. Congratulations!
JG
All by accident though! It started as a blind passion. Once the business started developing, our fascination also grew and we became very dedicated.
GdB
During the process, we developed an entrepreneurial understanding. We were always self-employed before. You are not really a business owner then. If you want to sell a product it will have to entail certain qualities and all these qualities that we needed were just there. We could pretend that it was a super calculated move and that we are very business-savvy. If it did not work out, we´d probably still do it, but be broke. We were lucky that everything worked out.

JG: There were surely many obstacles that we needed to overcome. Tiles are very heavy, so the question arose on how we would ship them around the world without breaking. Luckily, we got to solve most problems. At the beginning we did not think everything through. Youtube tutorials definitely helped us a lot in the beginning! We did not really have people that had the level of expertise that we wished for. We still do not know much about ceramic glazes, everything is more or less a trial and error procedure that takes time.

When did you realise that conventional methods would not work for your ideas?
JG
When Gilles was working as a graphic designer for a client, he wanted to print some ceramic goods.
GdB
In an arts and crafts store we saw these beautiful glazed samples. We just thought that it would be enough to use those ceramic glazes, but it turned out to be much harder than we thought. We quickly found out that what we had in mind was not realisable with the conventional methods. That's when we had to come up with our own.

I could personally scroll through your Instagram feed forever. The number of colour and pattern combinations seems infinite. Which designs are particularly difficult or impossible to realise?
GdB
We definitely have tiles that are hard to produce, but we don´t put those on Instagram, because then everybody would ask for those. We have a set infrastructure of production, therefore experimenting within that system is not the easiest and not the most efficient. Certain things just do not work in it. This does not necessarily mean that they are objectively more complicated, they just do not fit into the regular production line. It also does not mean that they won't become available at a later point. For now, we want to keep things simple and organised.


Do you guys have a personal favourite colour/pattern combo?
GdB
It's so funny, it is always the designs that we put on Instagram that get the least response. Everybody just seems to like the same patterns. It's not like we don't like them, but it's comparable to listening to the same song over and over again.
JG
I personally love the classic striped patterns with the moody colours. Everybody seems to love the rain and the marble pattern. At this point we start curating some designs a bit more carefully, combining different tiles together.

I assume there are little to no marketing budgets at this point. How do you get your product out there?
JG
We indeed have no marketing budgets. The only thing we do is post things on Instagram. Maybe we will spend money on marketing in the future. For now, what comes in through this organic method, we are fully booked. We never needed to invest in proper marketing - this is an incredible luxury. As soon as we were ready to manufacture the tiles, we put them on Instagram and people started to immediately order them - it sounds almost too good to be true.

(c) John Tods

“In an arts and crafts store we saw these beautiful glazed samples. We quickly found out that what we had in mind was not realizable with the conventional methods. That's when we had to come up with our own.”

Gilles de Brock speaks with Benjamin Schiffer
LE MILE Magazine ISSUE, Nr. 35

Which artists or artistic epochs inspire you?
JG
Sean Scully! He is the best!
GdB
He makes nice paintings with interesting colour combinations.We are inspired by some of the Dutch designers who also have innovative ways of production. It is less their outcome, but rather their principle of creating machines to do what has not been done before.

I assume your bathrooms and kitchens are also tiled with your own designs. How do you decide which designs can move into your homes?
JG
I have to ask the wife! I prefer the more classic styles with a modern interpretation and more muted colours.
GdB
To be honest, I have a hard time choosing, even though my kitchen actually needs some tiles. It is scary to put tiles in my own house, I might grow too tired of them too quickly.

In what way do you consider your work approach typically Dutch?
JG
t´s very straightforward. If we decide on doing something, we are going to make it work and we are going to make it fast.

Let's talk about interior trends in general. What trend do you think we'll see everywhere next year?
JG
I think that things can be a bit more fun, less serious. Warmer and brighter colours could be a thing.

Where would you like to see your tiles?
GdB
At the very beginning we wanted to do tiles for metro tunnels and hotel lobbies. I guess that this is still the goal. Those metro stations in NYC seriously need renovation. What we also learned is that you can actually use tiles on the exterior of buildings such as facades.
JG
Yes, having tiles on a skyscraper would be amazing! Very high on our priority list.

What advice would you give to someone who is seeking to make a career from their creativity?
JG
Commit to one thing and keep on doing it very well!

follow artist @studio.gdb
discover online www.studiogdb.nl

all images (c) Studio GdB